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Mondo, in partnership with WaterTower Music, is proud to present Michael Giacchino's absolutely brilliant score to Matt Reeves’ highly anticipated THE BATMAN. Featuring the music of Academy, Emmy and Grammy Award-winning composer Michael Giacchino, whose credits feature some of the most popular and acclaimed film projects in recent history, including THE INCREDIBLES, COCO, JOJO RABBIT, RATATOUILLE, STAR TREK, JURASSIC WORLD, ROGUE ONE: A STAR WARS STORY, SPIDER-MAN: HOMECOMING, and WAR FOR THE PLANET OF THE APES. This is the fifth film Reeves and Giacchino have collaborated on.

Giacchino proves himself, once more, as one of the greatest living composers, by introducing a powerful and instantly canonized new theme to one of the most musically iconic superheroes. When director Matt Reeves heard the theme for the first time, he was with film producer Dylan Clark. “I was blown away!” He exclaimed. “It was so emotional. The two of us literally cried…it was amazing.”

Though it's not only the world's greatest detective who emerges with a new theme - Selina Kyle / Catwoman's new string heavy theme is slinky and haunted like that of a classic noir's femme fatale. And Giacchino's take on The Riddler is far more haunted, accompanied by the Tiffin Boys choir, a truly terrifying and dread-inducing motif for one of the scariest takes on a Gotham villain, to date.

With nearly two hours of score, housed on three discs, featuring all new artwork by Henry Abrams.

Composed by Michael Giacchino
Artwork by Henry Abrams
Manufactured in Czech Republic

Five years after "Mort d'un Pourri" (Death of a Corrupt Man) Philippe Sarde finds Alain Delon for this adaptation of a violent thriller by Jean-Patrick Manchette. If "Le Choc" (The Shock) offers a rather watered down vision of the original novel, the composer chooses to give a boost. Sarde explains : “My position was this : to inject singularity into this somewhat smooth story. I get some really good soloists together for an unconventional score balanced between rock, jazz fusion and romanticism. I wanted it to be energetic with a modern drive. To me, "Le Choc" is a direct extension of the great blends in "César et Rosalie" or "Coup de Torchon (Clean Slate)". A jazz-rock rhythm section, musicians from Weather Report with the London Symphony Orchestra, and the great Wayne Shorter. I

asked him if he could play his soprano with a timbre like a bombard, an unexpected transposing of a folk instrument onto a jazz horn..." To director Robin Davis, this magnificent score will be a real lifeline : "With his music, Philippe told a story alongside mine, he brought "Le Choc" back to what it might have and should have been. And I love the invisible link with Lautner. After Stan Getz and "Mort d'un Pourri", we’re still with Delon & Sarde but this time the saxophonist is a black American, Wayne Shorter."

Pressed for the first time from a high definition transfer of the recording tapes, this new album has been mastered without any compression, respecting all the dynamics of the recording produced at Abbey Road.

Draped in a flag of patriotic shame, the Hated stormed onto the scene just as D.C.’s Revolution Summer was swerving out of control. Channeling Bad Brains’ Black thrash and Hüsker Dü’s zen approach to hardcore, Dan Littleton, Erik Fisher, Colin Meeder, and Mike Bonner synthesized their own version of what became emo in 1985. Remastered from the original analog tapes, Best Piece Of Shit Vol. 4 compiles their D.I.Y. debut cassette, the No More We Cry EP, and 14 period bonus tracks from the Hated vault, spread across two LPs and annotated by fellow Annapolis hooligan Andrew Gebhardt. Decorated with extensive photo documentation and cut’n’paste ephemera, this Hated-approved set captures a band, a scene, and a country on the verge of either exploding or imploding. Never said it’d be like this, right?

Draped in a flag of patriotic shame, the Hated stormed onto the scene just as D.C.’s Revolution Summer was swerving out of control. Channeling Bad Brains’ Black thrash and Hüsker Dü’s zen approach to hardcore, Dan Littleton, Erik Fisher, Colin Meeder, and Mike Bonner synthesized their own version of what became emo in 1985. Remastered from the original analog tapes, Best Piece Of Shit Vol. 4 compiles their D.I.Y. debut cassette, the No More We Cry EP, and 14 period bonus tracks from the Hated vault, spread across two LPs and annotated by fellow Annapolis hooligan Andrew Gebhardt. Decorated with extensive photo documentation and cut’n’paste ephemera, this Hated-approved set captures a band, a scene, and a country on the verge of either exploding or imploding. Never said it’d be like this, right?

Originally released on Axis records. Moonlight Serenade Year 3036, the Third Empire of Human spans hundreds of star systems, only accessible by a faster-than-light spaceship. No other intelligent beings have ever been encountered, not until a light sail probe enters a human system carrying a dead alien. The probe is traced to the Ursea, an isolated star system in a thick dust cloud, and an expedition is dispatched. After a search that lasted thousands of years, humans stand on the verge of first contact with an alien race. The mission's objective: learn everything there is to know about the extraterrestrial intelligence. DJ Surgeles has a longstanding professional relationship with Detroit legend Jeff Mills. Connected through music, DJ Surgeles learned the insides and tricks of Jeff. Many conversations and meetings over the years led to this new concept, The Escape Velocity. DJ Surgeles has also collaborated exclusively with Jeff Mills on the concepts Something in The Sky and STRMRKD, and produced a special Axis Records 10 year anniversary release, The Bells: DJ Mix back in 2007. I wanna thank Jeff Mills for making this album happen.

Corn, originally released in 2015, features nine tracks Russell recorded in 1982 and 1983. In collaboration with Russell"s partner Tom Lee, Audika"s Steve Knutson compiled Corn from Arthur"s original, completed 1/4" tape masters. Russell himself compiled this material on three separate test pressings-labelled El Dinosaur, Indian Ocean, and Untitled, respectively- in 1985. Russell fans know something of the Corn sound from Audika"s debut release, "Calling Out of Context" (2004), which included four songs from these sessions: "The Deer In The Forest Part 1," "The Platform on the Ocean," "Calling Out Of Context," and "I Like You!" This new collection includes rhythmic alternate versions of "Lucky Cloud," "Keeping Up," "See My Brother, He"s Jumping Out (Let"s Go Swimming #2)," "This Is How We Walk on the Moon," and "Hiding Your Present From You," along with "Corn," "Corn (Continued)," "They and Their Friends," and the closing instrumental "Ocean Movie," one of the most beautiful and curious Russell tracks ever to see the light of day.

"Love Is Overtaking Me", originally released in 2008 comprises 21 demos and home recordings of unreleased pop, folk and country songs from Arthur"s vast catalogue. While much critical and popular affection for Russell"s music has come about well after his untimely death from AIDS in 1992, many fellow artists believed in his genius and were drawn to collaborate with him during his lifetime. The legendary producer John Hammond (Billie Holiday, Bob Dylan, Bruce Springsteen) recorded Russell on several occasions; a number of these recordings can be heard on "Love Is Overtaking Me". Alongside songs recorded with various incarnations of The Flying Hearts, a group formed by Russell with Ernie Brooks whose shifting line up included, by turns, Jerry Harrison, Rhys Chatham, Jon Gibson, Peter Gordon and Peter Zummo as well as Larry Saltzman and David Van Tieghem. Several other Russell projects are represented on Love Is Overtaking Me, including The Sailboats, Turbo Sporty and Bright & Early. Compiled from over eight hours of material, "Love Is Overtaking Me" reaches back further to Russell"s first compositions from the early `70s and spans forward to his very last recordings, made at home in 1991. Chris Taylor of Grizzly Bear contributed mixing, restoration and editing to the album, whose tracks were selected by Audika"s Steve Knutson, Ernie Brooks and Russell"s companion, Tom Lee. Several songs feature prominently in Matt Wolf"s film "Wild Combination: A Portrait of Arthur Russell". Extensive "Love Is Overtaking Me" liner notes by Tom Lee provide an intimate perspective on Russell"s diverse catalogue, which spanned an extraordinary diversity of styles and won the love of artistic communities that would seem utterly disparate, from Philip Glass, John Cage and Allen Ginsberg to rock bands like The Talking Heads and The Modern Lovers; the pre-Studio 54 disco-party scene of Nicky Siano"s Gallery and David Mancuso"s Loft; and DJ-producers like Francois Kevorkian and Larry Levan, among others.

Jazzrausch Bigband has more or less invented a new art form,
techno jazz, and has become well-known for performances of it. But
the band also has another, different story to tell. It has invented its
own tradition of hitting the road and touring at the end of each year
with a programme consisting of Christmas music, and has been doing
this ever since the band first emerged eight years ago. Bandleader
and founder Roman Sladek explains: “Whereas our regular projects -
the most recent album, ‘Emergenz’, is a good example - are all about
working through a specific theme and finding new ways to reinvent
ourselves, our Christmas thing is something we do for one reason
alone: to have fun. It was our very first programme, we still love it, and
we’re still nurturing, developing and growing it. Being able to devote
one month a year entirely to the big band tradition is something we’re
all really passionate about.”
Some bands might have been tempted just to throw together an
album of Christmas chestnuts any old how, but the Jazzrausch way of
doing things is not like that at all. Unlike any other album by the band,
for the first time we hear purely instrumental music. Furthermore,
Kuhn has taken ten classic Christmas songs - each one of them
rarely heard in jazz, and tunes which can often come across as a bit
staid in their original settings - from ‘Tochter Zion, freue dich# to
‘Adeste fideles’ or ‘Ihr Kinderlein, kommet’. The title track, ‘Alle Jahre
wieder!’ (based on the 1830s carol to music by Silcher which is very
familiar to children and adults in the German-speaking world) appears
here in completely new orchestral garb.
Sometimes the listener will recognise the kind of swing typical of
Glenn Miller. At other moments it is the incomparable big band
elegance of, say, Artie Shaw. ‘Es wird scho glei dumpa’ (an Austrian
carol) is given the full extra high pressure Tijuana brass treatment.
‘Maria durch ein’ Dornwald ging’ gets the touch of the Thad Jones /
Mel Lewis Orchestra after a Henry Mancini-like intro, and ‘Ich steh’ an
deiner Krippe hier’ recalls more of the great swing heritage.
Once again Jazzrausch Bigband has succeeded in a way that only
very few in the jazz field can, notwithstanding the openness of the
genre: they have brought young and old together, tradition and
revolution, the familiar and the new. Which is why it feels so
completely natural and right that they should continue to do this
‘again every year’, as the album title tells them: ‘Alle Jahre wieder’.

"Black Screen Records has once again teamed up with Tumult Kollektiv to release their soundtrack to Hundred Days, a game of choice, nostalgia and winemaking.Departing from the folkloristic orchestral sounds of Pine, the music for Hundred Days strives for an intimate setting, prominently featuring a small ensemble of synthesizers, cello and guitar. The compositions are lush and intricate, creating a soothing and light-hearted score, tinged with a sense of melancholy.""We are really proud to be releasing our second soundtrack with Black Screen Records and would like to thank everyone that has been supporting our music.Working on the music for Hundred Days was a wonderful experience and a great opportunity to taste some wines (and learn about winemaking).Thanks to Weinhof Lindicke for allowing us to record sounds on their vineyard, and Lawrence Herlyn for showing us around.Furthermore, our deepest gratitude to the wonderful musicians we got to work with on this project. Thanks for borrowing us your talent, near infinite patience, and making the music sing."" - Alexander van der Kruijf, Jonathan Howe & Leonhard van Voorst"

Bloodline was an American blues-rock band from New York City, New York. Formed in 1991, the group originally featured vocalist Aaron Hagar, lead guitarist “Smokin’ Joe” Bonamassa, rhythm guitarist Waylon Krieger, bassist Berry Oakley Jr., drummer Erin Davis and keyboardist Lou Segreti. After Hagar was fired due to creative differences, Oakley took over as lead vocalist and the group began recording demos for a planned studio album with producer Phil Ramone. Bloodline released their self-titled debut album in 1994, which was produced by Joe Hardy and features the singles “Stone Cold Hearted”, “Dixie Peach” and “Calling Me Back”. The band broke up shortly after the album’s touring cycle.

Bloodline is available on vinyl for the very first time and
includes an insert with lyrics.

The British heavy metal band Angel Witch formed in London,
1976 as part of the new wave of British heavy metal movement (also known as the NWOBHM). Their self-titled debut album was originally released in 1980 and features the painting The Fallen Angels Entering Pandemonium by John Martin on the cover. The band lineup back then consisted of Kevin Heybourne, Kevin Riddles and Dave Hogg. The album features their most successful track to date “Angel Witch”.

Angel Witch is available as a limited edition of 1000 individually numbered copies on “Black Clouds” coloured vinyl.

Comprehensive box of 6 LPs / EPs and the band's first rare 7inch.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986) contributing to the music.

Box Set includes: Gorilla Dans De Samba 7" (1983), Voor De Dood 12" (1984), Koude Oorlog LP (1984), De Sfeer Van Grote Dagen 12" (1985), Zonder Omzien 12" (1986), Harde Feiten LP (1986), Koudvuur LP (1987)

First-time reissue of Aroma Di Amore's debut album, originally released in 1984.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 2nd album, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd album, originally released in 1987.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

First-time reissue of Aroma Di Amore's 3rd EP, originally released in 1985.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music

First-time reissue of Aroma Di Amore's 4th EP, originally released in 1986.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

RIYL: A Hawk And A Hacksaw, Leonard Cohen, Daniel Kahn, Xylouris White, Arooj Aftab, Tindersticks, Nick Cave, Alasdair Roberts, Geoff Berner, The Klezmatics. Deluxe 180gLP with 350gsm Arktika jacket/inner + 36”x12” art/lyrics fold-out + DL. CD in gatefold jacket + art/lyrics fold-out. Recorded by Greg Norman (Jason Molina, Nina Nastasia, Electrical Audio). Everything Returns reunites the original Black Ox Orkestar lineup following a 15-year hiatus. Arising from the fertile Montréal post-punk agit-prop scene of the early 2000s, the band comprises Scott Gilmore, Jessica Moss and Thierry Amar of Thee Silver Mt. Zion (Amar also continues to compose and play bass for Godspeed You! Black Emperor) and Gabriel Levine of Sackville. Black Ox made two acclaimed albums of roiling acoustic avant-folk in the mid-2000s, exploring Eastern European and North African folkways through the lens of a gritty, resonant indie rock sensibility, juxtaposing interpretations of instrumentals from various Jewish, Romani and Arabic traditions with originals led by Gilmore’s politically-charged Yiddish vocals. These early albums have since become lodestars for many among a new generation of Yiddish, Klezmer and radical Jewish diasporic music practitioners and fans. First revealing its resurrection in February 2022 with a surprise flexi 7” single issued by left journal Jewish Currents as a gift to its thousands of subscribers, Black Ox has indeed fully and fruitfully reunited. Exquisitely recorded by Greg Norman (Jason Molina, Nina Nastasia, Electrical Audio), Everything Returns picks up right where the band left off: an incisively atmospheric, melancholic yet resolute album of uniquely modern Jewish folk music, with piano, violin, upright bass, clarinet and cymbalom making up the core instrumentation, and the vocal tunes sung primarily in Yiddish, alongside album centerpiece “Viderkol” and closer “Lamed-Vovnik” where English also features. This is not fusion music, but diaspora music: a cross-cultural call and response of musical lexicons, emerging from the history of Jewish persecution and displacement, the musicology of 19th century repertoire from Jewish shtetls, the improvisational traditions of nusakh in Jewish music and taqsim in Arabic music, and a wider polyglot dialogue of Jewish, Slavic, Arabic, and Central Asian musical traditions. Lyrically and stylistically, Everything Returns connects key current issues from refugees forced to leave their homes, to the return of fascism and exclusionary nationalism—with the legacy of modernist Yiddish poetry and song. The new Black Ox Orkestar album is a sublime, poetic, politically-informed statement of re-energized diasporic musical intent, where Gilmore’s voice and the band’s simmering arrangements conjure an ardent, doleful balladry that echoes the sound and sensibility of artists like Tindersticks, The National, Nick Cave and Leonard Cohen. Everything Returns is a haunting, richly textured, darkly sparkling song cycle at once from a vanished world and very much of our time and place. Tracklist: 1 Tish Nign 2 Perpetual Peace 3 Oysgeforn / Bessarabia Hora 4 Mizrakh Mi Ma’arav 5 Skotschne 6 Viderkol (Echo) 7 Epigenetik 8 Moldovan Zhok 9 Lamed-Vovnik

Bingo Harry sprang out of nowhere a few years back, when Martin Bramah of Blue Orchids was shocked by their opening set for his band, Blue Orchids. Bramah's enthusiasm went so far as to lead Blue Orchids to recording a then-unreleased Bingo Harry composition, "If They Ever Lay A Finger On Us", a subtle yet unusually powerful and enigmatic revolutionary song of caution to oppressors. The original recording was later released on Bingo Harry's self-titled debut, which sold well, and merited more studio sessions. These days, Bingo Harry is more a often solo vehicle for songwriter Benny Jones than a band. Currently living on a houseboat in northern England (which somehow manages to contain his home studio as well), Benny spent the past few years recording dozens of songs before winnowing them down to fit on Bingo Harry's second album, "Where Do We Go?", not to mention constructing the collage of the album cover. The cosmic inheritor of a certain Marc Bolan-esque knack for simple yet spiritual and thrilling tunes, Benny's songs span seemingly glam-induced groovers to a handful of gentle-but-trippy epics which would be overwrought in lesser hands, but here manage to capture a beautiful bit of the cosmos alongside their relevance to the wearying state of the world today. "Shine If You Can", the album's final track, works as well for an anthem of the times as anything you'll hear in the next few years. Tracks: Gullible / Fearsome Tannoy / Melted / Evolution / Rope Over The Wall / Where Do We Go? / Safe In Human Form / Weapon Against The Dark / Rabbit Hole / Did You Hear That? / Shine If You Can

RIYL: ESG, LCD Soundsystem, Liquid Liquid, Hercules & Love Affair, Talking Heads. Melbourne, Australia "heat beat" icons NO ZU regroup after the passing of vocalist Daphne Camf, to release their first new original music since 2016. NO ZU have played Barcelona's Primavera Festival, performed live on French television, and toured Australia with no wave icons ESG and James Chance. Led by the magnetic, tireless Nicolaas Oogjes, NO ZU's multi- limbed, mutant punk funk has evolved over the last decade to make them one of Australia's most distinctive and debauched groups. Daphne’s passing in 2021 left a huge hole in the band, and they fell into a long silence. Now they return with an EP featuring her final recordings with the group. Heat Beat, named after the band’s own trademarked genre, is classic NO ZU. Dark and playful, layered with cryptic allusions and implausibly danceable, the EP shows NO ZU at their restless, exploratory best. 2016 second album Afterlife took NO ZU to Europe as well as US shows where they collaborated with members of Liquid Liquid. 2017 remix EP BODY2BODY2BODY saw Afterlife tracks reworked by the band's 80s idols A Certain Ratio and Jonny Sender of Konk. In 2020 they released a double A-side single covering Hunters & Collectors’ Talking To A Stranger and Bryan Ferry’s Sensation, and played their last live show in Feb 2020. Now NO ZU return with a joyful, celebratory EP of their final recordings with beloved vocalist Daphne Camf. Like a post-punk band discovering the joys of dub, disco, and Afrobeat” – Pitchfork // “Melbourne’s freakiest multi-limbed ensemble are masters of percussive lunacy and wild x-rated boogie” – The Vinyl Factory // Side A: 1. Liquid Love 2. Mind Melt.. Side B: 3. Cosmetic Beat 4. Heat Beat Head 5. Phone Call Melt Down

The Anne, EP is the afterword to Joseph Shabason's acclaimed 2018 harmonic suite Anne, through which he examined and processed his mother's struggle with Parkinson's disease. Employing a small supporting cast that includes vocalist Dan Bejar (Destroyer) and guitarist Thomas Gill (Owen Pallett), Anne, EP spotlights the Toronto saxophonist as he builds empathic tropospheres of woodwinds and synthesizers, deepening the sentiment established by the EP's companion album. In doing so, Shabason further cements jazz, ambient sound design, and new age revivalism into a timely new genre all his own. Also Available From Joseph Shabason: The Fellowship LP/CD, Anne LP/CD, Aytche CD. “gorgeous and empathetic ambient music.” – Pitchfork // “I love it…very original...so exciting." – Bob Boilen, NPR Music // “…densely textured ambient jazz that is wonderful to immerse yourself in…” - The Guardian // “...seriously engaging…” – Aquarium Drunkard // “…magical transportive healing vibes.” – Gorilla vs. Bear // “…rich, healing ambient jazz.” – The A. V. Club // “…at once intimate and universal, honest and hopeful.” - Resident Advisor // Tracks: 01 West Of Heaven 5:12, 02 1517 5:57, 03 I Don't Want To Be Your Love 4:30, 04 Broken Hearted Kota 5:12, 05 Face Chord 7:13, 06 Gymnopédie No. 1 7:26.

The Anne, EP is the afterword to Joseph Shabason's acclaimed 2018 harmonic suite Anne, through which he examined and processed his mother's struggle with Parkinson's disease. Employing a small supporting cast that includes vocalist Dan Bejar (Destroyer) and guitarist Thomas Gill (Owen Pallett), Anne, EP spotlights the Toronto saxophonist as he builds empathic tropospheres of woodwinds and synthesizers, deepening the sentiment established by the EP's companion album. In doing so, Shabason further cements jazz, ambient sound design, and new age revivalism into a timely new genre all his own. Also Available From Joseph Shabason: The Fellowship LP/CD, Anne LP/CD, Aytche CD. “gorgeous and empathetic ambient music.” – Pitchfork // “I love it…very original...so exciting." – Bob Boilen, NPR Music // “…densely textured ambient jazz that is wonderful to immerse yourself in…” - The Guardian // “...seriously engaging…” – Aquarium Drunkard // “…magical transportive healing vibes.” – Gorilla vs. Bear // “…rich, healing ambient jazz.” – The A. V. Club // “…at once intimate and universal, honest and hopeful.” - Resident Advisor // Tracks: 01 West Of Heaven 5:12, 02 1517 5:57, 03 I Don't Want To Be Your Love 4:30, 04 Broken Hearted Kota 5:12, 05 Face Chord 7:13, 06 Gymnopédie No. 1 7:26.

His debut was recorded in the winter of 2003 with assistance from Texas
chamber pop collective The Earlies, followed by three albums of original material
and one all-covers album. In 2011, a near-fatal car crash paralyzed his arms for
months. He spent his recovery time listening to some demos he'd made before
the crash. The material eventually culminated in the darkest and most intensely
personal collection of songs from him thus far and garnered widespread critical
acclaim. (Micah P. Hinson & The Nothing). Since then, each record is a final
confrontation with himself, each song shakes with danger. I Lie To You, the new
Micah P. Hinson album, comes from five days and five nights of recording in
Irpinia, South Italy, with production by Alessandro Asso Stefana (PJ Harvey, Mike
Patton, Vinicio Capossela). Accompanying Micah and Asso are Raffaele Tiseo's
celestial strings, Zeno De Rossi metaphysic drumming and the double bass
gentleman Greg Cohen. On this new album he sings, with his weathered, husky,
prophet-like voice, eleven tales of love, loss and regret, which once again reveal
his heart as an artist laid bare.

1970s/80s San Francisco art-punk band 14-track collection includes
remixed tracks and previously unreleased recordings
It's hard to let go of a good thing
More than four decades after The Mutants first appeared on the San Francisco
underground music scene, four of the original members are still playing shows
together under that name in 2022. After all, mutants are known to mutate, and
that's what this colourful, energetic musical collective has been doing off and on
since 1977.
Perhaps even more surprisingly, the sessions for their lone album, 1982's ‘Fun
Terminal’, continue to bring forth lost nuggets. In punk and new wave lore, ‘Fun
Terminal’ is considered a troubled project. Prior to the album's appearance, The
Mutants had released only one 7-inch single -- 1980s' ‘The Mutants EP’ -- and the
band also had songs featured on two local compilations. Both the EP and one of
the compilations were issued by 415 Records, the legendary Bay Area indie that
made the jump from the new wave trenches to the majors when they signed a
deal with Columbia Records in 1981. Many scenesters felt that The Mutants
should have begun album sessions for 415 immediately after the EP, but that
didn't happen.
Each of the 14 tracks on the new collection, ‘Curse Of The Easily Amused’ has
either been remixed, or sourced from previously unreleased tapes. Eight songs
have never been officially released on vinyl or CD in any form. The versions of
'Think, Think, Think' and 'Tribute to Russ Meyer' feature radically different
approaches than what was heard on the ‘Fun Terminal’ reissue.<

Originally released in 2014, “Instruction Booklet N. 1232” marks the first cassette release on Dauw for Tatersall under his The Humble Bee moniker. Taking advantage of the format, each side on “Instruction Booklet N. 1232” is reserved for a single piece nearing the 20-minute mark.

“Exploding View” (aka Side A) swells into existence with a very grand sounding synth-driven melody. Of course the other thing that’s present is the decaying sound of the tape loop that’s working to bring that music to life. At first, the melody grows and grows, fairly undisturbed, but eventually the sound of so-much tape warble threatens the rising nature of the piece until it sounds as though it is one loop away from total decay and simply fluttering out of existence.

But of course that’s the point. There’s a tension between that grand melody that opens these moments and that warble. It’s a lesson in opposites: the mechanics of a tape loop, guaranteed to break down, placed in contrast with those signature Tatersall melodies, which somehow seem eternal. And just as that tension seems too much to bear — the melody dies to be replaced by something altogether new. What comes next is something much quieter, driven by a sub-aquatic bassline, some rhythmic tape hiss and some gentle piano.

It’s a very dramatic and sudden break. The technical elements of that could be attributed to Tattersall’s understanding of how far a melody can be pushed before it succumbs to the abuse of being processed out of existence — perhaps the tape had been looped and processed to its breaking point. Regardless of whether it was a technical or artistic choice, that hard break serves an important narrative function. Frequently in instrumental music, musicians play with opposites (quiet-loud, clean-distorted) to create a narrative to their work since they don’t have words/lyrics as a tool. In the case of The Humble Bee’s use of tape loops, one set of opposites in tension is always driven by the fragility of the melodies and the limitations of a machine guaranteed to inevitably decay the media it is designed to support. And where one thrives, the other takes a backseat. As side A winds down, the melodies are much more sparse — appropriate for en ending, yes; but it also gives more space for those hisses and crackles to claim their moment.

Side B is filled out by “Manual with Foot Pedal” and it begins as gently as its predecessor ended. Slowly eking outing it existence – it’s as if watching Tatersall set the board, showing his players on opposite sides of the table before really setting them in motion to do their thing. By the piece’s midpoint, melody has taken centre stage as a glitchy, piano-led rhythm marches its way forward, clearly carving out its space and claiming its territory. And almost immediately following that: the decay takes over again and those tape loops seem processed to near death — the melody almost barely decipherable as it flutters under the weight of the history of being looped/played ad nauseum. And in the very final moments, the melodies are sparse again, giving the tape hiss room to play its part — it’s as if Tatersall is giving both players enough space to take their final bows.

Tape
»Deathless Songs«, originally released in 2015, was the 2nd album for Dauw by The Humble Bee. Fragile tapestries of forgotten artifacts, teetering rhythmic pulses, melodic counterpoints, hazy, blurry, nostalgic.

Directed by Isao Takahata, "Grave of the Fireflies" is now available in the analog edition

series of the popular "Studio Ghibli" works! !

The image album collection and soundtrack collection of the movie "Grave of the Fireflies

released in 1988 have been remastered with the latest remastering.

A precious analog board with a complete reprint of the gorgeous liner included.



Grave of Fireflies Image Album Collection (original LP release date 1987.11.25)

All 10 songs

Music: Michio Mamiya, Masahiko Sato, Kazuo Kikkawa

An album inspired by the thoughts of three musicians,

Yoshio Mamiya, Masahiko Sato, and Kazuo Yoshikawa,

about "war", and the story of the main characters' young siblings, Seita and Setsuko.

*Saddle-stitched 12-page liner notes

(music/round-table talks by directorTakahata and three composers) included.

Directed by Isao Takahata, "Grave of the Fireflies" is now available in the analogue edition series of the popular ""Studio Ghibli"" works! !



Image album collection and soundtrack collection of the movie

"Grave of the Fireflies" released in 1988, two titles

A precious analogue board with the latest remastering and a complete reprint of the jacket, obi,

commentary, roundtable discussion, score, script (excerpt), etc.



Grave of the Fireflies Soundtrack Collection (Original LP release date 1988.6.25) All 20 tracks

Music: Yoshio Mamiya

Yoshio Mamiya is in charge of the music for the main part of the movie.

This album is literally a soundtrack board that contains not only the music but also

the dialogue and sound effects of the movie. Select and record famous scenes.

* Saddle-stitched 16 liner notes (includes the script of the part recorded on the LP) included.

Tape



Originally released in 2019, Craig Tattersall unspooled a gorgeous tape of disintegrated piano meditations and dusty lower case ephemera.

On the A-side it’s a dreamily searching, silty flux of piano notes peeling in slow motion. Strings drift over, connoting cold breezes and infrasonic, spectral presences, but the effect is far from menacing, it’s more a tranquil shade of sublime, like those hours after midnight when the meridian sounds of road traffic and human life have ebbed off into the distance and you’re left with the sighing creaks of a room.

The sound is remarkably different on the B-side. Here the air gradually thickens with murkier sub-harmonic distortion, bordering on a seething sense of aggression relative to most of Tattersall’s other output, pushing the grim murk to a logical entropy that precipitates elegiac pauses for reflection and warbling closure.

Tape



The Manchester based artist Craig Tattersall aka The Humble Bee returns to Dauw with 2 longform compositions centered around piano. The recordings were partly captured by a contact mic attached to his garden bird feeder adding an organic and intimate touch to the music. Hence, the album presents itself as a more outside experience and complements the Autumn season quite well. Susurration is available as a limited risograph cassette edition and digitally with artwork for Skrew Studio.

For the occasion, the label decided to reissue Craig's earlier Dauw cassette releases including "Instruction booklet n. 1232", "Deathless songs" and "Things are sweeter when they're lost". These albums sold out shortly after their release or were not even available publicly until now. The original silkscreen artwork by Femke Strijbol has been reinterpreted with risograph techniques. These albums will be available separately on limited cassette editions.

Sanctuary’s Life Classics label sees its third installment with a mixture of Disco and Funk, edited for the dance floor with respect to the original work.

(CJ Bolland remix) DJ Ghost celebrates 25 years as a DJ with the aptly titled, XXV on Bonzai Records. For such a momentous occasion we’ve went ahead and captured this milestone for one of our longstanding family members on to 12” vinyl.

Keith Tucker and Gerald Donald of Dopplereffekt did it......They finally got together two of the originators from the monumental Detroit electronic groups Aux88 and Drexciya. The combination of these two musicians has created a retro bombardment of funk as only Keith Tucker and Gerald Donald can bring.
That unearthly eerie funk and strings from other worlds. This release gives a sense of a melding of Cybotron and Kraftwerk....That snappy intelligent funk that Detroit so heavily influenced and unleashed to the universe

1) "Star Gazing"- Is reminiscent of Cybotrons eclectic funk style with Tucker unmistakable electronic vocals and electronic beats slapping you in the face.

2) "Telescope Array"- Is an extension of Gerald Donald legendary aliases that give listeners that cold minimal drum and beautiful arps that hypnotize. Thumping bass line and .....bonus vocal interlude at the end of this interstellar track

Christmas comes early this year as the Backstreet Boys, one of the best-selling bands of all time, announce their highly anticipated Christmas album ‘A Very Backstreet Christmas’ (BMG) will be released on October 14th, 2022.

“We’ve been wanting to do a Christmas album for nearly 30 years now and we’re beyond excited that it’s finally happening,” Howie Dorough shares, “We had such a fun experience putting our BSB twist on some of our favorite Christmas classics and can’t wait to be part of our fans’ holiday season.”

‘A Very Backstreet Christmas’ is the Backstreet Boys’ first ever Christmas album and will feature timeless holiday classics such as “White Christmas”, “Silent Night”, and “Have Yourself A Merry Little Christmas” plus three all new original holiday songs “Christmas In New York,” “Together,” and “Happy Days.” See below for full tracklisting.

The news of the Christmas album comes as the Backstreet Boys are currently on the North American leg of their DNA World Tour. The tour kicked off with four shows at The Colosseum at Caesars Palace in Las Vegas in April and last month, they performed to a sold out crowd at the iconic Hollywood Bowl in Los Angeles. The band has been putting on electrifying performances, playing a high-energy set of over 30 of their greatest hits and best dance moves, giving fans the live experience of a lifetime. See below for remaining tour dates.

Christmas comes early this year as the Backstreet Boys, one of the best-selling bands of all time, announce their highly anticipated Christmas album ‘A Very Backstreet Christmas’ (BMG) will be released on October 14th, 2022.

“We’ve been wanting to do a Christmas album for nearly 30 years now and we’re beyond excited that it’s finally happening,” Howie Dorough shares, “We had such a fun experience putting our BSB twist on some of our favorite Christmas classics and can’t wait to be part of our fans’ holiday season.”

‘A Very Backstreet Christmas’ is the Backstreet Boys’ first ever Christmas album and will feature timeless holiday classics such as “White Christmas”, “Silent Night”, and “Have Yourself A Merry Little Christmas” plus three all new original holiday songs “Christmas In New York,” “Together,” and “Happy Days.” See below for full tracklisting.

The news of the Christmas album comes as the Backstreet Boys are currently on the North American leg of their DNA World Tour. The tour kicked off with four shows at The Colosseum at Caesars Palace in Las Vegas in April and last month, they performed to a sold out crowd at the iconic Hollywood Bowl in Los Angeles. The band has been putting on electrifying performances, playing a high-energy set of over 30 of their greatest hits and best dance moves, giving fans the live experience of a lifetime. See below for remaining tour dates.

TwoStep2 aka DJ Relay and Jo Public have been known for their superlative but distinctly old skool sounds, but lead track on this three cut 12" is rather a subtle departure. The beat is a little more wonderfully wonky than you might expect and the bassline bigger and more adventurous, with pleasingly original results. 'Starlight' plays off its abrasive backspins with fluttering harps that are more Luke Vibert than Sticky or Noodles, true genius, and a bubbling beat to boot. 'Weapon of Choice' plunders ravier elements but again, it's no museum piece with its off kilter piano and slowed down, drowsy atmospherics. If you're looking for memorable tunes that stick out rather than fit in, make this your destination.

The Sol Power All-Stars are back once more on the Rocksteady Disco label with some superb new covers of much-loved British funk band Cymande. Each one brings a fresh perspective while paying heed of the Afro-roots of the originals. 'Anthracite' (feat Denise Henderson) opens up and is designed for moaner dance floors with cosmic synth work and big, bouncing drums. There is a deeper and more steamy sense of rhythm to the tropical sounds of 'Getting It Back' while the Parkway dub of 'Anthracite' sounds like early house music. Two versions of 'Genevieve' offer shuffling rhythms and big horn stabs and stomping, ass-wiggling Afro-jazz.

Ever spent Christmas in New
York City? It’s pure magic…the
department store decorations,
the nip in the air putting color in
the cheeks of eager shoppers, the
general spirit of bonhomie that
pervades the street and subway,
and—if you’re lucky—the silent
beauty of a fresh snowfall reflecting
in the streetlights. Having grown
up in New York, Lea Michele knows
well just how spectacular New York
can be during the holiday season;
and on this, her Top 40 2019
album, the Glee star (currently
playing Fanny Brice in Funny Girl on Broadway)
captured a sleigh-full of that Yuletide joy. The centerpiece of the
record is “Christmas in New York,” an original that, in her words,
“paints this beautiful picture of New York, but it also is really about
what it means to be with your family and friends and engaged in that
holiday spirit.” The rest of the record, which is produced by Glee
producers Alex and Adam Anders, is equally transcendent, featuring
duets with fellow Glee stars Jonathan Groff (the voice of Kristoff
in Frozen) and Darren Criss, plus a showstopping vocal display on
“Angels We Have Heard on High” with Cynthia Erivo. For its vinyl
debut, Christmas in the City comes to you in a gatefold album jacket
containing a printed inner sleeve featuring beautiful shots of Lea
spreading some Christmas cheer. A snow white vinyl pressing limited
to 1500 copies…Merry Christmas!

(Hardway Brothers, Break Mode, Justin Robertson, Mr BC mixes)

The Brightonian Balaeric scene is very much in the spotlight here as South Coast label Higher Love Recordings join forces with Perry Granville, aka Hotel Pellirocco's Dave Sibley, for six sizzling bits of wonky dance floor action. Tow of the tunes have been released digitally before but here they get polished up and pressed to wax alongside a couple of remixes. 'Sailing Ships' is a textural, dark and heavy chugger that Hardway Brothers flip into way more dubbed out and spacious. Then come four versions of 'New Arp' - the acid-laced Break Mode remix, an icy electro original, a mind-melting Justin Robertson Deadstock 33s remix and a biker disco bumper from Mr BC.

After a decade of releasing house and techno records on the labels of others, Jozef K presents his new label, Dreaming Forever. The first release offers 2 original tracks, 'Loveparade 2096' and 'Astrophel'. The flip contains 2 remixes from Skudge & Tin Man. Jozef declined to comment on the music, stating he'd prefer listeners held their own natural perceptions.

Mingus Mingus Mingus Mingus Mingus is the bassist and composer Charles Mingus' legendary experiment in a large group setting. Featuring an 11 piece group with new arrangements on some of his most well known compositions, this album is one of Mingus' most timeless and influential releases. Originally released in 1964, Mingus Mingus Mingus Mingus Mingus is an essential title from one of jazz's most enduring figures.

Following the digital release of Cor.ece’s debut EP, RNT drops the Dance To Keep From Crying 12” with fresh extended versions and unheard remix treatments.

The title track blends deep proto-house influence with Cor.ece’s soulful vocal twists, evoking late-80s Para-dise Garage and an extended dubby synth exploration.

The Danny Kane-produced What’s The Word gives deep late nite Larry Heard vibes, and on the flip Crackazat takes Possibly Impossible into a world of blissful jazzy house.

JKriv extends the original version of Possibly Impossible into a DJ-friendly electro soul romp.

Star Trek to soulstress - Lieutenant Uhura aka Nichelle Nichols was a groundbreaking actor, singer and trailblazer and these two standout tracks sound as sweet as they did over 50 years ago.

A valuable collectable must for Soul, Northern fans & well as any true Trekkie...original copies are changing hands for £250+.

Remastered and reissued on 7 inch with large / dinked centre hole in Epic generic paper sleeve.

3rd release on Steve O'Sullivan's own RAWAX series comes from T.A.C. aka Chris McCormack & John Beer. "Funny Money" was originally released in 2000 on Mosaic. 22 years later it will be out on vinyl (re-mastered) again.

Eliades Ochoa has been renowned for over 40 years as a Cuban singer, guitarist and performer, including as a key contributing artist to the multi-million selling 1997 ‘Buena Vista Social Club’ album. World Circuit now releases a Special Edition of Ochoa’s latest album ‘Vamos A Bailar Un Son’. Originally released in 2020, the album features Eliades’ interpretations of songs by important Latin American composers like Ñico Saquito and Agustín Lara, as well as compositions by Eliades himself. The new Special Edition is available on CD, LP and digital formats and features 3 previously unheard bonus tracks. Ochoa continues to explore new collaborations, having recently teamed up with Spanish rapper C. Tangana on his track ‘Muriendo De Envidia’. Eliades comments: “This album has made me feel more alive. I am thrilled that more and more young people are connecting with my music.”

Berlin-based producer Rampue has not released an album in 14 (in words: fourteen) years. Between 2008 and 2020 he toured the world and worked mainly on his live sets in the meantime. So now only a worldwide pandemic had the power to prevent the traveling musician from continuing this hustle and bustle and eventually share a new record with the public. Corona was what brought this standstill and the otherwise well- traveled individual experiences cabin-fever during lockdown. Hence, the new Rampue album "Tragweite" came into existence in February 2021, which portrays the artist's desire for experimentation.
Inspired by a modular synthesizer (Buchla), Rampue has seemingly put himself into a kind of trance, in which he lets the machines work and combines randomly created sounds with airy structures such as low drums or simple grooves. Rampue accomplished to break free by using random sounds as a new impulse and a way out of a creative crisis, which stemmed both from the enforced home isolation and from the self-perceived paralysis. The result is literally unique, as many of the sound products cannot be reconstructed and are preserved in album form for the general public.
Listening to "Tragweite" one gets the impression that the dialectical relationship between chaos and order, further supported by its production, is the defining theme of the album. After an initially perceived chaos, a delicate order, which is determined by structuring drum patterns and basslines, takes over throughout the course of the album.
Later, it frays and loses itself again in sounds and tones created mechanically However, it never seems arbitrary, but willful and skillfully staged. For instance, "Furo?" begins with apparent arrhythmia. The combination of bass and subtle percussion, however, gives this arrhythmia a shape, guiding the track which gradually becomes more and more driving without losing its original playfulness.
Although one might be inclined to think of genres such as Downtempo or Ambient at the beginning in the further course of the album results in such a diverse sound and rhythmic landscape that one willingly questions one's own perception of music while listening and finally throws every type of categorization overboard joyfully. The listening experience is too intoxicating and enlightening to stick to simple genre boundaries. The musical spectrum ranges from straight arrangements that live entirely without a drum foundation ("Fu?r Dich") to almost meditative sound collages ("Regengesicht") to the four-to-the-floor banger "Kembang" which adds a grimmer note with a certain industrial appeal to the overall rather melancholic-progressive curation. "Direct Faden" on the other hand, surprises with its simple guitar-based foundation on which the omnipresent synth snippets and pads are allowed to let off steam towards the end of the record. The track that most closely combines the progressive production style with a danceable club atmosphere is probably "Phobia". Wafting, partly breaking away synthesizer sounds rise higher and higher, while the driving mixture of bass and drums consistently march forward.
Rampue breaks with his old, musical habits as "Tragweite" creates the impression of improvisation and jam character without getting lost. Rampue takes his listeners on a journey that is stirring and moving, sometimes demanding or even a bit disturbing, yet always one thing: incredibly exciting.

Art Of Primitive Sound is a sensational journey to the origin of Music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the World. Rubbing of fossils, animal artefacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc...how great can be the Natural Orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an Opera of universal character inspired by the archaic essence of sound and infrasonic dimension.

Another golden era hip hop classic served up with the original track it sampled

Columbia Records release this very limited (1000 units) edition 12" picture disc of the recent Calvin Harris single, featuring Justin Timberlake, Halsey and Pharrell Williams. Includes extended radio edit + instrumental versions.

Two of the UKs finest Lyricists Leaf Dog & BVA (from the Four Owls) spit fire over a killer Jazz T produced rhythm.

Based on original 1967 BYG sampler. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Introduction by surviving BYG co-founder Jean-Luc Young. Track-by-track notes by author, journalist and BYG-authority Kevin Le Gendre. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Based on original 1967 BYG sampler. Expanded with 5 additional tracks exclusive to CD. Digitally mastered from original BYG tapes by Nick Robbins. Introduction by surviving BYG co-founder Jean-Luc Young. 16-pages booklet with track-by-track notes by author, journalist and BYG-authority Kevin Le Gendre. *** BYG were a pioneering independant record company, one of the first labels to actively promote diversity and support black African-American musicians and multi-cultural artists worldwide during the 1960’s and 1970’s. Beginning in March 2022, BYG will reissue their now rare and collectable original albums. Newly remastered from the original BYG tapes, each album will be released on LP facsimile-edition & CD with exclusive sleeve notes by Kevin Le Gendre and John Masouri, in high-definition digital audio, downloads and streaming formats. “BYG were passionate in supporting diversity, against prejudice and narrow-mindedness so I am proud we fought for all our artists and their music, no matter what they were, who they were or where they were from ... This sampler is a testament to their creativity...” Jean-Luc Young, 2021

BYG album, facsimile-edition. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. Also available as expanded CD edition in deluxe gatefold sleeve with 6 original single-version tracks. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Original 1970 BYG album. Expanded with 6 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. *** Formed in the late 1960s Alice was arguably the most interesting of the crop of French bands that put their own spin on the blues rock scene born in Britain and America. Playing a gaggle of instruments, including woodwinds and vibes, the combo had a sound that often departed from guitar-led grooves to incorporate European classical music and South American folk. “This re-mastered version of Alice’s auspicious BYG debut provides an opportunity to reassess a band that deserves wider recognition ...” Kevin Le Gendre, 2022

Authentic original release track listing and artwork, issued for the first time on special transparent lime coloured vinyl.

The sleeve features CROWN T72907 wallpaper version of the original multiple variant release. Of the original 30+ designs, this was Ian’s and original designer Barney Bubbles favourite, who referred to this version as ‘The Clarence’.

BYG album, facsimile-edition. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Original 1973 BYG album. Expanded with 2 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. *** Vocalist-multi-instrumentalist Areski and singer Brigitte Fontaine are a legendary French musical couple that rose to prominence in the ‘60s, making a series of albums that showcased a boldly unorthodox approach to the art of song. While their defiantly esoteric style, which could veer from North African folk to Brazilian samba to subversive takes on French chanson, was striking their lyrics were no less provocative, broaching anything from mental health to social injustice. “This re-mastered version of a timeless work is a must-hear for open minds and open ears ...” Kevin Le Gendre, 2022

Electronic funk holy grail written and superbly arranged by the likes of the south Italian-based singer and multi-instrumentalist Mario Rosini. This incredibly rare original 7" reportedly dropped in the mid-80s during the blueprint of the Italodisco era and, in some way, it fixes perfectly those feelings but with an upgrade that places it at a level to be considered as a classic of the dance scene without the time and genre limits. Fully restored from the original source the reissue comes courtesy of Erezioni, after a quite long time of interrupted transmissions

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker"s Basement) - a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist"s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick"s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon-the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to "throw the recordings into the well", for a more dynamic and conscious listening experience. "We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback," explains Broderick.

Clear Vinyl

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker"s Basement) - a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist"s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick"s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon-the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to "throw the recordings into the well", for a more dynamic and conscious listening experience. "We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback," explains Broderick.

"Live in Paris" - Nathan Davis, (sax); Georges Arvanitas (p, org); Jack Diéval (p); Jacky Samson, Jacques Hess (b); Franco Manzecchi, Charles Saudrais (dr)

Style is not a given. Not many musicians reach the level of artistic personality where you can unmistakably recognize them. It takes character, roots, honesty, soulfulness. Nathan Davis had style.

His tone on tenor was unique. So was his soprano sound and his distinctive approach to flute. His musical world was equally original and knew no boundaries.

This concert in Paris is audible proof that as a performer, his fluid phrasing, distinct articulation, booming bottom register, growls and shrieks were fuelled by tremendous drive and furious invention - the man was on fire!

These live sessions demonstrate the limitless invention of Nathan’s solos. Holding no punches, weaving signature phrases, shouts and riffs into his solos, he was a fierce and fervid performer. With a sort of hollow resonance at the heart of his reedy and warm sound, Nathan Davis was a highly original artist, from an era when having a distinct sound on your instrument was the grail of jazz artistry. Harold Land, Jimmy Heath, John Gilmore, Paul Gonsalves, Charlie Rouse, George Coleman, Booker Ervin, Clifford Jordan ... Jazz is made of such giants and Nathan Davis was one of them.

Who has never sung the first verses of this cult credits?
Gathered for the first time on vinyl, in a limited edition remasterized, the beginning and end credits of the famous cartoon France since 1982.
Luxury reissue also accompanied by instrumental versions original. Under the reproduction of the original cover of the cartoon to the unforgettable song.

A whole generation marked by this credits and the adventures of the best enemy of Indian Joe!

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

Omochi, (honorific “O” before mochi) in daily parlance is a rice cake, a dense glutinous product suited to many recipes, sweet or savoury. Stick one under the grill, watch it burst open, wrap it in crisp seaweed and dip it in soya sauce - a healthy snack, and a staple around Japanese New Year. Like everything, Omochi also has its dark side - each year it kills off a small section of the aged community, the gluey bolus a hard act to swallow - the unwary can quickly choke to death.

This Omochi is in fact Tadaki Matsunaga, of early 2000s Tokyo three piece Femini Flyers. The original Feminis were Tadaki (bass), Sachie (vocals) and Koji (drums) that was it, no guitars, no synths, Tadaki's bass being the rhythm and lead, and boy could he make it sing. Their 7” single Like You See / Masterbed was an early Ethbo release was the most requested track from Japan Blues’ Boiler Room Collections video - now pulled off the internet by The Powers That Be - since it was first aired, way back in 2014. Now the single trades for a collector's premium with those in the know. Since that recording, Omochi has built, and been working in, his home studio. The first release being his Ethbo 7” Devil, in 2019.

The follow-up is a roller-coaster ride, his own take on several genres in his forage bag, marinated to his own recipe. You'll hear his expert bass in amongst the fungii, some slick R'n'B guitar styling, several dollops of glitch-tronics, some falling-down-the-stairs drum'n'bass, a slice of kraut, Omochi's louche voice, and a spot of Sachie, the lead singer of the legendary Feminis.

This modern psychedelic omnibus, flying in the face of logic (an Ethbo template) was pressed by Omochi at Toyo Kasei, the last independent Japanese pressing plant, housed it in a tip on sleeve and shipped it to the UK, grill-ready for release. Itadakimasu!

2022 repress

This limited edition vinyl includes numerous songs by Italian composer Stelvio Cipriani, the man behind the superb soundtrack of Poliziottesco movie La Polizia Sta A Guardare (1973) whose main theme was reborn in 2007 on Quentin Tarantino’s Death Proof, multiple scores for Spaghetti Western movies starring Tony Anthony, as well as a Nastro d’Argento award for best score for The Anonymous Venetian (1970).

Also found on Pieces are compositions by Carla Maria Cordo who scored Joe D’Amato’s gorefest Absurd (1981) that some might know as Anthropophagus 2, Monster Hunter, Horrible or The Grim Reaper 2 - a movie so shockingly violent it became one of the Video Nasties of the UK and was successfully prosecuted under the Obscene Publications Acts in 1984.

Lucio Fulci’s frequent collaborator Fabio Frizzi (responsible for the music of classic horror movies Zombie aka Zombi 2, L’Aldilà aka The Beyond, City of the Living Dead aka The Gates of Hell and the list goes on) also makes a special appearance with the sexy « Cocktail Molotov ».

2022 Repress

From Piero Umiliani, legendary soundtrack composer for numerous Italian movies of the 60s and 70s, and the man behind Mah nà Mah nà' (Muppet Show, Benny Hill, Sesame Street), the Omnicron label ("sound library' works) and the Sound Work Shop recording studio. - For fans of experimental music, avant-garde, synth experimentations, Ennio Morricone, Riz Ortolani, Giallo movies, Mondo movies, soft erotica, and wonderfully weird stuff. - The album is fully remastered for new levels of enjoyment. We Release Whatever The Fuck We Want Records is thrilled to announce the vinyl re-release of sought-after experimental gem Il Mondo Dei Romani by soundtrack and avant-garde maestro Piero Umiliani, remastered straight from the original reels and available for the first time since 1972! Originally recorded for a TV documentary about ancient Rome and released on Omnicron (Umiliani's label), Il Mondo Dei Romani finds Piero Umiliani experimenting with electronic instruments (his oscillators") to offer a fascinating rendition of what synthesizer-based avant-garde ancient Roman music would sound like - a weird and extremely hypnotizing retro-futuristic experience where faux cithara, lyre, organ, and trumpet sounds are driven by proto-techno sequences and minimalist rhythms. This brilliant electronic oddity is the perfect companion to WRWTFWW's previous Piero Umiliani release, Tra scienza e fantascienza, and is a limited edition of 500 orange vinyl LPs (no digital).

2022 Repress

.For this from that will be filled is the debut album by Clarice Jensen, artistic director of the American Contemporary Music Ensemble (ACME). The album explores the variable differences between acoustic and electronic sound as well as depiction of the simulated and the unconscious. It was originally conceived as a collaboration between Jensen and the artist Jonathan Turner as an audio-visual work, but is here presented in it´s pure audible form.Building on a long and romantic tradition of solo cello repertoire, Jensen expands and confuses the familiar sound of the cello through the use of effects pedals, multi-tracking, and tape loops recorded at variable speeds, presented in works she has written for herself as well as a piece she conceived together with Icelandic composer Jóhann Jóhannsson. Also featured is Michael Harrison's Cello Constellations for multi-tracked cello and sine tones, written for Jensen, which meditates on long, sustaining tones.With For this from that will be filled, Jensen has made an incredibly strong first album that feels like a surreal and futuristic journey through an alternate timeline.

First trained in his church choir, Print played in R&B bands in high school and later developed a reputation as a standout rapper. On Adventures in Counter-Culture, he experiments with the synths, keyboards, and drum machines that connected the musical dots of those early days.

Print began pursuing his career as a musician in 2001, working on several hip hop projects including his collaborative project Soul Position with DJ/Producer RJD2. Releasing The Unlimited EP & 8,000,000 Stories on Rhymesayers Entertainment with RJ, Blueprint began work in 2004 on what would become his first solo album, 1988. The success of that album allowed him to tour extensively throughout North America and Europe, before returning home to focus on writing and recording his next album. When he sat down to work on this sophomore effort, Print began with the dark, soulful and sample heavy hip hop of the early 90's, but soon found himself hitting a creative wall. What shook him loose was a new mission: to create an album that encompassed every facet of music he knew, blurring genre lines and bringing it back home as one cohesive listening experience. The more he worked to pair new found interest in rock & electronic music with his love of hip hop, the more he was able to break down that creative barrier.

Thus began his Adventures in Counter-Culture, a monumental undertaking that would involve reinventing himself as a musician and person. His growing cynicism with the world, his disdain for pop culture, the state of politics, and an apathetic, uninspired society, all worked as fuel to inspire this sophomore album. Moved by the impact that sampling lawsuits were having on the music community, Blueprint also decided to return to his roots and began writing and producing his own original content.

First trained in his church choir, Print played in R&B bands in high school and later developed a reputation as a standout rapper. On Adventures in Counter-Culture, he experiments with the synths, keyboards, and drum machines that connected the musical dots of those early days.

Print began pursuing his career as a musician in 2001, working on several hip hop projects including his collaborative project Soul Position with DJ/Producer RJD2. Releasing The Unlimited EP & 8,000,000 Stories on Rhymesayers Entertainment with RJ, Blueprint began work in 2004 on what would become his first solo album, 1988. The success of that album allowed him to tour extensively
throughout North America and Europe, before returning home to focus on writing and recording his next album. When he sat down to work on this sophomore effort, Print began with the dark, soulful and sample heavy hip hop of the early 90's, but soon found himself

hitting a creative wall. What shook him loose was a new mission: to create an album that encompassed every facet of music he knew, blurring genre lines and bringing it back home as one cohesive listening experience. The more he worked to pair new found interest in rock & electronic music with his love of hip hop, the more he was able to break down that creative barrier.

Thus began his Adventures in Counter-Culture, a monumental undertaking that would involve reinventing himself as a musician and person. His growing cynicism with the world, his disdain for pop culture, the state of politics, and an apathetic, uninspired society, all worked as fuel to inspire this sophomore album. Moved by the impact that sampling lawsuits were having on the music community, Blueprint also decided to return to his roots and began writing and producing his own original content.

2022 Repress

Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S series in 2002. After more than a decade from the release of the collection's final installment with "Summvs" in 2011, NOTON reissues all the five albums between June and October 2022.

With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002),Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo have explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered.

Remastered in collaboration with Calyx Mastering, the recordings of Vrioon, Insen, Revep, Utp_, and Summvs are made available on vinyl and CD under the title 'reMASTER, accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

Live At The Brand documents the second performance of newly formed LAFMS core groups Le Forte Four and Doo-Dooettes on July 8, 1976 at the recital hall of the Brand Library in Glendale. Le Forte Four (now joined by Tom Potts) did not actually perform live, but rather created 44 pyramid-shaped headphone helmets with internal quadraphonic speakers and countless wires in order to share their latest tape assemblages with showgoers deprived of sight. The recordings delivered in this Fluxus-inspired manner feature the Buchla synthesizer at nearby CalArts, radio interpolations, group improvisations, addled outbursts and splices from source material lost to time. Doo-Dooettes – Tom Recchion, Harold Schroeder, Juan Gomez, Dennis Duck and Fredrik Nilsen – performed a series of alternately droning and chaotic duets with guitar, percussion, piano, tape loops and synthesizer, all improvised around loosely structured compositions and culminating in a spontaneous group composition at the end of the program. Originally released in 1976, the double LP would be LAFMS' third release.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

Los Angeles Free Music Society (LAFMS) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, LAFMS incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, LAFMS self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians.

Poo-Bah Records, with its import bins and backroom jam space, attracted the pseudonymous artists forming the initial incarnation of long-running collective Smegma. Early members Ju Suk Reet Meate, Dennis Duck, Cheez-it Ritz, Big Dirty, Amazon Bambiand Dr. Id contributed to various LAFMS compilations and combinations before several core members relocated to Portland, Oregon in 1975, where they recorded their debut album Glamour Girl 1941. Originally released on the LAFMS label in 1979, the LP combines rock instrumentation with tape, synthesizer, horns and voice in a tempestuous cauldron of anti-academy improv and alien noise. Beyond its roots in LAFMS, Smegma would help shape the early Portland punk scene in the late '70s alongside Wipers and Neo Boys. In more recent years, they have collaborated with Merzbow and Wolf Eyes.

This first-time vinyl reissue is limited to 500 numbered copies. Comes with insert.

2022 Repress

Originally released in 2005, 'Insen' is the second collaboration album between Alva Noto and Ryuichi Sakamoto and the second installment of V.I.R.U.S.'s five albums series.

Remastered in 2021 in collaboration with Calyx Studio, the album's recordings are accompanied by an unreleased composition titled 'Barco.' Initially composed for Alva Noto and Ryuichi Sakamoto's 2005 'Insen' tour, the audio material used in this piece is based on the subtle sounds of Barco projectors, whose tonalities served as a ground for the artists' live improvisation. ?
In 'Insen', Alva Noto and Ryuichi Sakamoto explore the potential for interaction and tension between electronic and acoustic instrumentation. Across eight compositions, the echoes of the cascading piano combine, collide, and dissolve with the tapestry of digital breakages in sheer vibrancy. This relationship lies at the album's core. It subtly continues Vrioon's calm melancholia, becoming a vessel for all the emotions and memories nourished by the listener. As you hear the opening, lonesome notes of 'Aurora,' you realize that the pair have once again conceded an ambition to embed elaborate disciplines into an archetypal sound of soul-searching beauty.

'Gulliver', the latest Condor Gruppe album, is a nod to yet another spiritual journey in the band's ever-evolving saga. Released 23rd September via the groove-obsessed Sdban Ultra, the Antwerp-based nine-piece ensemble take you on a hypnotic trip, paying tribute to obscure Italian 70s film soundtracks, krautrock and psychedelic grooves. Fuse the melancholy of Pink Floyd, the heroism of Ennio Morricone and the world grooves of GOAT and you get an idea of what Condor Gruppe is.

Always looking to push musical boundaries, Condor Gruppe rely on the adventurous use of their instruments and their intriguing musical patter. Melancholic, exotic, surreal, the band's sound is enriched by instruments including the handpan, Jew's harp, darbouka and tanpura. Diverse sounds, rhythms and melodies build, exciting the listener whilst always remaining familiar. From the thunderous, spacious prog rock sounds of 'What Could Have Been', to the loose, laidback grooves of the mystical 'Farid' and groovy 'Rhymes On Our Mind', 'Gulliver' is a soundtrack for visits to far-flung places and a mesmerizing trip through the band's own record shelves.

Condor Gruppe released their debut album 'Latituds del Cavall' in 2014 with nine exotica fuelled songs that echo the sound of an intoxicated ride through the desert. This was followed up in 2016 with 'FROG BOG - A Tribute to Moondog' - an adaptation of the work of the legendary composer and outsider. Containing six Moondog interpertations, trumpet player Dirk Timmermans, saxophonist Matti Willems and baritone saxophonist Hanne De Backer joined the five original members of Condor Gruppe, with the results a spectacular mix between Moondog's jazzy compositions and Condor Gruppe's dreamy instrumental sound.

Second album proper 'Interplanetary Travels' (2018) - a nostalgic, melancholic soundtrack - saw the introduction of the Anoushka Shankar-trained Nicolas Mortelmans on sitar. The title hinting at Sun Ra is no coincidence. Condor Gruppe recorded 8 songs that give you the creepy feel of a horror scene, the heroism of the best film scores and the hypnotizing grooves of jungle tribes.

At this year's Ghent Film Festival, Condor Gruppe performed a live version of the score for the dark, hypnotic, surreal, erotic vampire film 'Daughters of Darkness' (1971), directed by Belgian cult director Harry Kümel. The score was originally recorded by François de Roubaix, a self-taught musician and jazz enthusiast, and he composed almost a hundred soundtracks, mostly for French films. In 1976, he won a César for best soundtrack with his work on 'Le Vieux Fusil' - awarded posthumously as de Roubaix had passed away just the year before. De Roubaix has always been a great source of inspiration for Condor Gruppe, so they were only too happy to sink their teeth into his scintillating score.

Press play on Beverley Skeete’s ’Warm' and a wave of evocative, vivid images of sultry, sun-kissed summer days will wash over you.

'Warm' is UK street-soul / electronic boogie at its finest. An infectious groove that features an amazing vocal performance invites you to fall in love. Beverley Skeete is an under-the-radar talent and you only need to dip into the sheer number of productions she has been involved with to see the pedigree of her artistry. It includes working with superstars such as Tina Turner, Chaka Khan, Bronski Beat, Elton John, Boy George, and Maxi Priest, to name just a few. She was also the vocalist for the 90s global house hit 'Passion' by Gat Decor. Beverley continues to work in music to this day and, in 2021, released her most recent album, 'Liberty’.

'Warm' was Beverly's third solo single for the fabled UK record label Elite. Released in 1985, it was produced by the stellar underground production team of A Sojka / de Jongh Production. This duo is better known as Andy Sojka (Atmosfear, 3rd Army, et al) and Richard de Jongh. Elite was set up by Sojka in 1979 and was a hotbed for underground UK talent that often became staples of the most discerning US dancefloors too. 'Warm' and the equally remarkable soulful-dancer 'If The Feeling Is Right' are lesser-known jams from the label’s catalogue, but they have rightfully been championed by the diggers and collectors, and what beauties they are!

Official Mr Bongo replica reissue of the original Elite release.

Headcat is an American rockabilly supergroup formed by vocalist/bassist Lemmy (of Motörhead), drummer Slim Jim Phantom (of The Stray Cats) and guitarist Danny B. Harvey (of Lonesome Spurs and The Rockats).

The band was formed after recording the Elvis Presley tribute album by Swing Cats A Special Tribute to Elvis in July 1999 to which the future bandmates all contributed. After recordings were finished they stayed at the studio and Lemmy picked up an acoustic guitar and started playing some of his old favorite songs by Johnny Cash, Buddy Holly, and Eddie Cochran. The rest of the guys knew them all and joined in. The name of the band was created by combining the names Motörhead, The Stray Cats, and 13 Cats, which resulted in Headcat. In 2006, the band released their first studio album on June 27, Fool's Paradise. It included cover songs from artists such as Buddy Holly, Carl Perkins, Jimmy Reed, T-Bone Walker, Lloyd Price, Elvis Presley, and Johnny Cash. On the recordings, Lemmy played acoustic guitar. In later years, Lemmy began to use his signature Rickenbacker bass in live performances.

The band's second studio album, Walk the Walk...Talk the Talk, was released in 2011. This was the first new material by the band in eleven years, following up from the Lemmy, Slim Jim & Danny B album in 1999. It has two original songs ‘American Beat’ and ‘Eagles Fly on Friday’. While the first album was all acoustic, the second studio was all electric with Lemmy playing bass like he did in Motörhead.

Dreamcatcher is a previously unreleased live concert which was recorded at the Dreamcatcher theatre at the Viejas Casino in Alpine CA on 1st Feb 2008. It was produced by the band and mastered by guitarist Danny B Harvey.

Lee Aaron ist im Aufwind. Die preisgekrönte Songwriterin, Produzentin und kanadische Sängerin kehrte 2016 (nach einer zehnjährigen Pause, um ihre Familie großzuziehen) mit einer Fülle von Originalmaterial und mehr Feuerwerksenergie als Künstler, die halb so alt sind, in die Rockszene zurück. Seitdem hat sie 6 neue Veröffentlichungen herausgebracht, darunter eine "Live"-CD/DVD, wobei ELEVATE die neueste und vielleicht coolste Ergänzung zu diesem neuen Kapitel ihrer illustren Karriere ist.

ELEVATE wurde während des Covid-Lockdowns geschrieben, aber anstatt zuzulassen, dass diese Isolation die Band in eine negative Richtung drängt, buchte Lee einen Studio-Lockout für den Herbst 2021. Das Ergebnis ist ELEVATE, das zehn Songs enthält, die von dem durchdrungen sind, was zu Aarons unverkennbarem Sound geworden ist: große Gitarren-Hooks, kraftvoller, bluesiger Gesang, reiche Melodien und Harmonien und gerade genug freche Attitüde.

Lee Aaron ist im Aufwind. Die preisgekrönte Songwriterin, Produzentin und kanadische Sängerin kehrte 2016 (nach einer zehnjährigen Pause, um ihre Familie großzuziehen) mit einer Fülle von Originalmaterial und mehr Feuerwerksenergie als Künstler, die halb so alt sind, in die Rockszene zurück. Seitdem hat sie 6 neue Veröffentlichungen herausgebracht, darunter eine "Live"-CD/DVD, wobei ELEVATE die neueste und vielleicht coolste Ergänzung zu diesem neuen Kapitel ihrer illustren Karriere ist.

ELEVATE wurde während des Covid-Lockdowns geschrieben, aber anstatt zuzulassen, dass diese Isolation die Band in eine negative Richtung drängt, buchte Lee einen Studio-Lockout für den Herbst 2021. Das Ergebnis ist ELEVATE, das zehn Songs enthält, die von dem durchdrungen sind, was zu Aarons unverkennbarem Sound geworden ist: große Gitarren-Hooks, kraftvoller, bluesiger Gesang, reiche Melodien und Harmonien und gerade genug freche Attitüde.

Thomas Newman became the ninth composer in the James Bond series history. His score for Skyfall won the BAFTA Award for Best Film Music. In 2013, it became one of two Bond scores to be nominated for the Academy Award for Best Original Score. The other to be nominated was the score from The Spy Who Loved Me. Skyfall does not contain the title song performed by Adele.

Skyfall (2012) is the twenty-third spy film in the James Bond film series. It features Daniel Craig in his third performance as James Bond, and Javier Bardem as Raoul Silva, the film's villain. The movie was directed by Sam Mendes. The story centres on Bond investigating an attack on MI6. The attack is part of a plot by former MI6 agent Raoul Silva to humiliate, discredit and kill M as revenge against her for betraying him. The film sees the return of two recurring characters to the series after an absence of two films: Q, played by Ben Whishaw, and Moneypenny, played by Naomie Harris. Skyfall is the last film of the series for Judi Dench, who played M, a role that she had played in the previous six films.

The limited edition of Skyfall of 1.500 individually numbered copies is pressed on coloured (transparent & black mixed) vinyl. The package includes a big poster, a 4-page insert and 2 printed innersleeves. Both innersleeves have one hole in the middle to show James Bond on the labels. Don't forget to check the secret service inscriptions on the run out grooves.

LIMITED PRESSING OF 2000


A SIDE

(Sabaody/Fishman Island/Punk Hazard) :

- To the New World!!

- Rebirth! The Straw Hat Pirates

- Jinbei Strait

- Surgeon of Death

- Master's Scornful Laughter

- Enemies Appear

- Spirit Of Guru

-The Weak Power Strengthens!

- A Man's Battle





B SIDE

(Dressrosa)

- I Think Of The Past

- Go Go! The Straw Hat Pirates!!

- Country of Love, Passion & Toys, Dressrosa

- Frenzy! Colosseum

- Donquixote Doflamingo

- Trafalgar Law

- Admiral "Fujitora"

- Violet's Dance of Passion

- Love Cannot Be Stopped

- Fight in the Colosseum

- Fierce Battle in the Colosseum





C SIDE

(Dressrosa/Zou)

- Revolutionary Army's Chief of Staff, Sabo

- Gear Fourth

- Ballad of Sadness

- Approaching! Birdcage Encirclement

- Doflamingo ~Overwhelming Force~

- The Thousand Year Island, Zou

- Garuchu~!!

- The Mink Tribe's Battle

- The Samurai and Mink Tribe's Bond

- Dressrosa's Hidden Secrets

- Brook ~Healing Violin~

- Eyecatch ~New World Version~





D SIDE

(3D2Y/Heart of Gold)

- To the Origin of Ace!

- Main Title ~ Teachings of Rayleigh

- Things We Desired

- World VS Luffy: Final Battle

- Destroyer of the World! World

- Loneliness, Solitude

- Gathering of the Straw Hat Pirates! Towards Battle

- Releasing the Trap

- Straw Hat Pirates VS Mad Treasure

- Luffy, to Victory

- Escape from Bonbori-sama

- Next Time Preview ~We Go! Version

The story about the lost recordings of Ghia continues: Following the recently released "At The Hilton" single, our label is extremely proud to present "Curaçao Blue", the band's first full-length album. And it is simply mind-blowing, to say the least! The LP features 10 unreleased tracks in a similar Balearic vein as featured on the single.

Incredibly, it was only just a few months ago that these tracks were rediscovered on some old tapes by band members Lutz Boberg and Frank Simon. Could anyone imagine that two physics students from a small German town could create such beautiful, thrilling music in their home studio? Although the technical aspects in the creation of the band's earliest tracks may have been straightforward, the outcome is high-quality, creative, modern jazz-funk, with one step in the electro-funk genre due to the use of a drum machine and synthesizer basslines. The album features mostly 4-track recordings, based mainly on the musicians' weapons of choice: a DX21 keyboard (later updated to the legendary DX7) and a guitar. Many things had to be done live in just one take, though the artists were unafraid of using overdubbing techniques to weave their instrumental journeys. The DIY aesthetics just add more beauty and uniqueness to the songs and compositions, and the result is an extremely harmonic work of undeniable musicality. Ghia delivers Balearic jazz-funk at its finest.

Though the music was recorded in Germany, Ghia had a true relationship with the Balearic region and effortlessly applied the vibes to their compositions. As a side note, one track on their earliest demo tapes was called "3 AM at Moëf Gaga" and we did not know what it meant. The band explained that Moëf Gaga is a nightclub on the Spanish coast that is actually still active today. Boberg and Simon, the two original band members of Ghia, visited the club in the early 80s and spent their holiday close to the sea. With their music, they intended to create a summery vibe, capturing a relaxed and soulful view of the seashore, likely with a drink in hand... Perhaps a Blue Curaçao?

The album starts with a revised version of the title track. The drums in this take are much punchier, and we thought that it would fit just perfectly as an introduction. We continue with the already classic "Down At The Hilton" that was featured on the single, but like us, we are sure you could happily listen to this track on repeat. Next up, "Jump In The Water" opens with a catchy delayed melody, which develops into another perfect jazz-funk piece with an extended guitar solo. Another remarkable song might be "In The Fast Lane". As the name suggests, an uptempo number, now with an electro-funk beat combined with speedy keyboard solos that almost sounds like a marimba. On side B, the album keeps the relaxed seaside vibes flowing. To round out the album, we are treated to two pieces that originated after the return home, with memories of the Spanish coast fading but still lingering, likely recorded between 1986 and 1988. Both are instrumental versions of songs to be used later for studio sessions with their new band member, singer Lisa Ohm (who you will hear on Ghia's next album!). On "Crystal Silence In Dub" we get a perfect downtempo groove, positively reminding us of the sound of the 1980s UK funk scene. The album ends with "Keep Your House In Disorder", here as an earlier, rougher, and funkier take than on the final vocal version, which could be found on the B-side of the "What's Your Voodoo" single.

We hope you love this album as much as we do! Nothing like this has yet been released out of Germany. We hardly can recall any privately produced, home recorded jazz-funk/fusion from the 1980s as free, creative, and uninhibited as Ghia's Curaçao Blue. The playful and creative approach, coupled with those nostalgic tones should make this LP an essential pick for any record collection, whether you are a DJ, a home listener, a music lover, or a modern jazz-funk/synth-funk aficionado.

The album is out now on The Outer Edge, the new label by record collector DJ Scientist, aka John Raincoatman. We also want to thank Frederic Stader for his awesome work mastering and sound restoration of the material on this LP.

Edition of 250 UNITS

English short Version
Almost five years after the inaugural compilation "El sol desde oriente", Passat Continu releases "El ser y el tiempo", the first solo recordings of the Tenerife musician Javier Segura, a set of seven
compositions that make up a true exceptionality in the panorama of Spanish experimental music and that have never before been uncovered for listening. This sound document recorded between 1976 and 1978 is presented remastered from its original tapes and with a bonus track, with the invaluable collaboration of Juan Belda.

panish Version

Casi cinco años después del recopilatorio inaugural “El sol desde oriente”, Passat Continu lanza “El ser y el tiempo”, las primeras grabaciones en solitario del músico tinerfeño Javier Segura, un conjunto de siete composiciones que conforman una auténtica excepcionalidad en el panorama de la música experimental española y que nunca antes han sido destapadas para su escucha. Este documento sonoro registrado entre 1976 y 1978 se presenta remasterizado de sus cintas originales y con una canción extra, con la inestimable colaboración de Juan Belda.
Existe cierto consenso en llamar transición española al período que va del fallecimiento de Francisco Franco, el 20 de noviembre de 1975, a la ratificación mediante referéndum de la Constitución, el 6 de
diciembre de 1978. Años de agitación y anhelo democrático que la población vive con gran intensidad. Aquejada por una larga enfermedad, la madre de Javier Segura fallece en 1976. El
tinerfeño tiene entonces 21 años y acaba de salir de su primera experiencia discográfica como compositor en el cuarteto Huellas. Como todo el mundo entonces, Segura se ha educado en un colegio
religioso. Es allí donde empieza a cultivar interés en la música, el cine y la filosofía “dentro de mí existía, y aún persiste, la idea de que somos un espejo donde algo o alguien se mira para reconocerse. Es una idea que surge de la lectura de “El ser y el tiempo” de Martin Heidegger.”
Con el objetivo de seguir dando forma a las ideas, Segura destina la totalidad de sus ingresos a la compra de equipamiento, experimentando en el desván de casa en los ratos libres. Se adentra en sesiones extenuantes utilizando la metodología de las músicas de corte concreto, grabando encima de un casete Sony, reproduciendo encima de otro al tiempo que mete más instrumentación por la entrada del micrófono. Así varias veces hasta sobreponer tres, cuatro y hasta cinco capas. En 1977 se hace con dos Tascam de carrete abierto de cuatro pistas. Las cintas grabadas en los casetes Sony se pasan al magnetofón para luego volver a encima del mismo, y así una y otra vez. En sus más de 40 minutos de duración, en “El ser y el tiempo” suenan flautas, saxos, un vibráfono, un piano, un violín, un arpa, un salterio turco, un Crumar DS-2, sintetizador monofónico de dos osciladores y de más de 50 kilos de peso popularizado por Sun Ra en los años 70 e incluso unas placas de metal.

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.

Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.

On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.

Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.

On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.