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feat. Banda Maje

Four Flies is thrilled to present a fresh little gem of a 7 inch where the Salifornian funk collective Banda Maje put their spin on "Wait For Me", a disco-funk track by Canadian multi-instrumentalist Franky Selector originally released in his album Never Better – which last spring was fully reinterpreted by a number of Italian artists, including Banda Maje, in the digital album Italians do it (Never) Better.

The full, vocal version of the re-edit, on side A, sees Franky Selector himself sing in perfect Neapolitan amidst irresistible backing vocals, while the instrumental version is provided on side B.

Both versions brim with joy, funk, and Salifornian energy, bringing Italy and Canada closer than ever. Infectious groove has no boundaries.

We have the honour to welcome the Belgian duo PTTRN. Curators at the Onraad nights in Antwerp and part of the Float Records Family. PTTRN Follow up strong releases on labels like Token, MindTrip, Float, and Illegal Alien.

PTTRN drop their EP, The Perpetual Motion Process. Containing five original tracks. PTTRN serve up a neat package of rolling contemporary Techno - Dynamic and broad in terms of tone.

We are pleased to have them on the label.

First time reissue of one of the essential and most sought-after Venezuelan rock albums, originally released in 1970, along the lines of what other artists such as Santana or El Chicano were doing from the United States in those same years. Grupo Pan was led by Carlos "Nené" Quintero, former member of Los Dementes, Ray Pérez's group, and through this record he aims to retain the rhythmic strength and brass arrangements typical of salsa, but also explore other sounds based on powerful guitars. This reissue includes original artwork, liner notes and exclusive photos. 180g vinyl Grupo Pan was formed in 1970 in the popular Caracas neighborhood of Marín at the initiative of Carlos "Nené" Quintero together with his brother Jesús "Chú" Quintero. His experience as a professional musician as part of Los Dementes, Ray Pérez's group, would allow him to retain the rhythmic strength and brass arrangements typical of salsa, but also explore other sounds based on powerful guitars. The band would be completed with Alfredo Padilla (percussion), David Azuaje and Carlos Guerra (trombones), Henry Camba (trumpet) and Rubén "Micho" Correa (electric guitar), already with a solid reputation as a guitarist after years playing in rock bands. Nené Quintero would resume contact with his acquaintance Mario Tepedino, at that time artistic director of 2001 Juvenil, a Venezuelan tv show focused on the promotion of young musical values, who would offer them to appear on said program. Through the popularity provided by their frequent television appearances, they were offered the opportunity to record an album. In December 1970 their first and only LP would release, recorded at the Fidelis studios in Caracas and produced by Mario Tepedino. It was published by Souvenir, a label responsible for the release of many other essential Venezuelan rock albums, such as the highly sought-after records by The Love Depression or Ladies W.C. "Pan" successes in overcoming through its grooves the eternal rivalry between the followers of the hard rock sounds and those who, on the contrary, were devotees of salsa. All the songs on the album are written by "Nené" Quintero himself and remain as fundamental milestones in the history of Venezuelan rock. The album would contribute to the birth of a new paradigm of Latin rock, along the lines of what other artists such as Santana or El Chicano were doing from the United States in those same years. After this Souvenir release, the band would also record two singles on another label called Promus. Grupo Pan would remain active until 1973 when the band members would follow different paths. "Pan", their only LP, has become one of the essential and most sought-after Venezuelan albums, and we are pleased to now be able to present the first-time reissue, including liner notes and exclusive photos.

Tracks for astral projection. Levon creates his own tonality using his original pitch designs to take the listener to a place that did not yet exist, whilst maintaining priority dance floor focus. The Niresa tracks are using such unique musical intervals that every listener can decide where the music is taking them, and there is no wrong answer. Levon says, "These are tracks for astral planing. The beauty of creating your own tonal dialog each time you work is that you can literally take the listener somewhere new and un-discovered with each new release

The final sixer from ‘Watergate 28’ LP mixed by Biesmans inside 3 months, a testament to his talent and
intense focus. Featuring collabs with Mathew Jonson, Mala Ika, TomTheBomb, Johannes Albert, Kid Simius
and another solo cut from the Belgian producer’s 17 original tracks for W28, arguably the label’s most
ambitious to date. And this EP’s a banger.

WRWTFWW Records is so happy to announce Poly-Time Soundscapes / Forest Of The Shrine, a brand new release by Japanese producer Taro Nohara (Yakenohara). 8 tracks of pure environmental ambient bliss available on LP housed in a heavy 350gsm sleeve with an artwork from the artist himself.

Based in Tokyo, Taro Nohara is a producer, beatmaker, DJ, and music activist who made a mark with his electronic / ambient unit Unknown Me ( (of Not Not Fun Records fame). His new solo project, Poly-Time Soundscapes / Forest Of The Shrine, is a unique and modern take on Japanese environmental music, a free floating re-interpretation of the sub-genre made famous by Midori Takada, Hiroshi Yoshimura, or Satoshi Ashikawa (and more!) fused with subtle nuances of various origins: downtempo, hip hop, sound design, chill-out, experimental.

Conceived as a two-part adventure of contemplative peace, Taro Nohara’s organic soundscape takes you on a mind-soothing walk through time (or memories) and the beautiful mysteries of luscious forests - don’t resist, let yourself go, explore!

High Roller Records, black vinyl, ltd 200, 425gsm heavy cardboard cover, insert, printed inner sleeve, 2 posters, A5 photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 sound

High Roller Records, black vinyl, ltd 200, 425gsm heavy cardboard cover, insert, printed inner sleeve, 2 posters, A5 photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 sound

Advanced Myth is the lucid debut album from Dialect, the long standing project of British composer, multi-instrumentalist, and field recordist Andrew PM Hunt. An enchanted exploration of unusual source synthesis, electro-acoustic arrangements, and sound found in foreign environments, Advanced Myth is its own cosmos expanding and contracting in real time. Although a largely meditative listen, it oscillates between moments of shimmering lucidity and corrosive washes of noise. Originally released digitally by tasty morsels in 2015, Advanced Myth has been newly mastered by Stephan Mathieu from definitive mixes, and is available for the first time on vinyl. Since his debut, Hunt has built a broad oeuvre with a quiet confidence across several albums, including Gowanus Drifts (2015), Loose Blooms (2017), and Under ~ Between (2021), his debut for RVNG Intl., and its companion piece, Keep Goingü... Under. For Fans of Laurie Spiegel, Visible Cloaks, Oneohtrix Point Never, Catarina Barbieri, Clare Rousay.

White Vinyl

feat. Tenor Youthman

Deep and minimal Dub vibes from Frenk Dublin accompanied by a conscious, anti-war lyric from Tenor Youthman.

B side featuring a remix from none other than the mighty Om Unit. Pressed on a Solid White 12" Vinyl.

High Roller Records, 2nd pressing, black vinyl, ltd 250, 425gsm heavy cardboard cover, 4 page insert printed on uncoated paper, A5 photo card, poster, Original transfer by Marcus Mossmann at PHONOGRAPHIC ARTIFACTS. Audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in November 2020. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile reissue of this eternal US Metal classic!

High Roller Records, 2nd pressing, black vinyl, ltd 250, 425gsm heavy cardboard cover, 4 page insert printed on uncoated paper, A5 photo card, poster, Original transfer by Marcus Mossmann at PHONOGRAPHIC ARTIFACTS. Audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in November 2020. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile reissue of this eternal US Metal classic!

"De Oproeping Van Middeleeuwse Duisternis" vereint zwei frühe Veröffentlichungen der Ein-Frau-Black-Metal-Band Hulder. Die ersten fünf Tracks der Scheibe enthalten die "Rehearsal 8/13/18 Tape" Veröffentlichung, die ein Intro und gekürzte Rehearsal-Versionen der frühen Demotracks enthält, die in ihrer spontanen Härte und dem Tempo einer Live-Aufnahme ähneln. Ein Celtic Frost-Cover steht hier sinnbildlich für einen der Haupteinflüsse Hulders.

Bei den Tracks 6-8 handelt es sich um die Original-Demotracks von "Ascending The Raven Stone", der ersten Veröffentlichung von Hulder, die sofort den eisigen, traditionellen Black Metal-Stil ihrer Vorbilder aus der skandinavischen und französischen Szene der 1990er Jahre aufgreift. Ein bereits jetzt schon ausgeprägtes Gespür für Songwriting und Atmosphäre deutet auf eine im positiven Sinne düstere Zukunft des Projektes hin.

Dies sind die ersten Schritte eines Projekts, welches sich schon bald zu einer weiterentwickelten, aber nicht minder faszinierenden Form auf dem Hulder Debütalbum präsentieren sollte.

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music. One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record. Officially reissued for the first time. By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record "Olvídate" set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968. In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company's name was included in the title of the record. For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix "El maravilloso mundo de Ingeson", It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding_ Although it's often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism. Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels' verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations. Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure_ "El maravilloso mundo de Ingesón" is one of the most brilliantly whacked-out psych LPs to emerge from South America.

This is a remastered reissue of Jesse Malin’s third album, Glitter in the Gutter, originally released in 2007 on Green Day’s Adeline Records. The album has been unavailable for years, and has never appeared digitally until now. The album features Bruce Springsteen, Ryan Adams, Jakob Dylan, and more on various tracks. It also includes a bonus track, ‘The Angel To The Slave,’ which has never been released. In the words of Jesse Malin, “I am really happy to have it out there in the world again.”

REISSUE

2004 saw the release of Monster Magnet’s sixth studio album Monolithic Baby, the follow-up to 2000’s “God Says No”, which cemented the Red Bank, NJ rockers in the world of space rock and roll. This 14-track journey of masterful hard rock features 11 ripping originals and three cover songs recorded in true classic Magnet style, including covers of The Velvet Underground, David Gilmour and Robert Calvert. Monolithic Baby is being reissued on August 19th via Napalm Records on orange vinyl with white and black splatter, as well as in a limited glow in the dark vinyl variant! Don’t miss the album Ultimate Classic Rock calls “a revitalized, fire-breathing Monster Magnet” and All Music calls “another collection of undeniably Wyndorfian tunes.”

Master’s second album recorded by Scott Burns at Morrissound Studios! Classic 1990’s Death Metal! One of the problems with looking back on a musical genre from a perspective years or decades removed from the core of the movement itself is that subsequent developments tend to obscure both a genres origins and threads within a tradition that died out without offspring. As a result, interesting and deserving albums often get lost in the shuffle as reviewers reflect on those albums most “influential” upon later achievements. Death metal pioneers Master are among those who have been shortchanged as a result of that phenomenon, and their 1990 masterpiece “On the Seventh Day, God Created... Master” remains a fascinating exploration both of the genre’s roots and of spaces it might have occupied had different paths been taken. There are a couple of things that leap out immediately to even the casual listener. The first is the seeming primitivism of the music, with songs consisting of relatively brief, bludgeoning pieces driven by relentless rhythms, cyclic riffs and simple melodic hooks. The second is the realization that someone is playing some seriously insane, brilliantly constructed leads. In this case, that someone is Paul Masvidal, far exceeding anything he ever achieved with Cynic. Beneath the surface simplicity, lies a creative spirit that at once recalls the primal birth of death metal (which Master was both present for and very much a driving force behind) and points the way to what the genre might have become. Very apparent are the genre’s hardcore roots, Master here eschewing the Slayer-derived technical architecture that came to dominate most “modern” death metal in favor of structures that would not have been out of place on Discharge’s landmark “Hear Nothing See Nothing Say Nothing” release (there are even a few appearances of the infamous D-beat). Within the unrelenting storm of brutal repetition, the music’s core meaning is encoded, a sheer primal rage dripping from thunderous cycles of power chords and the open throated roar (again the hardcore influence) of vocalist and chief songwriter Paul Speckman.

Greet Death is a four piece shoegaze band from Flint, Michigan. "New Low" is a new 5 song 12"EP from Greet Death. The first four singles from this session were released digitally over a span of months in 2021 into 2022, leaving the title track exclusive to this final collection. With "New Low" Greet Death continue to explore the layered melancholic atmosphere they are known for while expanding into unconventional melodic territory. Produced by Greet Death Engineered and mixed by J. Kalmink at The Stooge in Zeeland, MI Mastered by Will Yip Music and Lyrics by Logan Gaval and Sam Boyhtari Vocals by Gaval and Boyhtari Drums and Percussion by Jim Versluis Guitars and Bass by Gaval and Boyhtari Piano by Boyhtari Photos by David Beuthin Scythe Logo by Liam Rush Original Band Logo by Brendan Coughlin Design by Jacob Bannon

Clear Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

Violet Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

Das erfolgreichste Duo der Musikgeschichte, Daryl Hall &
John Oates, veröffentlicht sein sechzehntes Studioalbum
"Do It For Love", das erstmals 2003 erschien, nach einer
sechsjährigen Veröffentlichungspause neu. Das Album
wird zum ersten Mal als Doppel-LP und in einem
erweiterten CD-Format mit Bonustracks, die auf dem
Originalalbum nicht enthalten waren, veröffentlicht.

"Do It For Love" gilt als eines der besten Hall &
Oates-Alben, auf dem das Duo seinen
unverwechselbaren, anspruchsvollen und mühelos
unterhaltsamen Blue-Eyed-Soul serviert, der sowohl
langjährige Fans als auch Liebhaber der 80er Jahre
anspricht. Das Album enthält die Singles "Do It For Love",
"Man on a Mission" und "Getaway Car".

‘Was there ever a more perfect film for Glass’s lyrical manner? He refers to his own past, but the way in which the material is treated transforms it inevitably into that eternal present. Such a feeling of fragile beauty is a rare achievement.’ – Gramophone

‘Simple and complex by turn, Glass’s score adds dignity and depth to the movie, and to the tragedies and triumphs, big or small, of ordinary life.’
– Guardian

‘Underpinning the anguish at the heart of The Hours a beautiful score. Glass’s motifs capture the passage of time and the universality of human experience.’ – Classic FM’s Best Soundtracks

Nonesuch releases Philip Glass’s award-winning soundtrack to The Hours on vinyl for the first time to coincide with its 20th anniversary and Glass’ 85th birthday concert season. Originally released in December 2002, Glass’s score to the Academy Award-winning film was itself nominated for an Academy Award, as well as a Golden Globe and a Grammy, and went on to win a BAFTA and a Classical BRIT.

Directed by Stephen Daldry, The Hours is the story of three women searching for more potent, meaningful lives. Based on Michael Cunningham’s 1999 Pulitzer Prize–winning novel, with a screenplay by David Hare, the film interweaves the stories of three women – a book editor in New York (Meryl Streep), a young mother in California (Julianne Moore), and the author Virginia Woolf (Nicole Kidman). Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.

Philip Glass’s score was conducted by Nick Ingman, with Michael Reisman on piano and the Lyric Quartet, and recorded at Abbey Road Studios and Air Studios, London. The score was a key element in this acclaimed triptych of dramatic tales. ‘The inter-cutting of personal stories over a wide span of time,’ said NPR, ‘is held together by a single music approach.’

In his original liner note, Michael Cunningham wrote, ‘Each novel I’ve written has developed a soundtrack of sorts; a body of music that subtly but palpably helped shape the book in question. The one constant since I started trying to write novels, however – my only ongoing act of listening fidelity – has been the work of Philip Glass. I love Glass’s music almost as much as I love Woolf’s Mrs. Dalloway. Glass, like Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends; he insists, as did Woolf, that beauty often resides more squarely in the present than it does in the present’s relationship to past or future. So, when I heard he’d agreed to contribute the music to the film version of The Hours, it seemed both inevitable and too good to be true. I’m not sure if I can offer any higher praise than this: When I saw the movie with the music added, I thought automatically of how I could use the soundtrack, when it came out, to help me finish my next book.’

“This is a movie about art and how art affects life," explains Philip Glass. “The story is very complicated and the music could take on a very important role in the film, as I saw it – to make it viewable, to make it comprehensible, so the stories of the three women in the film didn’t seem separate, that they were tied together. The music had to be the thread that tied the movie together. There’s no question that the emotional point of view is conveyed by the music. Music is the arrow you shoot in the air. Everything follows that.’

Born in Baltimore, Maryland, in 1937, Philip Glass is a graduate of the University of Chicago and the Juilliard School. By 1974, Glass had created a large collection of music for The Philip Glass Ensemble. The period culminated in the landmark opera, Einstein on the Beach. Since Einstein, Glass’s repertoire has grown to include music for opera, dance, theater, orchestra, and film. His scores have received Academy Award nominations (including Kundun and The Hours, both released on Nonesuch, as well as Notes on a Scandal) and a Golden Globe (The Truman Show). Recent works include Glass’s memoir, Words Without Music, Glass’s first Piano Sonata, opera Circus Days and Nights, and Symphony No. 14. Glass received the Praemium Imperiale in 2012, the US National Medal of the Arts from President Barack Obama in 2016, and 41st Kennedy Center Honors in 2018.

Nonesuch’s relationship with Glass began in 1985, with the release of the score for Paul Schrader’s Mishima. In addition to The Hours (2002) and Kundun (1997), over the years other Glass works on Nonesuch have included Einstein on the Beach (1993), Music in Twelve Parts (1996), the soundtracks for Powaqqatsi (1988) and Koyaanisqatsi (1998), Glass Box (2008), and Kronos Quartet’s Performs Philip Glass (1995), amongst others.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

Limited edition reissue of this cassette originally released in 1983 on Broken Flag, gathering five untitled solo
pieces by Gary Mundy of Ramleh in full on early power electronics mode, firmly illustrating his place as one of
the innovators of this genre

The End of the Ocean has joined forces with Post Recordings to offer up a revisited and remastered version of In Excelsis. This one comes on lovely 180 gram coloured vinyl and is limited to 200 copies. It is a classic bit of post-rock that is notable not only for the musicianship, complex songwriting and subtle pop sensibilities in a monist the big walls of fuzzy and textural guitars but also because the band had two female members. The Columbus, Ohio outfit dropped the album originally in June of 2012 but the ensuing decade has done nothing to diminish its charms nor originality,

Both Aesop Rock and Homeboy Sandman are regarded as top tier lyricists known for pushing the envelope of creativity in their writing, while covering a wide range of topics and moods. However, sometimes things are inherently simple. Take for example, the origin of their collaboration, born from a mutual appreciation for each other as artists which became fully realized when Aesop Rock invited Homeboy Sandman to join him on tour in 2015. Traveling the country together, they built a connection beyond the music, resulting in a friendship that led to recording a few songs together, and before they knew it, there was an infestation...Lice.

Initially released in 2015 as a free direct download, followed by an extremely limited vinyl pressing sold exclusively on tour, Aesop Rock and Homeboy Sandman's Lice is finally available to fans everywhere. The first in a series of EP releases, Lice featured production from DJ Spinna, Optiks, Blockhead, Alex "Apex" Gale and Mike Shinoda. The original cover art was designed by renowned illustrator Jeremy Fish.

The Belgian band K’s Choice was founded in 1993 by Sam and Gert Bettens. The second album Paradise In Me became their big international breakthrough, with the featured track “I’m Not An Addict” on top of the charts. After ten successful years, the band decided to take a break and focus on solo projects. The album 10 (1993 > 2003 Ten Years Of) was originally released in 2003 and is a career- spanning collection of their singles and non-album tracks. This 18-track set includes “Everything For Free”, “Believe”, “Virgin State Of Mind” and the essential “I’m Not An Addict”.

10 (1993 > 2003 Ten Years Of) is available on vinyl for the very first time as a limited edition of 1000 individually numbered copies on crystal clear & blue marbled vinyl.

The Chicago group, which features Elijah McLaughlin on 12 and 6 string guitars, Joel Styzens on hammered dulcimer, and Jason Toth on upright bass, blends elements of American primitivism guitar styles, with free jazz and modern classical music together into something daringly original and stunningly beautiful. -Record Crates United. If there was a silver lining to the cloud of uncertainty that was life during the early days of the pandemic, it was that all of the isolation provided a clear break from the entrenched routines of day to day life. This respite allowed me to see in sharp contrast all of the things that were important in my life, and all of the things that were trivial, and thus expendable. It was during this time that I began to write in earnest for this 2nd Elijah McLaughlin Ensemble record. Over the course of a year, I would bring my new compositions to my collaborators (Jason Toth and Joel Styzens), and usually after a very limited number of rehearsals we would enter the studio at the Fine Arts Building in Chicago and record the songs on an old Tascam ½” tape machine. There were four such studio sessions, in which all recorded material was culled down to these 9 songs. We recorded the material with a strong improvisational approach, and a couple of these songs are essentially first takes. I am very proud of the material on this album, and the energy we captured in the studio. I am glad to partner with Tompkins Square in sharing this album with the world.

Limited Blue Sky Colour Vinyl LP Pressing. This release is strictly for Indie Stores Only. First reissue of Love Battery’s 1992 Debut Sub Pop Album. Remastered by Jack Endino from the Original Masters. Includes Liner Notes with photos, lyrics and more. Jackpot Records is proud to announce the upcoming vinyl reissue of the classic 1992 Sub Pop album: LOVE BATTERY “Dayglo”. In the middle of the wonderful sludge that was coming out of Seattle in the late 80s/early 90’s, Love Battery pierced through with something different to offer. They were more psychedelic, more tuneful, and even more...dare we say...British sounding than what Sub Pop was releasing at the time. We were listening. The results are crystal clear on the record Jackpot Records is reissuing, ‘Dayglo’. And like many of the Sub Pop records of the day, this has not been available on vinyl in the U.S. Until now. On 'Dayglo', inventive and underrated guitar wizard Kevin Whitworth and vocalist/guitarist Ron Nine slash and burn through 10 songs that would give bands like Blur, Swervedriver, and yes, Nirvana, a run for their money. It doesn't hurt that the focused driven energy of drummer Jason Finn (soon to be of The Presidents Of The United States) and ex-U-Men bass monster Jim Tillman add more than their weight to the sonic mystery of these songs. From the melodic battle cry of opener 'Out Of Focus' with its slippery, infectious chorus, it's obvious that Love Battery had an incredible knack for hypnotic hooks, cryptic lyrics, and propulsive grooves, ones that record obsessives still drool over when the needle hits the turntable. The record is as mysterious as early R.E.M., with equal hints of 13th Floor Elevators and Screaming Trees sprinkled throughout.

Reviews: “4 ½ stars out of 5 - Dayglo is imbued with a highly energetic style and creative force”. All Music Guide // “Two years later, Oasis made the same record and were called geniuses” SPIN Magazine // Track listing: 1 Out Of Focus 2 Foot 3 Damaged 4 See Your Mind 5 Side (With You) 6 Cool School (Trane Of Thought) 7 Sometimes 8 Blonde 9 Dayglo 10 23 Modern Stories

San Francisco band touches upon black metal, blues, ambient and more. Of all things, it’s laughter that pervades Mamaleek’s Diner Coffee, the San Francisco metal deconstructionists’ sonically crushing ode to the humor found within catastrophe, American diners, and “the little things.” Featuring a mix of live performances, samples, and field recordings, Diner Coffee laughs through its harsh songs in an attempt to reflect the camaraderie found at the heart of global calamities and changing personal situations. It’s an homage to the quotidian set to the backdrop of the mythologized, sanctuary-like properties of a diner, reveling in irony-less nostalgia. Mamaleek embodies this ethos on and off the record. Originally two anonymous brothers, the past few years have seen Mamaleek adding members and venturing into live performance. Diner Coffee, following in the footsteps of 2020’s Come & See, features new, unfamiliar, unknown voices—including expanded experiments with horns, woodwinds, and strings and a Bay Area-local blues harmonica player who improvised recorded selections during practices. The resulting tracks touch on signifiers from black metal, blues, ambient, and more. Diner Coffee simultaneously represents the band’s artistic progression and the state of the world. Taking a surprisingly optimistic perspective, Mamaleek once again puts forward a project of left-field, wholly unique compositions, eluding easy categorization and furthering their abstraction of genre. “The group cloaks its music in the kind of warm, hypnotic distortion that defines shoegaze, and underneath that haze is a style that’s conceptually abrasive yet altogether beautiful.” Forbes //

Tracklist 1 Libations to Sacred Clowns 2 Boiler Room 3 Badtimers 4 Save Your Poor Wicked Soul 5 Grief and a Headhunter's Rage 6 Wharf Rats in the Moonlight 7 Diner Coffee

Grammy-nominated blues, soul and Americana singer is revered
worldwide for her defiant music and fire-breathing performances
' Done Come Too Far' continues Shemekia's riveting, clear-eyed testimony about
our troubled world while celebrating the blessings that keep hope alive. The new
album, available in Clear Vinyl and CD, is again produced by Will Kimbrough, and
an all-star supporting cast includes slide guitar whiz Sonny Landreth, Hill Country
blues great Cedric Burnside and Hi Rhythm Section organist Charles Hodges.
'Done Come Too Far' is another exhilarating Shemekia Copeland showcase, as
her rousing vocals bring the heat in an infectious array of muscular rockers,
stomping blues, swampy soul and heartbreaking ballads. Intense, topical new
originals make up most of the tracks and spirited versions of songs by Ray Wylie
Hubbard and her father, Johnny Copeland, fit right into the mix.
MOJO - September review
BLUES MATTERS - upcoming review
BLUES MATTERS - upcoming feature with interview
BLUES IN BRITAIN - upcoming review
BLUES IN THE SOUTH - upcoming review
BLUES' BLUES - upcoming review
BLUES BYTES - upcoming review

Superdownhome's new record is called Blues Pyromaniacs - It was
recorded in New Orleans in January 2020 and produced by Anders
Osborne
"Then the virus stroke and we, consequently, had too much spare time… and idle
hands are the devil's tools, so we've constantly been working on the tracks for
almost two years. That's the reason why the record is going to be released in two
very different versions: the vinyl edition contains the original US recordings, the
cd/digital version contains four extra tracks. It has been mixed in Italy in a very
different way and the mastering has been made by Brian Lucey (The Black Keys/
Arctic Monkeys/Royal Blood). And, last but not least, there are two very special
guests: Mike Zito on two of the tracks and Bombino on another.

Originally released on April 17, 2012 by US-based label No Quarter,
Golden Embers is now being made available via Doug Paisley and
Outside Music
"Five new songs recorded in Toronto and intended to hold fans over until
September, when Doug Paisley will release the follow- up to 2010's critically
acclaimed Constant Companion. If you slept on that album, then we're sorry, but
use this affordably priced EP as an excuse to acquaint yourself with one of the
finest working songwriters, who Time Out NY called 'the purest voice to come
down the pike in ages.'"

Starter Home was originally released November 2, 2018 on US-based
label, No Quarter
From Pitchfork, at the time: "For a decade, Canadian singer/ songwriter Doug
Paisley has turned quiet, specific moments into inquiries on life's larger struggles.
On his 2010 breakthrough, Constant Companion, Paisley used the inevitability of
endings to explore understanding oneself, the only possible constant companion.
For 2014's Strong Feelings, he mulled death and its uneasy relationship with life,
or how their juxtaposition ripples into every wave of existence. And now, on his
fourth album, Starter Home, Paisley details the chasm that separates what poet
Seamus Heaney described as getting started and getting started again. These
songs examine how the person you are never truly aligns with the person you
want to be, especially when you stumble upon a sticking point that's hard to move
past."

Before New Zealand's Salad Boys, there was T54, also fronted by Joe
Sampson, joined by Matt Scobie on drums and Sam Hood on bass - T54
featured a visceral, sonic guitar sound, perhaps out of step with most of
the Flying Nun bands at the time
Joe describes T54 as being stuck in the wrong era somewhat yet enduring well in
NZ for those who bought the music and saw us live at the time. Originally
released in 2011, Ally is proud to bring you an expanded and remastered limited
vinyl edition of their first ep that also includes several demos and live tracks. Be
prepared to be wowed by this noisy three piece from Christchurch influenced by
classic NZ bands who also have three members (The Clean) or numbers in their
name (The 3Ds) -- like The Clean, The 3Ds, and other NZ greats, T54 will not
disappoint!
Tracks: Birds / Julie K / CR Model / Vehicle / Singer in Mouth / Death Drive / CR
Model / Life Is Swell / O Nina / Fred Gavin / Kill Red / Julie K / Le Snack / Choose
Your Own Ending / Localism / Soon I'll Be Nicking Speed Boats / House Music /
Julie's Last Wish / Nurse Jen / Christian Dale

By 1974, the Alice Cooper group had risen to the upper echelon of rock stardom.. and then, parted ways. In October 2015, over 40 years later, record store owner and superfan Chris Penn convinced the original line- up to reunite for a very special performance at his record store Good Records in Dallas, Texas.

Alice Cooper (vocals), Michael Bruce (guitar), Dennis Dunaway (bass) and Neal Smith (drums) were joined on stage by Alice's current guitarist Ryan Roxie (standing in for the late Glen Buxton). A packed audience, believing they had come to Good Records for Dennis Dunaway's 'Snakes! Guillotines! Electric Chairs!' book signing, were surprised to bear witness to a full-blown happening.

The historic reunion show including all-time classics such as "No More Mr. Nice Guy", "I'm Eighteen" and "School's Out" is now becoming available for the very first time worldwide. Luckily the event was documented. "Live From The Astroturf, Alice Cooper" (edited and directed by Steven Gaddis) toured the world to the acclaim of music fans and rock journalists alike. The documentary won multiple
awards for its coverage of the historic event. Now all Alice Cooper fans and rock music lovers across the globe can enjoy this movie as it's included as a video bonus to this live album.

Limited Edition, Numbered, Curacao coloured Vinyl & DVD.

By 1974, the Alice Cooper group had risen to the upper echelon of rock
stardom..
and then, parted ways. In October 2015, over 40 years later, record store owner
and superfan Chris Penn convinced the original line- up to reunite for a very
special performance at his record store Good Records in Dallas, Texas.
Alice Cooper (vocals), Michael Bruce (guitar), Dennis Dunaway (bass) and Neal
Smith (drums) were joined on stage by Alice's current guitarist Ryan Roxie
(standing in for the late Glen Buxton). A packed audience, believing they had
come to Good Records for Dennis Dunaway's 'Snakes! Guillotines! Electric Chairs!'
book signing, were surprised to bear witness to a full-blown happening.
The historic reunion show including all-time classics such as "No More Mr. Nice
Guy", "I'm Eighteen" and "School's Out" is now becoming available for the very first
time worldwide. Luckily the event was documented. "Live From The Astroturf,
Alice Cooper" (edited and directed by Steven Gaddis) toured the world to the
acclaim of music fans and rock journalists alike. The documentary won multiple
awards for its coverage of the historic event. Now all Alice Cooper fans and rock
music lovers across the globe can enjoy this movie as it's included as a video
bonus to this live album.
Limited Edition, Numbered, Curacao coloured Vinyl & DVD.

Noah & The Whale were one of the leading protagonists of the small but
perfectly formed indie-folk scene of the early days of the 21st Century
Formed in Twickenham, the five-piece, led by vocalist and guitarist Charlie Fink,
originally boasted Laura Marling in their line- up, before she left to begin her
successful solo career.
Supported by a full-length film, The First Days Of Spring, which appeared a year
after the group's debut, is frequently cited as their crowning achievement.
Exploring the break-up between Fink and Marling, the album has none of the first
album's female voices, and is presented as a narrative of a split. NME said, "They
have done a hell of a lot of growing up. An immense album."
This re-issue is pressed onto high quality 180g vinyl.

Noah & The Whale were one of the leading protagonists of the small but
perfectly formed indie-folk scene of the early days of the 21st Century
Formed in Twickenham, the five-piece, led by vocalist and guitarist Charlie Fink,
originally boasted Laura Marling in their line- up, before she left to begin her
successful solo career.
Inspired by sojourns at islands off the Essex coastline and in the South Of France,
Heart Of Nowhere was the group's final album, released in May 2013. The
Observer stated it was "a satisfying blend of youth and experience, at its best
when raw feelings and twenty20- something anxieties chafe against its smooth,
midtempo rock." Its ruminations of the passage of time suggested that the giddy
optimism of Peaceful,The World Lays Me Down was long in the past.
This re-issue faithfully recreates the original 2013 Mercury Records UK release,
including full colour lyric ineer sleeve and double sided map insert, and is pressed
onto high quality 180g vinyl.

Canada's Preoccupations return to the post-punk, post-pandemic world
with Arrangements - Their 4th studio album finds them restoring their
roots with the singular, guitar driven, dissonant yet anthemic washes of
intricate noise that has brought them international acclaim since their
basement beginnings
For lovers of all things Bowie, Branca, Spacemen 3 and MBV, progressive punk,
jangle rock and mangled goth. Arrangements sees Preoccupations finally and
confidently inhabiting the dystopia that they have been carefully creating from
their musical genesis. They are in a room with taped up windows, except for a
tiny pinprick of light beaming from the otherworld onto the far wall, upside down
and blurred, it's recognizable enough to fill you with warm familiarity and
nostalgia of unknown origins.

In celebration of the album's 20th anniversary, Yep Roc Records is
pleased to announce the limited edition release of Caitlin Cary's first fulllength album, While You Weren't Looking for the first time on vinyl
Produced by Chris Stamey and co-written by Cary and Mike Daly, the 2002 record
showcases Cary's powerful, soothing vocals and features Caitlin performing on
violin, creating a wistful and intimate acoustic feel. With only 1,000 copies
available worldwide, this limited edition LP includes the original tracks from While
You Weren't Looking plus 3 bonus tracks - "Trickle of Whiskey," "The Fair (Band
Version)," "Keys to the Fair." Pressed on Frosted Blue color vinyl.

A heady and adventurous experience with ever-shifting elements of jazz,
fuzz guitar, blues rock and psychedelia! Graffiti's origins can be traced
back to 1967 and the dissolution of The Hangmen, a popular Washington
DC area garage rock act well noted for the proto-punk stylings of their
singles € What A Girl Can't Do € and € Faces
€ Singer Tony Taylor, a late addition to the band's lineup, recruited guitarist
George Strunz to the group and soon announced the band would pursue a more
psychedelic direction. It didn't take long for Graffiti to attract label attention, and
by August of 1968 the band signed to ABC Records and released their debut
single, € He's Got The Knack. € In November of 1968 they released their one and
only album.
The juxtaposition between Graffiti's smooth vocal harmonies and their intricate
songwriting is stark. One moment the group is immersed in all of the feel-good
pop songwriting tropes of the era, oftentimes quite reminiscent of acts like The
Association and The Mamas & The Papas. Meanwhile, the next moment sees the
band vamping into extended passages, odd chord sequencing, and off beat time
signatures, highlighted by Strunz's frequent fuzz laced soloing and the energetic
drumming of Richie Blakin. The legacy of Graffiti's self-titled debut was seemingly
hampered by the fact that that it is often lumped in with the plethora of other oneand- done psych releases of the time, an era in which major labels were falling
over one another in an attempt to capitalize on the psychedelic sounds
popularized by the Summer of Love. This is unfortunate because Graffiti's
approach to songwriting and blending together of jazz, classical, and rock
elements are rather groundbreaking, precursors to the arrival of progressive rock -
proto-prog pioneers, if you will.

The Jack Moves debut album was originally released on the Wax Poetics
imprint in 2015 and has been out of print since the initial pressing
The album has become a cult classic that ushered in a new era of modern soul
acts such as Durant Jones and the Indications, The Atons, and Thee Sacred
Souls. Powell lays down a solid groove over horns and wah- wah guitar, and
Desmondes sounds almost like an Off the Wall- era Michael Jackson, with his
swoon- worthy lyrics and pitch- perfect countertenor melodies - Passion of the
Weiss.

It was 1974 when Magma’s fourth studio album Ẁurdah Ïtah came out. Originally, the album was released under the name of Tristan Et Iseult as a solo studio film soundtrack by founding member Christian Vander. He recorded the music for Yvan Lagrange’s 1872 avant-garde film Tristan Et Iseult. The recordings took place only a month prior to the sessions which produced Köhntarkösz. For these recordings for Ẁurdah Ïtah, only a core quartet of Magma members took part, including Christian Vander, Jannick Top, Klaus Blasquiz and Stella Vander providing only drums, bass, piano and vocals. Fifteen years later, in 1989, the album was re-released with Magma’s distinctive logo.

Ẁurdah Ïtah is available as a limited edition of 2000 individually numbered copies on purple coloured vinyl, housed in a gatefold sleeve.

Here Comes Shuggie Otis is the debut album by guitarist and songwriter Shuggie Otis, released when he was only 18 years old. Produced and arranged by his father, Johnny Otis, the set features nine original cuts co-written by the pair. The album is evenly divided between vocal tunes and instrumentals. It was this effort that earned him the title of “child prodigy”. The album stands the test of time, since tracks like “Gospel Groove” and “Funky Thithee” are fan favourites to this day.

Here Comes Shuggie Otis is available as a limited edition of 1500 individually numbered copies on orange & gold marbled vinyl.

(Cargo Collective Title) RIYL: Barker, burger/ink, Andy Stott, Shackleton, Monolake, Jan Jelinek, Perila, Fax. 180gLP in 350gsm jacket + 190gsm inner + DL. CD in custom mini-gatefold paperboard jacket. T. Gowdy has kept up a productive albeit mostly virtual pace since the release of Therapy With Colour (his third full-length album and first for Constellation) which dropped just as things were locking down back in spring 2020: performances at numerous festivals including MUTEK Montréal, Node Festival and NEW NOW; audiovisual pieces exhibited at various European galleries and events; a track and video for Constellation’s Corona Borealis Longplay Singles Series; sound design for the documentary Atalaya by filmmaker Emma Roufs. Gowdy now returns with Miracles, his second full-length for Constellation, which draws on source materials originally performed in 2018 for an unreleased audio/visual project based around surveillance footage—a precursor to video1capped, monitor-based horizons that soon took on new meanings. Re-immersing himself in those recordings, Gowdy disassembles and deploys them as raw source material for new experiments with vactrols, noise gates and analog-to-digital triggering and aliasing, the original recordings juxtaposed anew amidst their successive textural and rhythmic treatments. Gowdy keeps this re-composition process stripped down, elemental and purposive, guided by an ascetic Aufhebung: synthesis as sublation—subjecting a temporal material/theme to analysis and transformation, reintegrating to form a whole that overcomes what it preserves without erasure, reshaping and intrinsically carrying its origins forward. Where Therapy With Colour was strictly and rigorously a set of stereo live performances, Miracles fuses iterative—though still spartan—layers of performance. “Therapy With Colour was about healing through self-hypnosis; Miracles is about forging a future with memory through subjection to trigger mechanisms” notes Gowdy. The result is a captivating collection of minimal IDM and oscillated electronics from the Montréal/Berlin producer, working primarily in a 120-140 BPM zone of tonal percussion and corrugated pulse. Gowdy’s sensibility and sound palette gets deeper and dirtier, summoning new pathways of alluvial flicker and abraded euphoria. As the album progresses, low-pass gate vactrols coalesce into a clear and vital theme, conveying immanence through woody timbres at times reminiscent of the Shinrin-yoku aesthetic (Japanese ‘forest bathing’), though always with a grainy transcendence rather than invoking any clean pure sheen. Gowdy consistently heats and heightens the presence of each component in the mix, balancing different elements in democratic compression/distortion, attaining an unornamental and earnest form of mantric-industrial majesty. Miracles is live, corporeal, activated electronic music of the highest caliber, deployed with monastic and meditative focus. Tracklist: 1 350J 2 Miracles 3 Déneigeuse 4 Transcend I 5 U4A 6 Vidisions 7 Clipse 8 Transcend II

Chronophage’s third LP is a scarcely anticipated revelation full of poise and delicacy. Tough,tender, precise and unconstrained, it concentrates the tragic ingredients of the past two yearsinto ten songs. Each one is a decisive, well-cut crystal: sharp, clear, weighted. Can you envisiona midpoint between Big Star and the Homosexuals? Imagine Nick Lowe constructing defiantrejections of the civil structure? Chronophage’s unconstrained melodies and gleefullyimaginative structures enact such original, liberatory music.Chronophage began five years ago in Austin, Texas. Stout participants in the transgressive DIYpunk community patchworked throughout the world, the band have released two LPs and ahandful of cassettes, always demonstrating a kind of risk-taking that feels both gleeful and dire.It’s clear that they delight in making hard, unexpected decisions, but there’s a colder sense thattheir existence depends on this daring.Defying the band’s scratchy, 4-track history, ‘Chronophage’ blooms, distilling the warmest, mostcompelling, most vulnerable qualities of their music. It’s a product of their unhurried approach torecording this album, a six-week process of tinkering and clarifying. It’s also a product of thematerial conditions of their songwriting phase—”the pandemic making it where we just saw eachother all the time and were less influenced by scenes,” as explained by guitarist/singer ParkerAllen. Undoubtedly their most immediate record, but without sacrificing the mortalconsequences or thrills of their past. The danger and vigor remains, the spring is wound eventighter. It’s evidence of the band’s growing confidence, but speaks most clearly to the strength ofthe songs. Producer Craig Ross articulated this strength through his own experience of workingon ‘Chronophage’: "When I would run into a block, in terms of arrangement, the narrative of therecord told me exactly what to do. I realized I just had to stick to the record, it has all theanswers."‘Chronophage’ is released simultaneously by Post Present Medium (US) and Bruit Direct(Europe). TRACKLIST: A1 Love torn in a dream A2 after a storm A3 swimmer A4 summer to fall A5 cop in psyche B1 spirit armor B2 old city back again B3 black clouds B4 burst the shell B5 fear + agony Dooms horn

This 2xLP combines TR/ST's "Destroyer" volumes 1 and 2 into one product, with two discs in a gatefold jacket. Both volumes original artwork is present with Volume 1 the cover, and Volume 2, the back of the jacket.

2022 Repress

Miami's TK Disco unleashes the official Todd Terje Edit of K C & The Sunshine Band's "I Get Lifted"

Limited copies. Only available to Record Store Day 2015 registered stores in the UK, France, Holland and the USA

After a successful label launch party at techno club Ampère in Belgium, Yves Deruyter is ready to unleash his first single on his label YDR Records in collaboration with techno producer Ramon Tapia. If you combine today’s techno sound with the rave vibes from the 90s spiced up with those typical recognizable melodies Yves Deruyter is known for, then you got a recipe for a BIG tune! Are you ready for Yves Deruyter?

Third volume in our series of Afro-Latin sounds from the golden period of the seminal Discos Fuentes label in Colombia. An outstanding selection of 26 hard-to find-tracks, many reissued for the first time, covering a wide array of Afro-rooted genres, with an stronger focus on the music's folkloric origins than in previous volumes, comprising recordings by the likes of Michi Sarmiento, Wganda Kenya, The Latin Brothers, Los Corraleros De Majagual, Peregoyo_ It's been a few years, but Vampisoul is back with the next installment of Colombian tropical bangers from the deep vaults of Discos Fuentes. The term Afrosound denotes an always exciting, sometimes surprising soundtrack chronicling the embrace, development, dissemination, and commercialization of the country's rich Afro-Coastal musical heritage over more than four decades. It is the proud sound of African-rooted culture translated, transformed, and transmitted through the commercial enterprise of Discos Fuentes, and this third collection offers an even more diverse and chronologically wide-ranging array of tracks than the previous two volumes, with an even stronger focus on the music's folkloric origins. The unifying factor this time is the same: African roots or influences and the period of experimentation, self-expression, upheaval, rebellion, and rebirth in the industry, nurtured by the label and its stable of musicians, song-writers, producers, and engineers. Although this volume does not list Fruko Y Sus Tesos in the track-by-track credits, the presence of Julio Ernesto Estrada Rincón can be felt throughout, with the first half setting the stage for his artistic birth, schooling and eventual emergence at the label, and the second half featuring bands that he was an integral part of or had a hand in creating, producing, and composing for. And with that said, we dedicate this collection to Fruko: long may he reign as The King of Afrosound. This incredible stream of black gold adorned and enriched the public airways of Cali, Buenaventura, Cartagena, Baranquilla, to become a symbol of pride and part of Colombia's collective identity. It includes an extended booklet with notes by compiler Pablo Yglesias aka DJ Bongohead.

* Remastered At Abbey Road * Ltd Colour 180gm Vinyl * Die Cut Sleeve * Two New Sleeve Designs * Fold Out Poster. When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album ‘World Music’ and a backstory for the ages – the band’s anonymous members hailing from the remote village of Korpilombo in northern Sweden, where inhabitants had for centuries been devoted to a form of voodoo introduced by a travelling witch doctor – there was, and there still isn’t, anyone else on earth quite like them. Their mythology enticing, their music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. ‘World Music’ received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe.Now, exactly a decade later, Rocket Recordings and the band have decided to dust-off the original recordings of ‘World Music’ and pass them over to the capable hands of the team at the legendary Abbey Road Studios to remaster the tracks and make them shine like they have never before. The results are better than we could have hoped. New details within the tracks have been revealed and - most importantly - the fuzz is even more explosive than before. You hear every crackle of electricity as it flows through the pedals. ‘World Music’ s famous die-cut sleeve has been updated too, the colours of the eye-popping pattern have been reversed from the original, making this package even more desirable. The album is brimming with tracks now seen as ‘classic’ Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of ‘Disco Fever’ , the fuzz abuse of ‘Goathead’, the post-punk groove of ‘Let it Bleed’, the sing-along repetitive pop of ‘Run to your Mama’ ...From the first note to the last, ‘World Music’ oozes with a sonic confidence rarely seen on a debut album. Over the last 10 years many bands have tried to recreate the addictive ingredients which make up Goat ’s cosmic soup, but none have ever come close to getting the recipe right. What Goat have is unique. They have an unsurpassed level of authenticity and honesty that makes them stand head and shoulders above all their imitators. They’ve managed to create a sound unrestrained by genre boundaries. There literally is still no other band on earth that sounds quite like them

* Remastered At Abbey Road * Ltd Colour 180gm Vinyl * Die Cut Sleeve * Two New Sleeve Designs * Fold Out Poster. When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album ‘World Music’ and a backstory for the ages – the band’s anonymous members hailing from the remote village of Korpilombo in northern Sweden, where inhabitants had for centuries been devoted to a form of voodoo introduced by a travelling witch doctor – there was, and there still isn’t, anyone else on earth quite like them. Their mythology enticing, their music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. ‘World Music’ received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe.Now, exactly a decade later, Rocket Recordings and the band have decided to dust-off the original recordings of ‘World Music’ and pass them over to the capable hands of the team at the legendary Abbey Road Studios to remaster the tracks and make them shine like they have never before. The results are better than we could have hoped. New details within the tracks have been revealed and - most importantly - the fuzz is even more explosive than before. You hear every crackle of electricity as it flows through the pedals. ‘World Music’ s famous die-cut sleeve has been updated too, the colours of the eye-popping pattern have been reversed from the original, making this package even more desirable. The album is brimming with tracks now seen as ‘classic’ Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of ‘Disco Fever’ , the fuzz abuse of ‘Goathead’, the post-punk groove of ‘Let it Bleed’, the sing-along repetitive pop of ‘Run to your Mama’ ...From the first note to the last, ‘World Music’ oozes with a sonic confidence rarely seen on a debut album. Over the last 10 years many bands have tried to recreate the addictive ingredients which make up Goat ’s cosmic soup, but none have ever come close to getting the recipe right. What Goat have is unique. They have an unsurpassed level of authenticity and honesty that makes them stand head and shoulders above all their imitators. They’ve managed to create a sound unrestrained by genre boundaries. There literally is still no other band on earth that sounds quite like them

Vex Is The Debut 12" From Nazamba, A Fire And Brimstone Dub Poet From Kingston, Jamaica Who Will Drop A Full Album With France's O.b.f. Sound System In The Fall. The Riddim Is Produced By G36, An Anarcho-dub Collective From Nagasaki, Japan Who Also Have Their Own Ep Incoming On Pressure.

The Spirit Of Prince Far I Reincarnated, Riding A Sci-fi Steppa That Relentlessly Aims To Flatten All Floors. Nazamba's Angry Rant Against The Global Epidemic Of Morally Bankrupt, Indelibly Corrupt Politicians, Is A Straight Shot To Babylon's Head...

These mint late 90's early 2000's Italian deadstocks come straight from Afro / Cosmic and Tribal Italia headquarters near Rimini where the club Melody Mecca spread the movement following Daniele Baldelli & Beppe Loda seeds. Consider "Afro" like what some would have called "World" has we're speaking about crazy African, Oriental, Indian, Reggae, Latin, Brazilian and even Bulgarian & Irish downtempo wrong speed trance tracks and edits like (!) Might be cheesier and more fun than expected since Dizonord recent Studiolo compilation, hope you're ready for the ride.

On the brink of releasing his eighth album, Example is beginning a new chapter. Having spent well over a decade in the game, the UK mainstay has crafted a career drenched in accolades: Platinum albums, chart-topping singles, headline festivals slots, and a lengthy stint releasing inescapable anthems that bridge the gap between electronic, rap and pop. Still, Example isn't ready to hang up his boots just yet; rather, he's preparing for the most important release of his career.

Sounding simultaneously from the past, the present, and the future, the debut album 'MLDE' by Marxist Love Disco Ensemble seeks to eradicate both the trite from disco and the sobriety from political music. Half poetic, half tongue-in-cheek, this stunning compact eight-track album is influenced by Eastern European and Mediterranean 70s disco records. In the words of band member Paolo, ''it was written in response to hearing 'I love America' by Patrick Juvet. The song prompted the question: why does disco, a genre originally created by oppressed minorities, eventually become synonymous with American capitalist excess?" MLDE seeks to break this connection.

Merging disco, post-disco 80s pop, and boogie into the fold, 'MLDE' was recorded using only analogue instruments, giving it warmth and space. Recorded on cassette, ¼ and ½ inch tape, this gives moments of lo-fi abstraction between the beats of an aggressive, tight drum kit. Instruments used for this recording range from saxophone, trumpet, harpsichord, guitar, and rare analogue synthesisers. The bass sound is shaped by early 80s boogie records, whilst the influence of artists such as Hamlet Minassian can be heard in some of MLDE's more driving-disco outings, such as 'Hues of Red'. In the tradition of Soviet vocal group records, which the band has studied, some songs are sung by a vocal quartet in homage to this tradition.

Tracks such as '1905' and 'Brumaire' have a greater pop aesthetic, with Paolo's vocal style on these more pop-driven songs evoking early 80s bands such as Orange Juice and Chas Jankel.

The format and message of pop and disco are commonly viewed just to entertain and move bodies around a dancefloor; however, lyrically, the subjects range from dialectical and historical materialism, class struggle, Marxist theory and praxis, as well as the concept of Marxist disco music.

Adding the icing to the cake, mastering don Joker aka Liam McLean dusted the album with his magic, giving the songs space where the room is needed, as well as the kick and punch demanded by the modern dancefloor.

Yes, this is a press release, and they are always full of hype, but we were blown away when we heard this album, and we hope it enriches you too.

'Abandon Your Friends' is From Autumn To Ashes' third album, originally released in 2005. The album - featuring the singles 'Sugar Wolf' an 'Where Do You Draw The Line' - was lauded by Kerrang Magazine, scoring the album 5/5 in their review at the time of it's original release. As part of Hassle Record's ongoing collaboration with Vagrant Records - in celebration of their 25th anniversary - this record is getting pressed to vinyl for the very first time. Record is pressed onto black vinyl, includes lyric sheet insert, and is packaged in a hand-numbered outer sleeve.

This album marks the debut recording for Venezuela's Velvet label by pianist Ray Pérez and his trombone-led salsa band Los Dementes. Heavy dance numbers and the distinctive vocals of Perucho Torcat make this historic 1967 rarity a sought-after collector's item. Now the LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere. First time reissue. Salsa pianist, vocalist, composer and arranger Ray Pérez, acquired his nickname "Loco" by being a free, independent spirit, an innovator and iconoclast who was initially branded as "crazy" for the freshness and audacity of his sound. Amazingly, he is not that well known in the US, where he spent some time in the late 1960s and salsa was king during the 1970s. Yet he was quite popular in his home country from the beginning, especially amongst the working class of Caracas and Maracaibo, who adopted Cuban music played by New York Puerto Ricans as their own and called it "salsa" years before the term was employed by US labels like Fania as a marketing tool. Pérez is revered in Venezuela, as well as in Mexico and Colombia, and his storied career, which spans seven decades and thousands of concerts, has yielded more than 35 albums recorded by his various bands, including Los Dementes, Los Kenya, and Los Calvos, all of which are collector's items today. At the start of 1967 Pérez debuted Los Dementes, with vocalists Claudio Zerpa and Perucho Torcat backed by an ace band featuring only trombones in the brass section. Titled "¡Alerta mundo! Llegaron los 'The Crazy Men'" the record was released on the small Venezuelan label Prodansa. Soon after, Prodansa folded and Los Dementes were left without representation or much compensation for their efforts, being paid only in records. In the end of February of that year, Pérez returned to Caracas from a stint in Maracaibo in order to finish his first LP with the well-established and larger Velvet label, entitled "Manicomio a locha". In the first quarter of 1967, Velvet unleashed a trilogy of salsa records in order to compete with rival label Palacio and their recent success with Federico y su Combo Latino: "Porfi '67 Salsa & Boogaloo" by Porfi Jiménez y su Orquesta, "Guasancó" by Sexteto Juventud and lastly "Manicomio a locha". The LP begins appropriately with the boisterous title track, written by the band's conguero Carlos "Nené" Quintero, who would become a legend in coming years. Torcat describes a jam session in mental institution and introduces the band, with tasty solos by trombonist Rufo García followed by Ray on piano. Already you can hear something was different about Ray and his "Crazy Men"-a sound as wild and innovative as what was happening in New York with Eddie Palmieri, but with a more unhinged, raw feeling in line with Willie Colón and other younger Nuyorican bands. Next up is an intriguing track sung in a mix of Italian, English, Spanish and Papiamento by Pérez himself, performed in the complicated rhythm of the mozambique, an Afro-Cuban carnival beat developed in the early 1960s. This is followed by the heavy dancer 'Rico guaguancó', penned by Angelito Pérez, which changes from the guaguancó to the mozambique rhythm mid-way through, proving that Los Dementes were "different from the rest" as the lyrics say. 'Puerto Libre', sung by Torcat, is dedicated to the Venezuelan island of Margarita in the Oriente region, and the independent spirit of its working people. The rhythm changes from guaguancó to guajira and back again but remains danceable all the way through. The side closes out with a "3 in 1" medley inspired by the popular formula of the mosaicos of Billo's Caracas Boys, seamlessly knitting together several different tempos, rhythms, moods and compositions. Side two starts strong with the fierce yet satirical 'Corte e' patas', then 'Alma Cumanesa', a typical folk song refashioned as a guaguancó. This is followed by the funky 'Guajira con Boogaloo'. The tune echoes the sound of young Latin New York, pointing out the connection between Cuban and African American soul music. The pace picks up again with 'Fiesta de trombones', a hot descarga and then the album closes with another medley. Though this marks the end of a rather short album, it also signaled the emerging success of Los Dementes and their involvement with the salsa boom in Venezuela, quickly selling out of its initial run of 1000 records and making for a memorable debut on the Velvet label. Now this rare and sought-after LP has been lovingly restored, mastered from the original tapes, with its original artwork intact, preserving the legacy of Los Dementes for today's generation of salsa lovers everywhere.

REISSUE

Following on from the runaway success of Soundway"s Kiki Gyan 24 Hours In A Disco, another Ghanaian legend looks to have his time to shine. One of the most well-known disco and burger highlife artists of the time, Charles Amoah originally began his career as a drummer. Playing with Alex Kunadu"s band, as well as the Precious Jewels and even Nana Tuffour, he then moved to Germany in the early 80s. His first album Sweet Vibration spawned several hits which went on to be released as separate singles, namely "Scratch My Back" and "Shake Your Body To The Beat". From the irresistible funk hooks of these singles, to the Lionel Richie-esque instrumentation of "Life"s Like Being In A Boxing Ring", or the kraut-rock stylings of "Jungle Rock" - there is little doubt that the blend of disco, funk and highlife that was unique to the Ghanaian-German scene can be experienced in its full splendour on Sweet Vibration.

For Fans of Lady Wray, Monophonics, Michael Kiwanuka, Raphael Saadiq, Curtis Harding, Brittany Howard etc. comes this 45 on Colemine Records, featuring Alanna's most-streamed track "Fall In Love Again", produced by Kelly Finnigan of Monophonics! Alanna Royale has long searched for a way to marry her life-long reverence for classic soul and modern r&b influence and has finally found it with her newest single "Fall In Love Again". Teaming up with producer Kelly Finnigan, Alanna was able to fully access the depth of her songwriting abilities bringing a lush vocal arrangement and pointed lyricism that digs deep into the pain of an aging relationship. "Fall In Love Again" is a low and slow groove with an irresistible hook that will keep you coming back listen after listen.

For Fans Of: Delvon Lamarr Organ Trio, The Sure Fire Soul Ensemble, New Mastersounds, Soulive, Jimmy Smith, Khruangbin. First reissue since it's original pressing in 2018! The iconic debut LP from the Scone Cash Players. Hammond Organ Stylings By Organ Master Adam Scone. The Hammond Organ is lead singer on this soulful and orchestral journey about industrial decay and the death of the steel town. Deep from the rusted steel mills of Youngstown Ohio, we bring you the much-anticipated reissue of the melting debut from the Scone Cash Players. It's the same organist that brought you the screaming organ on all those Daptone favorites from The Sugarman Three. Scone was behind that organ bench on the modern classics as follows. "Sugar's Boogaloo”, “Soul Donkey”, “Pure Cane Sugar", and "What the World Needs Now." Adam Scone entered the studio on Dunham Street in Brooklyn. He was wearing a blue Adidas jump suit. The studio had just opened. At the helm were his old compadres from The Dap-Kings. Namely Thomas Brenneck, Eric Kalb, Homer Steinweiss and lan Hendrickson-Smith. They make up the "Bliss Machine" behind Scones's groove. It was a truly rare moment to catch these masters of music and taste in between tours of Sharon Jones and Charles Bradley. Tommy put the mics around. Scone powered up the organ. The analog tape machine turned and turned until they couldn't turn any more. These songs were recorded. We worked all day and all night. Tears were shed. Espresso was made. There was beer on tap. 3 days of life were taken to make this album. We will never get them back. They were distilled to 40 minutes of pure emotion. It's a tale of woe. It's a tale of leaving art for responsibility. It's a farewell to an era. It's a journey that the Hammond B3 organ wasn't accustomed to. You can't compare this album to any other organ record. Don't expect to hear what you want. Free your mind. Be open. Your world is going to feel the heat of the BLAST FURNACE! It never quite feels how you want it to. Don't get burned... Tracks: 1. 1% Crown 2. Bliss Machine 3. The Slitter 4. Heavy Gauge 5. Necking 6. Blast Furnace 7. Jet Cool 8 Call & Receive No Call Back 9. Grinding Wheel 10. Structural Failure

The year is 2050, humanity is collapsing and overrun by an anonymous entity, known as the Robodroid. The mission of the Robodroid is to end civilization as we know it. After their successful collaboration debut "The Darkness Is Coming" on Crobot Records, Robodroid is back once again with a new release. Now the Robodroid has traveled back through time to reprogram the future. The EP includes four dark and aggressive electro originals and two remixes by none other than Maelstrom and Dexorcist. Robodroid is a futuristic electro project ran by Przemek Kuduk (Robodrum) and Ben Evans (The Droid).

 Punk pioneers Crass continue their vinyl reissue
series ‘2 by 2 And Back Again’ with represses from
Omega Tribe and Captain Sensible.
 ‘Angry Songs’ by Omega Tribe is anarchist punk at
its finest, with powerful unrelenting lyricism, caustic
riffs and an immediacy that came to define the
genre.
 It was produced by Penny Rimbaud plus Pete
Fender and included Hugh Vivian on guitar and
vocals, Daryl Hardcastle on bass, Pete Fender on
guitar and Pete Shepherd on drums.
 The band have recently reinvented themselves,
are creating and releasing new music, and they
have a new album out.
 First released on 7” vinyl, limiting the sound, the
new repressing has been remastered for 12” at
Abbey Road Studios, allowing the release to be
heard as never before.
 This, plus enlarged replicas of the original covers,
brings new gusto to the already radical sound.
 Press - Reviews & features on Vinyl Factory, The Arts
Desk, Clash, Vive Le Rock, The Vinyl Factory, Record
Collector, Clash, Under The Radar, Hi-Fi World, RNR.

• Brings together themes from popular soundtracks and TV series
• Ramin Djawadi Game of Thrones, Max Richter The Leftovers, Downton Abbey main theme, Lalo Shiffrin Mission Impossible, Henri Mancini The Pink Panther, and many more

1. Ramin Djawadi
Game of Thrones Medley (Main Theme/The Night King/Light of the Seven)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

2. Lalo Schifrin
Mission: Impossible
arr. & orch. Matthieu Gonet

3. Justin Hurwitz
La La Land Medley (Mia and Sebastian theme/ Another Day of Sun)
arr. Matthieu Gonet

4. Trad. Scottish, late 19th century
The Skye Boat song (Outlander)
arr. Julie Berthollet, Camille Berthollet

5. Trad. Italian, late 19th century
Bella Ciao (La casa de papel)
arr. & orch. Matthieu Gonet

6. Boots Randolph & James Rich
Yakety Sax, (The Benny Hill Show)
arr. & orch. Matthieu Gonet

7. Max Richter
The Leftovers Suite
arr. Julie Berthollet, Camille Berthollet


8. John Barry
The Persuaders! (Amicalement vôtre)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard



Side B:

1. Ludovico Einaudi
Fly (Intouchables)
arr. Julie Berthollet, Camille Berthollet

2. Julie Berthollet
Flashback
words and music by Julie Berthollet, arr. Camille Berthollet

3. John Lunn
Downton Abbey Main Theme
arr. & orch. Matthieu Gonet

4. Henri Mancini
The Pink Panther
arr. & orch. Matthieu Gonet

5. Lorne Balfe, Rupert Gregson-Williams and Hans Zimmer
The Crown Main Title
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

6. David Arnold & Michael Price
The Game is on (Sherlock)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

7. Loik Dury & Christophe Mink
Dix pour Cent
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

8. Mathieu Lamboley
Arsène (from the Netflix original series Lupin)

9. Kyle Dixon & Michael Stein
Stranger Things Main Theme
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

10. Danny Elfman
The Simpsons Main Title
arr. Matthieu Gonet

11. Camille et Julie Berthollet
Générique
music by Julie Berthollet, arr. Camille Berthollet

There’s no escaping the motherlode - that eternal continuum of high drama and overheated amp stacks fit to raise the pulse and revivify the spirits. It’s merely an unmistakable band chemistry that transforms base hard rock into gemstones, and this process is an increasingly rare phenomenon in the here and now. Luckily for Stockholm’s alchemists LUGNET, they are one of the few. Here in these steamrollering grooves and strident anthems is just the kind of swagger and bravado on which rock built its foundations in the ‘70s, yet without any of the cliches or the bloated self-importance. The roots of LUGNET may be visible to see, and the primal stomp of early Deep Purple, the apocalyptic sermonising of Black Sabbath and the cinematic majesty of Rainbow can easily be detected in the almighty sturm-und-drang. Yet this sound is delivered with charisma and maverick energy that effortlessly summons fresh vibrant life to a classic form. The spark that lit LUGNET originates in 2009, when Fredrik Jansson-Punkka (also drummer of Angel Witch, and whose storied history includes stints in Witchcraft, Abramis Brama and Count Raven) met bassist Lennart ‘Z’ Zethzon at Sweden Rock Festival and the two first discussed getting together to jam. Three years later this finally came to fruition and guitarists Bonden Jansson and Mackan Holten joined the fray, alongside vocalist Roger Solander. An original plan to play ‘70s blues-rock with Swedish lyrics was ultimately warped and transformed into the monumental attack of 2016’s self-titled debut proper on Pride & Joy Music. The road to ‘Nightwalker’ saw changes afoot in the band, as Solander was replaced by the soulful pipes of Johan Fahlberg, who matches the swashbuckling charm of the Dio/Coverdale tradition with flourishes and personality all his own, whilst Bonden Jansson made way for wunderkind new guitarist Matti Norlin. This was a quantum leap on from the debut, replete with fiery interplay and incisive song writing, from the slow Zeppelin-esque catharsis of ‘Death Laughs At You’ to the monstrous ‘Stargazer’-esque grandeur of the mellotron-assisted finale ‘Kill Us All’. The aftermath saw Lugnet traverse from strength to strength, a notable highlight being packing out their tent at Sweden Rock Festival in 2018 even whilst a certain Birmingham-birthed Prince Of Darkness himself occupied the main stage across the field. Michael Linder (formerly of Troubled Horse) soon replaced Mackan Holten, and this line-up has subsequently amassed enough material for two albums, with all members throwing their hat into the ring song writing-wise. One of these ‘Tales From The Great Beyond’ has already been recorded at SolnaSound Recording with the dream-team of Simon Johansson (Wolf/ Soilwork) and Mike Wead (King Diamond/ Mercyful Fate) at the helm / mixed by Marcus Jidell (Avatarium/ Candlemass). Just like for the debut album, the front cover artwork was designed by Vance Kelly. Whatever the future holds for Lugnet, only a fool would bet on the result not being a spectacular explosion of righteousness. This machine is firing on all cylinders, and rockers of all persuasions would be well advised to get on board or get out of the way. Track listing: Still A Sinner; In Harvest Time; Another World; Out Of My System; Svarv; Eaten Alive; Pale Design; I Can’t Wait; Black Sails; Tåsjö Kyrkmarsch

A decade is a long time in music, but it feels less epic when the music in question is timeless, picturesque, and immersive. Founded in London, run from Bali for a period, and now based in Ibiza, NuNorthern Soul has grown from humble roots to become one of the most popular outlets for Balearic music on the planet.

NuNorthern Soul started in the late 1990s, long before the label launched, NuNorthern Soul was a regular Sunday session in a bar in Chester, UK where label founder Phat Phil Cooper and school friend Jim Baron (Ron Basejam, Crazy P, JIM) sat behind the decks and played laidback, eclectic musical selections to wind down the weekend. The name was suggested by one of the event’s regular punters, who likened the community feel of the event to his experiences as a Northern Soul dancer.

Fast forward to 2011. Following a move to London, Cooper was introduced to Ben Smith, a singer-songwriter and producer whose music he’d long admired. After bonding over a few pints of Guinness, Smith offered to hand over a hard drive full of unreleased tracks; together, the pair put together what would become the NuNorthern Soul label’s first ever release: a fine album of beautiful, boundary-free music entitled The Movedrill Projects.

Another EP from Smith, Dedications to the Greats, followed in early 2013, with the sometime Fug and Akwaaba band-member recording emotive, life-affirming cover versions in his signature style. It was followed by an EP of opaque, sunset-ready songs from Ragz Nordset, and NuNorthern Soul was on its way. While the label has subtly moved around musically since, offering up EPs and albums that incorporate elements from a multitude of becalmed and blissful styles, the core ethos remains the same. Significantly, those early Ben Smith and Ragz Nordset releases still stand up to scrutiny all these years on.

Smith has remained a big part of the NuNorthern Soul family ever since, and it’s fitting that two of his tracks – the stunning, undulating downtempo epic ‘Over Land & Sea’, from improvised 2019 album From The Ash, and Jonny Nash’s glistening, shuffling 2015 rework of ‘Hold On To It’ – are featured on this 10th birthday celebration of the NuNorthern Soul story so far.

It’s right, too, that Jim Baron, whose stints behind the decks with Cooper in Chester began the NuNorthern Soul story, also makes two appearances. His chugging, jangling, wide-eyed 2014 Ron Basejam rework of Ragz Nordset’s ‘You Started It All’ – a track that has so far racked up over three million streams on Spotify – was an early label hit, while his fragile, softly spun masterpiece as JIM, ‘Whisper in the Wind’ (featuring none other than Ben Smith on guitar), features here via a deliciously stretched-out, sunrise-ready remix from James Holroyd under his Balearic-friendly BEGIN guise.

Sentimentality aside, the success of NuNorthern Soul is rooted in Cooper’s ability to pick music to release from a wide variety of artists that fits the label’s colourful, atmospheric, and tactile sonic vision. This lovingly curated box set is testament to that, with immersive, yearning efforts from veteran musicians such as Jon Tye (here appearing as Captain Sunshine, via the breath-taking ‘The Oceans Inside’) and the late, great Ryo Kawasaki (remixed by Mancunian, former Body & Soul NYC resident DJ Andi Hanley) being joined by wonderfully on-point productions from relatively recent signings such as Torn Sail (the Balearic folk swell of ‘Disconnected’), George Koultalieris, My Friend Dario and Tambores En Benirras.

10 Years, 5 EPs, 10 tracks, exclusives, previously unreleased and hard to find NuNorthern Soul treasures. Packaged in a full colour commemorative designed box with full colour inner sleeves. 1 track per side of vinyl for maximum audio pleasure. Comes with 4 page NuNorthern Soul insert. Limited edition.

The "Million Dollar Quartet" is a recording of a celebrated impromptu
session that brought rock & roll icons Elvis Presley, Johnny Cash, Jerry
Lee Lewis, and Carl Perkins together for the first and only time
2LP set in gatefold sleeve edition - 180g coloured vinyl (disc 1 red, disc 2 yellow).
On December 4, 1956, these four young musicians gathered at Sun Records in
Memphis for what would be one of the greatest jam sessions ever. This essential
double LP edition (gatefold open cover) presents that legendary event in its
entirety, while maintaining the original recording sequence.
Rock & roll was born of gospel, country, doo-wop, blues, pop, and cowboy songs,
all of which can be heard here. Included here are several popular numbers from
that period, such as "Rip It Up," "Don't Forbid Me," and "Out of Sight, Out of Mind,"
plus some of Elvis' own songs ("Don't Be Cruel," "Love Me Tender," and
"Paralyzed"), and covers of Chuck Berry's "Brown-Eyed Handsome Man" and "Too
Much Monkey Business," as well as traditional tunes, and some classic country
and bluegrass songs penned by Hank Snow, Faron Young, Gene Autry and Bill
Monroe.
The joyous spontaneity and the fly- on- the- wall feel of the occasion make for
fascinating listening. This set represents a memorable slice of American culture
and allows listeners to experience a historic moment of the original rock & roll
era.

PRONTO are back, this time seeing Greenskeepers don James Curd team up with Grammy award-winning Marius De Vries. Alongside composing the scores for a whole host of big films, De Vries has produced for the likes of Massive Attack, Madonna, David Bowie, Bjork, Pet Shop Boys to name but a few. So you know a matchup with Chicago house head Curd is going to hit with something special.

A disco-infused house bomb with a very special guest on those sweet vocals, ‘Auditory Gates’ gets the remix treatment from two producers at the top of their game, Jacques Renault and Oliver Dollar, who each put their trademark spin on it.

P&F Recordings takes a quick break from original material to welcome back everyone’s favourite Episcopalian Minister/DJ: JAZ.

When it comes to left-field floor fillers, JAZ (née John Zahl) is in a league of his own. Over the past 13 years, he's churned out celebrated home listening mixes, jaw-dropping DJ sets, and extended edits with a pace that belies the usual slow-motion tempo of the majority of his selections.

Here, he serves up four colourful, cosmic, dance floor delights. EP opener ‘Cloud Worship’ marries a chugging prog-rock-esque bassline with virtuosic synth work. Then ‘Pick a Toy’ gets us sweating with some serious Caribbean flair.

On the flip side, ‘Puzzle’ delivers exotic chants and an infectious, serpentine beat - and lastly ‘Friday Night’ closes things out with infectious, retro positivity.

While one might wonder how JAZ consistently unearths these obscure -yet essential- gems, it's obvious that he's driven by a higher purpose.

Let the ceremonies begin!

Live is a double live album released by Dutch rock band Golden Earring in 1977. With its long, spun out versions of classic Golden Earring songs (lasting between 5 and 12 minutes each), this record is vastly different than other live registrations by the band. It’s also one of only three albums where guitarist Eelco Gelling was a band member, adding a new dimension to the band’s sound. Furthermore, this album emphasises Golden Earring’s strong rhythm section on swinging songs like “Mad Love’s Comin’” and “Radar Love”.

Live celebrates its 45th anniversary in 2022 and is therefore being remastered for the first time from the original master tapes. This 2LP is available as a 45th anniversary edition of 2000 individually numbered copies on “Blade Bullet” coloured vinyl.

Originally released on tape in 2021 and mastered for vinyl by North London Bomb Factory Mastering. Second LP from the project led by Albert Limones (Nosferatu/ Creamers) following on from The Grotto Screams in 2021. Skeletal, brittle and skittish punk. Complex, layered tones with wobbly chorused bass, jagged drum patterns and bristling guitar. Amongst the rubble, 'Limones vocals are everything that hold this together, piercing and primal. Recalling Christian Death, Bauhaus, but Altar of Eden really stand alone The LP sounds like it’s been pulled from some tape archive from 1985. Not that it’s dated in any way. It’s just along the same strand of DNA.. Essential. TRACKLIST: 1.Sacrilege 2.Genesis 3.Three Fires 4.Existence 5.Matrix of Chaos 6.Legion

Monica : The tracks on Stop That Girl were recorded live in an old mill and
featured musicians who had played on recordings on the Postcard label
and in groups from that era - Aztec Camera, The Blue Nile, Bourgie
Bourgie, Jazzateers, Love & Money, Paul Quinn & The Independent Group,
among others - The album is a mix of original material and some covers
(Orange Juice, Captain Beefheart, Gene Clark, The Velvet Underground)
Monica Queen came to prominence in Thrum, recording tracks with Edwyn
Collins and releasing an album on the Fire label. She has released albums under
her own name on Creeping Bent and as part of Tenement & Temple as self
releases. Monica is perhaps best known for singing on the Belle & Sebastian
single Lazy Line Painter Jane and has performed live with The Jayhawks, The
Pogues, and James Grant.

SECOND TITLE IN THE LOCKDOWN TRILOGY 'CLAUSTROPHOBIC
UNIVERSE' NOW AVAILABLE ON VINYL.In 2020, Polish Prog multiinstrumentalist Mariusz Duda (Riverside, Lunatic Soul) decided to
conduct an experiment
He set out to create a third music world, independent of his band 'Riverside' &
solo project, Lunatic Soul. A world which would differ stylistically from the
previous two & underline the first steps he took in music.
30 years ago, a certain shy boy fascinated by the works of Jean Michel Jarre,
Vangelis & Tangerine Dream, locked himself up in his room & started to think up
his original music stories. He recorded them on cassette tapes, created covers
for them & arranged them on the shelf next to those of his masters. 30 years
later, when the world was taken over by a pandemic & an international lockdown,
Mariusz was beamed back to his childhood bedroom, where he was reading &
drawing comic books, playing games, listening to lots of music from cassette
tapes... & recording his own electronic sounds. "Why not do it again?" he thought
to himself, feeling inspired. "Why not create a new project where I will play only
the keyboards? And why not sing it just like I used to when I was a kid? Simply
'Mariusz Duda'".
And that's exactly what he did. Between 2020 & 2021, he recorded & released
online three electronic albums that make up the "Lockdown Trilogy".
'Claustrophobic Universe' is not an album inspired by books about astronomy &
astrophysics. It's an album about a journey into our mind. The universe here is a
metaphor for our escape from reality, escape to the place where we soothe our
response to stimuli.
MARIUSZ DUDA'S SECOND IN THE TRILOGY IS OUT VIA KSCOPE

It's drama-bringing, supremely melodic & riff-heavy." Revolver Magazine
"start to finish, Polaris is affecting, captivating & bloody gorgeous" Metal Hammer
The pioneers of an ever- evolving metal scene, TesseracT, released their third
studio album 'Polaris' to worldwide acclaim in 2015.
Originally formed as a studio project by guitarist Acle Kahney, TesseracT are a
band full of melody, dynamics & groove, they sit outside the bounds of any genre
specificity to truly create a sound that has always been pioneering & creative; an
unstoppable force of off- kilter riffs, soaring melodies & disorientating
atmospherics.
In 2015, the band found a new creative energy when they reunited with original
singer Dan Tompkins. 'Polaris' was an evolution from previous release 'Altered
State' & features skilful experimentation with sounds & tones, plus a deeper
exploration of the core attributes that define TesseracT's trademark sound.
Sold out on limited edition Picture Disc for RSD 2022, Kscope is now proud to
make this fantastic record available to the wider public again on vinyl.
Tesseract's 'Polaris' will be issued via Kscope on Single Black LP.

Killer EP. Next-level Shackleton.

Taking off from Beaugars Seck’s foundational sabar drum rhythms — recorded by Sam in Dakar in February 2020 — Shackleton has constructed a trio of intricately layered, luminous, enchanted, epic excursions. The second is more dazzled and meandering, with jellied bass, insectile detail, and discombobulated jabbering; the third is more liquid, fleet of foot, and psychedelic, with a grooving b-line and funky keyboard stabs, scrambled eastern strings and hypnotic vocalese.

The harmonium in The Overwhelming Yes sounds like Nico blowing in chillily from up the desert shore. The overall mood is wondrous, twinkling with light, onwards-and-upwards; an uncanny, dubwise mix of the ancient and the futuristic. Mark Ernestus’ Version is stripped, trepidatious, mystical, and stranger still, with just a snatch of the original melody, extra distortion and delay, and crystal-clear drum sound.

Twenty minutes of startlingly original music, with Shackleton the maestro at the top of his game, and a characteristically evilous dub by Mark Ernestus. Mastered by Rashad Becker; handsomely sleeved.

Sick to the nth. Love 4 Ever.

Limited repress

AZOTO is a Celso Valli’s project, one of the most important exponents of Italo-disco. He pioneered the whole italo sound, with incredibly ahead of their time productions going right back back too ’70’s. “DISCO FIZZ” contain ‘San Salvador’, one of the most covered disco tracks of all time, which has reared its head under countless of remixes and cover versions, however if you dig a little deeper this album is packed full of incredible and timeless italo disco: ‘Anytime Or Place’ literally jumps out the speakers to get you moving, while ‘Exalt-Exalt’ showcases their take on the darker side of electronic disco. “DISCO FIZZ” bridging traditional disco from america ‘s 70s with the spaceage syntheziser/vocoder powered Italian brand of Disco that was beginning to invade with new innovations at that time (1979).

The record is officially reprinted on LP for the 1st time from original master tapes, and includes a sticker inside. A must-have for any DJs.