In ,What's The Matter, M. Ross?", dem dritten Album des eigenwilligen Autors M. Ross Perkins, befindet sich unser Junge auf einer Reise nach innen, auf der er das Transzendente und und Existenzielles mit seinem lyrisch bisher bekenntnishaftesten Album verbindet. Multiinstrumentalist Perkins muss man dem Singer/Songwriter-Zeitgeist zurechnen, der für MJ Lenderman und Waxahatchee schwärmt und gleichzeitig Optimismus vermittelt. "What's the Matter, M Ross?" wurde komplett von Perkins komponiert, gespielt und in seinem Studio in Dayton, OH aufgenommen. Die Kopfhörer-Symphonien bewegen sich mit einer bedächtigen, komponierten Raffinesse, während die Texte neues Terrain erkunden. Die Eckpfeiler des Psych-Pop bleiben: die Schnörkel von Nilsson sind noch da, aber auch Gram Parsons und Jonathan Richman. Wenn man "What's the Matter, M. Ross?" geografisch einordnen will, dann ist das Album zu gleichen Teilen Laurel Canyon und Big Pink, mehr Woodstock die Stadt als das Festival. Perkins ist ein in sich geschlossener Teenage Fanclub (aus der Spätphase) mit George Harrisons spirituellem Sinn für inneres Fernweh.
In ,What's The Matter, M. Ross?", dem dritten Album des eigenwilligen Autors M. Ross Perkins, befindet sich unser Junge auf einer Reise nach innen, auf der er das Transzendente und und Existenzielles mit seinem lyrisch bisher bekenntnishaftesten Album verbindet. Multiinstrumentalist Perkins muss man dem Singer/Songwriter-Zeitgeist zurechnen, der für MJ Lenderman und Waxahatchee schwärmt und gleichzeitig Optimismus vermittelt. "What's the Matter, M Ross?" wurde komplett von Perkins komponiert, gespielt und in seinem Studio in Dayton, OH aufgenommen. Die Kopfhörer-Symphonien bewegen sich mit einer bedächtigen, komponierten Raffinesse, während die Texte neues Terrain erkunden. Die Eckpfeiler des Psych-Pop bleiben: die Schnörkel von Nilsson sind noch da, aber auch Gram Parsons und Jonathan Richman. Wenn man "What's the Matter, M. Ross?" geografisch einordnen will, dann ist das Album zu gleichen Teilen Laurel Canyon und Big Pink, mehr Woodstock die Stadt als das Festival. Perkins ist ein in sich geschlossener Teenage Fanclub (aus der Spätphase) mit George Harrisons spirituellem Sinn für inneres Fernweh.
“I did this piano/Rhodes recording, played live, without overdubs. I believe your approach to sound could match very well these tracks….” That’s how Giovanni Di Domenico’s collaboration with Rutger Zuydervelt started, though the first seeds were planted when the duo did a short live improv together in 2019, and Giovanni joining Hydra Ensemble on stage in 2022.
Painting a Picture / Picture a painting is -as the title suggest- an album of two long-form pieces, swapping the working method for each - one takes Giovanni’s recordings and has Rutger processing and adding to it, while the other one started with Rutger creating its foundation (with manipulated sounds of the first piece), and Giovanni building upon it. This resulted in two meandering tracks that are clearly linked, like two sides of the same coin. The cover, a painting of an empty canvas, is made by Christiaan Kuitwaard. A beautiful and ultimately fitting visual addition to this mysterious release.
As we saw with their debut release "Breukelen Story", Masta Ace & Marco Polo once again drop a deluxe edition of their sophomore LP "Richmond Hill". This new version includes 4 bonus tracks not previously available on the album—three remixes (one featuring Talib Kweli) and one brand new song from Ace & Marco.
"Richmond Hill", the highly anticipated follow up to Masta Ace and Marco Polo's "Breukelen Story", is inspired by Marco's childhood in the titular neighborhood, a small town in Ontario, just outside of Toronto. Between interstitials about Marco's passion for hip-hop and cartoons, his struggle with addiction, and the support of his parents, Marco Polo and Masta Ace tackle the issues of the day head-on with clarity, the rapper using his decades-worth of rapping experience to slice through the producer's warm soul samples and crisp percussion. A cinematic journey that explores how the past echoes through the present, the album welcomes guest appearances from notable names from all eras of rap history, including Inspectah Deck, Coast Contra, Blu, Che Noir, Speech of Arrested Development, Masta Ace's longtime collaborators Stricklin and Wordsworth, and many more.
s Below The Clouds [Remix] (feat. Talib Kweli)
[u] Get Shot [Marco Polo Remix]
[v] Below The Clouds [Roselle Remix] (feat. Blu)
[s] Below The Clouds [Remix] (feat. Talib Kweli)
[u] Get Shot [Marco Polo Remix]
[v] Below The Clouds [Roselle Remix] (feat. Blu)
Space-surf-psych-rock quartet Japanese Television’s album ‘Automata Exotica’ has been remixed by invited friends and peers; including Goat Fool from GOAT, Factory Floor’s Gabe Gurnsey, and Edgar Breau from cult band Simply Saucer. Informed by UFO encounters, ritualism, robots, Northern Soul, and nuclear weapons, ‘Automata Exotica’ was released in March 2024 and was described as “Heavy but also joyful” by The Quietus, “A fuzzy blast of space-surf energy”in Shindig and “A remarkable and unique proposition” by Louder Than War.
Rather than having been transformed out of all recognition, “reimagined” is a more apt term to describe this new version of ‘Automata Exotica’. With the album’s eight tracks presented via considered, alternative mixes with pertinent sonic application, it hangs together incredibly coherently - albeit as a wild and feverish psychedelic experience.
JTV toured with GOAT while writing ‘Automata Exotica’, with the fat fuzz tones and extended middle percussion section of ‘Typhoon Reggae Police’ heavily influenced by their time watching and learning from side stage. Starting life as an uneasy mixture of scratchy 60s garage rock and 70s Afghan psych folk, Goat Fool from GOAT ripped the song apart and stitched it back together. Recognisable but weird and uncanny, it’s a stripped down, oppressive, shimmering voodoo nightmare.
“We used to go and see Gabe’s weird, excellent band Factory Floor playing dark little club nights in Shoreditch years ago and marvel at the racket” says JTV. “Gabe’s been a long time collaborator of ours, in fact he’s the only person to not only do more than one remix for us, but has featured on every remix release we’ve done. Our most ecstatic, cathartic song, ‘Tabadaboum’ was the perfect match for Gabe - the motorik krautrock bassline fits right in with the pneumatic grind of his vintage drum machine loops and synth flurries”.
It's hard to measure the impact cult 1970s Canadian space rock proto punk psych band Simply Saucer had on the formation of Japanese Television. The band reached out to Edgar Breau - the band’s founding member and guitarist - who guitarist Tim says was “really generous with his time, and really kind to an overly keen and slightly awkward Simply Saucer mega fan. It's a real honor to have him playing guitar on one of our records”. His cosmic reimagining of ‘Golden Birds’ layers on the delay, reverb and screaming guitars, launching the track into outer space.
‘Automata Exotica (Remixed)' is set for release on 6th June 2025 on limited edition LP and digital formats. Japanese Television tour in Europe through March and April. The album is released by cult underground label Tip Top Recordings (Jim Wallis, Mandrake Handshake, Pearl & The Oysters), run by Ben Rimmer and David Warn.
Welcome to the ancient Disboard where the 10 rules of the game did not yet exist. War consumes the world, splits the heavens, destroys the stars and even threatens the human race. In the midst of this chaos, a young man named Riku tries to lead humanity towards a tomorrow he firmly believes in. One day, in the ruins of an Elven city, he finds Schwi, an "ex-machina" android who wishes to understand the heart of Man. Their meeting will change the course of history...
Music composed by Yoshiaki Fujisawa, arranger and composer. He is a member of the group Franz Maxwell I. He worked on the anime of LoveLive!, Issekai Cheat Magician and GATE.
He knew, through his music, to transport us in the universe at the origin of this "Issekai" to make us feel all the emotion of a meeting between two completely different beings.
Le Chatroom, a record label established in 2016 by the English producer Kouslin, searches for the missing link between underground bass music and outer national sounds. Its music is defined by the blend of synthetic and organic tones, modern / classic instruments and low- end heavy percussive rhythms.
Pushing artists from all around the globe that share the same love for this newfound sound, Kouslin's aim with Le Chatroom is to promote musical diversity, open-mindedness and experimentation at a time when unity between cultures is crucial. With 'LCR001' the label advances into a new physical environment from which this release should be experienced.
Real talk and native percussion establish the steady climax of 'Brothers', the A-side of Le Chatroom's inaugural wax release. Kouslin cuts through this sediment with a bright flute, before the state of the sound switches into something far darker and meditative. By placing several samples at irregular intervals, the Londoner achieves a fascinating charm that'll unite us all.
Booming bass in 'Gyals' lingers with a steady pace while percy tribal hits forge a raw groove that's far from common. With this movement, the producer from Bristol disintegrates the sense of a generic production and sticks to his true nature. Through this it becomes clear that Galtier has his polyrhythms down to a science.
Londoner Sheik clinches the B-side with a craze that unveils a nearly psychotic sense of sample architecture. Pushing crystal clear 808 kicks in- between the haunting atmospheres and a wall of pressure simply becomes one of his most inventive takes documented on wax. If you love to swerve through a minefield, the odd 'Oxram' would be your favourite pick off this first outline.
The three producers that feature on 'LCR001' pass on their fundamentals to conjure Le Chatroom's philosophy red-handed. Together they do the imprint's name justice by handing over critical bass repertoire that'll excite many!
Sahib Shihab (Edmund Gregory) played with many of jazz’s finest musicians. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he joined Thelonious Monk for his Blue Note sessions. He also played with Art Blakey, Dizzy Gillespie, Oscar Pettiforn and Quincy Jones. A unique musician, he was at home in every musical style, from the experimentalism of Thelonious Monk to the more direct hard bop of Art Blakey. Sahib Shihab’s distinctive sound was rooted in his modernist compositions and arrangements, complemented by an intense, soulful playing style.
In 1959 he toured Europe with Quincy Jones after getting fed up with racial politics in USA and ultimately settled in Scandinavia. He worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. He remained there until 1973. During this period, he recorded several albums as leader for European labels such as Vogue, Storyville and Futura.
In 1961 he joined The Kenny Clarke-Francy Boland Big Band and remained a key figure in the band for the 12 years it ran. He married a Danish lady and raised a family in Europe, although he remained a conscious African-American still sensitive to racial issues.
This record, on the Danish Oktav label, his second as a leader and also his rarest is a true masterpiece !!!
Personnel :
Sahib Shihab (Baritone saxophone, Flute, Cowbell)
Poul Hindberg (Alto saxophone, Clarinet)
Ib Renard (Baritone saxophone)
Bent Nielsen (Baritone saxophone, Flute, Clarinet)
ANORAX sticks to its’ #eatsleepmantra with the reissue of the perennially in demand TIGHTEN UP by Melbourne soul disciples THE BAMBOOS.
The track - a catchy as you like instrumental slant on Archie Bell & The Drells USA #1 million selling smash from 1968 - was originally released in 2006 on Kenny Dope and Keb Darge’s KAY-DEE label.
It immediately became a favourite in Soul & Acid Jazz circles, and it’s’ popularity rapidly spread across all dance genres, THE BAMBOOS main man LANCE FERGUSON showed genius by ditching the idea of vocals and lyrics in a composition hailed by Rolling Stones magazine “as one of the greatest songs of all time” and instead coming up with the quirky irresistible instrumental we all love. Funky flute anyone?
The Kay Dee 45 was reissued some years ago but enduring demand has outstripped supply.
Limited edition press so grab em while you can….
out of Stock
Last delivered 16 months ago available to reorder, subject to availability
ANORAX is privileged to issue a very special 7” single.
Piano virtuoso Gail Jhonson’s stunning reimagination of EXPANSIONS celebrates the 50th anniversary of LONNIE LISTON SMITH releasing his groundbreaking epic classic. His revolutionary fusion of Jazz Funk & Soul with a cosmic message is in the music was hailed as an instant classic when released in 1975. Since then after being adopted across diverse dance music genres it has become an anthem of anthems.
Gail grew up listening to Lonnie’s music on quiet storm radio in Philadephida. After attending his concerts she began jamming with the great man and they became friends. Now based in Los Angeles and leader of all female jazz outfit Jazz In Pink she came up with the idea of paying homage to and reinventing EXPANSIONS.
“I decide to cover one of his many compositions and EXPANSIONS spoke to my spirit. As a smooth jazz artist I was able to slow the tempo down and reharmonise some of the chord voicings and play his vocal melodies as a piano lead. The bass line is infectious and carries the groove, accompanied by a four on the floor beat, a little wah guitar and the reimagining began…”
Covering a song as sacred as EXPANSIONS could be regarded as herey but when it is recreated with such reverence as this it simply adds to the legend.
Cosmic Echoes indeed.
out of Stock
Last delivered 13 months ago available to reorder, subject to availability
"For Japanese people, min'yo is both the closest, and most distant, folk music" explains band-leader Katsumi Tanaka. "We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA".
Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: "Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify with. Discovering mid-late 20th century acts like Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was captivated by their eccentric arrangements and how they mixed min'yo with latin and jazz music."
Lead singer Freddie Tsukamoto fell for min'yo after hearing a song from his hometown on a TV competition whilst in a restaurant. It was a revelation – until then he had been an aspiring jazz singer yet was uncomfortable singing in English. The restaurateur told him a min'yo teacher was his neighbour and the two connected. Tanaka and Freddie formed Minyo Crusaders in 2011 in Fussa, a city where the US military Yokota Air Base is located, in western Tokyo.
Recruiting other local musicians versed in afro and latin rhythms, they began hosting jam sessions at the Banana House, a building that was previously part of the military base and that used to house US soldiers. The band started recording their music, and their debut album "Echoes Of Japan" was released in 2017. It received huge acclaim in Japan and abroad, and was also released by British label Mais Um in 2019. Several European tours followed, as well as some US and South America gigs.
In this second opus, the Minyo Crusaders take us on a trip to Japanese folk songs fused with latin rhythms. Their unique arrangements breathe new life to classics like Kiso Bushi, Sado Okesa or Soran Bushi, among many other min'yo songs from all over Japan that were originally performed by Japanese fishermen, coal miners and sumo wrestlers hundreds of years ago. The magical groove created here proves once again that the Minyo Crusaders are one of the most dynamic representatives of the current Japanese world music scene. Yoi Yoi, Enjoy!
The compilation of B-sides and bonus tracks from the era of Deep Purple's number one album Now What?! from 2013 will be available in this form as a physical product for the first time. A high-quality 180g purple LP edition – a must-have for every Deep Purple collector!
Tatsächlich ist der Manager des Clubs Porgy & BessɎ Christoph HuberɎ der Ratzer seit ȒȖ Jahren für ein spezielles Silvesterkonɞ zert im Club buchtɎ mitverantwortlich für dasɎ was man auf Vienna Red hörtɍ Die Ergebnisse dieses langjährigen Auftritts sind auf Vienna Red zu hörenɎ einer LiveɞAufnahmeɎ die das Trio in eben diesem Porgy & Bess Jazzclub dokumentiertɍ Eine intime und elegante AngelegenheitɎ bei der Ratzer und sein hochgradig interaktives RhythmusɞTandem abwechselnd inbrünstig swingenɎ verführerische Bossa Novas erforschen und die Tiefen der Emotiɞ onen in bewegenden Balladen auslotenɍ
IF I WERE BRITTANIA I'D WAIVE THE RULES IS BUDGIE'S SIXTH ALBUM, RELEASED IN APRIL 1976. THE TITLE IS A PUN ON THE CONCEPT
OF BRITTANIA RULING THE WAVES. BUDGIE ARE DESCRIBED BY AUTHOR GARY SHARPE-YOUNG AS ONE OF THE EARLIEST HEAVY METAL BANDS AND A SEMINAL INFLUENCE TO MANY ACTS OF THAT SCENE WITH FAST, HEAVY ROCK - AN INFLUENCE ON THE NEW WAVE OF BRITISH HEAVY METAL (NWOBHM) AND ACTS SUCH AS METALLICA - BEING PLAYED AS EARLY AS 1971. THE BAND HAS BEEN NOTED AS "AMONG THE HEAVIEST METAL OF ITS DAY". INCLUDES ANN NEGGEN, SKY HIGH PERCENTAGE AND MORE.
Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.
Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.
Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.
This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.
With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.
Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.
While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.
out of Stock
Last delivered 19 days ago available to reorder, subject to availability
Shell Company & Older Brother tap into the Mancunian continuum to deliver heavy sounds for heavy times on 'Shards', their debut release on Numbers.
Born from voice notes sent between Manchester, London and Lisbon, the release took shape remotely before being recorded inside Manchester’s The White Hotel, then refined in the sonic labs of Numbers and La Chunky in Glasgow.
Set across one night, 'Shards' is the fragments of the never ending process of breakdown and placing pieces back together. Along four tracks, the voices of Shell Company (Rosabella Allen) and Older Brother begin far apart, then argue, reflect and collide, trying to find the ground they stand on, with the music laid by brothers Rob and Chris Banks. The two voices work both together and against each other, rendering images that could only exist in limbo: running taps, cans on the floor, and crumbling walls.
Shell Company & Older Brother say of the release —
“Shards is a scream that sings softly. A record that shifts between confusion and sense, hopelessness and hope. Despite moments of intense and perfect connection, the shards rarely fit. Shards is a record not about giving up, but giving in. A recording of the victory that comes from surrendering to float, all because 'it will all make sense one day'. Shards is about love that begins and ends with broken pieces."
out of Stock
Last delivered 15 months ago available to reorder, subject to availability
When one makes mention of Deee-Lite, the 90's house-funk trio of Lady Miss Kier, and DJs Dmitry and Towa Tei, invariably their Billboard smash single “Groove Is In The Heart” will come up, and for good reason. With its Herbie Hancock-sampling bassline, some classic rhymes from Q-Tip, and guest vocals by Parliament-Funkadelic legend Bootsy Collins, the song became an indelible classic of 90s music, a massive commercial hit for Deee-lite and is widely considered one of the greatest dance songs of all time. Although a massive success for the group, “Groove Is In The Heart” led to some pigeonholing from critics and reviewers, who had specific expectations for future records. Rather than deliver more of the same free-wheeling, breezy dance music of World Clique, Deee-lite took a more politically-minded approach with their second album, spurred largely by front-woman Lady Miss Kier, who had a lengthy history of political activism prior to forming the group. 1992's Infinity Within rendered several Dance-chart hit singles, but was not as commercially or critically lauded as its forebear. Deee-lite were undaunted by their change in commercial fortune, regrouping with the addition of junglist DJ Ani, replacing the absent Towa Tei to record their third record. 1994's Dewdrops In The Garden was the result of their efforts, which struck a remarkable balance between the celebratory grooves of World Clique, and the social justice-driven Infinity Within. Lady Miss Kier had done a lot of world-traveling in the time between albums, and the material in Dewdrops was a reflection of her experiences, applying a spirit of global togetherness to their house-funk grooves. Regrettably, Dewdrops In The Garden was not a commercial success, yet it still managed to render its share of #1 Dance Chart singles; the atmospheric techno bounciness of “Bring Me Your Love”, and the spacious funk-house track “Call Me.” Though Deee-lite would disband soon after Dewdrops In The Garden's release, the record remains an unheralded favorite among dance music devotees for its coupling infectiously bright, and soulful melodies, with banging dance-floor grooves, and unshakably optimistic vibes.
out of Stock
Last delivered 16 months ago available to reorder, subject to availability
José James just can’t leave the ’70s alone. Or maybe it’s the other way around. The singer, songwriter, bandleader, and producer was born in 1978, after all, but over his past 17 years of fundamentally forward-looking, blessedly mercurial music, he keeps getting pulled back in. His 2013 Blue Note breakthrough No Beginning No End revisited the hooky, funky, jazz-streaked songcraft of the time through a modern crate-digger’s ears. On 2020’s No Beginning No End 2 — James’ debut on his own Rainbow Blonde Records — he went back through the portal with a small army of fellow celebrated eclecticists. Just last year, there was the album 1978, a richly layered love letter to said year that felt deep, luxe, and cool. It’s as if — vested with the restless fluidity of jazz, the tuned-in sensitivity of soul, and the revisionist grit of hip-hop — he is trying to play his way into the exact moment when, culturally speaking, everything was about to change.
“I'm still so fascinated by the tension in that era of all these seemingly clashing things happening at once,” says James. “The loft scene, the jazz scene, Elton and Billy, Bob Marley, the Isleys, Funkadelic, disco being this behemoth in a way I don't think we even understand today… And then there’s where everybody went from there — into hip-hop, into punk rock, exploding jazz. It's like a summation of the ’70s, and it's about to transform. It's the peak of the rollercoaster.”
Literally breaking into history is impossible, of course, but James’ new LP, 1978: Revenge of the Dragon, does feel like breaking through or bursting out. In loving contrast to its predecessor, the fresh set plays hot, like a Friday night out at the Mudd Club in its prime. Though he’s dreamt up albums with collaborator counts approaching the dozens, James gathered a tight crew for this one. Himself and Taali on vocals. BIGYUKI on keys and analog synth. Jharis Yokley on drums. Bass split between David Ginyard (Blood Orange, Terence Blanchard) and Kyle Miles (Michelle Ndgeocello, Nick Hakim). And an all-star brass lineup: Takuya Kuroda on trumpet, young lion Ebban Dorsey on alto sax, and genre-spanning ronin Ben Wendel on tenor sax. They set up in Dreamland Studios near Woodstock, a restored 19th century church, and recorded live to tape, two tracks, drums pushed to the max — “a small homage to the rise of punk,” says James.
In that place out of time, the band laid down a handful of choice covers and some wild originals, like the single “They Sleep, We Grind (for Badu),” a decades-collapsing cut powered by an ugly groove. Steeped in dub, funk, and sampledelia, James chants an artists’ mantra (“They sleep, we grind / Man, f--- your nine to five”), makes lyrical callouts to Marley and Nas, and channels everything from George Clinton to J Dilla, not to mention the earthy mysticism of Erykah Badu. In 2023, James released and toured his Badu covers LP, On & On. “Living in her musical house for a year was transformative,” he says. “This is my summary of everything I learned through her, tying it to this idea that artists move differently. We are in society but we are outside, too, looking out and in at the same time. Our hours are different, our schedules are different.”
To that point, James and co. actually began each day in the woods, filming the album’s visual companion piece, Revenge of the Dragon, an honest-to-God kung-fu short complete with bad overdubs, training montages, camera tricks, and plot twists. The film pays tribute not only to the genre’s greatest year (1978, of course), but also its cinematic exchange with Blaxploitation, plus James’ own recent Shaolin training and admiration for Bruce Lee as a culture-bridging force (the LP’s cover recreates an iconic shot of Lee). On top of that, says James, “We had this immediacy in the studio. Live, one take, no overdubbing. I feel like that's where the martial arts piece comes in, where it's about being relaxed but also aware, and there's immediacy in your movements.”
Across the project, tribute takes that refracted, multifaceted form. From his personal late-’70s playlist, James chose four covers reflecting the era’s disco-fied churn: the MJ-meets-Quincy dancefloor masterpiece “Rock With You”; Herbie Hancock’s prescient vocoder fever dream, “I Thought It Was You”; and a pair of Black-radio hits from two bands whose fans typically wouldn’t have been caught dead in the same stadium: “Miss You” by the Rolling Stones and the Bee Gees’ “Inside and Out.” All of it gets filtered through a contemporary Black (and beyond) lens, coming out loud, free, funky, and buzzing — dynamic, yes, but also of a joyous piece.
1978: Revenge of the Dragon transports you to a crowded room where all this is playing out in real time. That feeling is helped out by opener “Tokyo Daydream,” a bass-driven swan dive into a neverending night of boutique bar-hopping and neon revelry. Later, “Rise of the Tiger” finds James bringing rare braggadocio to a propulsive track with growling synth lines and a hunger for whatever comes next. And then there’s the closer, “Last Call at the Mudd Club,” which with its upbeat energy and string of Stevie-inspired pickup lines, evokes the sort of unabashedly elated track the DJ throws on at 3:56 a.m. before everyone is kicked out. “I wanted to leave the album on that note,” says James. “If this was a night out in New York, this would be the last thing you hear before you get in that taxi and go back to your apartment.” Or, perhaps, back to 2025.
out of Stock
Last delivered 16 months ago available to reorder, subject to availability
With their EP triptych "Thee Church Ov Acid House Volume 1–3," Oliver Bradford and Jörn Elling Wuttke created a holy trinity of diverse dancefloor variations, a self-contained circle of rave history.
In itself already a heavyweight statement, which they now crowned with “Bells & Whistles - Thee Remixes”. So to speak the quadrature of the circle And as with their original material, this release also reveals a profound knowledge of dance history in the selection of remixers - combined with the best of the here and now.
A1:
The trip begins with Jamie Hodges' ( Born Under A Rhyming Planet ) version of “Acid House Planet”. Hodge was responsible for a number of legendary EPs on Richie Hawtin's Plus 8 label in the early 90s, which explored the deep poetry of techno music. In this sense his remix is also a delicate affair of rarely heard beauty.
A2:
There's Thee Church Ov Acid House themselves, who stretch the swinging groove of Tyson's “G Phunk”, far too short in the original, to almost six minutes. A groove that won't stop.
B1:
And that brings us to the next two legends, this time from the local area. D-Man and Move-D have had a significant influence on dancefloor culture between Heidelberg and Mannheim since its inception. Their lysergic “Theme” remix, with Terrence McKenna vocals and acid twist in the middle, is an epic open air classic to come.
B2:
Lennard Poschmann's aka O-Wells' version of “Rave Mantra”, on the other hand, is deep, digging bass techno for the darkest moments of the night.
Vinyl EP2 featuring remixes of Man Power, As One ( Kirk Degiorgio ), HRDVSION ( Nathan Jonson ), Cosmic Cars ( Pudel Produkte, Smallville, Bureau B )
out of Stock
Last delivered 10 months ago available to reorder, subject to availability
Sie ist wieder zurück! Die Queen of Country Pop, Shania Twain veröffentlicht ihr neues Album ”Queen Of Me”!
Die fünffache GRAMMY-Gewinnerin mit fünf veröffentlichen Alben und mehr als 100 Mio. verkauften Alben ist die meistverkaufte Country-Pop-Künstlerin aller Zeiten.
Zu ihren weltweiten Hits gehören „Any Man of Mine“, „That Don’t Impress Me Much“ und „Man! I
Feel Like A Woman!“ und zudem war sie die erste Künstlerin in der Geschichte, die 3 aufeinanderfolgende Diamant zertifizierte Alben veröffentlichte. Schon ihr letztes Album war eine große Überraschung und seitdem wartete ihre immer noch sehr große Fanschar auf ein neues musikalisches Zeichen! Jetzt ist es da!
Divine Dances. In plural form.
The fourth album from DjeuhDjoah & Lieutenant Nicholson couldn't have a more explicit title.
Masters of emotions and feelings, the duo has always known how to express melancholy and nostalgia with precision. Yet this time, all their efforts have concentrated on a single goal: taking listeners by the hand—no, by the ear, obviously!—to bring everyone back to the dance floor and explore a variety of atmospheres together.
And naturally, a variety of styles. Funk, ndombolo, electro, hip hop or zouk, each new vibration discovered carries away the previous one to form a dancefloor where all eventually come together.
Divinely light.
The body, surrendered to this call to dance in all its forms, has been so caught up in the whirlwind of groove that the mind has fallen in behind it to continue as one. Words explode into syllables that metamorphose into notes, then perfectly align with those from the score.
One second. A bit of attention. Caught by an irrepressible groove, then comes the moment to slalom through melodies to discover, at the turn of a rhyme, a new meaning. Approached head-on, certain overly serious themes would empty the room and bring the atmosphere down to lead levels. The diagonal approach, humor, and apparent nonchalance of the two men are the best weapons at their disposal. Their Trojan horse to put substance into their form(s). To evoke transidentity, consent, economic malaise as well as the spiritual, or to tell little stories of frustrated loves, seemingly insoluble but which will end well.
Anthony Hilaire for Creole words, Sarah Solo for hip-swiveling soukous, Patrick Bebey for pygmy flute notes, and Grégoire Mahé to bring electricity to DjeuhDjoah & Lieutenant Nicholson's songs; styles blend in a musicality worked into its smallest interstices.
Gathered on this dance floor illuminated with 80s disco brilliance, you observe brassy notes slithering under the electronic veneer, synthesizer keys splashed by furious hip movements. To raise your eyes to connect with the spiritual is to watch the sky become constellated with crystalline Fender Rhodes notes, destined to fall like rain on the heavy bass of afrobeat groove.
Smiles attached to faces, no one should think they can get through the ten tracks of Divine Dances while remaining seated : he's doomed to fail.
OUT MAY 2025 DELUXE WHITE VINYL 180 G /CD / DIGITAL
out of Stock
Last delivered 7 months ago available to reorder, subject to availability
Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.
There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.
500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.
Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.
No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.
Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.
There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.
500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.
Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.
No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.
C1 | Meduza, Onerepublic, Leony – Fire (Official Uefa Euro 2024 Song)
C2 | Ofenbach Feat Norma Jean Martine – Overdrive
C3 | Kygo, Ava Max – Whatever
C4 | Felix Jaehn & Leony – Waking Up
C5 | Jaxomy X Agatino Romero X Raffaella Carrà – Pedro
C6 | Artemas – I Like The Way You Kissed Me
D1 | Michael Marcagi – Scared To Start
D2 | Cyril – Stumblin' In
D3 | Ariana Grande – Yes, And?
D4 | Jack Harlow – Lovin On Me
D5 | Tate Mcrae – Greedy
D6 | Natasha Bedingfield – Unwritten
E3 | Benson Boone – Beautiful Things
E4 | Teddy Swims – Lose Control
E5 | Sabrina Carpenter – Taste
E6 | Noah Kahan – Stick Season
F1 | Justin Timberlake – Selfish
F2 | Shawn Mendes – Why Why Why
F3 | Ariana Grande – We Can't Be Friends (Wait For Your Love)
F4 | Purple Disco Machine & Benjamin Ingrosso Feat Nile Rodgers & Shenseea) – Honey Boy
F5 | Lost Frequencies, Tom Odell – Black Friday (Pretty Like The Sun)
F6 | Hugel, Topic, Arash Feat Daecolm – I Adore You
G1 | David Guetta & Onerepublic – I Don't Wanna Wait
G2 | Karol G – Si Antes Te Hubiera Conocido
G3 | Fourty & Bausa – Vempa (Frx202445570)
G4 | Sampagne, Badchieff, Cro – Tempo
G5 | Billie Eilish – Lunch
G6 | Kendrick Lamar – Not Like Us
H1 | Zartmann, Ski Aggu, Dauer – Wie Du Manchmal Fehlst
H2 | Soffie – Für Immer Frühling
H3 | Sdp, Sido, Esther Graf – Mama Hat Gesagt
H4 | Nina Chuba – Nina
H5 | Luciano X Jazeek – Starboy
H6 | Shirin David – Bauch Beine Po
E1 | Lady Gaga & Bruno Mars – Die With A Smile
E2 | Gracie Abrams – I Love You, I'm Sorry
Bevor sich das Jahr 2024 dem Ende neigt, erscheint mit der „BRAVO – The Hits 2024“ der alljährlich
beliebte Jahresrückblick voller Hits und Chartstürmer. Ganz nach dem Motto „End Of Beginning“ vereint das Album von Anfang bis Ende die erfolgreichsten Songs und musikalischen Highlights des Jahres 2024.
Wenn Chappell Roan „Good Luck, Babe!” wünscht, Sabrina Carpenter „Espresso“ trinkt, The Weeknd in
den Flammen tanzt und MEDUZA, OneRepublic und Leony on „Fire” sind, kann das nur eines bedeuten:
Die „BRAVO - The Hits 2024“ steht in den Startlöchern und versorgt uns mit den größten Hits und beliebtesten Singles. Mit dabei sind internationale Bands und Künstler*innen wie Billie Eilish, Linkin Park,
Hozier, Coldplay, Justin Timberlake, Ariana Grande sowie deutsche Newcomer und Stars wie Shirin David,
Zartmann oder Nina Chuba.
Das Besondere dieses Jahr: Die beliebte Hit-Compilation erscheint erstmals auch limitiert als 4LP. „BRAVO
– The Hits 2024“ ab 08.11. als 2CD & Download und pünktlich zum Nikolaus als 4LP erhältlich!
out of Stock
Last delivered 8 months ago available to reorder, subject to availability
Violent Delights is an anthology of stories that meanders through themes of grief, rage, desire and identity. There are stories of the toxicity of addiction, and growing up around religion; stories of overwhelming obsession, isolating abandonment, and empowering anthems of identity, and stark laments about sexual violence. They are each lived experiences, laid bare, reclaimed with every syllable whether dripping in spite or swagger, anger or anxiety. "Loss is a central theme of the album," explains vocalist Kate Price. "For us, we have our own specific version of what that is in these songs, but for anyone listening, it could be the loss of something else - a loved one, a relationship. But we're never mourning loss. We're celebrating it. Loss is almost universally looked at as a negative, but we're finding the positives in those moments. We had to go through hell to get to heaven. Violent Delights is about looking back with gratitude, and even fondness, the closing of one chapter and beginning of another." Jools - comprised of Kate Price, Mitch Gordon, Chris Johnston and Callum Connachie, Joe Dodd, and Chelsea Wrones - has been a name on the lips of clued-up fans and tastemakers since its collective of musicians found each other in the earliest days of 2023. Quickly gaining a reputation for their cathartic, unpredictable and specular live performances, the band have been consistently championed by BBC Radio One, including two `Tune of the Week' placements on Daniel P Carter's esteemed Rock Show. Violent Delights was recorded across two week-long stints at Southampton's The Ranch studio in August and December of 2024, with Lewis Johns helming production and mixing duties. When pressed, Jools may identify as a punk band - in its truest sense that punk is a mentality, rather than a sound - but Violent Delights equally lends from the worlds of metal, rap, post-hardcore and hip-hop as much as it does the post-punk of its surface layer. Gordon and Price are as likely to point to Turnstile, Mannequin Pussy and Amyl & The Sniffers as influences on the record as they are to Little Simz and The Streets' Mike Skinner. "We don't necessarily look at music in sounds or structures," nods Gordon. "Instead we look for attitudes."
K U T E get rambling on through the perpetual fog and herald a spectacular mould-melting sound on their forthcoming album 'Intrigue/Fatigue'
After breaking out of Glasgow's live circuit and releasing a critically acclaimed demo tape, the band of dissenters is ready to break the unsuspecting public. Never Sleep are proud to present a landmark moment in the Glasgow hardcore scene. The modus operandi of 'Intrigue/Fatigue' is as political as it is social, a fusion of post rock, art, hardcore, punk, and performance. It’s their first for the Berlin label (founded by Gabber Eleganza) following the elusive demos that circulated Glasgow's underbelly.
Ahead of the release K U T E brought their fervorous live show around the UK and beyond leading to award nominations in Scotland for 'Best Live Act' supporting bands like Militarie Gun, Angel Du$t, The Serfs to name a few. The band also played at Outbreak and .core festivals
The band member's Amy, Kenni, Fletch and Matty have been performing as K U T E for just over a year. Amy's frontwoman reputation has already garnered huge attention and her lyrics honesty, social awareness and humility has also made waves as a true new voice in music.
The result is a mesmerizing powerhouse of a debut, where they have found a singularity where hardcore meets Battles, or Godspeed goes full windmilling in the basement.
Playing singles 'For You', 'One More For The Walk' and 'Intrigue/Fatigue' have been released in the lead up to the record and have been making big waves at BBC6 with support from members of Mogwai. The band's technical yet gargantuan sound has crossed over into the public spectrum and led to a whole wave of new fandom.
They have shared their self produced videos for Singles ‘For You’ & ‘One More For The Walk’ as well as a 2 song live session ‘LIVE AT THE LAWBURN’
The band are embarking on their first UK Tour in 2025 supporting ‘Fentanyl’ in June and a slew of UK & EU dates
I must admit to being a sucker for two-guitar bands. Ok, Hendrix pulled off a trio. But I don’t care what anybody says: The Yardbirds were a better band than anything that came out of them (Ok, maybe not Zep. But Cream?).
Maybe the reason I go back so far in my references is that, within the two-guitar band format, original new roles are difficult and rare. There’s the classic (socially problematic and often boring) “rhythm/lead” solution. There’s the JB’s or Nile Rodgers’ chicken pickin’ vs comping solution (which avoids chordal clashes by relegating one of the guitars to the role of single-note percussion instrument). There’s Ornette’s Prime Time division between Bern Nix’s rolled-off “jazz” tone and Charles Ellerbee’s trebly wah. Almost everything else is a variation on one of these.
In Ches Smith’s record Clone Row, each piece is built around a different concept for guitar interaction. The delightful and gifted weirdness of Mary Halvorson’s playing is counterpointed, contrasted, unisoned with, played off, juxtaposed (that is to say, enters every relationship possible) with Liberty Ellman’s equally amazing sound palette, chops, and imagination. This definitely ain’t your father’s guitar band.
The overall vibe of the record—despite Halvorson’s occasional noise outbursts or Ellman’s distorted guitar lines (see Mixed Fridge) is neither punk/funk, nor Zorn-ish metal—and certainly not the looser parameters of Ornette’s improvised harmolodics. Smith’s vibraphone playing, Halvorson’s guitar tone (whammy pedal squiggles aside), the brilliant electronics, and (most of all) the compositions themselves are somehow strangely West Coast cool. It’s as if I’m hearing a Jim Hall concert in which one of us did a lot of mushrooms, or (dare I write this?) some post-punk post-Dave Brubeck post-trip-hop experiment with classical form.
This recording is, most of all, about Ches as composer. He’s picked up a lot on his long, strange trip of the last few decades. The Haitian funkiness of his work with We All Break is audible—but deeply buried, encoded in the polyrhythms (check out Heart Breakthrough). His long-running side musician collaborations with John Zorn and Tim Berne are also evident but sublimated here into something new.
Not that improvising is absent. Check out the compelling collective statements in Sustained Nightmare and Ready Beat. Check out the brilliant interplay and bass soloing on Abrade With Me (a Weather Report for the age of extreme weather?) Nick Dunston is my favorite bassist of the new generation, and he plays brilliantly throughout. And Ches’ drumming here has all the groove, energy, and incredible range that have kept him in demand from Saturday night Vodou services to jazz and new music recording sessions (…the thinking man’s rock barbarian?).
The sus chords in Abrade With Me do build, for a moment, towards a fusion type of climax...but just at the moment I was gritting my teeth in anticipated defense against some horrible synth solo, the drums drop out, and we’re transported to the ambient lounge at the rave, and we suddenly understand we’re in the hands of a composer with the power to transport us just about anywhere.
So, this is a composer’s record most of all; a composer’s record performed by musicians who happen to be great improvisers. Ches Smith builds here on his reputation as a gifted new voice with an important vision, while showcasing some of the most creative musicians of our time.
The Armed Man: A Mass for Peace was commissioned by the Royal Armouries to mark the transition from one millennium to another. It reflects on the passing of ‘the most war-torn and destructive century in human history’ and looks forward in hope to a more peaceful future. The Armed Man is dedicated to the victims of the Kosovo conflict, whose tragedy was unfolding as it was being composed. It was first performed in 2000 by the London Philharmonic Orchestra and the National Youth Choir of Great Britain, conducted by Jenkins himself. The 25th anniversary edition includes a cover redesign; a history of the commission by Guy Wilson, Master of the Armouries; updated biographies for contributors; and new notes from Julian Lloyd Webber reflecting on the debut performance, plus a note from Sir Karl himself.
"Layers of Afternoon" soll eine bestimmte Zeiterfahrung widerspiegeln - etwas Greifbares und zugleich Unbestimmtes, das gefühlt, aber nicht leicht beschrieben werden kann. Diese Momente tauchen oft in Mustern auf, manchmal mal kurz, mal lang anhaltend, aber immer prägend. Wir erkennen ihre Einzigartigkeit, und doch sehnt sich etwas Unbewusstes in uns danach, diese Muster zu erkennen und ihnen zu frönen. Vielleicht vermeiden wir es, über sie zu sprechen, weil wir befürchten, dass sie banal oder belanglos klingen, doch sie kehren oft in unsere Erinnerungen zurück und bieten uns kollektiven Trost. Für Keith Kenniff alias Goldmund kann die Sprache diese Erfahrungen kaum vermitteln; nur Kunst und Musik scheinen das, was sie besonders macht, am ehesten einzufangen. Kenniff erklärt: ,Mein Ziel für die Musik in Layers of Afternoon war es, diesen Zwischenraum zu finden und von dort aus zu schreiben, in der Hoffnung, meine Erfahrung der Welt als ideal zu vermitteln - frei von Zielen, musikalischer Ausbildung oder emotionaler Komplexität. Ich wollte diesen Raum aufsuchen und die Momente im Akt der Schöpfung frei schweben lassen." In Zusammenarbeit mit dem Geiger Scott Moore erschafft Kenniff eine Klanglandschaft die sich zwischen Nostalgie und flüchtiger Gegenwart bewegt und es dem Hörer ermöglicht, sich durch die verschwommenen Ränder der Erinnerung treiben zu lassen.
"As one of the biggest albums of the ‘80s, Foreign Affair showcased Tina Turner at her very best, further cementing her position as The Queen of Rock ‘n Roll. Celebrated in this 2LP white vinyl edition (33rpm), it includes the original album fully remastered for the first time.
Foreign Affair was Tina’s third studio album since her dramatic global resurgence, following the monumental success of Private Dancer (1984) and Break Every Rule (1986), as well as her lead role in Mad Max Beyond Thunderdome in 1985. It went on to be a multi-platinum record across the world, including UK, Germany, Switzerland, Canada, Australia and many more. The biggest track to come from the album was the 80s anthem, “The Best.” The track continues to transcend generations, with one of the most recognisable choruses in music history. On top of The Best, the album is complimented by several Tina favourites, such as Steamy Windows, I Don’t Wanna Lose You and the title track Foreign Affair."
This is a release that has been on the back burner for a few years now. Discussions started a while ago but so many distractions happened in-between (plus we released the excelled Amen Brother EP by EQ as well which distracted things for a while). But we got there and by god, we know how much this EP is loved by you guys... so super happy to have finally got it over the line.
This is a proper piece of grail... EQ and the amazing Mastersafe. They only released one record together, this one, back in 1994. Though trainspotters, anoraks and fans alike will be stoked to know that they actually made quite a few tunes together back then that were never released (though a few made it to dubplates)... and EQ has found all the DAT's, so keep on eye on Vinyl Fanatiks during 2025 for further treats by this duo!
out of Stock
Last delivered 14 months ago available to reorder, subject to availability
Domino hat heute die Wiederveröffentlichung von Pete Shelleys ersten beiden Soloalben "Homosapien" und "XL-1" für den 6. Juni 2025 angekündigt. Beide Alben erscheinen in einem Gatefold-Cover mit dem restaurierten Original-Artwork, einer zusätzlichen Disc mit B-Seiten, Dubs und erweiterten Mixes sowie neuem Bildmaterial und Sleeve Notes vom renommierten Autor Clinton Heylin. Beide Alben werden erstmals seit 2006 wieder auf CD veröffentlicht.
Die Alben markieren einen entscheidenden Wendepunkt in Shelleys Karriere, als er sich nach den Buzzcocks musikalisch neu erfand. Mit Produzent Martin Rushent entwickelte er einen elektronisch geprägten Sound, der sich radikal von seinen Punk-Wurzeln unterschied. "Homosapien" wurde 1982 veröffentlicht und sorgte für Kontroversen: Die BBC verbannte den Titelsong aus homophoben Gründen, doch in den Gay-Clubs wurde er zur Hymne. 1983 erschien "XL-1", auf dem Shelley noch weiter in elektronische und experimentelle Klangwelten vordrang. Er blieb zeitlebens ein Künstler, der musikalische Grenzen auslotete. Seine Soloalben zeugen von einem unermüdlichen Innovationsgeist, der weit über die Punk-Bewegung hinausging.
OVERVIEW: DUB TREES is one of Youth’s most revered dub projects, it helped define the Liquid Sound Design sound that fans around the world hold dear. This project is the third in a triptych of albums Youth has made with a specific Celtic / Hindu fusion. Starting out with the classic Celtic Cross ‘Hicksville’ 20 years ago, featuring the mythical Simon Posford (Shpongle) through to ‘East of the River Ganges’ (ft Klaus Shultz / Tangerine Dream amongst many others) in 2004 followed by the last piece of this mystical puzzle ‘Celtic Vedic’ ,released on compact disc only in 2016 , which charts the journey of the Celt from Northern India to Snowdonia. The idea stems from Youth’s firm belief that there is a strong correlation between Celtic and Vedic cultures and their Northern Indian roots. Youth has assembled a host of collaborators to weave their labrynthine magic on ‘Celtic Vedic’: Jah Wobble (PiL) on bass, Matt Black/Coldcut (Ninja Tunes) on warped soundscaping duties, Galician Celtic pipe and flute player Daniel Romar, Bollywood contemporary Indian singer Shridevi Keshavan and Elfic Circle. It features many field recordings made by Youth on his various Indian odysseys and is all harnessed together with cutting-edge electronica that the Liquid Sound Design team pioneered 20 years ago. The team today are still pioneering new directions within ‘Downtempo Electronica Music’ and beats that create 3 dimensional landscapes for the helioscopic imagination to explore and psychoactive maps for the inner astronaut in all of us. ‘Celtic Vedic’ promises unchartered bass annihilation and heliotropic soundscapes, pounding basslines overlayed on 3D holographic beats and wrestles with serpentine melodies and psychedelic textures.
Madlib Invazion reissues Madlib’s collaboration with legendary Brazilian drummer Ivan “Mamao” Conti, propellant for lauded jazz fusion archetypes Azymuth. 5000 pressed for worldwide. Debuts on Black Friday. First released in 2008 on CD by the US based Mochilla imprint with vinyl being issued only in Europe on the Kindered Sprits label. Both formats are out of print with vinyl unavailble since its initial run. Alternate cover artwork, photography by B+. When Madlib went to Brazil in 2002 with Mochilla to participate in the production of Brasilintime his one mission was to meet Ivan “Mamao” Conti the drummer of the legendary trio Azymuth. Madlib had made an Azymuth tribute record he wanted to play for him. On a rainy night in Rio Mamao and Madlib went in the studio. Several hours later the rhythm tracks that make up Sujinho were laid and the process began. Featuring the music of Madlib, Mamao, Edu Lobo, Chico Buarque de Hollanda, Luiz Eca, Baden Powell, Vinicius De Moraes, Marcos Valle, Joao Donato, Dom Um Romao, Airto Moreira and even George Duke… and with guest vocals by Thalma De Freitas — Jackson Conti is a unique and classic record. Filled with the angularity and edge of a Madlib production and underwritten by the polyrhythmics of Mamao — Sujinho takes Brazilian music into places it has never been, bringing oft forgotten classics like Upa Neguinho to 21st century ears.
On her debut album, Lucy Gooch stays true to her electronic foundations, while incorporating more acoustic instrumentation and digging deeper into her folk roots through songwriting. But at the heart of Lucy's music is her rapturous vocal, with which she has experimented more than ever over the course of her first full-length. Many of the pieces on 'Desert Window' started out as vocal improvisations from which she pulled a narrative. Taking cues from the incantatory chanting found in middle English poetry such as 'The Names of the Hare', as well as the prescient imagery in contemporary works like 'The Hearing Trumpet' by Leonora Carrington (1974). "To a larger extent, this became an experiment in placing my voice in a more narrative way, while remaining oblique," Gooch explains. While her previous work could be compared to drawn-out landscapes punctuated with moments of romance and radiance, this album feels grounded in materiality and the everyday. Gooch's voice is at times strident, while elsewhere restrained and broken. "I lost connection to my voice and then had to rediscover it, which was exhilarating. There were these bursts of energy where I'd be messing around and occasionally stumble upon something". There are hushed melodies and exhausted squalls, creating dissonance and space. The result is an atmospheric balance between Kate Bush and Cocteau Twins harmonies, Vangelis major chords, and a juxtaposition of folk ambience reminiscent of the offset madrigals of The Third Ear Band and Italian cult film composers Goblin. It is a complex and elegant album, an all-consuming series of songs that reach into jazz, electronica and classical song construction.
On her debut album, Lucy Gooch stays true to her electronic foundations, while incorporating more acoustic instrumentation and digging deeper into her folk roots through songwriting. But at the heart of Lucy's music is her rapturous vocal, with which she has experimented more than ever over the course of her first full-length. Many of the pieces on 'Desert Window' started out as vocal improvisations from which she pulled a narrative. Taking cues from the incantatory chanting found in middle English poetry such as 'The Names of the Hare', as well as the prescient imagery in contemporary works like 'The Hearing Trumpet' by Leonora Carrington (1974). "To a larger extent, this became an experiment in placing my voice in a more narrative way, while remaining oblique," Gooch explains. While her previous work could be compared to drawn-out landscapes punctuated with moments of romance and radiance, this album feels grounded in materiality and the everyday. Gooch's voice is at times strident, while elsewhere restrained and broken. "I lost connection to my voice and then had to rediscover it, which was exhilarating. There were these bursts of energy where I'd be messing around and occasionally stumble upon something". There are hushed melodies and exhausted squalls, creating dissonance and space. The result is an atmospheric balance between Kate Bush and Cocteau Twins harmonies, Vangelis major chords, and a juxtaposition of folk ambience reminiscent of the offset madrigals of The Third Ear Band and Italian cult film composers Goblin. It is a complex and elegant album, an all-consuming series of songs that reach into jazz, electronica and classical song construction.
o encapsulate the themes. “Aseurai means around you in the atmosphere, hard to reach, fading away,” Choi says. “It’s a poetic expression. You wouldn’t say it in normal conversation, but I like that.”
Following the four-piece band’s 2024 self-titled EP, Aseurai adds disco and city-pop influences while staying true to dream-pop roots. While Phoebe Rings was originally a solo project of Choi’s, Aseurai marks a shift with contributing songwriting credits from the whole band. The four musicians cut their teeth working on other notable NZ projects such as Princess Chelsea, Fazerdaze, Tiny Ruins, AC Freazy,, Sea Views and Lucky Boy.
With a more ambitious collection of instruments, Choi says this album heralds the start of true collaboration: “I feel more precious about this LP because it includes everyone’s gems.” Guitar/synthesist Simeon Kavanagh-Vincent spearheads unexpected arrangements, with bold fuzzy guitar textures, to spice up the mix. Benjamin Locke adds maturity to the lyrics, paired with perfectionist bass lines. And drummer Alex Freer’s slick production soars Aseurai to diverse and synergetic heights. The broth is richer with more cooks in the kitchen, and the brewing of textures creates a distinct ‘Phoebe Rings’ sound.
If the EP was spacey, then Aseurai settles on earth, rooted in tangible moments. “Without getting too gloomy, it’s a weird world out there. A lot has changed in the world since the EP came out,” says Kavanagh-Vincent on this transformation. The album delves into hope and longing across all possibilities, and this exploration of holding on and letting go is organically threaded throughout. Across ten songs, Phoebe Ring’s storytelling ranges from tongue-in-cheek musings on gentrification to tender autobiographical memories.
아스라이 흩어지는 하늘의 별이 (May the falling light of faraway stars) / 그대의 손 끝에 닿아 숨이 돼주길 (Reach your fingertips and let you breathe),” Choi sings in the title track “Aseurai.” Imagined as a breezy track inspired by a 90’s Korean pop band, Choi discovered, when fleshing out the lyrics, that it was about yearning for people she couldn’t see anymore. In the old-school disco track, “Get Up,” Locke addresses struggles with mental health in a Matrix-inspired driven mantra: ‘Just get up / Just get up.’ The groove persists with ‘Fading Star,” a quirky ballad filled with steely jazz/rock guitar solos dedicated to a suburban aging musician. Kavanagh-Vincent’s lead single ‘Drifting’ is an unrequited celestial love song with bouncing bass and playful synths.
The band wrote, produced, and engineered the album across studios and band members’ homes in 2023/2024 in Tāmaki Makaurau (Auckland). It features mixing/mix production by local legend Jeremy Toy (Bic Runga, Aaradnha, Princess Chelsea) and mastering by Kelly Hibbert. With Aseurai, Phoebe Rings mark out a brilliant new constellation in their sky, bringing their individual compositions to the fore whilst seamlessly threading them into one celestial body - launching skyward on Carpark Records in June 2025.
One of the most politically charged terms of the 20th century, the Iron Curtain was a metaphor for political and cultural division. In a post-war telegram Winston Churchill referred to the fault line that ran through Europe between East and West as "an Iron Curtain is drawn down upon their front. We do not know what is going on behind".
In this two-part album, as far as jazz is concerned, we will showcase, describe and celebrate exactly what was 'going on behind'. We see that music is the power supreme, with the ability to transcend all barriers, be they physical, political or metaphorical.
Our liner notes illustrate the complex and contradictory history of Soviet jazz, and the tracks we've chosen cover the key period of the early 1960s to the 1980s. It was during these dark years of the Cold War that the Soviet Union and its satellite states produced a number of outstanding artists playing in a variety of styles. The impact of modernism, from hard bop and Latin to modal and cool jazz, had found its way through cracks in the curtain. The deeply-felt ancestral strains of traditional European folk music were combined with the exciting new and progressive sounds of the West, and a radical, intoxicating brew was created that no amount of guns, tanks or polonium tea could overcome.
We chronicle the triumph of jazz at a time of extreme geopolitical conflict. What went on behind the Iron Curtain in these countries was once mysterious and unknown to the West, but the perseverance of their artists provided sound and light amid the secretive, dark days of the communist-capitalist standoff. There was no end of life-affirming spiritual jazz behind the Iron Curtain.
"Whether it's by improvisation in the African-American jazz tradition, or by a village kobza player standing on top of a damn hill - he feels connected to the stars."
out of Stock
Last delivered 4 months ago available to reorder, subject to availability
personal rec.`s next strike with Tito Wun, the uptempo moniker of Cool Bap producer & Groove Attack Record Store Owner Twit One, from Cologne City. A three Track journey with soulful bits and pieces in an uplifting driven manner. Clap your Hands and Boogie!
out of Stock
Last delivered 15 months ago available to reorder, subject to availability
