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Originally released in 2001, Nigeria 70 was the first compilation of its kind to explore in depth the fertile music scene in Lagos as domestic artists mixed highlife and traditional rhythms with soul, funk, rock and jazz. While Western audiences were already familiar with Fela Kuti and his life story, the album placed the spotlight on some of the other great musicians and bandleaders in Nigeria during the "70s period: Joni Haastrup, Peter King, Segun Bucknor, Bala Miller, Blo, King Sunny Ade, Tunji Oyelana and many more.Three further volumes followed, exploring the far corners of original Afrobeat, juju, funk and soul.

Another bomb in the rebound! SOUNDS. presents "Modal - Lovers Remixes".

This high demanded remix double pack was originally released in 1996. The re-mastered version will be soon available again.
Highly recommended!

Single-LP edit of Piñata lacquered at half speed master by Metropolis Mastering in London for the highest fidelity.

After the original release Freddie Gibbs & Madlib's Piñata in 2014, cover artist Jeff Jank made a new sleeve for the album in the style of a 1964 Blue Note album.

Featuring Danny Brown, Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul, Polyester the Saint, BJ The Chicago Kid, Big Time Watts, G-Wiz, Casey Veggies, Sulaiman, Meechy Darko & Freddie Kane.

Freddie Gibbs is the product of violent, drug-laden streets but unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer.

Piñata is a gangster Blaxploitation film on wax, says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previously best known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpson with Detroits Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer.

On Piñata, where Gibbs can shift from textbook lessons in robbing and drugging on trackslike Scarface and Knicks, to perhaps the albums most personal song, Broken, a collaboration with Scarface, who, along with Tupac, DMX and 50 Cent, make up the rappers own Mount Rushmore of MCs (Youre getting a hurricane of all those motherfuckers hitting you at once when you listen to Freddie Gibbs, he says). Deeper, a Gibbs favorite and the third single from the album after Thuggin (2012) and Shame, (2013) is an ode to hip-hop in the mold of Commons I Used to Love H.E.R.; High, featuring Danny Brown, is self-explanatory and just what you would expect from Gibbs, Madlib and one of Detroits finest; while on Real, Gibbs addresses an old score just as Michael Corleone settled all family business on baptism day.

As a producer, Madlib, quite simply, is music, and ten years into his career-a time when other artists become comfortable-Gibbs remains restless, focused, with an eye on the competition and their position relative to his ascent. This is because mentally, hes still on the corner hustling, which would be the downfall of the average rapper. With Piñata, Gibbs confirms that he is anything but average.

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Seit 30 Jahren zum ersten Mal wieder auf Vinyl erhältlich: die legendäre 'Artificial Intelligence' Compilation - die erste Veröffentlichung der Warp Artificial Intelligence Serie 1992-1994, die aus 'Artificial Intelligence', 'Surfing On Sine Waves' von Polygon Window, 'Bytes' von Black Dog Productions, 'Electro-Soma' von B12, 'Dimension Intrusion' von F.U.S.E., 'Ginger' von Speedy J, 'Incunabula' von Autechre und 'Artificial Intelligence II' bestand und das Electronic Listening-Genre definierte. Mit frühen Raritäten von Aphex Twin (als The Dice Man), Autechre, Richie Hawtin (als UP!), B12 (als Musicology) und Alex Paterson (The Orb), letzterer als Co-Produktion mit Jimmy Cauty (The KLF). Das Original-Gatefold-Sleeve wurde von The Designers Republic rekonstruiert, während die LP von Beau Thomas bei Ten Eight Seven Mastering auf klassisch-schwarzem Wachs neu geschnitten wurde.

500 on clear vinyl - Pitch Shifter ‘The 1990 Demo’ - Agent provocateurs who prophetically foreshadowed the Brexit debacle with their 1999 release ‘Un-United Kingdom”. Spanning a career of over 30 years, the band released ten albums, toured 30 countries, were featured on the covers of Kerrang! and Metal Hammer magazines, recorded Peel Sessions, won Kerrang! awards, had their music featured on video games, on tv shows and in Hollywood films, played main stages at Reading, Ozzfest, Vans Warped Tour and the Big Day out Festivals, were featured in 2000AD Magazine with Judge Dredd and fucked a lot of shit up along the way! Here for the first time, the band release their original demo, previously unreleased and unavailable to the general public. The original audio has been enhanced and the vinyl includes a revisited track, that did not feature on the original release ‘Behemoth’, with vocals recorded by M D Clayden. The demo landed the band their first record deal in 1990 with Peaceville Records, where the band then forged these tracks into their critically acclaimed debut ‘Industrial’.

Widely regarded as a modern day classic. First repress (in nearly twenty tears) of this highly sought after treasure. Limited edition vinyl with original, single sleeve, artwork.

Bitty McLean’s rebirth as a bona fide hit-making lovers rock singer, since his link up with Daddy Peckings’ sons Duke and Chris, has been particularly sweet, due in no small part to his superior talents in the vocal department, and his accomplishment in the studio, but also because he is a humble soul whose talent has often been overshadowed by the perception of him as something of a reggae lightweight, due to the commercial success he experienced back in the early nineties with It’s Raining. Bitty’s credentials far outstrip any of his detractors though, and with the release of the superb single Walk Away From Love, he’s proved beyond doubt his worth as an interpreter of classic songs and a gifted songwriter in his own right. Kicking off with the hit single which utilised the classic original 1967 Treasure Isle rhythm to Alton Ellis’ Rocksteady. All selections revive original Duke Reid rhythms created by Tommy McCook & The Supersonics including the beautiful Ranglin On Bond Street (Tell Me), Those Guys (Baby Tonight), Moonlight Lover (To Fall In Love), Inez (My Lovers Call), Queen Majesty (a wicked version of Bread’s Make It With You featuring some beautiful overdubs from Dean Fraser), I’ll Get Along Without You (I’ve Got Love), Lonely Street, and a cover of Smokey Robinson’s Cruisin’. An album to cherish for young and old alike.

Limited edition vinyl copies of the new Kassian versions and it sounds like they've been on a trip to Italy circa 1983.

Choice Italo edits from the London-based duo who have gone a little bit more experimental, completely re-recording the drums and adding original synths, with an original vocal on 'Timewarp' too!

Mallorcan mastermind Joan Bibiloni gets two key works from his esteemed catalogue officially licensed via Gouranga Music and edited by the remix maestro Ray Mang.

On the A side the boogie brilliance of the aptly named ‘The Boogie’, extended and echoed in all the right places to form a true dancefloor winner. On the flip, Mang turns this classic Balearic Bibiloni gem ‘Val, I Vuw Ya’ that has an acoustic guitar and chromonica spinning around each other from the three and a half minute original into a hypnotic six minute wonder.
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7" Black Vinyl in Fold-out Concertina Sleeve, 500 copies only. An anachronism in current times where individualism reigns supreme, Teeth Machine are a rare band knitted together through close camaraderie: a collective in the truest sense of the word, whose intricate, improvisational style resolutely resists being reduced to one single contributor. Teeth Machine found its beginnings in the close friendship and musical collaborations of Arthur Bently (saxophonist/lead guitarist) and Gray Rimmer (lead vocals/guitar). Having played together in various other projects since the age of 17 and disaffected with the music industry, the pair’s first furtive experimentations with the music that would later become Teeth Machine took place at a deliberate distance from the Outside world. This early incubation period, and the music made through endless bedroom sessions and demos recorded on laptops and tapes, became the spine of the project, fostering a sound that still retains both a precious intimacy and a large, expansive sonic scope. The band’s lineup as it stands today features long term friends and collaborators Anthony Boatright (Bass), Jamie Staples (Drums), and Ciara Reddy (Vocals/Synth). On their first self-assured, recorded offering to the wider world, Teeth Machine still bear the imprint of their origins, the band’s sound firmly grounded in the ethos of mutually weighted contribution, as well as the closeness cultivated in their early experiences, always retaining an air of uninhibited creativity and adolescent intimacy. ‘Gumball’, their first release on RaRaRok (Wulu, The Goa Express) was self-produced, mixed by Dilip Harris (King Krule, Mount Kimbie). It’s a song that conveys the tension and impossibility of communication and language, even when attempting to connect with those closest to us. Despite this, and however much the track itself bristles with an unmistakable air of friction, the listener gets the strong sense that there has not been a love lost, but rather one renegotiated, even expanded. Speaking about ‘Gumball’, Teeth Machine said: “‘Gumball’ is about the impossibility of talking. It was written during quite a chaotic period, and the lyrics came about after we had a big argument in the kitchen while trying to record a demo at the time - it tracks the madness and intensity of trying to make sense to someone you care about, or to yourself in your head. There’s a kind of antagonistic self help mantra that resonates throughout; it’s about internal and external conflict. It’s angry, but it’s also full of love too

Repress of Kaitlyn's solo debut Euclid (primarily written on a Buchla Music Easel synthesizer), it was inspired by her love of mbira music, early electronic music pioneers like Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidian geometry. Each of the first six songs on Euclid were initially structured using euclidian geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory. As Smith explains, "We each chose a 3D shape and assigned our own guidelines to the different components that make up the shape. For example each point of the shape represents a different time signature, each line between the points represents a pitch, each shape within the closed lines represents a scale, etc. And then you play the shape." Despite their heady geometric origins, the songs have a playfulness and warmth that makes them inviting and memorable. In addition to the buoyant grooves of Smith's synthesizers, some of the songs feature wordless vocals, which energize the otherworldly songs, while grounding them with Smith's earthly presence. She slows things down for the second half of the record, which features a collection of twelve short pieces, Labyrinths I-XII. Originally composed as new soundtracks to old silent films she found online, Smith says the tranquil Labyrinth pieces are "intended to feel like one is walking through a holographic labyrinth and encountering different experiences such as hang gliding, viewing microbes under a microscope, ice fishing in Alaska, and watching glaciers collapse." Despite their brevity, most of these songs feel like mini odysseys, effortlessly casting a cinematic hue on the the listener's world. Throughout Euclid Kaitlyn Aurelia Smith consistently delivers sonic puzzles draped in a warm Pacific mist. At times these songs feel so alive like the musical analog to roots growing deeper and stronger, leaves on branches bending towards the light, or the sun peeking over the horizon, briefly igniting the air with a primordial swirl of warm and cool colors.

Limited edition on white vinyl and limited to 500 copies worldwide. First time on LP / Originally release on CD in 2010. This is a masterful and critically acclaimed acoustic retrospective of Tony Harnell’s prolific career.

Limited edition on white vinyl, numbered and with an embossed sleeve. Only 500 copies worldwide. This release is a reissue of the original album from 2000 by the UFO legend. Pete Way is currently touring with his new outfit – The Pete Way Band.

Originally released in 1971, Tales Of The Algonquin, is one of the finest artifacts of the British modal and free jazz scene of the 1960s/1970s. Johns Surman and Warren, like their contemporary Mike Westbrook, take the big band form and flip it on its head by incorporating elements of modal, free, and progressive jazz. The results are powerful and this album is perhaps the greatest example of that quintessentially British jazz style. Long sought after by jazz collectors across the globe, this classic title is finally back in print on LP.

SIDE ONE:
1. With Terry's Help 2. We'll Make It 3. The Dandelion 4. Picture-Tree

SIDE TWO:
TALES OF THE ALGONQUIN I. The Purple Swan II. Shingebis and the North Wind III. The Adventures of Manabush IV. The White Water Lily V. Wihio the Wanderer

In November 1960, trumpeter Donald Byrd brought his quintet in to the Half Note Café in New York City to record this soulful, swinging, and highly enjoyable live set of hard bop featuring Pepper Adams on baritone saxophone, Duke Pearson on piano, Laymon Jackson on bass, and Lex Humphries on drums.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

The musical partnership between vibraphonist Bobby Hutcherson and tenor saxophonist Harold Land fully blossomed on the 1970 album San Francisco, which found the musicians moving into fusion territory with relentlessly grooving tunes like “Goin’ Down South” and “Ummh” counterbalanced by exploratory pieces like the mesmerizing “Prints Tie.”

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von
den Originalbändern gemastert, RTI-Pressung (180g), stabiles Tip-on-Gatefold, wattierte Innenhülle
Trompeter Donald Byrd war gerade im zweiten Jahr seiner zwei Jahrzehnte andauernden Blue-NoteKarriere, als er sein Quintett im November 1960 in Manhattans Half Note Café versammelte, um dieses
soulige, swingende und äußerst unterhaltsame Hard-Bop-Live-Set mit Pepper Adams am Baritonsaxophon,
Duke Pearson am Klavier, Laymon Jackson am Bass und Lex Humphries am Schlagzeug aufzunehmen.
Höhepunkte des Programms sind Pearsons Uptempo-Nummer „My Girl Shirl“, Byrds Blues „Soulful Kiddy“
und das Bandthema „Pure D. Funk“.
ScoLoHoFo - die Supergruppe bestehend aus Gitarrist John Scofield, Saxophonist Joe Lovano, Bassist
Dave Holland und Schlagzeuger Al Foster - spielte erstmals 1999 als Band zusammen, aber die Verbindungen der Musiker reichten Jahrzehnte zurück. Scofield, Holland und Foster waren alle Mitglieder der MilesDavis-Gruppen und spielten 1993 zusammen auf Joe Hendersons Miles-Tributalbum „So Near, So Far“ auf.
Aufgenommen im Jahr 2002, ist ScoLoHoFos meisterhaftes Album „Oh!“ ein dynamisches 11-Song-Set,
das vor musikalischer Kameradschaft nur so strotzt und ein breites stilistisches Spektrum abdeckt.

2022 Red Vinyl Repress

A re-issue of the highly sought after CORROSIVE 002 with all 3 original tracks, plus a bonus 2020 remix of Acid Corrosion by PUNKY JUNX (aka Tassid and label boss Austin Corrosive). Classic Acid Techno!

Following a first successful 2020 instalment and a contribution to our VA series, Blame The Mono are back on the Taapion mothership to deliver their second household EP. This 4-tracker stays true to the beloved influences of the duo by showcasing multiple genres and heavily using vocals, while keeping a dancefloor-focused essence. ''Sustain The Rigour'' translates the hard disciplined work Blame The Mono put in the studio switching over the techno recipe while keeping its original ingredients. Throughout the coldwave sonic explorations of Forlorn, endless vocal looping drive of Front Left Rodeo, bombastic Moog bassline of Conepusher or the spaced -out garagey vocal chops of Caledonian Woofers, this EP keeps both pace and inventivity rigorously high.

Die offizielle Vinyl zur gefeierten 6. Staffel von "My Hero Academia" - eine der beliebtesten Shonen-Anime-Serien weltweit - begleitet die andauernden, nerventreibenden Abenteuerreisen im Hero-Reich mit epischen Melodien und Vocals!Sie enthält Yuki Hayashis kompletten Score zur Fortsetzung, einschließlich der fan-favourite Tracks "Revengers" und "Weeee Are Fuxkin Super Hero!!".Die exklusive Edition erscheint mit zwei grün-gefärbten LP-Discs, die alle in einer wunderschönen Gatefold-Hülle mit lebhaftem Artwork aus der Serie verpackt sind - ein absolutes Must-Have-Produkt für treue Fans.

Especially in this time of isolation we need to remind ourselves of the importance of art, just how magical a medium sound is to express, to raise and answer question marks, to open and mend the soul... it's the most universally speaking of all languages as it knows no borders." At a time of global separation, Erased Tapes founder and sonic explorer Robert Raths stitched together a project putting what is most important at the forefront - connection. This collection of works by undisclosed artists from the roster gives space and time to appreciate art at its most honest. By shedding the information noise usually attached to release cycles and by bringing music back to the magic of sound, we're presented with an opportunity for exploration when we need it most. Robert spoke to Mary Anne Hobbs of BBC 6Music about how releasing music without revealing its origin through the 20･･ï¼ìï¼ì0 morse code series enabled him to share what him and the artists have been working on in real-time as opposed to the usual delays that come with releasing music. "All the information, all that noise... As much as it can help give context, it also takes something away. It tends to cloud your senses and take away from the magic of when you first hear something that's completely unknown to your ears. How wonderful a sensation it is to just listen and let the music speak for itself without prejudice or the

The Younger Than Me debut on Warning hits hard with two powerful original cuts and sharp remixes. The Early Sound Of Nothing is a deep Rave belter driven by the 90s reminiscences that YTM is known and loved for. Maruwa gently coats his production in a slick mix of uplifting House and funky Trance, perfect for an energetic morning workout. On the flip Counter Future turns up the tempo creating a meltdown of choral Jumpstyle vibes before the EP gets finished with another rework by Sophie du Palais who takes the track into a mean bath for a round of sinister Ketamine sex.

2024 Stock

Finally, after a long time, a new edition of this timeless classic of deep house music.

Back to Life together with Chez Damier has done a long research work: for the first time all versions of the original EP are repressed on the same vinyl with accurate version names and some hidden gems.
Don't miss it! For true collectors!

feat. Maurissa Rose

The new Parrish single appears on vinyl in the form of two mixes differing in vibe but consistent in quality and suitability for DJ use. The original rides along on a shuffling, almost Afrobeat version of house, with Maurissa Rose's gorgeous vocal floating above the gloopy, hypnotic bassline which gets the full filter treatment. The instrumental dub places that b-line very much at the centre of the mix, starting from a single kickdrum before building up to a more techno-edged, vocal free climax. all throbbing bass, solid bears and minimal, glitchy keyboard interjections.

Never-before released Ahmad Jamal in the 1960s,
recorded at the Penthouse Jazz Club in Seattle.
Official release supervised by Ahmad Jamal. This is
Volume One.
Remastered audio transferred from the original tape
reels.
Includes an extensive booklet with previously
unpublished photos from Chuck Stewart and Don
Bronstein, essays by jazz writer Eugene Holley Jr. and
producer Zev Feldman, plus interviews with Ahmad
Jamal, Jon Batiste, Kenny Barron, Aaron Diehl and
Marshall Chess.
This will mark the first release from producer and ‘Jazz
Detective’ Zev Feldman’s new label venture, Deep
Digs Music Group, in partnership with Elemental
Music.
Featuring Ahmad Jamal on piano, Richard Evans on
bass and Chuck Lampkin on drums.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Most audiophiles know Alan Parsons Project's I Robot by heart. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist and his creative partner, Eric Woolfson. Not surprisingly, it's been issued myriad times. Can it be improved? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 33RPM box set and the question becomes moot.


Mastered from the original master tapes and pressed at RTI on MoFi SuperVinyl, I Robot comes to life with reference-setting realism on this numbered, limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems while offering listeners the convenience of having all the music on one LP.

Featuring a nearly inaudible noise floor, this transcendent UD1S edition functions as a repeat invitation to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, it is a demonstration record for the ages – the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.

The special characteristics of this UD1S version extend to the premium packaging. Housed in an elegant slipcase, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. The Alan Parsons Project's most famous record deserves nothing less.

Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons and Woolfson's pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Parsons and Woolfson reflect the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.

The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons and Woolfson utilize a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show." The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32."

Does man or machine win in the end? Decide as you get lost in Mobile Fidelity's UltraDisc 180g 33RPM LP pressing. Secure your numbered copy today!

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

After living a number of years in the United States, GRAMMY® and ICMA Nominated Finnish violinist Petteri Iivonen returned to Europe where he became concertmaster of the Finnish Opera orchestra in Helsinki before moving to Paris to serve as concertmaster for the Paris Opera. Petteri's ability to play in many styles with sincerity and his natural lyrical facility with his instrument made him the ideal candidate to work with luminary conductors such as Esa-Pekka Salonen in Helsinki and now Gustavo Dudamel at Paris Opera.

Petteri commands his instrument with ease. While much of his playing is exceptionally beautiful, it is not beautiful for the sake of being pretty. I have heard few violinists with Petteri's ability to control color and timbre, and even fewer who use this ability for such musical and appropriate ends. Petteri plays a Ferdinandus Gagliano violin in this recording, built in 1767. We recorded this performance during a live concert in Alfred Newman Hall at the University of Southern California. We chose a legendary Austrian AKG C-24 stereo microphone with the original brass surround CK12 tube, Midwood vacuum tube preamplifiers and no mixer recording to Agfa-formula 468 tape. The signal path was as short as we could make it, with as few electronics between performer and final product as we could manage. We hope you enjoy the results.

The chaconne most likely originated as a dance in the New World which returned to Spain (along with much gold melted into blocks from irreplaceable Pre-Columbian art and jewelry) after the conquest of the Americas. This original chaconne offered a fast, sexy, syncopated rhythm. Composers treated this dance with increasing invention and gravity during the Baroque era. Henry Purcell wrote complex and chromatic chaconnes for violin. Bach's Chaconne, from his Partita No. 2, may represent the culmination of this genre. Petteri plays with authority and freshness in any environment, and this recording reminds me handsomely why Johann Sebastian Bach remains among my favorite composers of all time.

Mel Carters Debütalbum „When A Boy Falls In Love“, das ursprünglich 1963 auf Sam Cookes Label SAR Records/Derby erschien, ist ab 28. Mai wieder als LP erhältlich! Das von Sam Cooke und J.W. Alexander produzierte Album enthält von Cooke und Alexander geschrieben Songs sowie ”Why I Call Her Mine”, eine Eigenkomposition von Mel Carter, die 1963 als Single veröffentlicht
wurde. Mel Carter wurde von Cash Box als einer der 10 besten männlichen Newcomer-Sänger des Jahres 1963 bezeichnet und trat mit ”When A Boy Falls In Love” in zahlreichen Fernsehsendungen auf, darunter Dick Clark’s American Bandstand. Der Titelsong ”When a Boy Falls in Love” hielt sich 10 Wochen in den Pop-Charts. Der R&B-Kenner Bill Dahl hat nach einem Gespräch mit Carter die Liner Notes beigesteuert, die das ansonsten originalgetreu restaurierte Paket aufwerten. „When A Boy Falls In Love“ erscheint als 1LP.

Cut by Bernie Grundman AAA all-analog from the master tapes. Plated by Master Craft and pressed at Le Vinylist Quebec


To celebrate its 70th anniversary, Naga products is introducing its 70th Anniversary 45 RPM double LP with lacquers cut by famed mastering engineer Bernie Grundman from the original masters.

The set is pure analogue from analogue master tapes. The LPs feature tracks from Bill Evans, Louis Armstrong, Monty Alexander, and Buddy Tate, along with some amazing audiophile tracks recorded on the legendary Nagra IV-S tape machine.

Naga hifi products are designed and manufactured by Audio Technology Switzerland in the Lake Geneva region. Naga's products cover high-end hi-fi equipment and professional audio recorders.

Mastered from the original master tapes and pressed at RTI on dead-quiet 180g vinyl, Mobile Fidelity's numbered-edition 180g LP of Local Hero gives the beloved effort audiophile-grade sound on a par with the reference-quality sonics afforded Dire Straits' Mobile Fidelity reissues. In each arrangement, Knopfler's methodical guitar lines emerge with supreme transparency and multi-hued textural detail. The intricate notes, finger-picked passages, and cosmopolitan lines come across as if they're transmitted just feet away from you in real time.

Ditto the diverse accompaniment, including the Celtic-themed effects, supplemental jazz accents, and folk inflections. The keys to the nearly 44-minute effort's success and continuity relate not only to Knoplfer's laidback style and low-key approach, but his ear for uncanny melody and blues traces. Woven acoustically and electrically, his tapestries benefit from the newfound airiness, openness, and balance that live on this reissue. No matter the instrument or treatment, the music arrives with pinpoint imaging and vibrant liveliness. Close your eyes, and the Mobile Fidelity version of Local Hero projects movies in your head.

For instance, take the closing "Going Home," a cherished instrumental whose proud spirit resonates with English football fans and features saxophone playing by the late, great Michael Brecker. Heard before every Newcastle United F.C. home game, it has become an anthem on both sides of the Atlantic. Or, look to "The Ceilidh: Louis' Favorite Billy's Tune" on which Scottish-flavored vibes and dance tempos conjure a festive jig until a transition gives the number a more subdued, romantic feel. Then, the pattern repeats. Seeking to expand beyond the parameters of Dire Straits, Knoplfer taps into a global economy of structures and sounds, and takes anyone with a sense of adventure along for the ride.

Not that his hallmark six-string is absent from the proceedings. It frames the lovely tin-pan whistle motif of the aptly titled "Whistle Theme," acts as a beacon for the elegant, vibraphone-kissed "Smooching," and pushes forward the jovial, top-down momentum of "Freeway Flyer," among other highlights. Knopfler also receives assistance from session pros Mike Mainieri, Steve Jordan, and Terry Williams, as well as vocalist Gerry Rafferty on the set's sole vocal tune, "That's the Way It Always Starts."

An unblinking look at an entertainment-obsessed society, Amused to Death addresses issues that have only grown in complexity and urgency over the past two decades. With Amused to Death, Roger Waters sounded the alarm about a society increasingly — and unthinkingly — in thrall to its television screens. Now in 2022, Amused to Death speaks to our present moment in ways that could scarcely have been anticipated three decades ago. In 2015, television is just one option in an endless array of distractions available to us anytime, anywhere, courtesy of our laptops, tablets and smartphones. With eyes glued to our screens, the dilemmas and injustices of the real world can easily recede from view.

"Even if you have one of the original issue vinyl LPs, the new version of Amused to Death on the Analogue Productions label is an essential upgrade to your listening experience. Like The Division Bell and The Endless River vinyl LPs before it, Analogue Productions has kept their commitment for quality meticulously high with Amused to Death. The record pressing is uniformly excellent..." Paul Powell Jr., Brain Damage U.K. Pink Floyd News, August 2015.

The 2015 2 LP 200-gram vinyl edition of Amused to Death features remastered audio completed by longtime Roger Waters / Pink Floyd collaborator and co-producer, James Guthrie, and has been pressed at Quality Record Pressings. The cover and gatefold art has been updated for 2015 by Sean Evans, the creative director of Waters' 2010-2013 "The Wall Live" tour and movie.

The old adage about Elvis Presley is that his soundtrack work never held a candle next to his studio albums. Though true for a majority of his film-related outings, the traditional notion is forever disproved by his Blue Hawaii set. Originally released in 1961 in support of the film in which he starred, the triple-platinum LP spent nearly five months at the top of the Billboard album charts; outsold his two prior studio efforts; and ultimately, remains the second-best-selling soundtrack of the musical-dominant 1960s. And now, it has received sonic treatment befitting rock royalty.

Recorded before the King started to burn out on soundtracks and go into a creative tailspin, Blue Hawaii presents him in tremendous voice. The newly uncovered layers of detail, body, emotionalism, and tonality on this SACD bring that treasured element – as well as the brilliance of the arrangements and accompaniment – to light like never before. Presley's warm crooning alone warrants unmitigated attention. It's not for nothing that this record – replete with panache, whimsy, romance, and seriousness – forever altered the course of his career.

Much like the film itself, the music on Blue Hawaii subscribes to a feel-good aesthetic. Presley plunges into a stylistic deep end with equal parts fearlessness and fun. He delves into early rock ‘n' roll ("Rock-A-Hula Baby"); touching balladry ("Hawaiian Wedding Song"); playful rumba ("Beach Boy Blues"); relaxing luaus ("Hawaiian Sunset"); and naturally, island-inspired fare ("Ku-U-I-Po"). It becomes immediately evident that the King is enjoying himself and committed to the mission. Is Blue Hawaii all serious art? No, but it was never intended to be. Rather, it serves as a showcase of Presley's outgoing personality and chameleon-like ability – like that of Frank Sinatra – to inhabit different roles and entertain.

Of course, Blue Hawaii remains timeless for another reason: The inclusion of the timeless, gorgeous, and still-untouchable staple "Can't Help Falling in Love." Penned by Hugo Peretti, Luigi Creatore, and George David Weiss, the love song quickly transformed into an international standard – with Presley's definitive version hitting No. 2 on the charts and ultimately becoming the closing song to his concerts. Ranked among the 500 Greatest Songs of All Time by Rolling Stone, its conviction, sentiment, and depth testify on behalf of why Presley still reigns as the King.

However subtly, the staple also underscores another reason Blue Hawaii should never be overlooked in Presley's canon: the ace musicians involved in its creation. Guitarists Scotty Moore and Hank Garland; drummer D.J. Fontana; percussionist Hal Blaine; pianist Floyd Cramer; bassist Bob Moore; and iconic gospel backing vocalists the Jordanaires all contribute masterful performances. Hearing them with such expressiveness, openness, and realism on this 2LP 45RPM & SACD should forever alter how Presley's 1961 soundtrack – the finest of his career – is viewed. As he sings in the title track, dreams come true, indeed.

Los York's became the epitome of Peruvian garage sound and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. It took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. It features a beat-influenced go-go twang guitar garage psych tone throughout, including a bunch of covers like Alan y sus Bates' 'Pronto Un Doctor' or The Box Tops' 'The Letter', and amazing originals like 'No Puedo Amar' with an intense garage beat. First time official reissue. - DESCRIPTION: The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The band was backed by Melcohita on vibraphone and Mario Allison on percussion.

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master recording. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

The trashed hotel room and communal living depicted on the cover of the J. Geils Band's sophomore album tell you all you need know about the music, spirit, and energy spilling from within The Morning After. Shot through with raw, lean rock n' roll sparked by juke-joint blues and loose rhythms, the 1971 set comes on like the most fun, party-still-raging hangover any group in the 70s enjoyed. And now it rolls with an abandon that takes you inside the sweaty, smoky roadhouses and wall-to-wall-packed clubs the group dominated in its heyday.

Mastered from the original master tapes, pressed at RTI, and limited to 3,000 numbered copies, Mobile Fidelity's 180g vinyl LP achieves a sonic acumen that brings you face-to-face with the sextet's white-hot instrumental prowess and magnetic personalities. It's always been difficult to single out just one member of the band given the cohesive bluster the ensemble achieves as a whole, but this collectible audiophile edition allows you to do just that if you so choose, by way of superb imaging and separation. As for the band's trademark dynamics? Here, they feel like they're on the verge of exploding.

So go ahead. Twist the volume knob to the right as much as you want. You'll lose none of the focus, detail, placement, or presence no matter how high the decibels climb. The Morning After spills forth with previously unheard tonalities, ranging from the distinctive swells of Seth Justman's slow-burn organ to the live-wire spark of Geils' own downed-power-line-jumpy guitar work to the mooring hi-hat/cymbal/snare combinations of arrangement-steadying drummer Steven Bladd. Friends, this is raw rhythm n' blues, this is how it should feel, and, man, this is how it should sound.

Not for nothing did the Massachusetts-based collective name the album The Morning After. The music within doesn't abide by rules, ignores speed limits, flips the bird at curfews, and digs deep down into America's blues roots to yield organic material at once fresh, exciting, traditional, and original. The back-porch punch provided by the combination of "Magic Dick" Salwitz's searing, melodic, snake-like harmonica and vocalist Peter Wolf's animated, barely controlled deliveries is alone enough to make anyone with a faint pulse to stomp their feet, climb atop a kitchen table, and kick their boot heels until the neighbors call the cops.

Just witness the deceptive smoothness of the snake-like "So Sharp" or Maxwell Street zest of the aptly titled Magic Dick showcase "Whammer Jammer," which will leave you gasping for breath before it even ends. J. Geils Band also knew its way around deep-cut soul. The ensemble's Top 40, howling, adrenaline-to-the-heart rendition of the Valentinos' "Looking for a Love" and swirling, romantic take on Don Covay's "The Usual Place" seamlessly balance drive and emotion. Coupled with rafter-shaking originals such as "Floyd's Hotel" and the riff-propelled "I Don't Need You No More," sent up with typical Wolf vocal flair, and the record parks the band's all-night festivities and go-for-broke attitudes right on your front lawn.

One last word of warning to the uninitiated: The Morning After is not the slick-pop J. Geils Band of "Centerfold." And that is a very good thing.

In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name. Replete with gritty textures, close-up vocals, and resplendent acoustics, Mobile Fidelity's scintillating version of this 1994 set finally possesses the fidelity that brings Mo's Delta strains out of the backwoods and onto a lively back porch.

Half-speed mastered from the original tapes, this numbered edition 180g LP represents the very first time that Mo's watershed album has been given a much-needed sonic facelift. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What's revealed is startling intimacy and soothing emotion, Mo's gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace. Finally, a great-sounding contemporary blues record that doesn't resort to derivative recycling and bland revivalism.

The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he's since traveled in a more commercialized pop-oriented direction, Mo's initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo's material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming.

Mo' occasionally teams with an ensemble. But this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as "Victims of Comfort" and "Angelina" testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson's "Come On In My Kitchen" and "Kindhearted Woman Blues" speak to his reverence for the past. Shuffles, ballads, dance songs – Mo nails them all.

Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don't miss this American gem that so many have since tried to copy.

‘The Clocks' was originally issued in 2007 as a CD-only limited edition of 110 for members of 'The Bevis Frond Online Community'. It comprised 19 previously unissued tracks. Most of these were home demos featuring just Frond frontman Nick Saloman on all instruments and vocals. Since then, it has never been re-issued in any format. It is therefore with great pleasure that Blue Matter are re-issuing it for the first time, and now as a vinyl double album and limited CD. Due to certain circumstances, three of the original tracks could not be used, so these have been replaced these with another three previously unheard tracks from Nick Saloman's extensive archives. These songs include the seven minute 'She's Taken It All', originally intended for 2004's 'Hit Squad' album but dropped at the last minute due to timing constraints. The beautiful 'You Better Make Do' and the edgy 'Devil Doll' have also been added. We are delighted to be able to make this 'long lost' album available once again and think it will be a welcome addition to the Bevis Frond canon.

What a privilege to start a new record label with an album of such quality. As we're sure most of you will know, Tom was the front man of the legendary US psychedelic/folk band PEARLS BEFORE SWINE. Recording for the ESP label in the 60s, then moving to Reprise, PBS left us a legacy of strange, beautiful music. In the early 70s Tom went solo, recording more albums for Reprise and Blue Thumb. As a schoolkid he came third in a talent show in which fellow schoolboy, Bobby Zimmerman (yes, that Bobby Zimmerman), came fifth! He played gigs with Pink Floyd, Crazy Horse, Patti Smith and many more before calling time in 1976, and becoming a Civil Rights lawyer. Renewed interest in Tom and PBS in the late 90s led to him making some staggeringly good live appearances. Then in 1999 he released his first album for over 25 years. The prophetically titled 'A Journal Of The Plague Year'. Featuring appearances from Damon Krukowski and Naomi Yang (of Galaxie 500 fame) and Masakai Batoh of Japanese band Ghost, came out on the British label Woronzow to great acclaim. This is the first ever reissue of 'Plague Year' and it comes with the original artwork and lyric insert, as a limited vinyl edition of 400 and a CD version of just 200. Tragically, Tom died in 2018 aged 70. It was a joy to count him as a friend. Blue Matter would like to thank Lynn Madison-Rapp & Ade Shaw for their help with making this reissue a reality.

repressed !

After the trilogy of King Sporty & The Ex-tra's EPs in 2018, Emotional Rescue returns to the music of Noel Williams with this first ever single release of his 1976 reggae disco bomb, Safari, backed with a special discomix by Lexx.

Taken from William's debut album, Deep Reggae Roots, it can be considered a culmination of his career to date, from growing up on the streets of Kingston, Jamaica, to his first singles for Studio One and Trojan, his relocation to Miami and the birth of his Konduko label and moves to incorporate the local clubs growing affiliation with funk and disco.

Prescient to the coming wave, Williams enlisted some of Miami's finest in George Perry and Clay Cropper (Chocolate Clay), Ron Smith (KC & The Sunshine Band) and legendary producer Alex Sadkin (Compass Point, Bob Marley, Grace Jones, Talking Heads).

The stand out from the album, Safari, with it's hazy, low slung groove of razor sharp rimshot, guitar licks and funk bass is topped with an incessant chant 'Disco, Safari'. Criminally brief, the choice of Lexx to step in the mix was a simple one. His dubbed rework is perfect, laidback, letting the groove roll and King Sporty's mantra shine.

This mini album was originally published on Semantica Records in 2010 as a extremely limited 100 copy only reference. 12 years later we recover this for the Drivecom’s catalogue and fans of the label. This is a re-press edition with a new mastering and cutting, focused in the audio quality more than trying to get a maximum volume or gain. So this is one of the reasons that the side A cutting is trying to keep the tracks in the outside area of the vinyl in the most possible way, trying to avoid distortions or other artifacts from the inner vinyl curvature.

This 12” contains the same tracks on vinyl as the original edition but a couple of bonuses as a digital download. Those tracks called "Axonal Destruction (1999 Rework)" and "Automatic Reconstruction" were never released.

Note: For the people who purchase a physical copy in the shops, please take a picture of your purchase and share it on social networks, then we’ll send you a special download code.

In the musical ­eld, this reference was introduced with minimal and repetitive mental synth lines, mainly triggered from TB303 sequenced lines as the vertebral spinae, slow and progressive cadence rhythms with a touch of experimental electro and vocoders on board, exception is the ­rst tittle “Ultralink” which gives the name to the reference and it’s also the most club-oriented track in the mini album. About the thematic is all surrounded of such as mental driving musical lines so all the tittles were focused in the neuroscience

Daniele Baldelli presents the first official double vinyl on COSMIC, the historical italian club.

One of the 80's most advanced discotheques in the world that, thanks to the intuition of Baldelli, its main dj, became a palce that, even today, is a source for nspiration for new artist dj and producers

300 units, hand-stamped.

Edition of 200, printed rev board sleeve, hand-stamped centre labels.

Today, Toronto-based producer Sven Lochenhoer releases his quirky two-track ‘It Knows’ EP, out now via Dirtybird.

Since 2017, Sven Lochenhoer has been a consistent character among the flock, popping up on various Dirtybird compilations and sub labels over the years. Diving into the depths of house music, Sven Lochenhoer’s ‘It Knows’ EP is reminiscent of Dirtybird’s 2005 origins. Thoughtfully produced, the EP consists of its edgy, club-centered title track and experimental downtempo companion ‘Rain Check’. Each layered with gentle piano melodies, warm basslines, and wonky vocal effects, Lochenhoer has crafted an intricate duality through this two-track project.

The rising Canadian producer first appeared on the scene six years ago. Since then, Lochenhoer has gone on to release records with such labels as Dirtybird, Trippy Ass Technologies, and Dumb Fat. Through his original productions and Splice sample packs, Sven Lochenhoer continues to earn the favorable regard of artists and aural aficionados alike.

Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines. Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno. Eck Echo records is set to release a mixed bag of original songs and remixes by one of digital cumbia's founding fathers, Peru's Tribilin Sound. Jalea is the affectionate term used by seafood-craving Peruvians for one of the country's signature dishes. In this jalea the menu consists of four original tracks highlighting the artist's career on one side, and four selected remixes by iconic producers from Mexico, Argentina, and Peru. Tribi arrived on the scene as digital cumbia was busy spreading its wings from Buenos Aires, soon to take over Latin America (and later the world), with Lima the next city to catch the bug. Ernesto had been DJ'ing in clubs since the mid-90s, and experimenting with Peruvian cumbia since the mid-00s, but the birth of his alias Tribilin Sound allowed him to go wholesale into his beloved chicha, reinterpreting grooves by classic Peruvian groups like La Pintura Roja, Los Titanes and Chacalón y la Nueva Crema, as well as proving to be a dab hand at a mash-up. Soon, he found himself at the heart of a like-minded community, releasing a debut self-titled album with Peruvian label, Terror Negro, and following it up with Aquí Siempre Bailamos (2014) for pan-Latin collective Sello Regional. Coming from a club background, rhythm has always been central to Ernesto's approach, his adopting of Peruvian styles never deviating from the necessity to get bodies moving, and the remixers here seem to take delight in stretching out his rhythms. Mexico's Plastic Toy Sounds turns "Virgenes del Sol" into a woozy cumbia-dub with bright, shimmering guitar lines; another Mexican, Loris, adds squiggly sawtooth synths to the already irresistible beat of "Sarita", and Chancha Via Circuito offers up an atmospheric take on "Condorcanqui" that sounds like DJ Shadow and Augustus Pablo soundtracking a Peruvian heist while Peruvian thunder-duo Dengue Dengue Dengue reinvent "El Carmen's" Afro-Peruvian festejo groove as ageless ambient techno..

REPRESSED !!

Can you believe it Fall of 2014 marks the 20TH ANNIVERSARY of YOSHITOSHI, the seminal record label founded by Deep Dish in 1994.

To celebrate, we are bringing the classics back, remastered and with new remixes from an amazing group of heavy hitters from all corners of the dance world.

Given that Yoshitoshi's roots are ingrained in house music, it's only fitting to start the re-release campaign with Eddie Amador's classic House Music.

Released in 1997 it went on to become a global phenomena with its hypnotic hook and infectious Not Everyone Understands House Music that has become the preach anthem for generation of house music lovers.

Along with the remastered original the package includes remixes by Uto Karem, Robosonic & Anthony Attalla...

Cyclo Records (The Supermen Lovers, SunTrust, Gemini, JT Donaldson, BRS, Dr Drak, Rednail Kidz...) is proud to present the first single “Take a Pill” by southwest France collective DIS OUI, an original compendium of electro-pop and catchy House beats made for the dance floors and for radios. A progressive but obsessive track driven by old school (rhythm piano) and futuristic sounds on disillusioned male vocals. Check for the stripping Acid version on the B side !

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

Waxwork Records in partnership with Back Lot Music is honored to release NOPE Original Motion Picture Soundtrack by Michael Abels. Oscarr winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope. The film reunites Peele with Oscarr winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer and Oscarr nominee Steven Yeun as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery. NOPE marks Abels' third feature film score with director Jordan Peele, having previously scored Peele's GET OUT and US. The album also features songs from the film, including a new version of Corey Hart's classic "Sunglasses at Night (Jean Jacket Mix)", Dionne Warwick's "Walk on By", The Lost Generation's "This is the Lost Generation", Exuma's "Exuma, the Obeah Man", and a never-before-released gem by a young Jodie Foster, "La Vie C'est Chouette" from the 1977 film MOI, FLEUR BLEUE. "NOPE is my most ambitious score to date," says Abels. "There are elements from the genres of sci-fi, action, horror, and westerns, but always through the tonal palette of Jordan Peele's unique vision. The lines between source music and score are blurred, as a good part of the score seems to be playing at the theme park, which is a key location in the story. The score is at times terrifying, yet also invokes the sense of awe and wonder that the characters feel as they realize what they are seeing. The film eventually becomes a grand adventure, and so the music expands into the larger-than-life scale we expect of a summer blockbuster." He goes on to say, "it was a joy to compose a score that encompassed such a broad range of genres and emotions, and I'm thrilled to have audiences experience all of them through this album." "Michael is one the most exciting composers working today - he has this amazing ability to create new sounds which was important for this film," Jordan Peele says. "He's able to play in the familiar and in the unfamiliar at the same time, so that helps give every film its own character, and he has an incredible mastery of so many different music genres." Abels is known for his genre-defying scores for the Jordan Peele films GET OUT and US, for which Abels won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, and multiple critics' awards. The hip-hop influenced score for US was short-listed for an Academy Awardr and was named "Score of the Decade" by The Wrap. Abels is also co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming and streaming media. Waxwork Records is thrilled to present the official NOPE deluxe double LP soundtrack album. The package comes complete with 180-gram colored vinyl, quality packaging, original artwork by Ethan Mesa, heavyweight gatefold jacket with matte coating, a multi-page 12" x 12" booklet, liner notes, & more!

10" Limited stamped white label – 250 copies,

* Originally surfacing on a white label 12” in the mid-90s, these cuts have been out of circulation for 25 years.
* West of England-based Rhythm-ites recorded their debut album `Intergration’ (Bluurg Records) at Southern Studios. London in 1989, and were regular fixtures on the festival circuit. Although a live band, these tunes were designed for sound system play. With two cuts of `Dub of Independence’ backed with `Paranormal Dubwise’ which borrows the hook from a popular 90’s sci-fi TV show.
* Limited to 300 copies.

LTD PICTURE DISC

ENG This 2016 vinyl edition comes in LP picture disc with Gatefold Jacket, limited to 400 copies. Originally formed in Sweden in 1996, The Haunted have been playing around with metal and hardcore for the last 20 years, pleasing fans from both genres and becoming one of the most prominent bands both live and in studio. Revolver was the fourth studio album from 2004, giving shape once again to an agresssive riff machinery at high engine speeds.

High Roller Records, COMMEMORATIVE EDITION, 40 YEARS OF UNLIMITED THRASH 1982–2022, picture vinyl, ltd 500, individually numbered, 425gsm heavy cardboard cover, insert, printed inner sleeve, poster, A5 photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 sound

High Roller Records, COMMEMORATIVE EDITION, 40 YEARS OF UNLIMITED THRASH 1982–2022, picture vinyl, ltd 500, individually numbered, 425gsm heavy cardboard cover, insert, printed inner sleeve, 2 x (!!!) poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 sound

High Roller Records, COMMEMORATIVE EDITION, 40 YEARS OF UNLIMITED THRASH 1982–2022, picture vinyl, ltd 500, individually numbered, 425gsm heavy cardboard cover, insert, printed inner sleeve, 2 posters, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1985 sound

High Roller Records, COMMEMORATIVE EDITION, 40 YEARS OF UNLIMITED THRASH 1982–2022, picture vinyl, ltd 500, individually numbered, 425gsm heavy cardboard cover, printed inner sleeve, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1986 sound

High Roller Records, COMMEMORATIVE EDITION, 40 YEARS OF UNLIMITED THRASH 1982–2022, picture vinyl, ltd 500, individually numbered, 425gsm heavy cardboard cover, printed inner sleeve, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1987 sound

High Roller Records, COMMEMORATIVE EDITION, 40 YEARS OF UNLIMITED THRASH 1982–2022, picture vinyl, ltd 500, individually numbered, 425gsm heavy cardboard cover, printed inner sleeve, insert, poster, A5 promo photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1987 sound

High Roller Records, COMMEMORATIVE EDITION, 40 YEARS OF UNLIMITED THRASH 1982–2022, picture vinyl, ltd 500, individually numbered, gatefold cover, poster, picture vinyl bonus 7", A5 photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1989 sound

Reshape contains musical interpretations by Alva Noto, ASC, bvdub, Warmth, Markus Guentner, Simone Giudice, zakè and Glos. the works are related to original pieces from Joachim Spieth's past creative phase and thus form a musical conclusion to the 15th label anniversary of Affin.

* `Got to be Conscious’ was a massive underground hit back in 2002 and is well worthy of a reissue presented here by Partial Records.
* Backed with `Long Way to Go’, both tracks were featured on King General’s 2009 CD set `Broke Again’ (just released on vinyl for the first time - PRTLP018 – minus these two tracks)
* Mixed and produced in fine style by The Bush Chemists.
* Featuring 3 previously unreleased mixes, including the original cuts, with two additional dub mixes following each vocal.

Wir präsentieren 'Prelude To Obscurity', einen ungeschliffenen Edelstein des brutalen Underground Death Metal, der nach 25 Jahren endlich ausgegraben wurde! Embalm stammen aus Wisconsin und gründeten sich 1995 während ihrer Highschool-Zeit - in der Ära von Ablated Records, Frozen Dawn CD-Compilations und IllNoiz Death Fest, um nur einige zu nennen.

Embalm schufen wahrhaft denkwürdige Grooves aus mittelschnellem, eingängigem und verdammt brutalem Midwest Death Metal, der auch die üblichen Einflüsse des schwedischen Death Metal und sogar einen Hauch von Harmonie im Stil von Dissection enthielt, was dieses Demo von jeder erzwungenen Retro-Nostalgie abhebt.

Obwohl Embalm nie internationale Bekanntheit erlangten, waren sie Teil eines größeren Netzwerks und konnten sich im Vorprogramm von Bands wie Rotted, Internal Bleeding und Incantation behaupten. Während sich diese Sammlung auf das Meisterwerk und tragische letzte Demo mit dem treffenden Titel "Prelude to Obscurity" konzentriert, werden Sicko-Freaks auch mit dem buchstäblich unmöglich zu beschaffenden ersten "Demo '95" verwöhnt, das die bösartigsten und düstersten Keller-Nekro-Aufnahmen bietet, die - obwohl primitiv und grausam - immer noch eine minimalistische Erinnerung an die wahre Underground-Demo-Kassettenkultur bewahren. Ebenfalls enthalten sind die beiden letzten Live-Tracks, die es leider nie ins Studio geschafft haben. Sie wurden nach "Prelude..." geschrieben und zeigen das wahnsinnige Genie der Band: für Dunkelheit, Slam und gequälte Leads.

Die Sammlung wurde von Arthur Rizk sorgfältig von den originalen DAT- und Kassettenbändern neu gemastert und enthält ein umfangreiches Zeitkapsel-Booklet mit Flyern, Ephemera, Zine-Rezensionen und Live-Fotos aus den vergangenen glorreichen Tagen des TRUE Brutal Death Metal! Ein Wegweiser für jede neue Band, die einen Einblick in das bewährte "brutale Zeug" sucht. Eine erstmalige Co-Veröffentlichung zwischen zwei modernen Underground-Titanen, 20 Buck Spin und Hospital Productions.

Blood Red Vinyl

Wir präsentieren 'Prelude To Obscurity', einen ungeschliffenen Edelstein des brutalen Underground Death Metal, der nach 25 Jahren endlich ausgegraben wurde! Embalm stammen aus Wisconsin und gründeten sich 1995 während ihrer Highschool-Zeit - in der Ära von Ablated Records, Frozen Dawn CD-Compilations und IllNoiz Death Fest, um nur einige zu nennen.

Embalm schufen wahrhaft denkwürdige Grooves aus mittelschnellem, eingängigem und verdammt brutalem Midwest Death Metal, der auch die üblichen Einflüsse des schwedischen Death Metal und sogar einen Hauch von Harmonie im Stil von Dissection enthielt, was dieses Demo von jeder erzwungenen Retro-Nostalgie abhebt.

Obwohl Embalm nie internationale Bekanntheit erlangten, waren sie Teil eines größeren Netzwerks und konnten sich im Vorprogramm von Bands wie Rotted, Internal Bleeding und Incantation behaupten. Während sich diese Sammlung auf das Meisterwerk und tragische letzte Demo mit dem treffenden Titel "Prelude to Obscurity" konzentriert, werden Sicko-Freaks auch mit dem buchstäblich unmöglich zu beschaffenden ersten "Demo '95" verwöhnt, das die bösartigsten und düstersten Keller-Nekro-Aufnahmen bietet, die - obwohl primitiv und grausam - immer noch eine minimalistische Erinnerung an die wahre Underground-Demo-Kassettenkultur bewahren. Ebenfalls enthalten sind die beiden letzten Live-Tracks, die es leider nie ins Studio geschafft haben. Sie wurden nach "Prelude..." geschrieben und zeigen das wahnsinnige Genie der Band: für Dunkelheit, Slam und gequälte Leads.

Die Sammlung wurde von Arthur Rizk sorgfältig von den originalen DAT- und Kassettenbändern neu gemastert und enthält ein umfangreiches Zeitkapsel-Booklet mit Flyern, Ephemera, Zine-Rezensionen und Live-Fotos aus den vergangenen glorreichen Tagen des TRUE Brutal Death Metal! Ein Wegweiser für jede neue Band, die einen Einblick in das bewährte "brutale Zeug" sucht. Eine erstmalige Co-Veröffentlichung zwischen zwei modernen Underground-Titanen, 20 Buck Spin und Hospital Productions.

ENZYME RECORDS drops the start of a new line of vinyl. The Enzyme Records Anthology series!



A fresh blend of classics and never before on vinyl released tracks. All tracks are remastered exclusively for vinyl from their original source, sounding bigger, wider and more detailed. This is a limited run and will not be repressed.



! These remasters will only be available on vinyl !

LTD. CLEAR PINK VINYL

Barely disco and hardly jazz, Rupa Biswas’ music the halfway point between Bollywood and Balearic. Tracked in 1982 at Calgary’s Living Room Studios with a crack team of Indian and Canadian studio rats alike, both “Moja Bhari Moja” and “East West Shuffle” are the perfect fusion sarod and synthesizer. Remastered from original analogue source material and with permission and blessing of the producers and performers.

Light Became Light is the debut album from Puppies in the Sun, a project composed of Alberto Cendra (synthesizers) and Cristóbal Pereira (drums), both originally from Peru and currently based in Rotterdam. Friends since childhood, they crossed paths again in Barcelona by sheer coincidence. This spontaneous pulse is also what dictated the beginnings of the project's characteristic sound: lengthy improvisational and sound exploratory sessions which are summed up in the project's first two EP's (Unheard EP and The Church of Puppies in the Sun, 2018). Like other well-known duos, Puppies in the Sun maximizes their compact instrumentation to establish themselves as a (noise) rock band without the presence of guitars or bass guitars. Far from being a limitation, this has provided them with great freedom. The lower end of the album's soundscape is triggered on Cendra's synthesizer scheme by Pereira's drums. This being one of the characteristics that emerge from the organic, minimal and spontaneous style of the band. As if it was a rocket, Light Became Light takes off in search of a sound and a space that pays tribute to cosmic rock and synthesizer music without leaving the melodic rawness of noise rock or even black metal behind. Some might also perceive an atmosphere that owes its existence to techno parties and a slight wink towards folk imagery. If there is anything that makes their sound iconic is the call for constructing wild and festive ambiances, state of trance and agitation. Light Became Light was recorded and mixed by Oscar Moreno at El Purgatorio (Madrid, Spain). In the middle of an intense heat wave, Puppies in the Sun locked themselves through the course of two weeks to record and process various analog and digital synthesizers, pianos, drums and vocals, to later mix Light Became Light in a classic analog console. Light Became Light is being published by Buh Records on 12" Vinyl in a limited edition of 300 copies. The artwork was done by the band itself and designed by Fernanda Binvignat.

Ayahuasca: Music for Film, by Luis David Aguilar (1978-1983) compiles works by Luis David Aguilar, one of the most prolific composers of film scores in Peru. It shows the great versatility and avant-garde style that has distinguished his work. Luis David Aguilar (Arequipa, 1950) occupies a fundamental place in the history of film music in Peru, not only because of the prolific nature of his work (which also includes music for television and advertising), but because of the singular, experimental style found in many of his scores. Aguilar's music blends modern academic composition with the use of native instruments, synthesizers, sound collages and a diversity of resources, which identify him as a key figure to understand a period of Peruvian music marked by the imprint of the avant-garde and the use of native sounds, which developed during the late 70's and the early 80's. Aguilar belongs to the so called "Generation of the 70's", along with Peruvian composers such as Walter Casas, Seiji Asato and Aurelio Tello, who were then immersed in the languages of contemporary classical music. But he also shares the spirit of renewal of a generation of musicians who came from the world of jazz and electronic experimentation such as Manongo Mujica and Arturo Ruiz del Pozo. Ayahuasca is an album that collects pieces from 1978 to 1983 and offers an overview of the different musical paths that Aguilar followed during his career as a soundtrack composer. The album opens with music from the film El viento del ayahuasca The Wind of Ayahuasca (1983), by director Nora de Izcue, performed by the National Symphony Orchestra and Choir of Cuba under the baton of Luis David Aguilar, with Chucho Valdés on piano. Recorded at the ICAIC studios (Cuba), it is an ambitious orchestral and vocal composition, in which you can hear the beginning of the famous melody of "Mujer Hilandera" [Female Weaver], popularized by the Amazonian cumbia group Juaneco y su Combo, which serves as an introduction to the sound world of the jungle, a dense and hypnotic atmosphere that, without a doubt, places this work as one of the most important compositions of the author's repertoire. The next track is the music for the documentary Anónimo cotidiano [Anonymous Everyday] (1979), by director Jorge Rey, a unique experimental piece for synthesizers (played by Aguilar), drums and percussion (played by Manongo Mujica), with the addition of various Andean instruments (panpipes, charango, among others). It is a clear example of fusion of sound experimentation and timbres from the Andean world. And finally Los constructores [The Builders] (1978), by director José Carlos Huayhuaca, a salsa which incorporates unusual sounds of tubular bells and prepared pianos. Ayahuasca: Music for Film by Luis David Aguilar (1978-1983) is the second album by Aguilar released by Buh Records, following the celebrated Hombres de Viento/Venas de la Tierra (1978-1982), appeared in 2015. The album is published in vinyl format, in a limited edition of 300 copies, as part of the Essentials Sounds collection. It includes a booklet with notes by Luis David Aguilar. The audio has been remastered from the original reel tapes by Aldo Montalvo. The artwork and design is by About Studio.

We are very proud to present you the third release on Schatzimusik with the reissue of the much sought after I.B.M. – Computer Love 12″ inch and an unreleased track and a remix. For this release we have teamed up with none other than Dario di Pace & Raffelle Arcella from Naples, better known as Mystic Jungle and Whodamanny. The two have done numerous remixes for very well-known Italo-Disco songs. For this remix, they have delivered a brilliant reinterpretation of Computer Love. Rhythmic, driving, funky and playful, they put Computer Love in a new light. The release is rounded off with the previously unknown track “Metropolis” and the long version of “Computer Love”. A little background info on the original vinyl. Thomas Waver & Rudi Raders the two originators of the group I.B.M. emigrated to Alicante (Spain) in the 80s. They stored the records of Computer Love in the attic of Thomas’ aunt. Unfortunately, she died, and the attic was dissolved along with the records. So, the original vinyl is unfortunately a rarely seen item.

Originally premiered in its earliest state at Tate Britain by William Bennett and Mary DeBlois in 2010, the SIXTEEN WAYS OUT magnum opus reflects over a decade's work of compositional refinement and elaborate studio expansion, and is the first Cut Hands release since 2014's highly-acclaimed FESTIVAL OF THE DEAD on the Blackest Ever Black label. The end result is a mystical showcase of musical esoterica, its seventeen tracks fusing the most arcane elements of subliminal extralinguistics, avant-garde transformational hypnosis, and dark self-help secrets. You will never hear anything quite like it. Available on 180gm vinyl and CD. CD version includes beautiful 12page booklet with expanded texts.

Landmarks and milestones are always memorable, but the 50th EP release on FUSE feels that little bit more special as head honcho Enzo Siragusa steps up to the mark and returns for the second time this year. Having launched the label in 2011 with his now iconic ‘The Sagamore’ EP, the renowned selector and producer has grown and shaped the FUSE from a Sunday after-hours to one of the most notable names within house and techno worldwide - anchoring the label at the heart of its identity and bringing its trademark sound to an international audience. Following material from original residents Rich NxT, Rossko, Seb Zito and Archie Hamilton through to regular guests and close friends such as Guti, East End Dubs, Michael James and Fabe, October sees Siragusa showcase both his and FUSE’s evolution over the past decade as he uncovers two bustling productions across his ‘Dreamscape’ EP.

A production oozing with his signature sound, yet introducing fresh subtleties in amongst the track’s snaking groove and hypnotic melodies, ‘Dreamscape’ welcomes a title cut full of energy as the FUSE boss picks up right where he left off to provide yet more heavily requested material on home turf. On the flip, ‘Bean That Talks’ sees Siragusa get playful while maintaining the vigour of his bustling live sets, combining chunky low-ends with skippy percussion and rich pads to showcase precisely why he and FUSE continue to flourish as leaders of a sound that they can truly call their own.

Outernational Live from Studio Two Abbey Road" is a unique live LP featuring new stars of UK jazz recorded at the world-famous Abbey Road Studios during the winter lockdown of 2021.

Tracks were originally laid down for a covid-friendly filmed show hosted by the South by Southwest (SXSW) music festival in March of that year following a run of ground-breaking live showcases at the Austin event since 2017.

Featuring UK rising jazz stars Doom Cannon, Camilla George, Richard Spaven, Theon Cross, Noya Rao, Daniel Casimir and Tess Hirst, this will be a VINYL ONLY release - limited to 500 copies.

Previous acts from these internationally celebrated showcases include Shabaka Hutchings, Nubya Garcia and Moses Boyd with this special-edition LP highlighting the best of the next wave.

Theon Cross stated, "The JRF/BU Outernational showcase for SXSW filmed and recorded at Abbey Road in Feb 2021 was a very special one. It was one of the first times since the start of the pandemic that we were able to play together and make music for an audience despite them not being in the room. We really hit our stride with Panda Village a track from my album FYAH channeling all the joy and emotion of this cathartic moment."

Jazz Re:freshed also confirmed they will be returning to SXSW in 2023 for another landmark showcase, with further details to follow.creditsreleased September 2, 2022

Recorded in February 2021 in Studio Two, Abbey Road Studios, London.
Produced by Jazz re:freshed and British Underground.
Engineered by John Barrett
Mixed/Mastered by Mark Lewis
Photography Miles Myerscough-Harris
Cover Art by Luke Drozd

2022 Repress

14 years since it was originally released on Rephlex Records, Dopplereffekt's Calabi Yau Space (2007) finally gets a reissue on vinyl thanks to WeMe Records (following on their amazing reissue of Linear Accelerator). This album sees Dopplereffekt move even further out into their very own exploratory realm, where music and quantum physics meet. Eight tracks that when first released seemed challenging but with repeated exposure a strange almost supernatural event occurred as these new sounds and patterns gradually revealed a beauty and even simplicity about them. This is a brave album, epic in vision. An essential record for all fans of Techno in the sense that the term was originally intended.

Needwant Records arrive with the latest in their ever-evolving roster showcasing the sounds of underground city life, proudly presenting label newcomer NATE08's kaleidoscopic debut LP, 'Furaha'.

London-based label Needwant Records have been tirelessly advancing dance music's esoteric fringes for well over a decade, with their immaculately curated catalogue routinely moving dancers and garnering respect and plays from the industry's most revered tastemakers. Here, the newest recruit to the label's glittering line-up, Mumbai-based musician, producer, and DJ, NATE08 brings forth his breathtaking inaugural album.

Equally adept as a producer, session bass player, and genre-spanning selector, Nathan Thomas has become an irrepressible force in India’s blossoming underground music scene. The Mumbai-based musician’s solo project, NATE08, treads the groove-oriented territories of funk, r&b, and house – with his elegantly spun productions firmly rooted in dance music's glorious heritage while imbued with a future-facing production gloss.

Title track 'Furaha' blissfully sets the tone for what's to follow, with dextrous Latin guitar gliding over intricate percussive waves as heavenly chords fill the sun-kissed panorama. Upping the energy just a touch, Azamaan Hoyvoy's honeyed vocal enlivens the summer haze of 'Trigger Fool', arriving over evocative chords and laser tight four/four rhythms to create a stunning slice of low-slung future house deepness.

The funk-flecked bump of 'Bunker' sees Nathan's bass mastery arrive in full force, with spirited slaps propelling misty chords and sublime guitar licks across a loose-limbed beat. Continuing the horizontal sensations, the captivating chord progressions of 'Hold Up' soar over thick, rolling bass notes and shimmering synth swells.

Lead single 'Sunrise Sundown' is a stunning example of NATE08's organically spun deep house prowess, with Jitwam's soul-drenched vocals cascading over succulent chords and dancing synth melodies as smokey beats and pulsating bass cement the heads-down groove. Next, hypnotic fusion guitar refrains soar over lively percussion and gentle pads for a life-affirming Balearic voyage, maintaining the carefree spirit while enlivening the senses as the arrangement heads for the horizon.

The 'Let's Go To Ibar' interlude makes way for the mesmerising deep house flex of 'Want You', where Megan Murray's yearning vocal provides the seductive hook as acidic bass notes bounce over glistening chords and propulsive beats. A prime example of NATE08's futurist intentions arrives in the form of r&b-meets-house hybrid 'Feel It', with Lojal's striking performance flitting between searing soul and street-ready swagger powers over an intoxicating, organ-infused bed.

The forward-thinking two-step rhythm of 'Cold Muse' sees broken drums drive emotion-heavy chords and bewitching guitar licks over sensual bass, before closing track 'Primrose' sees the album home with a fitting flourish. Here, Naisha's heartfelt vocals sail across an ocean of glassy chords and staccato synths, with kinetically charged congas enlivening the groove as the magnetic bass adds body to the celestial instrumentation.

Rui Fradinho has been DJing and record collecting since the age of 15, having played drums and keyboards on several different projects and starting his electronic music production journey in 2001, when he made his first ever original track – A Bright Future (release number 1 on the label).

Lover of music of all sorts, Rui’s musical base stems across different genres, including House, Drum N Bass, Hip Hop, Footwork, Bass Music, having more recently nurtured a deeper devoted passion for all things Jazz, Fusion and Broken Beat / Nu Jazz.
There are undeniable major influences from Jazz, Soul, Funk, Latin, African, Brazilian and Global music on his productions and Rui has released remixes for several artists on several labels such as Str4ta for Colin Curtis Presents, Nimbus Sextet for Acid Jazz, Luiz Gabriel Lopes for Da Lata Music, Momenta for Lazy Robot Records, Various artists for MJDC – Modern Jazz Dance Classics, David Borsu for Broadcite, Makala for Orrua Diskak and Ray Lugo for Ammonite Records.

Highlights of his DJ career include a 6 year residency at Sociedade Anonima club in Portugal, then Bicaense Café and Lux Club in Lisboa. Earlier in 2017, he did a stint on London’s Back2BackFM, playing at Dalston’s Club Makossa, the BBE Store in East London, closing the Chill Out Gardens stage in Portugal’s Boom Festival 2018, DJ’ed at Gilles Paterson’s first edition of We Out Here festival, currently guests at Birmingham’s Bruk Up Broken Beat night and opened the Portuguese festival LisbOn - Jardim Sonoro in 2022.

Scratch The Super Ape is the 1976 studio album by Lee Perry’s studio band The Upsetters. The lineup consisted of Boris Gardener on bass, Mikey Benbow on drums, Earl Smith on guitar, Keith Sterling on keys and the horn quartet Bobby Ellis, Dirty Harry, Herman Marquis, and Vin Gordon. The album is recorded at Lee Perry’s studio and is both composed and produced by him.

This edition of Scratch The Super Ape features the original Jamaican album cover and is available as a limited edition of 2000 individually numbered copies on orange coloured vinyl.