Search:one two

First vinyl edition pressed on Cirrostratus Cloud colored vinyl and includes a "Footlong" OBI.

Underground lifer Nick Sakes returns on the debut LP from Upright Forms. The tight-knit Minneapolis trio feels like the culmination of Sakes' varied and prolific career to date, bringing together the unhinged prog-punk ferocity of Dazzling Killmen & Colossamite with the careening chaos of Xaddax and the shout-along hooks and dynamic songcraft of Sicbay. Blurred Wires is skewed yet tuneful, challenging yet compulsively listenable, concise yet brimming with invention. The experience of a lifetime distilled to 33 rotations across a gripping 33 minutes.

Consider "They Kept on Living," a song that first appeared in an earlier version on the SKiN GRAFT comp Sounds to Make You Shudder!. It starts off with a grinding 7/4 groove, with cryptic lines over scratchy noise-punk chords. After a brief build, the band explodes into a massive chorus, with Sakes shouting the title line against a fist-pumping riff.

The trio sound equally convincing digging into the pummeling aggression of "My Lower Self," where Sakes' vocals start off as a feral snarl and then soar triumphantly during the chorus, or the soothing indie-pop hush of the Paster-penned "Drive at Night."

Various "tug-at-your-heartstrings" touchstones informed "Long Shadow". Sakes channeled Television Personalities, cult heroes of melodic British post-punk, on "Animositine," which he accurately labels "our prettiest song."

Nearly 35 years into his career, Sakes is finding new ways to challenge himself -- and in Paster and Westphal, he's found two musicians who are equally comfortable with both the thorniest and the loveliest manifestations of underground rock. When they reflect on their chemistry, they agree that their openness to collaboration is, as Sakes puts it, "one of our superpowers."

On Blurred Wires, that superpower yields dynamic, challenging and profoundly memorable results.

This is part of an ongoing 45 series that also features Westside Gunn, Raekwon, Blu, Conway The Machine, DJ Babu, Curren$y, and others. This 7" single will set the table for Rude One's official follow-up, Upper Space, which will release physically and digitally on October 11th. The album contains a new single with Roc Marciano as well as songs with Valee, RXK Nephew, Pink Siifu, Stove God Cooks, The Twilite Tone, and more. DJ Rude One's ONEderful LP was released in 2016 and earned praise from Pitchfork (6.9), HipHopDX, XXL, Noisey, Fakeshoredrive, and others. It featured Conway, Your Old Droog, Westside Gunn, and Roc Marciano, all of whom are at the top of the Underground Hip Hop food chain. "His rasping voice is suited for Rude One’s gritty sound. Almost everything here is sonically consistent, with rapper and producer perfectly in sync." - Pitchfork. Full color jacket 7". Roc Marciano is hailed as a leader in Hip Hop's current underground renaissance. The smooth rapper and producer has his fingerprints all over the scene, and regularly receives praise from critics and his established peers. In 2016, Roc lent his services to DJ Rude One's ahead of its time LP, ONEderful. Together, the two crafted stand out cuts such as "Triple Black Benz" and "Murder Paragraphs", the latter of which is the latest installment of Closed Sessions limited 7" series. "Murder Paragraphs" is Roc Marciano at his finest and showcases DJ Rude One's signature less-is-more, grimy sound. This 7" contains the original and instrumental version, new artwork by Spectacular Diagnostics, and follows previous entries from Raekwon, Blu, WestSide Gunn, Conway, Open Mike Eagle, and more. This pressing is limited to 500 copies, and will also set the table for DJ Rude One's forthcoming LP, Upper Space, which will feature Stove God Cooks, Valee, RXK Nephew, and of course a new collaboration with Roc Marciano.

2024 repress.

Dive into the spiritual depths of Carnatic Music (Southern Indian classical music) - An enchanting journey of devotion and transcendence pulsates with raw sincerity and profound spirituality, casting a spell that transcends boundaries of belief.

Originally released on CD in 2000 from South Indian Carnatic music label and reissued on vinyl and digital first time in 2019 by Time Capsule. New 2024 repress vinyl has different tracks on the B side and it still remains as the reverse cut as the 2019 version.

2024 new vinyl repress with different track list on the side B. Reverse Cut Vinyl - This record plays from the inner groove to the outer groove. Comes with a hype sticker.

Born into a musician family steeped in the south Indian tradition of vocal music, the Mumbai-raised singer took advantage of the city’s cosmopolitism to study northern Hindustani disciplines, one of the few vocalists to train in both. Now revered as one of the greatest living exponents of Carnatic music, she received an Oscar nomination for her work on Ang Lee’s Life of Pi.

Within the first minute of opener Sada Bada (Slokam), Jayashri’s intensely spiritual vocals give a clear indication of why she has been increasingly embraced by a new generation of western listeners who’ve made the natural leap from ambient soundscapes to new age and devotional music. Accompanied on the following Bhajeham Bhajeham by a hypnotic rhythmic backing of mridangam drums, bells and the drone of a tambura, over its epic twenty-minute length she stretches her voice into a variety of spellbinding forms – her softly enunciated dedications to Shiva enveloping you with their immersive warmth and cosmic beauty. Keshvaya Namaha is an invocation to Lord Vishnu, the protector of creation and one of the other major deities of the Hindu tradition, while Raghavam recites the names and attributes of two of his most popular avatars: the heroic Rama and the playful, loving Krishna.

One of the album’s new-found devotees is label boss Kay Suzuki: “every time I listen I’m amazed at how such a small ensemble can create such a deep musical landscape. The incredible production plays a big part. That intricate percussion sounds so clear and sits in all the right pockets rhythmically and sonically. Just by following this groove I’m put into a timeless zone, but when her voice hits on top of that gorgeous drone sound and I focus on the details of her small melodies within melodies, my heart centres and I find myself in a blissful place.”

As professor of cultural and political theory in Universicty of East London, Jeremy Gilbert states in the album’s liner notes, the mesmerising sincerity and deep spirituality of these songs present an intense and spiritual charge that will appeal to an audience well beyond believers and devotees of Hinduism.

"UMR/Mercury are pressing phase two of Metallica’s studio album back catalogue on limited edition custom coloured vinyl, for the first time for World ex North America; following the 2021 Walmart exclusive coloured vinyl series in the US. Phase one saw their first 5 albums releasing one a month from November 2023 – March 2024.
Phase two includes Garage Inc., St. Anger, Death Magnetic, and Hardwired…To Self-Destruct, releasing April – July 2024."

*** ULTRA RARE PSYCH-FUNK / GARAGE ROCK ***

The General Store recorded four songs in 1967 of which these two were released on a nowadays very very very very very hard to find 7inch single. This re-issue is limited to 300 copies and one with the blessing of the band. Tower of Power meets Funkadelic.

A second 7inch will be released soon with two UNRELEASED tracks!

As comped on "DOWN & WIRED Vol.7" (PT068LP).

Je Te Dis Vous is Patricia Kaas' third studio album, which she released in 1993. After the huge success of her first two albums, Kaas turned to producer Robin Millar, who had worked with Sade and Fine Young Cannibals, for production at Pete Townshend's Eel Pie Studio in London. It established her status as an international star, selling three million copies in over 47 countries. The album features three tracks in English, including a cover of the James Brown song ""It's A Man's World"". Kaas was accompanied by Chris Rea on guitar on the tracks ""Out Of The Rain"" and ""Ceux Qui N'Ont Rien"". The album spawned two singles, including ""Il Me Dit Que Je Suis Belle"", which remains one of her most successful and popular tracks. Je Te Dis Vous is available as a limited edition of 1000(?) individually numbered copies on green coloured vinyl and includes an insert.

There's not much to add, two of the greatest Heavy Psych bands of the scene join the forces to give birth to an incredible Split Album. Packed with 32 minutes of the highest quality heavy rock you can find out there; a joint venture which can happen only once every 100 years!! Heavy Psych king-pioneers Nebula bring to life three brand new songs, recorded expressly for this incredible project. Three new gems which follow their latest "Holy Shit" and "Transmission_." Black Rainbows add in three songs of their own, handpicked from the recording session of their latest success "Superskull", released back in 2023. Delivering two Stoner in-your-face Heavy Fuzz pieces and one Heavy Space tune to celebrate this awesome collaboration!! The cover art pairs perfectly with the vision and vibe of the album and is credited to the mighty Simon Berndt.

Yellow vinyl, limited to 400 copies. There's not much to add, two of the greatest Heavy Psych bands of the scene join the forces to give birth to an incredible Split Album. Packed with 32 minutes of the highest quality heavy rock you can find out there; a joint venture which can happen only once every 100 years!! Heavy Psych king-pioneers Nebula bring to life three brand new songs, recorded expressly for this incredible project. Three new gems which follow their latest "Holy Shit" and "Transmission_." Black Rainbows add in three songs of their own, handpicked from the recording session of their latest success "Superskull", released back in 2023. Delivering two Stoner in-your-face Heavy Fuzz pieces and one Heavy Space tune to celebrate this awesome collaboration!! The cover art pairs perfectly with the vision and vibe of the album and is credited to the mighty Simon Berndt.

"To celebrate the Grateful Dead's 15th anniversary in 1980, they did something extraordinary: they played a fifteen-show run in San Francisco, and an eight-show run in New York City, with the most exciting of these being an additional, acoustic 45 minute set to open every show, their first acoustic sets since 1970. These sets saw the reinterpretation of some classic Dead and solo songs, older traditional songs from the jugband days and the 1970 acoustic sets, and some new additions to the Dead's repertoire. Recorded to 32-track tape (two 16-track tape machines synced up), Reckoning is one of the greatest, most clear sounding live records the Dead ever produced. Featuring countless classics including “Cassidy”, “Bird Song”, “Monkey and the Engineer”, and “Ripple”. • Will be newly mastered by GRAMMY® Award-winning engineer David Glasser, Produced for release by the Dead’s Audio Archivist and Legacy Manager, David Lemieux"

Composed by Ennio Morricone alongside friend and frequent collaborator Bruno Nicolai, "Controfase" is one of the most overlooked and lesser known chapters in the maestro's extensive catalog. Various experimental elements perfectly intertwine in these skilful compositions, VCS3 blend with hair-raising violin notes on a pattern of ominous percussions by Egisto Macchi. With the precious help of Gruppo di Improvvisazione Nuova Consonanza as well as Edda Dell'Orso angelic voice, the two masterminds have crafted a true hidden gem.

Going solo while still keeping intact his devotion to RS Produções, Nuno appears as a true heartbreaker. Silky, space soul, why not even risk the patented future r&b? But this music exists and manifests itself apart from the established production centres, the golden arches of hype edifices and synthetic promotion regurgitated by a thousand cloned fingers. "Sai Do Coração" is a very brave, romantic improbability, shying away from DJ bravado and dancefloor top speed. Through these grooves comes a pure distillation of love, an alchemical sublimatio resulting in the much sought-after "higher substance", a bright globe issuing rays of affection all around.

With love we most likely also buy into a degree of suffering, and though this is not at all the ID of the album, Nuno explicitly connects the two sentiments in "N'Dengue", a cathartic cold cut one grows to cherish intensely by the time it is over. It's a key moment, grief pours out, liberation achieved in the dance - "I will love, I will suffer, I will shout, I will dance". Flip to the other side for "Confusão No Ghetto", another gritty expression, a richly percussive, slow tempo observation of things gone wrong. All the rest in the album feels simple, direct and yet sophisticated like photosynthesis. Like the soil, through which geological becomes biological. Nuno whips up a variety of textures and flavours into the invisible form of Music, romantic fiction into action.

LIMITED REPRINT .Introductions by David Fricke and Adrian Shaughnessy. 224 pages, comes in a tactile Geltex hardcover and is beautifully designed by Hiorthøy. Includes a 7" single with exclusive tracks from Fire! Orchestra, The Last Hurrah!! and Maja S. K. Ratkje. It´s no secret that Rune Grammofon founder Rune Kristoffersen is a big admirer of labels like Blue Note, Impulse, ECM, 4AD and Factory, to mention some labels with strong visual identities. But we can´t recall another label that has worked with one designer exclusively for 25 years and some 250 releases. A singular visual language that's as distinctive as Hipgnosis' 1970s surreal juxtapositions, or the brooding portraiture gracing ECM Records' output. Prog (UK) As well as being a piece of guaranteed coffee table eye-candy for music lovers, the book promises an insight into the fascinating process of bringing a record and its cover to life. Creative Review (UK) RG feels like a dream vision of a record label - fuelled by passion, irreverent in tone yet serious in execution, somehow miraculously buffered from corporate industry expectations. The sound and visuals here cover two decades of inspiration and unpredictability, but they also bristle with creative possibilities for a long time to come.Elephant (UK)

Experience the captivating soundscape from one of 2023’s biggest blockbusters on the Spider-Man: Across the Spider-Verse (Original Score) vinyl. The sequel to 2019’s Oscar-award winning Spider-Man: Into the Spider-Verse broke the global box-office on release, and the critically acclaimed, viral hit-making score is now available on vinyl and CD for the first time.



Academy Award, Golden Globe and BAFTA-nominated composer Daniel Pemberton returns to expand upon the Spider-Verse’s iconic, multi-versal soundscape with a genre-defying score that seamlessly combines a 100-piece orchestra with DJ scratching, operatic vocals, techno beats, punk rock, acid-house-inspired Indian percussion, soaring synth solos, and even…a prominently sampled goose. From the Gwen Stacy’s fan favorite motif to Spider-Man 2099’s internet-breaking theme music, the film and its intricately-woven score is sure to transport you into some wildly unexpected parallel dimensions.



This double vinyl release comes pressed on two white and dark purple marbled LPs, featuring highlights from the score hand-selected by Daniel Pemberton. The package includes a stunning soft-touch gatefold jacket with spot gloss, a double-sided collectable poster and two printed sleeves with custom art – plus, an 8-page art booklet featuring liner notes from Daniel Pemberton and art from the film.

Komponist Daniel Pemberton kehrt für das nächste Kapitel der Oscar-prämierten Spider-Man-Saga zurück: Across the Spider-Verse. Für die Fortsetzung hat Pemberton seine ursprüngliche Klangwelt erweitert, um neue Geschichten im Multiversum zu erzählen, und dabei alles von opernhaftem Tenorgesang und einem 100-köpfigen Orchester bis hin zu indischer Perkussion, Punkrock, Techno-Drums, vielschichtiger Elektronik, verstimmten Celli, zeitgedehnten Beats und mehr eingebaut. 34 Tracks begleiten die Zuschauer:innen, Miles Morales und seine Gefährten und repräsentieren das facettenreiche Repertoire des Spider-Man Universums.

Two brand new tracks by The Courettes on RED coloured vinyl. The A-side will also feature on the band's next album! The B-side exclusive to this release! Both tracks feature guest vocals by La La Brooks of The Crystals! 'California' is a song we wrote on our first tour in California last year. We wanted to bring all the sunshine and some psychedelic vibes from The Byrds, the Laurel Canyon, and tons of 12-string guitars to our songwriting. But somehow the lyrics kept some black clouds. It talks about traveling and leaving your loved ones behind. Any musician on the road can relate to this. Although you can have a great time around the world, you're always missing someone. Home is really where your love is. We are very proud of this track, and on top of it we have a guest vocalist. The legendary singer La La Brooks - yes, from The Crystals, the lead voice on the classic 'Da Doo Ron Ron', one of our favourite Phil Spector produced songs of all time. To have La La singing with us is an absolute delight and honour. It's so surreal that we haven't even realised it has really happened! For the mixing our producer Soren Christensen has teamed up with the fantastic Darian Sahanaja (who produced and mixed no less than Brian Wilson's SMiLE album) to enlighten even more the Californian good vibrations. So open up your windows, let the sunshine in and play this one to the max!

Edwin Starr was a Northern Soul hero, noted for his Ric Tic and Gordy/Tamla Motown recordings in the mid to late 60s.He is best known for his international chart topper 'War' a Vietnam War protest song from 1970. These two sides are from the same album 'War And Peace' .'Time' has been one of Edwin's most in demand Northern Soul dancers for many decades and certain issues of original copies have sold for over £250. In more recent times the flipside ' Running Back And Forth' has been played and is demand on the Northern Soul/Crossover Soul scene making this a great value 45 with two brilliant tracks in demand in their own right, which epitomise the era.

One of melodic techno’s biggest breakout stars, Massano steps up for his Drumcode EP debut. The emerging DJ/producer from Liverpool already gave us a taste of his elite studio capabilities via the fantastic ‘Betrayal’, his contribution to last year’s Drumcode A-Sides Vol.12 release – one of the highlights of the compilation. Massano’s sound hits with a fantastic punch, characterised by super charged sound design and powerful melodic riffs with key releases on Afterlife and his own Simulate to date. His ‘Telepathic’ EP reinforces why we’re rightly so excited to have him on Drumcode. The title track is a juicy psy-laced stomper, propelled by a menacing low-end vocal that adds plenty of atmosphere to the cut. ‘Destructure’ is formed around rattling percussive effects, before euphoric melodic layers build in intensity throughout the second half. When the two elements coalesce, we’re treated to a track with immense peak-time power, that never loses its unique edge. ‘The Method’ is a melodic ace, shifting between laser-kisser dynamism and full throttle bass-driven energy.

Diggers Society is an underground electronic music label based in Barcelona. This debut release encapsulates the label's musical philosophy, featuring two tracks produced by legends Francesco Farfa and Miki (in collaboration with Niki IL B and Andrea Melly), and two tracks produced by talented artists from the new generation such as Luca Piermattei and Lucio. The result is a complete EP, featuring 4 different dancefloor-oriented productions, each one for a different moment of the night.
Artwork by @designattitude_graphic

The inaugural chapter of a two-part epic. Get ready for an eclectic and unique modern twist fusion of proto- EBM, New Beat, Electro, Rave Breaks and early UK house, weaving together a tapestry of diverse influences. Experience the raw energy pulsating through potent basslines, driving each track forward with unstoppable force.

Meanwhile, deep and thought-provoking lyrical voice samples captivate the mind, inviting listeners to ponder existential questions and explore the depths of consciousness and creating innovative soundscapes leaving an indelible mark on the listener’s psyche. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid MAGENTA vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Island Boogie arrives four years after Meecham’s previous full-length, Music Not Safari, and sees the veteran producer deliver his most ‘personal’ set yet – a collection of kaleidoscopic, cosmic-leaning, dub disco-influenced neo-boogie excursions inspired by his love of the custom-built soundsystem at Rotation Garden Party, an annual micro-festival founded by a group of friends including his former Chicken Lips production partner Dean Meredith. It's fitting, then, that the EP begins with a superb interpretation of ‘'Dévoilez-Vous’ by T-Kutt, AKA Meredith and long-term studio partner Ben Shenton. The pair’s ‘AM FM Club Mix’ sits somewhere between classic Prelude-style electrofunk, NYC proto-house and early British interpretations of American house music. Séverine Mouletin’s chopped-up improvised vocals weave in and out of sun-bright keyboard riffs, colourful synthesiser motifs, heady synth-strings, D-Train style synth-bass and delay-laden machine drums. It’s a superb re-imagination of one of the album’s most stellar moments.

The EP’s other headline-grabbing remix comes courtesy of Leng co-founder Paul Murphy AKA Mudd. He reworks title track ‘Island Boogie’, teasing out the spacey synths and languid jazz-funk grooves of Meecham’s original mix and dialling them up to the max. The resultant revision sparkles with crunchy clavinet licks, mazy synth and electric piano solos, and spacey chords rising above a mid-tempo dancefloor groove. To complete a strong package, Meecham adds two dubs in his distinctively stripped-back, tape echo-heavy style. He first takes on EP title track ‘Dévoilez-Vous’, wrapping vintage drum machine hits in oodles of space echo and dub delay while devoting more time and space to the killer bassline, Rupert Brown’s infectious hand percussion, and Mouletin’s vocalisations.

To round off the EP, he dubs out album epic ‘La Cassette’, another collaboration with Mouletin that also features additional percussion by Brown. Like the original synth-powered dancefloor dubs of the early-to-mid-80s that have long been an inspiration, Meecham’s ‘La Cassette’ dub features key musical elements – many drenched in trippy effects – popping in and out of the mix, while his sturdy drums and memorable bassline spar with Brown’s percussion below.

“Gun The Man Down ” by Dice The boss aka Pama Dice was first released in 1969 on the Trojan sublabel Joe with the track “Thief” by Joe Mansano on the B side. “Thief” is also reissued by us on a separate single dedicated to Joe Mansano.

“Your Boss DJ” was also released in 1969 on the Joe Label with the track “Read The News” by Joe All Stars on the flip.

Both titles are skinhead reggae classics that have never been reissued until now.

About Joe Mansano:

“Gun The Man Down ” and "Your Boss DJ" were both credited to Joe Mansano, real name Joel Mansano, who also produced the songs. Joel was a Trinidadian who moved to London in 1963. He was a record shop seller, song writer and producer and became heavily involved in the early reggae era producing and writing tracks for several Jamaican artists, enough for Trojan to dedicate a label to him: the “Joe” label aimed at the emerging Skinheads market. He also owned a shop the Joe's Record Centre in Brixton and recorded two handfuls of singles under the name Joe The boss…

About Dice The Boss/ Pama Dice:

Not much is known about Dice The Boss. His real name was Hopeton Reid and he was alternatively known as “Pama Dice”. But we know more about Pama Dice thanks to Gaz Mayall!

"Pama Dice was one of Prince Busters ‘no-shoes’ ‘Sunday school gang in west Kingston Jamaica. According to the Prince there wasn’t a car that Pama couldn’t nick. He used to nick the cars uptown with no shoes on & take them to the ghetto to teach the youth to drive. They were called the Sunday school or no-shoes gang as they were so poor that they only had one pair of shoes each & only wore them to church on Sundays. Pama Dice rose in the ranks to become one of Prince Busters main sound system DJs before emigrating to London in the late sixties where he MC’d for Duke Vin & recorded many great records for the UK/Jamaican booming new Reggae market in its infancy on the shoulders of the Bluebeat & Ska & Rock Steady music scene."

Source Gaz Mayall 27/2/2021

Born Samantha Owens in Liverpool, Jones began her recording career in The Vernon Girls, a female singing group affiliated with the Vernon Football Pools company; they created a popular Beatles tribute album in 1964 with producer Charles Blackwell, who launched Jones’ solo career that same year. Blackwell producer a debut solo LP for Ascot in 1968; two years later, Larry Page released sophomore set A Girl Named Sam, with Austrian wunderkind Mark Wirtz casting her in the broad realm of pop, though most of the songs describe romantic failures. The album thus has a tongue-in-cheek cover of Burt Bacharach’s “I’ll Never Fall In Love Again” and credible renditions of Aretha’s “You Make Me Feel Like A Natural Woman” and Jackie DeShannon’s “Put A Little Love In Your Heart.”

Limited green vinyl 180gr press with one bonus track for RSD 2020.

2025 Repress

Operation Sole like the summer, hopefully, imminent; “Operazione Sole” like the 1967 song by Peppino Di Capri, considered, perhaps wrongly, the first ska in Italy, but certainly the first to talk about Jamaica and upbeat rhythms.
The record you have in your hand is intended to be a testimony to how much the sounds born in Kingston between the '60s and '70s had a significant influence on local pop.
With the first explosion of reggae in England between 1968 and 1970, as well as with the rise of Bob Marley to a worldwide cult phenomenon, parallel to the all-English phenomenon of Two Tone and the ska revival, Italy, always attracted by the new trends not only English, he certainly couldn't stay on the sidelines.
Therefore these innovative and unknown upbeat sounds, derived from the blues of the 1950s and mixed with a Caribbean sauce, have also taken hold in the Bel Paese.
It began as early as 1959 with the song “Nessuno” by Mina, considered to all intents and purposes a Jamaican shuffle, to arrive in a few years at blue-beat (I4 di Lucca, Claudio Casavecchi) and ska (Margherita, Peppino Di Capri , Silvano Silvi, Renzo and Virginia) and be exposed to the first reggae (for example Jo Fedeli and his Italian version of “Israelites” by Desmond Dekker). Thus, we quickly reach the end of the decade of the economic boom and the culture, styles, references change: everything becomes more busy (on a cultural, artistic and political level).
After a stalemate phase that lasted more than five years, Bob Marley's reggae (considered a sort of new Messiah) conquers the planet, including Italy: the producers and artists, even at a high level, for a few years do not remain at all indifferent to this novelty and decide to introduce the "upbeat", primarily reggae, into the various pop repertoires: well-known names such as
Loredana Bertè, Mario Lavezzi, Rino Gaetano, Ivano Fossati, Ilona Staller, Adriano Celentano, Edoardo Bennato throw themselves headlong into new sonic adventures, in a pioneering way, but often with excellent results.
The "Operazione Sole" collection wants to take the credit, instead, of proposing and discovering lesser-known artists (with the exception of Gino Santercole, former associate and relative of Il Molleggiato), often real meteors in the Italian musical panorama, who have tried to achieve (or achieve again) success by adapting the pop that was so popular in those years to the new black sounds prevailing in the West.
We are in the early 80s and we range from the most classic reggae, to Italo-disco contaminated by dub up to the true Neapolitan style which, on more than one occasion, in its being endemically "black" and full of groove, has wrung out the watch out for agreements made in Kingston and London.
“Operation Sun”: a pleasant philological work, but surrounded by an equally pleasant aura of disengagement.

Eight years since the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado’s spooked vocals. Pure rock n’ roll yet devoid of cliché. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together.
Recorded on tape in Mercado’s garage, there’s a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. “It’s just chatter about life and human feelings. Stylized human expression”. - Is Christopher's self effacing explanation of his mind bending, playful, storytelling. It opens with the walloping drum canter/bass attack of WHO WANTS TO DIE FOR RELIGION. Passes through the furious distorted acoustic guitar solo on I TELL YOU HOW I FEEL. The woozy, elastic time-stretching of COOL TRIPPER. The brief, funky lurch of IN YOUR DREAM YOU ARE NO ONE. The almost lush, cinematic SEVEN DAYS which conjures Serge Gainsbourg by way of Moby Grape. HIP COMMA’s floaty strut and the groovy raga of MAKA THE NATIVE, which has not one but two ‘breath solos’. CLOUDS OF DUST is a skeletal Krautrock fragment and THERE ONLY IS a luminous psych-pop single. Final track APPLES ends the album with a sinewy twelve bar blues and a killer psych guitar break. Bliss.
Somehow the MAD WALLS manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb. And as we said at the start - just gorgeous…

Eight years since the breathtaking Somewhere Anywhere EP, The Mad Walls return to re-ignite psych rock with this gorgeous, floatily heavy, effortlessly groovy and sublimely sinuous debut LP. Driven by bone shaking acoustic guitar, visceral drums, wonderfully trippy basslines and the throwaway perfection of Christopher Mercado’s spooked vocals. Pure rock n’ roll yet devoid of cliché. Informed by, but no way in hock to, early MC5, Skip Spence, Sonic Youth, Syd Barrett and Jefferson Airplane when they still all lived together.
Recorded on tape in Mercado’s garage, there’s a DIY heart with epic results across sixteen songs. Only one track over three minutes and some under thirty seconds. “It’s just chatter about life and human feelings. Stylized human expression”. - Is Christopher's self effacing explanation of his mind bending, playful, storytelling. It opens with the walloping drum canter/bass attack of WHO WANTS TO DIE FOR RELIGION. Passes through the furious distorted acoustic guitar solo on I TELL YOU HOW I FEEL. The woozy, elastic time-stretching of COOL TRIPPER. The brief, funky lurch of IN YOUR DREAM YOU ARE NO ONE. The almost lush, cinematic SEVEN DAYS which conjures Serge Gainsbourg by way of Moby Grape. HIP COMMA’s floaty strut and the groovy raga of MAKA THE NATIVE, which has not one but two ‘breath solos’. CLOUDS OF DUST is a skeletal Krautrock fragment and THERE ONLY IS a luminous psych-pop single. Final track APPLES ends the album with a sinewy twelve bar blues and a killer psych guitar break. Bliss.
Somehow the MAD WALLS manage woozily florid and sharp as a blade. Studiedly detailed but effortless. Whip smart and dumb. And as we said at the start - just gorgeous…

Repressed for the first time in 2 years, Note price change. Sermonizing Black Nationalism, Pan-Africanism and the benefits of a healthy and just lifestyle during the height of the Bad Boy/Roc-AFella era of nihilistic excess in the late 90's, Dead Prez also signed to a major label (Loud/Columbia) despite leaning much more towards the burgeoning indie aesthetics of the day. But this was a good thing – using major label muscle to wake up righteous hip-hop fans who might have fallen asleep at the wheel. The group itself – consisting of MCs stic.man and M-1, who produced or co-produced most of the duo’s music – was formed in Tallahassee, Florida in the early 1990's.

By later that decade, the duo had started making significant waves, having their music heard on the soundtracks to “Soul In The Hole” and “Slam,” as well as appearing on albums by Big Pun and The Beatnuts. By 1998, they released their first official single, the serious, stark “Police State,” on Loud, appropriately brought to the label by Lord Jamar of Brand Nubian. After building a solid rep over the next two years with fiery live performances, in 2000 they unleashed their debut album, Let’s Get Free.

The album was a welcome return to provocative and often radically political rhetoric that hearkened back to hip-hop forebears including The Coup, Public Enemy and KRS-One (as well as poetic descendants like the Last Poets and Watts Prophets). Let’s Get Free was critically acclaimed and benefited from multiple singles, including the infectious, thick analog drive of “Hip-Hop” “It’s Bigger Than Hip-Hop,” with a remix co-produced by a young Kanye West; “Mind Sex” (with Abiodun Oyewole of the Last Poets); and the poignant “I’m An African.”

But the singles weren’t the only worthy songs, as just about every cut here has deeper meaning than most full albums by their early 2000's peers. Highlights: the thought-provoking, anti-drug album opener “Wolves”; “We Want Freedom” “They Schools” and “Propaganda” . All in all, this is one of the more underrated and possibly Top 5 fully-realized political hip-hop albums of all time.

For the fourth time now Jaqee introduces herself to the World with her impressive voice and her unique attitude. Born in Kampala, the Capital of Uganda, she began her vagabond like life the moment she was born. During her childhood, she travelled the rural areas of her home country with her parents. This is where she collected her first impressions of the life as a nomad. From birth on, wandering the earth became a part of her destiny. In the early nineties she undertook a huge step and immigrated to Sweden. The City of Gothenburg would become her adopted home from where she was able to access all the different destinies and directions, which were on offer to her. Through all the borders Jaqee crossed, music has always been her steady companion whereas it never was a stereotype thing that let her get down with any special genre, than more like a special feeling. “To do what I want in a particular moment is my motivation. I like to express myself in all kind of sounds.” So above all, she became a true nomad in the world of music. After several successful co-operations with numerous artists, in 2005 Jaqee made an impact with her debut album “Blaqalixious”, which was mainly a Soul and R&B album. “That was my direct contact to the music that a rural community in the Diaspora plays” she explains. But it did not end up there because a nomad like Jaqee does not settle anywhere. After further creative and fruitful collaborations, Jaqee released her second long player “Nouvelle d´ amour” in 2007. This time, the sound was more of a rocking, bluesy vibe. It seemed to be the total opposite to her debut album but for Jaqee it was only the next step on her path in the circle of life. “Everything is possible as long as it is real. I never wonder about things like genre as long as the vibe fits.” One step further on, she encountered the songs of Billie Holiday, which lead to the album “A letter to Billie” recorded together with Bohuslänbigband, a lovely homage to the great American Jazz Singer. Both of her first two albums each received a Swedish Grammy nomination and several appearances in the Swedish national television increased her standing as a passionate and soulful Singer. So Teka, producer and creator of many successful riddims for his co-found German label, Rootdown Records considered her to be part of his new project “Koala Desperados“, which link Caribbean vibes like Cumbia to Reggae, and while working on it a totally new idea was born. Jaqee and Teka decided to combine both their talents into one album. The results of which you can now hear on “Kokoo Girl” a refreshing mix of Old School Reggae sounds from the seventies combined with up-to-date Beats, electronic twists and turns and of course the amazing voice of Jaqee. For her, this means that she has achieved some of her ambitions. “I grew up with African Gospel, in sad and turbulent environment, so for me, this means I grasp and totally understand the reggae and its non ending struggle for the common man.” No sooner said than done and “Kokoo Girl” will become Jaqee’s fourth and newest release. All the paths she followed, countries she crossed and influences she absorbed are a part of this album. She sings with the freedom of spirit of the travelling people. The word “Kokoo” is the only memory that remains everlasting. It is just a word but its impact is so huge that Jaqee does not really like to explain it. “It implies irony and seriousness as well as sarcasm and fun.” It is more than a gimmick. “Kokoo” is a very special feeling and a clear view of the world from an artist who has seen more of it than all the people that have settled down.

January 2023, Dorset. Snow is piled at the door, icy roads are closed, and Emily Cross is in a coffin. Not a setting typical for a rebirth. But for Loma, this is where they bring their band back from the brink. "It's like a demon enters the room, whenever we get together", writer, singer and instrumentalist Cross says of the struggle to bring new Loma music into the world. Following the release of their 2020 second album Don't Shy Away, Loma's three members were cast around the globe and the band-not for the first time-entered a deep sleep. Multi-instrumentalist and recording engineer Dan Duszynski remained in his studio in Don't Shy Away's central Texas heart, but Cross, a UK citizen, moved to Dorset, and writer and instrumentalist Jonathan Meiburg left the US for Germany to research a book. In the pandemic years, even being in the same room was impossible, and attempts to start a new record faltered. The following winter, in an attempt to salvage the record and the band, Cross suggested they regroup in the UK, in the tiny stone house-once a coffin-maker's workshop-where she works as an end-of-life doula. With minimal recording gear and few instruments, Loma turned two whitewashed rooms into a makeshift studio, using a padded coffin as a vocal booth. It was a turning point. They scrapped much of what they'd made, letting a new place set a new course. The one-lane roads, hedgerows and dark skies of Dorset gave the new songs an ineffable but unmistakable Englishness. The band used the ruin of a 12th-century chapel as a reverb chamber-surprising hillwalkers who peeked in to find them singing to no one-and the sounds of Cross's chilly workshop wormed their way into the recording: a leaky pipe, a drummer's brushes on a metal lampshade, the voices left on an ancient answering machine. What emerged was How Will I Live Without A Body?: a gorgeous, unique, and oddly comforting album about partnership, loss, regeneration, and fighting the feeling that we're all in this alone. Many of its songs have a feeling of restless motion; faceless characters drift through meetings and partings, tangling together and slipping away. "I Swallowed A Stone" is like a nightmare with a happy ending; "How It Starts" and "Broken Doorbell" reflect on the challenge (and necessity) of wrestling with agoraphobia. Though the record nods to the trio's separate lives- a German percussion ensemble, a pair of Texan owls, and the surf at Chesil Beach make guest appearances-the core of Loma's sound remains intact: earthy, organic and deeply human, anchored by Cross's cool, clear voice. Loma's previous album, Don't Shy Away, was galvanized by the unexpected encouragement and contributions of Brian Eno. This time, they found inspiration in another hero, Laurie Anderson, who offered a chance to work with an AI trained on her entire body of work. Meiburg sent her a photo from his book-in-progress about the once and future life of Antarctica; Anderson's AI responded with two haunting poems. "We used parts of them in a few songs," he says. "And then Dan noticed that one of its lines, 'How will I live without a body?' would be a perfect name for the album, since we nearly lost sight of each other in the recording process." In the end, Loma's efforts to reconnect with one another are the album's central focus: what do you owe a shared past, when everyone and everything has changed? "Making this record tested us all," says Duszynski. "I think that feeling was alchemized through the music." Alchemized, because How Will I Live Without A Body? is by no means a stressed-out record: an undercurrent of deep calm runs through it. But maybe 'relaxed' isn't the right word. It's more like a feeling of relief, of making it through a tough journey together.

Flunk's third ordinary album 'Personal Stereo' was released in 2007.

The album "Personal Stereo" is similar to the first two ("For Sleepyheads Only" (2002) and "Morning Star" (2004)) in that it is centered around Anja's elf-like vocals over Ulf's programmed electronica and Jo's layers of guitars and other stringed instruments. And even if uplifting melancholy is still the Flunk trademark, and Anja sings more beautifully than ever, "Personal Stereo" is in some ways darker than its predecessors. But it also sees a return to the debut album notion of cutting and pasting from the last 30 years of popular music, sometimes in an obvious way (as on the title track and "Change My Ways"), other times as more obscure nods to Flunk heroes. One of them, cult favorite Daniel Johnston, contributes with vocals on "Haldi".

As usual, Flunk's "budget pop" is recorded and produced in its entirety in bedrooms in two different apartments in Oslo, at Ulf's and Jo's.

The album has not been available on vinyl. Until now! It will be printed in a limited run of 200 copies.

Repress!
Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…especially to listeners who know the band only from their better-known major label recordings of the 1990s. The roots of Hate Your Friends begin with the genesis of the band itself: when high school friends Ben Deily and Evan Dando—inspired by a shared love of the 70’s absurdist comedy troupe the Firesign Theatre, literature, and punk rock—began playing their own songs together in 1985. Dando and Deily first started out as a two-piece ensemble: swapping back and forth between a shared Guild guitar (and a crappy amp) and vocal mic, and pounding a drum kit “borrowed” from the high school jazz band. With the addition of classmate and friend Jesse Peretz on bass, the two-man outfit quickly became a power trio. With a handful of original songs, a passionate love for their favourite bands—from Husker-Du, the Replacements, Black Flag and the Germs, to the Saints, Wire and ‘77 UK punk—and a tiny recording budget, the Lemonheads set about their first studio session within days of their high school graduation in June of 1986. During that summer, a significant amount of what would become the band’s debut album was recorded in Brookline, Massachusetts, with Deily and Dando sharing vocal, guitar and drumming duties. Above and beyond bass, Jesse proved pivotal as the band’s manager, booker and tireless promoter—helping arrange for the Lemonheads self-released debut EP, Laughing all the way to the cleaners, later that summer, and shortly thereafter helping establish the relationship with Curtis Casella of TAANG! records that paved the way to full-length LP Hate Your Friends. Finally, with the addition of full-time (and fairly short-lived) drummer Doug Trachten, the last songs of Hate Your Friends were recorded in the winter of 1986-7. BONUS TRACKS: This Fire Records re-issue features bonus tracks including 12 never-before-released live tracks from a 1987 radio session, rare tracks from the early compilation Crawling From Within, and additional tracks not included on the original release of Hate Your Friends (“Buried Alive” and “Gotta Stop”).

With a squall of guitar and a crash of drums, two years on from the release of their exhilarating debut EP, Chicago noisemakers Babe Report finally release their debut album in 2024, in the form of the rough-and-ready Did You Get Better, released this Spring via Exploding In Sound. Formed of ten new songs, and all wrapped in under half an hour, it’s an immediate and breathless arrival.

Opening track ‘Turtle of Reaper’ arrives in a flurry of noise and energy. Presented as an indictment of the fear-mongering in click-bait media, it’s a cacophonous two-minutes of scorched vocals and frenetic drums, the chorus a call back to 12/31/99, when all the news told people to turn off their computers before Y2K hit.

‘Universal’ offers something somewhat more refined, with occasional moments of restraint amid the commotion that arrives in a hardy whack of heavy riffs.

“This one is all about climbing up onto your neighbor’s back to succeed,” the band explain. “Most aspects of life are not a zero-sum game, but when they are, it feels ethically wrong to win.”

Elsewhere, ‘Allergy 2000’ is the album’s weighty centre-point, characterized by its soaring guitar lead line and stifled, murky vocals what might have started out as an experiment in writing a Yo La Tengo song soon comes into its own with a rabid tempo shift that feels indicative of the album’s fervent nature, never allowing the listener to rest on their laurels.

However it finds you or you find it, Did You Get Better finds a way to take the reins, ploughing headfirst into its journey and rarely looking back for approval, to even worry if anyone else is joining for the ride."

Deb Demure's powerful presence and hypnotic sound has firmly defined the identity of Drab Majesty. After releasing the debut album, Careless, Drab Majesty split time between touring and studios, piecing together the ideas for the follow-up album, "The Demonstration", an album depicting Deb Demure as only one part of Drab Majesty's overall being and storytelling saga.With "Induction", Drab Majesty sets up an ethereal backdrop for which the rest of the album follows. Tracks such as "Dot In The Sky" and "39 By Design" (a song pointing to the doomsday Heaven's Gate cult) use lush, shoegaze approach to portray the fragility of humanity's loss of self, looking only to the heavens for answers. "Cold Souls" flawlessly executes Drab Majesty's arpeggiated finger picking signature, complete with washes of hazy noise and atmospheric reverb. With the addition of Mona D. to Drab Majesty's mysterious portfolio, songs from The Demonstration perpetually create new meanings and depth with every listen. After Drab Majesty wraps up The Demonstration with "Behind The Wall", one is left wondering what kind of identity is truly their own Compact disc features two bonus tracks plus four exclusive remixes by Cold Cave, Drew McDowall, Silent Servant and Martial Canterel.

“More than ever, people need to hear songwriters talk about their lives. We don’t always have to search for monster hits. We can just write about our lives and maybe that might actually work. That’s what this record is a lot of. A lot of massive songs, but also a lot of me just writing authentically and honestly about my life. Flyin symbolizes the next phase of my career. I feel like I'm flying into this chapter where I’m the best version of myself that I've ever been. Y’all better catch-up or you’re getting left behind. I’m on fire!”

Danny Paul Grody's position within the modern instrumental guitar underground is unique - he isn't a polymath or a virtuoso. What he is is someone who plays with extreme feeling and deep emotion, sensations that pour through his audio to anyone listening. It has been this way for his work in his former band Tartentel as well as his solo work over the past 15 years.

2023's "Arc of Day" saw Grody step into a new environment, one where an album bearing his name featured other players, prominently his old friend Rich Douthit on drums / percussion. That glorious album was such an emotional success for the two players that they quickly recorded a sibling album in a darker tone. "Arc of Night" was born. The nature of writing was such that they re-titled the project the Danny Paul Grody Duo as well. Whereas the prior LP focused on "daytime" sounds, such as they are, with bright and ringing acoustic tones, this LP focuses on the darker side. Deep, shimmering electric tones take hold and guide the listener through those hours that can enrich, enchant and haunt us all.

Joined on some tracks by Chuck Johnson (pedal steel) and Trevor Montgomery (bass), this is an album that will make anyone tuned into material by Steve Gunn, William Tyler, Six Organs of Admittance, Jack Rose, Marisa Anderson, Eli Winter or Daniel Bachman quite excited. A great adventure that you and your inclined customers will not soon forget.

Underground lifer Nick Sakes returns on the debut LP from Upright Forms. The tight-knit Minneapolis trio feels like the culmination of Sakes' varied and prolific career to date, bringing together the unhinged prog-punk ferocity of Dazzling Killmen & Colossamite with the careening chaos of Xaddax and the shout-along hooks and dynamic songcraft of Sicbay. Blurred Wires is skewed yet tuneful, challenging yet compulsively listenable, concise yet brimming with invention. The experience of a lifetime distilled to 33 rotations across a gripping 33 minutes.

Consider “They Kept on Living,” a song that first appeared in an earlier version on the SKiN GRAFT comp Sounds to Make You Shudder!. It starts off with a grinding 7/4 groove, with cryptic lines over scratchy noise-punk chords. After a brief build, the band explodes into a massive chorus, with Sakes shouting the title line against a fist-pumping riff.

The trio sound equally convincing digging into the pummeling aggression of “My Lower Self,” where Sakes’ vocals start off as a feral snarl and then soar triumphantly during the chorus, or the soothing indie-pop hush of the Paster-penned “Drive at Night.”

Various “tug-at-your-heartstrings” touchstones informed “Long Shadow”. Sakes channeled Television Personalities, cult heroes of melodic British post-punk, on “Animositine,” which he accurately labels “our prettiest song.”

Nearly 35 years into his career, Sakes is finding new ways to challenge himself — and in Paster and Westphal, he’s found two musicians who are equally comfortable with both the thorniest and the loveliest manifestations of underground rock. When they reflect on their chemistry, they agree that their openness to collaboration is, as Sakes puts it, “one of our superpowers.”

On Blurred Wires, that superpower yields dynamic, challenging and profoundly memorable results.

Limited Edition MOD Compact Disc in Digipak Lite packaging."

As the summer season approaches, here comes Kito Jempere and Hard Ton with a perfect summer jam! Taken from upcoming fifth Kito Jempere album, ''The Sound of Love'' is a classic early nineties balearic beat ballad - 96 beats per minute of morning bliss, mellow
pads, enigma-esque drums and beautiful vocal drama by one and only Hard Ton.
Besides the title track and a new club driven remix from man-of-the-hour Eden Burns, vinyl is packed with an array of old and new goodies. Much requested Andras remix from 2020 previously available digitally only. Live version of previous Hard Ton collaboration, ''Your
Ghost in Me'', played by 8-piece Kito Jempere Live Band. Plus another two massive and previously ''digital only'' remixes from Eden Burns for all your dance-club needs. And all this comes with a beautiful sleeve from Berlin based photographer Alexey Kiselev.

The second record of the remastered and unreleased Acid Anonymous Archives is here!
AA-A02 features two tracks by Diex (DX).
One track is from the original record released in 2002,
while the other is a previously unreleased track that is finally available!

One of the four immortal albums the Miles Davis Quintet featuring John Coltrane recorded for the Prestige label during the two marathon sessions on May 11 and October 26 of 1956, and which resulted in Workin' (presented here), Relaxin', Steamin' and Cookin'. Includes Miles' unforgettable reading of the ballad "It Never Entered My Mind," as well as his most iconic version of "Four".

Record Store Day repress!

Emerging from the undeniable pit of despair that is 2020, LADYMONIX offers up a brand new 4 track EP to lift your spirits and accompany your ever-evolving isolation as we head into an uncertain Fall.

CLUB NOWHERE begins with two meditative grooves that naturally rolled out from LADYMONIX's attempts to self-sooth during the early stages of lockdown. The confident basslines and swirling pads of the A1 title track and A2 'Mood' make a lush bed for you to curl up on.

Flip over the to the B-side and the underground therapy session continues with a little more signature 'Monix swing and attitude. 'Gonna Let' is one of those joints that creeps up on you and settles into your collection - the kind of track that makes you close your eyes and melt into your own space; future-tripping from your couch about clubbing again in 2021... To conclude, 'Movin On' lays out LADYMONIX's closing statement on the sorry state of global affairs: "I'm gone." -accepting the new-normal with a knowing musical eye-roll. Coz what else are you gonna do? Change what you can, accept what you can't, and whatever you do MAKE IT FASHION, HONEY!

Music From Memory is pleased to announce the upcoming release of ‘Salt And Sugar Look The Same’, a collaborative album from Tim Koh and Sun An.

Tim Koh is an American multi-instrumentalist and visual artist born and raised in Los Angeles. He has been touring, releasing music and showing art works internationally for nearly two decades. Sun An is a Southern California-based graphic designer, art director, and sound designer who has self-released music since 2012.

‘Salt And Sugar Look The Same’ plays somewhat like a dreamlike collage; across 18 short compositions, finger-picked guitars melt with electronics and warped samples to create a form of American Primitivism bent and refracted through Tim and Sun’s unique lens.

Their collaborative journey unfolded gradually, exchanging snippets via email over the span of a year or so, Sun in LA and Tim in Berlin. Amidst personal struggles and uncertainties, the act of recording and composing became a refuge, a safe space where they could navigate life's complexities together. Though they didn't converse much, mostly just sending music, their musical dialogue spoke volumes, shaping a narrative that evolved naturally over time. As they shared their musical ideas, they discovered a profound sense of connection and understanding with one another. The music became a conduit for healing, bridging the gaps between them and offering comfort in times of need.

Their musical influences and backgrounds anchored them. From reminiscing about past scenes to exploring cultural intricacies of being Korean American in Los Angeles, infused with a natural sense of shared identity, their collaboration reflected a mergence of old and new memories into a hallucinatory, dream-like experience. Across the 18 compositions that make up the album, incense emerges as a poignant motif, symbolizing the passage of time. Each incense stick becomes a vessel carrying the essence of moments gone by, while the holder becomes the custodian of these ephemeral memories.

‘Salt And Sugar Look The Same’ invites the listener on a boundary-transcending journey of introspection, joy, and pain, creating an experience that lingers long after the last note fades.

Sleeve art by Brian DeGraw, design by David McFarline.

2024 repress.

Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.

On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfectsoundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.

Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam. PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.