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1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered From The Original Analogue Master Tapes by Bernie Grundman!
Super-Luxe "Monster Pak" Jacket with a Rich 36-Page Booklet & Striking Outer Slipcase!

New lacquers cut for every 500 pressings!

Strictly Limited To 7,500 Numbered Pressings!

There have been more than 40 U.S. releases (and hundreds more worldwide) of Stan Getz's cultural touchstone album and for good reason: few recordings better capture the breezy warmth and easy-going sophistication of Brazilian bossa nova for an American jazz audience. Fewer recordings can replicate the you-are-there presence and flawlessly tight studio acoustics. Only Getz/Gilberto has Billboard Top-10-charting singles like "The Girl from Ipanema." When Impex Records jumps into this densely-populated fray with our own production, we need to bring maximum value and prestige to it. Challenge accepted. We worked directly with Stan's wife Monica Getz and their son Nicolaus to create the most authentic, best-presented Getz/Gilberto ever.

Exclusive to Impex's 1STEP Getz/Gilberto includes an insightful new interview/essay by Charles Granata featuring Monica reminiscences of the making of this record, the subsequent cultural phenomenon, and Stan's battles with some pretty heavy demons. Also unique to this release are two bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" (without the added echo, thank you very much) and a live recording of "Corcovado" from Carnegie Hall. Finally, the large-format, 36-page booklet features dozens of rare photos, the original album notes, and a fascinating personal remembrance from Monica Getz herself, celebrating her late husband's work and an inside look at Stan's family life while making the record!

Using the original analog master tapes and no computers at all, Bernie Grundman at Bernie Grundman Mastering sought to keep the sense of space and tone on the master tape intact without unnecessary embellishment. Impex 1STEPs get you closer to the source, not the ideal.

We know you have many choices when it comes to enjoying this singular album. The Impex 1STEP of Getz/Gilberto cuts above all other releases with added-value content that takes you deeper into Stan Getz's life and process in a way never previously possible.

The 1STEP Process:



The Impex 1STEP process relies on short, tightly-controlled runs that require a new lacquer after each 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.

Features:



The only release of this fundamental jazz classic crafted with the full participation of the Getz family, including never-before-seen photos and notes from Monica and Nick Getz
Exclusive new interview essay about Getz's life and the recording of the album by noted producer and historian Charles L. Granata
Exclusive ultra-luxe Impex 1STEP packaging featuring a deluxe 36-page booklet within a heavy-stock two-sleeve Monster Pack jacket and striking colour-matched slip case
Two all-analogue bonus tracks: an alternate mono 7" mix of "The Girl from Ipanema" and a live recording of "Corcovado" from Carnegie Hall
Limited to 7,500 copies

Elements of Life brings a full on boogie disco tune with some 80s synth goodness. The backgrounds are provided by an all star cast of singers including Cindy Mizelle, Audrey Wheeler, Anané, Dawn Tallman, and Ramona Dunlap. The song is penned by Nico Vega, just at 19 years old writing lyrics with the soul of a person who’s been through various experiences in life. It isa statement song coming from an adolescent stating where we are in the world today with war, and encouraging all to stop fighting, “no more war”,“Let Us Shine Bright As Day”, “Let Us Find A Peaceful Way”, “Let Me Hear You Say”, these words are crying out to the world.

Remixes by Josh Milan on the Josh Milan Honeycomb versions, feeding us an early 80s tune reminding us of the seminal label West End Records. The Louie Vega mixes stay true to the Elements Of Life sound mixed with some Detroit bass groove and synth overtones. A bonus track also added to the release featuring Axel Tosca on keyboards is entitled “Los Tonos Sagrados” which means The Sacred Tones.This instrumental has the early afrobeat rhythm with Axel Tosca ripping through with an organ solo and snare hits accenting the drums and music.Take a listen and enjoy the sounds of “Let Us Shine” and “Los Tonos Sagrados” and it’ll sure to have you with your arms up and eyes closed singing along with the choon in no time!! Available soon at all streaming and digital outlets, with vinyl coming too!!

Gaucho — Steely Dan's Grammy-winning seventh studio album now on UHQR!
Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl!
45 RPM LP release limited to 20,000 numbered copies
Mastered by Bernie Grundman from a 1980 analogue tape copy originally EQ'd by Bob Ludwig
Pressed at Quality Record Pressings using 200-gram Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing


Gaucho — the iconic seventh studio album by Steely Dan, released in November 1980 — and Grammy-winner for Best Engineered Non-Classical Recording, was also Grammy-nominated for Album of the Year and Best Pop Performance by a Duo or Group with Vocals. The album represents the band's musical evolution towards a more polished and sleek sound, featuring a collection of meticulously crafted songs that blend jazz, rock, and pop music, while exploring themes of decadence, longing, and disillusionment.

Gaucho opens with the title track, a jazzy instrumental piece that sets the tone for the rest of the album. The standout tracks on the album include "Hey Nineteen," a catchy and upbeat tune that features a memorable saxophone riff and lyrics about an older man's attraction to a young woman, and "Babylon Sisters," a funky and groovy track that showcases the band's impeccable sense of rhythm and melody.

The sessions for Gaucho represented the band's typical penchant for studio perfectionism and obsessive recording technique. To record the album, the band used at least 42 different musicians, spent more than a year in the studio, and far exceeded the original monetary advance given by the record label. Still, the album features multiple layers of instrumentation, carefully crafted arrangements, and the use of top-notch session musicians to create a lush and sophisticated sound that is uniquely Steely Dan.

Despite its critical and commercial success, Gaucho was a challenging album to make. During the two-year span in which the album was recorded, the band was plagued by a number of creative, personal and professional problems. MCA, Warner Bros. and Steely Dan had a three-way legal battle over the rights to release the album. After it was released, jazz musician Keith Jarrett was given a co-writing credit on the title track after threatening legal action over plagiarism of Jarrett's song "'Long As You Know You're Living Yours."

Gaucho marked a significant stylistic change for the band, introducing a more minimal, groove- and atmosphere-based format. The harmonically complex chord changes that were a distinctive mark of earlier Steely Dan songs are less prominent on Gaucho, with the record's songs tending to revolve around a single rhythm or mood, although complex chord progressions were still present particularly in "Babylon Sisters" and "Glamour Profession." Gaucho proved to be Steely Dan's final studio album that Donald Fagen and Walter Becker would make together until the year 2000.

Gaucho reached No. 9 on the U.S. album chart and was certified platinum-selling. "Hey Nineteen" reached No. 10 on the U.S. Singles Chart and went to No. 1 in Canada. Pitchfork, in its review, describes the almost "pathologically overdetermined production" as elegant, arid and a little forbidding. "Every last tinkling chime sounds like it took 12 days to mix, because chances are, it did." The New York Times deemed Gaucho the best album of 1980, beating out Talking Heads' Remain in Light and Joy Division's Closer.

Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations.

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Gaucho remains a testament to Steely Dan's enduring musical legacy and their ability to create timeless music that transcends genre and style.

The long out-of-print sophomore album by the pioneering, creatively restless troupe, Cerberus Shoal, highlights the earliest phase of their transition from experimental hardcore band to transcendent exploratory collective. Originally released in 1996, _And Farewell To Hightide combined the group's unique command of patient anticipation with a significantly expanded musical palette and a refined musicianship. Shedding virtually all obvious references to the frenetic post-hardcore of their eponymous debut album, Hightide saw Cerberus Shoal incorporating elements of Talk Talk, Tortoise, and the early Windham Hill catalog into a sound that was incomparable at the time. Now, more than 20 years later, it's proven astonishingly prescient and truly timeless. Beautifully remastered and finally made available digitally for the first time ever, this expanded deluxe edition includes the Lighthouse In Athens EP recorded during the same era as _And Farewell To Hightide. Finally available on vinyl for the first time ever, _And Farewell To Hightide - Deluxe Expanded Edition is packaged in restored artwork with newly uncovered photos and extensive new liner notes written by the band. The record has been newly mastered for vinyl by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl.

Producer, DJ, Facilitator & Publisher (Balraj) Samrai (of Swing Ting/SEEN Magazine) steps out for their first full length release "Work & Roti" along with a host of talented collaborators on new label Sangha Industries.

The album title came from a phone conversation with Samrai's mum who features on the opener reflecting on first generation Punjabis heading to the UK only going to work and eating roti, not getting a chance to travel until their senior years. In addition the project explores the complexity of migrant experiences - healing, self-love/care, reciprocity and connections to the earth. A theme throughout is the inclusion of South Asian percussion and rhythms such as Tabla, Dholak, Kanjira, Dhol and Mridangam overtly at times as well as covertly which grounds the record.

Samrai is joined by host of talented collaborators across the 8 tracks - SCAPA, Vindya, Vikaash Sankadecha, Pops Roberts, Shanique Marie, LINTD, Gavsborg, Joey B, Fox, Raheel Khan, Thai Chi Rosè, Chesqua and Deepikaa Sreenivasan who all enrich the project with vocals, additional production and instrumentation. Although at times dealing with difficult subjects (Help Me, Oil Money, Dirty Dirty) there's a sense of joy, playfulness (Fresh) and release across the set (Yellow Crocus, Create Your Own Bless) culminating in closer (Breathe) when you feel the sunlight pushing through despite the clouds above…

Producer, DJ, Facilitator & Publisher (Balraj) Samrai (of Swing Ting/SEEN Magazine) steps out for their first full length release "Work & Roti" along with a host of talented collaborators on new label Sangha Industries.

The album title came from a phone conversation with Samrai's mum who features on the opener reflecting on first generation Punjabis heading to the UK only going to work and eating roti, not getting a chance to travel until their senior years. In addition the project explores the complexity of migrant experiences - healing, self-love/care, reciprocity and connections to the earth. A theme throughout is the inclusion of South Asian percussion and rhythms such as Tabla, Dholak, Kanjira, Dhol and Mridangam overtly at times as well as covertly which grounds the record.

Samrai is joined by host of talented collaborators across the 8 tracks - SCAPA, Vindya, Vikaash Sankadecha, Pops Roberts, Shanique Marie, LINTD, Gavsborg, Joey B, Fox, Raheel Khan, Thai Chi Rosè, Chesqua and Deepikaa Sreenivasan who all enrich the project with vocals, additional production and instrumentation. Although at times dealing with difficult subjects (Help Me, Oil Money, Dirty Dirty) there's a sense of joy, playfulness (Fresh) and release across the set (Yellow Crocus, Create Your Own Bless) culminating in closer (Breathe) when you feel the sunlight pushing through despite the clouds above…

In celebration of the 40th anniversary of U2s Under A Blood Red Sky (1983), the iconic live album has been newly remastered on 180g red vinyl exclusively for RSD Black Friday 2023. Consisting of live recordings from three shows on the bands War Tour, the album helped to cement U2s reputation globally as one of the greatest live acts of all time. Featuring legendary live versions of Gloria, I Will Follow and Sunday Bloody Sunday, the album remains faithful to the original track list but is newly remastered at the renowned studio Bernie Grundman Mastering. Includes double sided insert with credits and lyrics, plus a large 2-sided poster.

Neuaufgelegt, jetzt mit Bonus-CD mit noch mehr Studio, Demo- und Live Recordings! Die LP "Wie lange Noch", ein Meilenstein der deutschen Punk/Hardcore-Geschichte. Rollt wie ein Panzer über die Leichen seiner Zuhörer. Keine Kompromisse, pure Aggression, ein Kraftpaket-Thrash, schon anders als die Tracks vom "die Deutschen kommen" Sampler. . Wunderbar! Eine weitere erstaunlich starke Veröffentlichung aus dieser Zeit. Die zweite LP beinhaltet ein legendäres Konzert am 19.6.1982 in der Wuppertaler "Börse" bei dem damals auch die LIEBIES, HASS und BLUTTAT spielten. 16 brutale derbe Livetracks in der üblichen Stosstrupp Tradition. (Fünf Songs davon sind bis dato unveröffentlicht). Das Original Konzert Plakat, ein Booklet mit Bildern sowie einem Interview mit Alla dem Sänger liegt ebenfalls der Doppel LP bei.

David Tattersall, the Wave Pictures guitarist and frontman releases a solo album of interpretations of John Fahey tunes, recorded live in the studio. "I have been a fan of John Fahey's music since I was very young; it has always been with me and I can't remember a time when I wasn't affected by it. It is weird music, and very good. Of course, Fahey is an important cult figure in the history of music: as the first man to find a language for steel string guitar that can stand proudly alongside the established tradition of nylon string classical guitar; as one of many men who rediscovered obscure old blues musicians and recorded them for a new generation in the 1960s; as one uniquely able to reconcile 20th century avant-garde music with folk tradition; as an early indie-label DIY pioneer. For me personally, Fahey went beyond technique, and to some extent beyond historical or intellectual justifications for his work. He explored his emotions through his instrument of choice, and in so doing made the case for the guitar as the ultimate conduit for emotional expression. While there are many imitators who try to play ''like Fahey'', I avoided using his fingerpicking style or sense of rhythm, and tried instead to use his music to explore my own emotions, my own dreams and memories. I was more interested in the lyrical and expressive aspects of Fahey's music than in the techniques of it. I tried to find myself within his compositions and without composing anything I feel that I have managed to make a David Tattersall record that says as much about me as any of the many albums that I have written. John Fahey's beautiful discography shows that the guitar can carry as much mystery and soul as the human voice, and simply put, I wanted in on a little of this action. This is my second all-instrumental solo acoustic album, and where this differs from my first attempt, Little Martha, is that here I improvised freely. I used Fahey's originals only as guides. I'm not sure what I was looking for, perhaps something beyond explanation, but I tried to be as free as possible, and I am delighted by the spontaneous results. Hopefully, they will make the listener feel happy and dreamy, just like the effect that Fahey's many albums have on me. One of the most important things that Fahey ever said was his advice to guitarists to try to feel the emotions that each chord they play on a guitar brings forth. He is telling guitarists to not only play the guitar, but to let the guitar play them. I did my best to follow this advice. I think Fahey was a genius of the kind that creates a whole genre single-handedly. There could be thousands, millions, of reinterpretations of his compositions. In fact, there probably already are. And long may this continue. All tracks were recorded live with no tampering

Repress!

Listeners familiar with Kaitlyn Aurelia Smith's previous album Euclid (an album that prompted Dazed to call her "...one of the most pioneering musicians in the world.") will no doubt notice her heavier use of vocals on her new album EARS. On all but one song, her gently ecstatic swells of vocals emerge to soar over a dense jungle of synths and woodwinds. After initially composing on a Buchla analog synth, she wrote arrangements for a woodwind quintet, added vocals, and further refined the pieces with granular synthesis techniques she developed in her sound design work (she contributed sound design to Panda Bear's "Boys Latin" video, and handled sound design and original compositions for Brasilia co-written by and starring Reggie Watts).

Kinetic arpeggios of synths pulse, often buoying her graceful vocal mantras, while woodwinds breathe and flutter, emulating the wildlife Smith observed while growing up on the West Coast (she even studied recordings of slowed down bird calls prior to composing these pieces). Though some of her gestures echo the musical tropes used by early minimalist composers, the world she creates on EARS is uniquely hypnotic and full of life, not unlike Miyzaki's film Nausicaä, which she cites as an inspiration.

EARS is a masterful articulation of Smith's vision, which she achieved in part by spending time preparing her mind prior to composing the album.

The Metropolitan Soul Museum helmed Kulture Galerie returns with Volume 2 of its various artist focused release series. This new 5 tracks compilation showcases some of the finest Dutch and American sound, all brought together by London's own MSM.

Amongst the collection there is an original composition from lauded American artist and Delsin regular John Beltran (+ a special ambient version of said track available exclusively on Bandcamo), and more from Böhm (030303), US' best kept secret Tramic, De Lighting's' own Nathan Kofi & RDS and of course the label bosses Metropolitan Soul Museum themselves.

Sourced from the Original Master Tapes and Presented in Audiophile Sound for the First Time: Mobile Fidelity’s Numbered-Edition 180g SuperVinyl LP Plays with Riveting Detail
Three decades before he released The Philosophy of Modern Song — an insightful book devoted to 66 tunes that both impacted his career and the music world at large — Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan’s first solo acoustic album in nearly 30 years and first all-covers effort in nearly 20 years, can be seen as a prophetic prelude to what has become the Nobel Laureate’s celebrated late-career arc. It’s also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.


Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180g SuperVinyl LP of Good As I Been to You reveals the immediacy, detail, and stripped-down nature of recording sessions that took place in Dylan’s garage studio in California. Simple, raw, and unplugged, the record presents Dylan in peak form — and showcases a diversity of vocal phrasing, soulful chording, harmonica accents, and close-up ambience that on this reissue emerge like never before. As the first-ever audiophile edition of this almost-lost classic, this LP also benefits from SuperVinyl’s extraordinary properties: a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces among them.

Recorded and mixed by Micajah Ryan, and supervised by Debbie Gold, Good As I Been to You took shape at Dylan’s home shortly after the singer-songwriter completed sessions in Chicago with a full band. Unaccompanied, he again gravitated to existing works — in this case, traditional folk music — and, with Gold serving as a trusted advisor, performed the songs in multiple keys and tempos until he arrived at what he desired. That careful, determined albeit loose, organic approach emanates from this reissue, on which each note, movement, and space come across more directly, fully, and immediately than on the original formats. It helps draw a through-line to Another Side of Bob Dylan (1964) as well as the similarly themed follow-up, World Gone Wrong (1993) and immersive old-world storytelling of Tempest (2012) and Rough and Rowdy Ways (2020).

Well before Dylan made those renowned 21st century LPs, however, he needed to find a way out of a funk that — save for his 1989 collaboration with Daniel Lanois, Oh Mercy — followed him for years. As author Clinton Heylin reported Dylan admitting in 1997: “My influences have not changed — and any time they have done, the music goes off to a wrong place. That’s why I recorded two LPs of old songs, so I could personally get back to the music that’s true for me.”

Truth: Few, if any, concepts better encapsulate Good As I Been to You. It resonates with the same originality, honesty, resolve, and age- and time-defying relevance as the seminal Anthology of American Folk Music that fired Dylan’s imagination as a kid in small-town Minnesota and, later, per Greil Marcus’ That Old Weird America book, informed Dylan and the Band’s Basement Tapes sessions. This record also contains the type of music Dylan was playing during his acoustic sets at his period Never Ending Tour shows; within a year of the record’s release, Dylan would play half the album’s songs live.

As for those songs: Rife with strange mystery, common circumstance, and epic adventure, the stories appeal to our base instincts. Their themes — jealousy, temptation, sacrifice, love, revenge, identity, opportunity — operate on a fundamentally human level immune to trends, generations, or eras. They’re ancient and modern, serious and comical, open and disguised, simple and multi-layered. They talk of vengeance and justice (“Frankie & Albert”; “Jim Jones”), romance and tenderness (“Tomorrow Night,” “Froggie Went a Courtin’”), the troubled and trouble-free (“Hard Times,” “Sittin’ on Top of the World”). They lend voice to lovers scorned and freed (“Blackjack Davey”), the used and users (“Diamond Joe”), the powerful and powerless (“Arthur McBride,” “Canadee-I-O”), the followed and followers (“Little Maggie”). And akin to much of Dylan’s finest output, things are not always what they appear to be.

Spanning country, folk, sea shanty, bluegrass, and blues motifs, Good As I Been to You re-confirms Dylan’s position as an elite interpreter and sculptor — not of just structure but emotion. Dylan delivers the tunes as if he’s known them forever. He plays with a subtle sense of mischievousness and retains a largely upbeat demeanour; his eyes seemingly twinkle as he sings and picks. His guitar serves as the guidepost for shuffles, boogies, ballads, and mess-arounds while his innate feel for each specific arrangement and melody helps inform pacing, tone, attack.

Like a great author, he understands the importance of adhering to concision, luring an audience, holding their attention, and maximizing the impact of details, actions, and unexpected turns. Though already coarse and ragged, his voice feels ideal for the subject matter and his phrasing — from the clever ways he stretches syllables to underline meanings on the surprise twists of “Canadee-I-O” to the sheer delight he gets from singing “rowdy-dow-dow” on the protest song “Arthur McBride” — outstanding.

Yellow/Green Marbled Vinyl

* From Karma Recordings comes their fourteenth EP. I can hardly believe it myself as I type this but yes, Karma Recordings is up to 014. On remix duties this time around is the very talented Dope Ammo. Fusing the jungle and drum n bass styles together seemlessly we feel we have another classic in the making with this release. Taking the pianos of DJ KOS’ original Horizons Lost and overlaying some haunting vocals and then slamming into the dnb, this track is not to be missed. Then rolling right on to the second remix on the A side we just had to release on to vinyl the brilliant Sync Dynamix remix. With a style all of his own Sync Dynamix has really done the track justice with rolling breakbeats and a heavy bassline. I was originally going to title this the light and dark EP and then completely forgot while doing the artwork. However, that’s where we went with the double A side. Psycho Boy by DJ Ande is a grimy menacing track sampling the laughter of Tyler Durden from Fight Club and just gets more and more troubled all the way through. Sinister, scary and chopped, the perfect track for Halloween. Then we have been delighted to bring back the hardware talents of Dertie Bassett, always a bit dark but absolutely superb. All four tracks will take you on a journey from light to dark.

Despite producing countless 7” scratch records and being the host of the DMC World Championships online Portablist battle since it’s inception, turns out that Woody’s been saying the word ‘portablism’ wrong the whole time! Referring to the genre as ‘Poor-tablism’. But let’s face it, if you choose ’scratch DJ’ as a career path, the odds are that it’s a pretty accurate description!

This record switches up the predictable format of the traditional 7” skip-proof’ scratch tool. Each track contains 1 scratch sound that repeats every rotation (making it fully skip-proof) with the other samples in the phrase repeated every 2 rotations (allowing for more variation in the samples). Side A is arranged at 100 bpm whilst Side B is arranged at 133 bpm, each side contains 6 different tracks and end with a full scratch sentence.

The record combines freshly dug and unused samples with original vocal recordings from UK rap legend MC Mercury of the group Gunshot alongside DC born MC and longtime collaborator BluRum 13.

‘The Poortablist’ is pressed on Gold vinyl with full colour picture sleeve illustrated by Woody himself.

• Produced by 2x World Champion DJ Woody

• 12 unique scratch phrases and full sentences

• Features original samples from MC Mercury and Blu Rum 13

• Perfect go-to record for any portablist jam or 7” DJ set.

• Artwork by DJ Woody

• Gold vinyl

Southern Exposure is proud to present the debut solo EP from Mike Midnight. Angel Hours was originally self-released digitally but has been lovingly pressed on heavyweight vinyl for the first time with design from Jeffrey Annert.

Angel Hours current rise felt like it was imminent from the first listen, with contributions from Noa (Voice Actor/Stroom) and 3NDLES5 (Low Life). Mike’s production across the release feels akin to 90’s artists like I:Cube, Thievery Corporation or certain Weatherall moments. The heavenly references are well deserved with multiple moments on the release feeling truly divine, whilst others take a low-lit and alluring feel. Mike Midnight feels singular in the Australian music landscape, like a mix between the best parts of Paul Mac, Single Gun Theory and Ian Eccles-Smith.

Angel Hours continues the lineage of Australian music breaking through to international recognition with the release becoming a mainstay on NTS Radio, breakfast show host Flo Dill dubbing it “music that when listened to at night makes you feel unstoppable.” Remastered by Corey Kikos (Sleep D/Butter Sessions), the balance of each track of downtempo bliss feels like you’re not only unstoppable but weightless.

Big thank you to Theodore, Mitch, Jeff, Mon, Noa, my friends, family and all the collaborators for their continued patience and support.

Die dritte und letzte Phase der Kaizers Orchestra-Reissue-Serie auf 180g Gatefold-Vinyl. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. 'Violeta Violeta Vol.III' (2012) ist das ambitionierteste, majestätischste und grossartigste Album im Kaizer-Katalog. Eine Meisterleistung des Songwritings und Höhepunkt ihrer Musikalität, der der bereits reichen Palette neue Farben hinzufügt. Ein ausgewachsenes Gypsy-Musical, unterstützt von einem kompletten Symphonieorchester. Das grosse Finale, extravangant & maximalistisch. VV3 verlangte der Band alles ab und führte sie in einen 10-jährigen Winterschlaf. Mit diesem Album erreichten Kaizers Orchestra perfekte 8 von 8 #1 Platzierungen in den norwegischen Albumcharts.

Die dritte und letzte Phase der Kaizers Orchestra-Reissue-Serie auf 180g Gatefold-Vinyl. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. 'Violeta Violeta Vol.III' (2012) ist das ambitionierteste, majestätischste und grossartigste Album im Kaizer-Katalog. Eine Meisterleistung des Songwritings und Höhepunkt ihrer Musikalität, der der bereits reichen Palette neue Farben hinzufügt. Ein ausgewachsenes Gypsy-Musical, unterstützt von einem kompletten Symphonieorchester. Das grosse Finale, extravangant & maximalistisch. VV3 verlangte der Band alles ab und führte sie in einen 10-jährigen Winterschlaf. Mit diesem Album erreichten Kaizers Orchestra perfekte 8 von 8 #1 Platzierungen in den norwegischen Albumcharts.

Die Kent-LP 'The Soul Of Tommy Youngblood' aus dem Jahr 1970 enthielt viele schöne Titel, insbesondere 'Tobacco Road North'. Die Musik wurde für verschiedene Hip-Hop-Adaptionen gesampelt, darunter eine von Ghostface Killah (Wu-Tang-Clan), aber das Original steht für sich allein und verdient eine 7inch. 'Nobody But Me' von The Other Brothers ist ein weiterer britischer Kent-Exklusivtitel, der auf der ersten Kent Select-Pressung ausverkauft war, mittlerweile sehr begehrt und teuer!

Seven years after Shin Godzilla, the worst "despair" in history strikes.

Director Takashi Yamazaki's 70th anniversary film.



Since its first appearance in 1954, the monster "Godzilla" has fascinated and shocked not only Japan but the world. Godzilla-1.0" (Godzilla minus one)

marks the 70th anniversary of Godzilla, the 30th live-action Godzilla produced in Japan, and the first Godzilla produced in "2025". The film is directed, written,

and VFX directed by Takashi Yamazaki, who professes to be a Godzilla fan himself. Ryunosuke Kamiki plays the lead role. The heroine is played by Minami Hamabe.

The film also features a cast of talented actors, including Hiroki Yamada, Takataka Aoki, Hidetaka Yoshioka, Sakura Ando, and Kuranosuke Sasaki,

all of whom are ready to take on Godzilla. The music is composed by Naoki Sato, who has composed music for many of Yamazaki's films, including "Always: Sunset on Third Street,"

"Destiny: The Kamakura Story," and "Archimedes' War. The overwhelmingly powerful visuals and music will send viewers into a whirlpool of excitement.

Auf seinem neuen Album BEFORE AND AFTER hat Young eine vielseitige Sammlung meist obskurer Songs wie ein Maler mit einer neuen Palette neu aufgegriffen. Für das Album hat Young als Reise in seine Musikgeschichte aus einer großen Anzahl seiner Originale und Favoriten aus seinem Katalog ausgewählt und führt sie hier auf dem Album auf, meist alleine, auf einer akustischen Soloreise an einen neuen Ort . Jeder der Songs fließt ineinander und erzeugt einen kontinuierlichen Fluss, der zu einem 48-minütigen reinen und intimen Hörerlebnis führt. Ein Album wie nichts anderes, was er bisher veröffentlicht hat. Das Album wurde von Lou Adler und Neil Young produziert und von Young und Niko Bolas, auch bekannt als The Volume Dealers, gemischt.

Neue Versionen der Songs selbst bewegen sich nahtlos und verwandeln sich mit faszinierender Klarheit in neue Dimensionen, angefangen bei seinem frühesten Auftritt in Buffalo Springfield, Burned, bis hin zum neuesten Don't Forget Love (aus BARN aus dem Jahr 2021) und einschließlich des bisher unveröffentlichten - veröffentlichten Song If You Got Love.

In the summer of 2015, Mac DeMarco released Some Other Ones— a collection of original instrumental recordings DeMarco deemed his “BBQ soundtrack” — as a free digital download exclusively on Bandcamp. It was recorded in just 5 days at his home in Far Rockaway, Queens, about a year after the massive success of his third album, Salad Days, and just weeks before the release of mini-LP Another One. Originally released in conjunction with a barbecue DeMarco hosted to promote Another One and collect food bank donations, Some Other Ones soon gained cult status, now regarded amongst his fans as a key entry in his beloved catalog. Now, almost 10 years later, and following the success of his recent full-length instrumental album Five Easy Hot Dogs, Some Other Ones is finally getting the full release treatment. The album will be available digitally across all streaming platforms for the first time starting November 8th, and on limited edition yellow vinyl starting December 15th. The real heads get down to Some Other Ones!

With help from Jerry Seinfeld himself, one of the classics from the mixtape era, Wale’s More About Nothing sees its first official release on CD & Vinyl. Originally released in 2008, the album is nothing short of a masterpiece in his celebrated catalog, and features appearances from then-budding artists Wiz Khalifa & Fat Trel, among others. True fans of the musician will undoubtedly know how crucial this project is to the culture; a Jerry Seinfeld collaboration with Wale finally available for all.

With help from Jerry Seinfeld himself, one of the classics from the mixtape era, Wale’s More About Nothing sees its first official release on CD & Vinyl. Originally released in 2008, the album is nothing short of a masterpiece in his celebrated catalog, and features appearances from then-budding artists Wiz Khalifa & Fat Trel, among others. True fans of the musician will undoubtedly know how crucial this project is to the culture; a Jerry Seinfeld collaboration with Wale finally available for all.

Seven Steps to Heaven arrived at a crucial junction in Miles Davis' career. Recorded at two separate locations in spring 1963, it served as Davis' first release in more than a year – a layoff that was then unprecedented for the jazz visionary who had issued at least one LP a year since debuting in the early '50s. Equally notable, Seven Steps to Heaven marks the point at which the core of Davis' Second Great Quintet started to assemble. The twice Grammy-nominated effort is also Davis' final studio record to blend standards with originals. And it happens to be one of the expressive, well-played albums in the jazz canon.

Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton gatefold jacket, Mobile Fidelity's 180g SuperVinyl LP of Seven Steps to Heaven adds yet another step (or more) towards the bliss suggested by the album title. Playing with standout clarity, detail, tone, and balance, this audiophile reissue pulls back the curtain on the instrumentalists. Afforded the tremendous advantages of SuperVinyl – including a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition – this numbered-edition version presents Davis and Co. amid a wide, deep soundstage whose dimensions and solidity help bring the record's historical importance and musical merit into focus. Warm, organic, and present, the SuperVinyl LP of Seven Steps to Heaven is what great-sounding hi-fi is all about.

And there's nary a passage on this 1963 landmark that isn't great. That Davis manages to make it feel so cohesive and seamless is a testament to the inspired performances and engaging compositions. Davis didn't draw it up the way it unfolded. No matter. He held trump cards that stayed up his sleeve for the next three decades: A drive to be nothing less than superb, a refusal to settle for mediocrity, and standards to which nearly no other composer or player could match. "The toughest critic I got, and the only one I worry about, is myself," Davis wrote in the liner notes. "The music has to get past me."

Davis' demanding approach partly explains why he switched up his band between the first and second sessions – and underscores how fast his mind was racing with new ideas. Seven Steps to Heaven acts as the stable bridge between the transitional period that followed the dissolution of his First Great Quintet and formation of the Second; without it, Davis perhaps doesn't invite then-23-year-old Herbie Hancock and a still-teenage Tony Williams into the fold. The trumpeter not only got his men – he preserved in amber for the only time (well, magnetic tape anyway) the chemistry and vibe he achieved with pianist Victor Feldman, drummer Frank Butler, tenor saxophonist George Coleman, and bassist Ron Carter.

That line-up gels for half of the six songs on Seven Steps to Heaven. Captured in Los Angeles April '63, the quintet stretches out on a luxurious reading of the late '20s New Orleans staple "Basin Street Blues"; lays on the romance for a candlelit stroll through the '40s standard "I Fall in Love Too Easily"; and explores the rounded contours and melodic crevices of the early blues "Baby Won't You Please Come Home." The performances are refined, elegant, emotional; the band lets the feelings linger and gives the listener time to absorb the colours and textures.

A month later, Davis returned to New York City with Coleman and Carter, and partnered them with Hancock and Williams. Tellingly, the quintet tried its collective hand at the title track and "Joshua" – Feldman-penned songs already recorded in Los Angeles – as well as the yearning "So Near, So Far." Those are the tunes that comprise the other piece of Seven Steps to Heaven, with the revised quintet's liquid pulse, articulate dynamics, and timing shifts a harbinger of things to come.

It's also worth mentioning that the interpretations of the bounding "Seven Steps to Heaven" – a showcase for Davis' trumpet – and interlocking "Joshua" netted considerable radio airplay and attracted the attention of other contemporaries who covered the songs. Keeping Carter and Williams as the rhythmic engine, and Hancock as the anchor between solo flights and structural motifs, Davis would soon soon welcome Wayne Shorter into the family and transform jazz. Again. The aptly – and, in hindsight, perhaps prophetically titled Seven Steps to Heaven – is how he got there.

„Christmas With You“ haben Norah Jones und Shooting-Star Laufey ihre gemeinsame Weihnachtssingle genannt. Auf zwei Duetten kombinieren sie ihre unverwechselbaren Stimmen, bei einer charmanten Version des Evergreens „Have Yourself A Merry Little Christmas“ und einem verspielten neuen Original. Norah Jones muss man niemandem mehr vorstellen.

Laufeys aktuelles Album „Bewitched“ brach den Rekord als erfolgreichstes Spotify-Jazz-Albumdebüt aller Zeiten, es stieg auf Platz 2 der globalen und US-Albumcharts von Spotify ein, sowie auf Platz 23 der Billboard 200 und Platz 1 der Traditional Jazz Albumcharts. Bis heute hat sie über 1 Milliarde Streams auf allen Plattformen erzielt

Here's the first vinyl record release by Alien Rave. We still can't explain the strange circumstances surrounding this record, which came to our attention in a mysterious and unexpected way. A coded message through Ableton Live led us to a strange place where we found the recordings. The instructions were very clear - all we had to was follow them You'll find the results on this interstellar '94 electro-break track. Alien Rave sets out to get inside your head, introducing evocative and epic mental moments that give way to energetic tunnels built on a solid rhythmic foundation carefully designed to withstand elegant ultrasonic bass frequencies. For electro-break fans, this record could be seen as a journey which originated in the German-inspired Florida scene before eventually finding its way back to Spain. It's funny how Florida, home to some of the most robotic and extraterrestrial electro-break music, is also one of the hot spots of the global UFO phenomenon. Coincidence? Maybe, but we're looking forward to the next contact: we know it's coming.

FIVE CLASSIC ARETHA ALBUMS PRESENTING AN EARLY-’70S PORTRAIT OF THE QUEEN!

Also Includes A SIXTH BONUS LP of Session Alternates, Outtakes & Demos!

Original Albums Remastered From the Analog Master Tapes by Grammy® Award-Winning Engineer, Chris Bellman at Bernie Grundman Mastering Produced by Grammy® Award-Winner Cheryl Pawelski with Liner Notes from Billboard’s Gail Mitchell & British Ambassador of Soul, David Nathan Includes the hit Young, Gifted, & Black, released in 1972, which hit #2 on Billboard’s R&B albums survey and #11 on the Billboard Top 200 as well as being certified GOLD.

Aretha won the 1972 Grammy Award for Best Female R&B Vocal Performance the album ranked at number 388 on Rolling Stone’s 500 Greatest Albums of All Time.

Also includes This Girl’s In Love With You which features the first commercial release of “Let It Be,” and came out 2 months ahead of The Beatles. Both this album and Spirit In The Dark feature the Muscle Shoals Rhythm section and an appearance by Duane Allman. Along with production on both from Jerry Wexler, Tom Dowd & Arif Mardin.

Calibro 35 unleash the new OST for the second season of TV series BLANCA, to be released on limited edition LP on December 1st 2023.

Italian cinematic cult outfit CALIBRO 35 announces the release of the ORIGINAL SOUNDTRACK of the second season of BLANCA, the TV series produced by Lux Vide in collaboration with Rai Fiction, broadcast in prime time on Rai 1 starting from Thursday, October 5th 2023 and directed byJan Maria Michelini and Michele Soavi. The soundtrack will be released worldwide on limited edition, crystal clear LP next December 1st via Milan based label Record Kicks.

The new thrilling episodes of Blanca Season 2 follows the success of the first season, that was aired worldwide on Netflix, M6 France and Telecinco Spain. Accompanying the journey is once again the original music of CALIBRO 35 the Italian "cult" cinematic combo active for over 15 years and with a fan base that includes superstars such as Dr.Dre, Jay-z and Damon Albarn. Made up of 20 tracks in total, the OST was entirely composed by CALIBRO 35 that created the sound universe of BLANCA: an impressive and choral work, which has engaged all the components of the band for a long time, giving the them the opportunity to develop a very vast soundscape.

"It's the first time that we deal with the creation of a 'season 2' and we discovered that the creative process can be very different" Calibro 35 says. "In the first season, we had to build from scratch a sound and musical world consistent with the idea that Jan had (Michielini, director and showrunner of the series); this time, however, we had to develop that already existing world further, in order to describe the new stories and new different characters of the second season. There had to be undiscovered musical territories, that forced us to step out of our comfort zone." The result is that on the 20 tracks of the ost, the heavy dose of Calibro's signature funk grooves of tracks such as "Badanti, "Carignano", "Cambio di Stagione" or "Sampierdarena" is mixed with more moody and soulful tunes, world music, opera and atmospheres à la John Carpenter. Amongst the album's highlights worth definitely a mention the Opening and End titles that feature the voices of Arya, MEI and Tahnee Rodriguez. Essential contribution to the recordings were made by Francesca Biliotti - mezzo soprano of the Monteverdi Choir, Valeria Sturba - exceptional multi-instrumentalist of the avant-garde music group OoopopoiooO, Rahma Hafsi and Elisa Zoot.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day") and Demigodz ("The Summer Of Sam"). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré. The BLANCA OST is the latest of many activities concerning cinema for CALIBRO 35: the band has been completely immersed in the world of soundtracks since the very beginning and they have recently worked on other productions as well, both as Calibro and individually. Last June, the band released their 8th studio album, NOUVELLES AVENTURES, recorded in Naples at Auditorium Novecento. With the new LP the group has made full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

“This one might’ve been in us from the start”, says John Hancock. He’s talking about ‘Echos’ - his, Becky Williams, Finn Bjarnson & Ryan Raddon seventh Late Night Alumni longform. Predominantly known for blending electronic and organic elements into their music, the album represents a departure from the band’s largely house-led sound. An all-acoustic affair, in many ways though ‘Echos’ is a natural extension of LNA’s DNA. “Most of our songs”, John continues, “are written in the organic/acoustic realm and then produced with electronic flavours to create our sound. In those intimate song beginnings though, there’s a magic all its own. We’ve long wanted to do an album that captured and augmented that initial intimacy.” Which is indeed what Becky, John, Finn & Ryan have now done. The quartet have dug back into their twenty-year, six-album history and selected eleven tracks that they felt could most benefit from this song-spotlighting treatment. With their original acoustic intros as cues, they’ve taken them to their natural conclusions. A Sliding Doors-type feast for LNA enthusiasts both new and established, or indeed all lovers of downtempo, downtime, live instrumentation-led music, ‘Echos’.

12 original festive songs, characterised by Johnson’s characteristic songwriting excellence, ranging in tone from the sardonic to the sentimental, featuring traditional seasonal conventions (50s jazz, Father Christmas, mistletoe, sprouts etc) performed by The Xmas Irregulars: Sian Allen – vocals, trumpet, saxophone // John Forrester – vocals, double bass // Robb Johnson – vocals, guitar, tuned percussion // Fae Simon - vocals // Roger Stevens – vocal, piano with Arvin Johnson- drums, Saskia Tomkins – violin & viola // Recorded by Ali Gavan, Brighton Road Studios. Robb Johnson-Brief biography: Robb’s widely recognised as one of the UK’s finest songwriters. “An English original”, (Robin Denselow, the Guardian) “one of our best singer-songwriters ever” (Mike Harding) “one of this country’s most important songwriters (no argument!)” (fROOTS). His work includes two highly acclaimed song suites, Gentle Men, & Ordinary Giants, -a “masterpiece” (fROOTS), “monumental” (FATEA). Last year Murder at the Grange premiered to enthusiastic, sold-out audiences at The Ropetackle in Shoreham & Chats Palace in Hackney – “a cracker of a show… a delightful extravaganza and a uniquely dark and different way to celebrate the winter season” was Folk Radio’s opinion. The Xmas Irregulars: Sian Allen – actor-musician, resident singer at Walthamstow Folk Club // John Forrester – singer & songwriter, bassist in various bands // Fae Simon - studied opera, hip-hop, soul & jazz recording artiste // Roger Stevens – award-winning children's poet & novelist // Arvin Johnson & Saskia Tomkins are both ex-Irregulars – Arvin now drums with Manchester-based band Tigers & Flies, & Saskia now lives & works -to great acclaim- in Canada

»In Words« is the first solo album by the Danish musician, composer, and visual artist Alexander Tillegreen. The album represents a series of varied electronic music pieces while also carrying examples of ongoing work with psychoacoustic phenomena. Composed partly of material taken from his artistic practice as an installation artist and his ongoing interdisciplinary artistic research into psychoacoustic phenomena, Tillegreen investigates subjective sonic perception and the negotiation of language. Particularly, these investigations are done through the use of the phantom word illusion, originally discovered by music psychologist Diana Deutsch. Parts of the album were conceived when Tillegreen was the first artist ever in resident at the Max Planck Institute for Empirical Aesthetics. Triggering the brain’s tendency to interpret language-based auditory illusions as meaningful information and as words within the mind of the listener, Tillegreen’s unique sound works unfold like a kaleidoscope of phonetic mirrors which render possibilities to reflect upon the listener’s own psychological and culturally situated linguistic embeddedness. Gender-distorted voice perception, speech and language borders are all challenged and thematized throughout Tillegreen’s work. The listener’s head and bodily movement drastically affect the listening and the word interpretation. Their psychological subconsciousness, recent events, memories, and expectations as well as the listener’s motion in space all become co-creative and co- composing factors in a reactive and choreographic process of listening. The polyrhythmic seriality of spatialized syllabic structures is accompanied by elements of heavy bass drops, high-frequency tensions, undulating synth lines, and hypnotic effects. Some of the many compositional potentials of the phantom word illusions are exercised and unfolded in selected tracks throughout the album. The notion of language borders is approached from an entirely different and even more “anti-logocentric” perspective on the “eponymous” closing track »Assimilate (in Words)«, where the listener experiences the struggle and collapse of interpersonal communication through conversation. Other parts of the album represent more diverse approaches to abstract electronic music. »In Words« morphs soundscapes into glacial, spherical passages of ambient backdrops, while at other times emphasizes raw tectonic blocks of hyper-panning drones that erupt into high-velocity outlets of energetic, granular fields. Tillegreen is alternating between cyclical, minimalist, hypnotic approaches and complex, glitchy polyrhythmic melodic structures that shift and melt into evocative ambiences. The phantom words and the nature of Tillegreen’s musical visions progressively demand more of the listener’s attention and represent the artist’s ongoing artistic work and scientific research into psychoacoustics and language. While »In Words« is a highly conceptual album, the musical bandwidth is extensive.

Originally released in `96, TYREE is reissuing this classic DANCE MANIA EP for 2023. Released at the height of Chicago's infamous "Ghetto House Era," with tunes like "IT'S ALL GOOD," and "LET IT GO," this record has been in constant demand for over 20 years. Play it loud and play it now.

Ross Mc Millan Aka Carlos Nilmmns Started His Career Over 10 Years Ago With Skylax Records. From His 1st Ep "Red" It Is a Statement. a Subtle Mix of House, Techno All Embellished With Striking Cinematographic Landscapes. There Followed a Multitude of Releases on Skylax (Blue Ep) but Also Ornaments, 4lux or Even Circus Company. He Has Just Recently Released 2 Fabulous Remixes for the Soul of the Makossa Man Project (Warehouse Classic 5 & 6). and It Is Logically in View of the Incredible Level He Has Reached in the Development of His Remixes That We Offered Him to Make a New Ep. There Is in This New 12 Inch His Very Personal Touch to the Deep and Sensual but Also Latin House Influences That Surely Would Not Have Denied the Maw but Also the Great David Mancuso (The Loft) Who if He Were Still Alive, We Think Would Have Loved This Ep (Rip). Indeed, Ross Also Manages to Integrate Into His Songs Cinematic Landscapes Worthy of Lalo Schifrin of the 1970s While Maintaining a Club Aspect. Latin Tapes Is One of the Most Beautiful House Bangers We've Heard in a Long Time, a Real Ode to Party and Life. No Love Lost Is Eyeing Moodymann, Mcde and the Brilliant and Forgotten Trus'me. Hootenanny Looks Nothing More or Less Than Isaac Hayes From His Blaxploitation Period. Everything Else Is on the Same Level: City of Love, Sunset Over Antoni De Portmany (Balearic Nights) & Life in the Loire. the Real Question Would Be to Know How He Manages to Obtain This Sound So Classy, ​​the Impression That He Is Accompanied Throughout the Ep by the Philadelphia International Rhythm Section (Gamble & Huff) an Orchestra of Seasoned Musicians. Probably One of the Finest House Records (Or Even Just Music) to Be Released This Year by a Talent as Singular as It Is Elusive. This 12 Inch Is a Masterpiece of Elegance and Refinement....

Hot Water Music singer Chuck Ragan and End Hits Records will collaborate to release the sought-after THE BLUEPRINT SESSIONS of the country/folk singer for the first time in a deluxe double vinyl version. Originally, these recordings were only available through a monthly 7" subscription offered by Florida punk rock cult label NO IDEA. For over sixteen years, these singles have been out of print and have become sought-after collector's items. That's why Chuck Ragan and End Hits Records have decided to make these songs available again, combined on a double LP. The 16-track collection is packaged in a deluxe gatefold sleeve and comes with printed inner sleeves. All versions of the sixteen songs included are exclusive to this release and have been specially remastered for vinyl. The double album will be released worldwide through End Hits Records and will be available in four extravagant vinyl configurations. Additionally, End Hits and Chuck Ragan are excited to offer eco-friendly, recycled vinyl for the first time. Each recycled record is unique and will have an individual look due to the recycling process.

Orphax & PONI (person of no importance) is a collaboration between the two Dutch brothers, Sietse (Orphax) and Tjeerd (PONI) van Erve. Since their early years they share a broad interest in music, fed mostly from their fathers’ record collection, ranging from early blues to Pink Floyd or Beethoven. But also listening to Belgian radio channel Studio Brussels (which during the late 80s and early 90s was a common listening close to the borders between The Netherlands and Belgium), and the late night Dutch radio inspired them in exploring the rough edges of underground music.

An exploration that gave them a common interest in indie and noise rock, but soon enough both followed their own path in music. Tjeerd moving more into underground guitar music, whilst Sietse developed a wider interest in (experimental) electronic and contemporary music. Both as listeners, but also exploring their own interests as musicians.

Now many years later these musical paths cross again in this album Inheritance (with a slight imagination, a translation of their last name van Erve). An album where Tjeerd brings in his dark and noisy lo-fi guitar songs and Sietse brings in his drones and electro-acoustic composition styles.

The album opens with its longest track, “As Received”. This combination results in a slow developing drone, with the intensity and tension of a well build-up post-rock track, that slowly unfolds Tjeerd his guitar layers and vocals. The title of the song refers to one of the PONI projects, where Tjeerd would send rough recordings to befriended musicians who than would rework those recordings without any restrictions which then would be released side by side with the original rough recordings. A project which actually sparked the idea of this collaboration (and that can still be listened to on PONI’s bandcamp-page).

On the flip side of the record, three shorter works give more room for regular song structures. In “Sunburns” this results in slowcore with subdued vocals, melancholic guitars and nasty synth and organ drones. When Tjeerd wrote the basis for the song, he actually had been listening to a lot of Codeine and Bedhead. One does not need much fantasy to recognize the influences of these bands.

“The Tears Are Necessary” is build up around various broken up piano tracks accompanied by moody drones to develop a fragile song.

The album closes with “Lockdown”, opening with silence as a moment of contemplation after the previous work but then quickly develops in a playful song where improvised play on piano, guitar and modular synthesizer create a lo-fi gem that clearly shows that both brothers still haven’t lost their love for Sentridoh or Guided By Voices.
All together resulting in an album that is an ode to the love of music, experiment, and creativity and a celebration of brotherhood.

Im September 1968 spielte AMON DÜÜL bei den "Internationalen Essener Songtagen", dem ersten fünftägigen Rockfestival Deutschlands, das der spätere Ohr-Labelchef Rolf-Ulrich Kaiser initiiert hatte. Der Berliner Musikproduzent Peter Meisel hörte und sah die Band dort und nahm sie spontan unter Vertrag, zusammen mit Tangerine Dream und Birth Control. AMON DÜÜL stand der Berliner "Kommune 1" nahe und entstand zu einer Zeit, da jeder ein Künstler war, der einer sein wollte. Und so konnte auch jeder, der wollte, ein Musiker sein. Zusammen, im Kollektiv, war alles möglich. Angelika und Helge Filanda, Wolfgang Krischke, Ulrich Leopold, Rainer und Ella Bauer, Peter Leopold sowie Uschi Obermaier spielten in Meisels Studio zeitgemäß high in the sky eine Session ein, die alle Regeln durchbrach und alle Hörgewohnheiten auf den Kopf stellte. Die Aufnahmen wanderten zunächst in den Giftschrank, erst ein Jahr später traute sich Meisel, sie unter dem Titel Psychedelic Underground zu veröffentlichen. Hier ist die Fortsetzung: Die Doppel-LP Disaster/Lüüd Noma erschien 1972, als es die Gruppe AMON DÜÜL schon nicht mehr gab, und sie präsentiert weitere Aufnahmen aus derselben Session. Alle Titel sind surreale, unübersetzbare Wortspielereien, die Stücke sind klanglich besser organisiert, weniger fragmentarisch, klarer voneinander abgesetzt und ausgefeilter nachbearbeitet als auf der ersten LP - der ausgenzwinkernd mitgelieferte Hinweis, alle Störungen und Fehler seien beabsichtigt, hat aber gleichwohl einen wahren Kern. Nun sind diese denkwürdigen Aufnahmen wieder zugänglich, remastered von den analogen Originalbändern. Sie sind das Dokument einer Zeitstimmung, die unwiederholbar geblieben ist. Wer sich für die Anfänge des Krautrocks ernsthaft interessiert, kommt an diesem Album nicht vorbei - das Disaster wartet auf Sie!

Doctor Who – Revenge Of The Cybermen was the season 12 finale first broadcast on April 19th, 1975. As with so much television music of the 1960s, ‘70s and ‘80s, the original master tapes of Carey Blyton’s score for Revenge of the Cybermen were not retained. The only surviving copy is a set of four 7”, 7.5ips “composer’s copy” domestic 1/4-inch tape. It is from those digital transfers that this release is taken. Sadly, and to Carey’s obvious and understandable disappointment, the completed music did not meet with the complete approval of the production team, and much of it was not used. Peter Howell of the BBC Radiophonic Workshop added some electronic embellishments and arranged some additional cues for parts two and three but some of that was also left on the proverbial cutting room floor.
For this release, Carey’s original score is presented (and heard here for the first time) as written. This is followed by the additional, alternative, and “enhanced” cues, all of which were also on Carey Blyton’s tapes.
“This is undoubtedly one of the most distinctive, mysterious, misunderstood, and even controversial scores in Doctor Who history, and it delights me to finally bring it, complete, to your ears!” Mark Ayres - compiler and producer

Hank Wangford, pioneer and Godfather of British alternative Country
music and Americana, joins forces with Noel Dashwood, Britain's premier
dobro player for a unique duo album of original songs A fresh take on
classic Country and Americana it is Studio recorded live with Hank on
guitar and ukulele and Noel on bass ukulele and dobro and harmonica
Dobro is a guitar played horizontally with a slide bar in the Hawaiian style, a
foretaste of the classic Country sound of pedal steel and lap steel guitar. They
sing spine tingling harmonies together on Hank's songs and the one non-original
Image of Me, Conway Twitty's first Country hit which Hank learned from his
mentor and inspiration the late Gram Parsons.
With Noel's lyrical dobro they celebrate the much-ignored influence of Hawaiian
music on American popular music and most especially Country music. Noel tips
his hat to the dobro of Pete Kirby - Bashful Brother Oswald of Roy Acuff's seminal
Smoky Mountain Boys - in much of his playing. Two sides to this album - first
Toetappers is up- tempo with songs about Oil and the current fossil fuel crisis,
Jump In A River about lockdowns, spiritual and societal and Simple Pleasures,
something we all crave. The second side Heartbreakers is sadder ballads about
cheating, lies, lost love, jilted wedding, drinking and broken Promises Promises.
And Something In The Air asks is there a god?
The whole album is a heartfelt tribute to the classic roots of Country that Hank
was pulled into by his friend Gram.

2023 Repress

It's the quiet ones we should watch, they always say. Which is particularly astute advice right now, when loud, constant self-declaration and saturated 'brand' visibility have become the norm. But above the babble and brightness, some voices will always speak quiet volumes ­- with calm eloquence and the kind of certitude that comes from valuing the playing out, not just the prize.

Sweden's José González is just such a voice. He first charmed his way into the UK's earshot via the murmurous and elegant, classically finger-picked folk pop of his 2005 album, Veneer, which has since sold over a staggering 430, 000 copies in UK alone. Two years later came In Our Nature, a further exploration of José's influences (Argentinian Folklore, the '60s US folk tradition and the British pastoral folk-pop style of the same era), on which he resisted the temptation to beef up his alluringly introvert aesthetic. The albums made the UK Top 10 and Top 20 respectively.

Conceived as the natural third part in an acoustic trilogy, Vestiges & Claws is a(nother) hushed and delicate solo set that forefronts the artist and guitarist's compellingly intimate vocal style and intricate playing technique, but it's often strikingly rhythmic in nature and cohere's perfectly, with hand claps and taps on the body of his instrument underlining the songs' mantric rise-and-fall pattern, while elsewhere, over-dubbed guitar parts and multi-tracked vocal harmonies entwine to sweetly immersive effect.

The title refers to both cultural practices and biological features that survive despite having lost their original function, and to currently useful tools, ie the 'claws' of modern life.

Vestiges & Claws was recorded almost entirely by José and self-produced, mostly in his Gothenburg home, using computer plug-ins to achieve a warm, analogue sound. He prefers working alone, mainly for artistic reasons. 'There were a couple of things that enabled me to complete this record: one was curiosity, to be able to play percussion and do a lot of harmonies and also to produce and mix the album; the other was aesthetics. I love to listen to Arthur Russell and Shuggie Otis, to music that has been done mostly by one person in their solitary state.'

As José sees it, the record is his personal, 'zoomed-out eye on humanity on a small, pale blue dot in a cold, sparse and unfriendly space. The amazing fact that we are all here, an attempt at encouraging us to understand ourselves and to make the best of the one life we know we have - after birth and before death.