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25 Years after it was released, the 16x platinum selling Bat Out of Hell II: Back Into Hell is to be repressed on vinyl for the first time since its initial release. Featuring the classic #1 single 'I Would Do Anything For Love (But I Won't Do That)'.
 And following on from the hugely successful Bat Out of Hell II: Back Into Hell, Welcome To the Neighbourhood is to be repressed on vinyl for the first time since its initial release in 1995. Featuring the hit single 'I'd Lie For You (and That's The Truth)'.

DELUXE VINYL EDITION!!!
Beginning in late 1999, Foo Fighters’ "There Is Nothing Left To Lose" Tour ran throughout 2000 and into 2001, during which the group took in four continents. By late January 2000 they were in Australia, where they headlined the Big Day Out Festival in Sydney on 26th of the month. Playing a quite startling set, this deluxe vinyl release features the full broadcast recording of their performance at this now world famous festival.

NEW REPRESS IN HARD CARDBOARD SLEEVE + OBI + INSERT WITH LINER NOTES
+ RESEALABLE OUTER SLEEVE.

Killer unreleased US album from 1972. Originally from Louisville, KY, Leslie’s Motel line-up included several members from The Oxfords as well as Blues Project drummer Roy Blumenfeld. They played explosive, bluesy hard-rock with powerful vocals and stunning guitar / organ, in the same vein as early Allman Brothers or Ten Years After.



Remastered sound from the original master tapes, insert with liner notes and rare pictures.

- Rare P-Funk album from 1983 - Funkadelic/Parliament All-Star Line-Up - First ever vinyl reissue - Comes with a repro of the original insert - 180g Black Vinyl Edition - Limited to 500 copies, comes with obi strip // Jerome "Bigfoot" Brailey is an American drummer who started performing in the early 1970s with several R&B groups from the likes of The Unifics, The Chambers Brothers and The Five Stairsteps where he developed his unique style and finesse on drums. Later in 1975 he joined George Clinton's P-Funk collective and has appeared on many of Parliament & Funkadelic's most popular recordings (some of which he also co-wrote). Brailey played on classic albums like `Mothership Connection' and `One Nation Under A Groove'. Samples from that body of work (and his drum arrangements) have since then appeared on hundreds of hip hop and contemporary R&B songs by renowned artists such as Kendrick Lamar and Childish Gambino. Jerome Brailey is a member of the Rock and Roll Hall of Fame (inducted in 1997) and part of their `50 greatest drummers in the Hall' list (stating that his drum style kept Parliament-Funkadelic rooted in the old-school `James Brown-style funk')_next to this achievement, he was proclaimed by Rolling Stone as one of the `100 Greatest Drummers of All Time' for his steady kick drum, shifty hi-hat action and intricately unpredictable snare patterns. Brailey earned numerous Gold and Platinum records with the P-Funk Organization and has worked as a session drummer for many talented artists such as Herbie Hancock, Buddy Miles, Snoop Dogg and Pharoah Sanders. George Clinton's funk empire was not without its disagreements and Jerome Brailey's `Mutiny' project was a direct result of just such a disagreement (as well as one of the more notable offshoots of the P-Funk axis). Mutiny performed in a style not far removed from the classic P-Funk style and with a lot of emphasis on the dual lead guitar work, but what makes them unique compared to their contemporaries is that at times their recordings also emit a darker, more sinister feeling. Besides Brailey on drums (and on most of the lead vocals) Mutiny featured a funk-alumni line-up and released three amazing and collectible albums: `Mutiny On The Mammaship' (CBS, 1979), `Funk Plus The One' (Columbia, 1980) and `A Night Out With the Boys' (J. Romeo, 1983)_these were followed by two comeback albums: `Aftershock' (Rykodisc 1995) and `Funk Road' (Catbone, 2013). The `Mutiny' album we are proudly presenting you today (A Night Out With The Boys) is an underrated gem made by musicians who defined the funk scene of the '70s and '80s! Featuring an all-star line-up that includes Rodney Curtis (Fred Wesley, Maceo Parker), Michael Hampton (Funkadelic-Parliament, Deee-Lite), Kenni Hairston (Cameo) and Maceo Bond of Osiris/Afrika Bambaataa fame! `A Night Out With The Boys' has it all: Jerome's trademark drumbeats, funky bass grooves, driving riffs accented by stinging synth parts, slow spacey (and prominently featured) guitars, top-notch lead vocals and chants that recall Sly Stone's "Loose Booty". The whole album is a hot dance jam with crisp percussion_an extremely infectious, locked-in-the-pocket bass-heavy monster-funk-bomb that any serious self-respecting funk fanatic must have in his/her collection!

This reissue of pianist Dave Brubeck’s classic 1959 album ‘Time Out’
features the classic quartet of Brubeck with Paul Desmond on alto sax, Eugene Wright on bass and drummer Joe Morello.
The bonus album is ‘Countdown - Time In Outer Space’ recorded in 1961 by the same line-up. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “Time Out by the Dave Brubeck Quartet has never lost its power of fascination. On these unforgettable tunes, Dave Brubeck and his alter ego Paul Desmond seem to be painting a canvas. Every note is like a touch of colour, expertly distilled, subtly hypnotic, ideally thought. “ Jazz Magazine

Audiophile reissue of the first RSD release from legendary jazz bassist Ron Carter, the most-recorded jazz bassist in history and member of the second great Miles Davis Quintet (1963 - 1968).
180g double vinyl, gatefold sleeve.
Carter leads his “Foursight” quartet on this live recording from Sweden recorded in November 2018. The group includes drummer Payton Crossley, tenor saxophonist Jimmy Green, the and star pianist Renee Rosnes.
“With us, nobody knows exactly what happens when,” Carter praised the Foursight Quartet’s unique selling point. “This is precisely why every concert is a real challenge. We almost always play 35 to 40 minutes without a stop at the beginning. No breaks, just slight changes that show the beginning of a new song. If we were a classical music band, it would be called a symphony with five movements.
This kind of thing only works with this band!”

Personnel: Ron Carter (bass), Renee Rosnes (piano), Jimmy Greene (tenor saxophone), Payton Crossley (drums)

NEW REPRESS IN HARD CARDBOARD SLEEVE + OBI + INSERT WITH LINER NOTES
+ RESEALABLE OUTER SLEEVE.



Christopher were an underground acid rock trio featuring future Josefus drummer Doug Tull. They evolved from United Gas, a psychedelic band from Houston who rubbed shoulders with legends like The 13th Floor Elevators and Moving Sidewalks . After relocating to Los Angeles - where they changed his name to Christopher - they played at numerous biker parties and recorded their sole album in 1970 for the Metromedia label. It’s an amazing example of West Coast psychedelia / acid-rock featuring strong fuzz-wah guitar, great compositions and superb musicianship. It was housed in a terrific cover depicting the band at the same hippie crash-pad where some scenes from the “The Trip” movie were filmed.



One of the holy grails of American psychedelic-rock and the rarest album originally released by the collectable Metromedia label.



Remastered sound, original artwork, insert with liner notes.



Note: This is the only legitimate, fully-authorized vinyl reissue of Christopher in the current market. Beware of inferior, low-quality bootlegs.

Lazarus recordings is a new label from Kniteforce and KFA long time collaborator and super fan Dj Deluxe. Working with talent new and old he has taken the tried and tested old skool formulas, shaken them up, given them a modern day edge with both sound and production, and unleashed them on the unsuspecting world! The result is an EP that stays firmly old skool in attitude and aesthetic, but is brave enough to step into the future and declare “We are here, hear us!”

Let’s go out! A suggestion that might sound like an absurdity in current times, but feels like the true promise of Bella Boo’s debut EP on Running Back. The Studio Barnhus affiliate refines and elevates her bright, genial and dissenting take on deep house into something greater than its parts.
What was supposed to be an album with features and collaborations was turned into an introspective solo-practice by Covid-19 and subsequently into this rich 8-track-EP. A writer’s block and the pitfalls of the aforementioned deep house genre were overcome with the help of Axel Boman’s knowledge of football philosophy and a 140bpm tempo advice. So, everything fell in its right place.
„Let’s Go Out“ is like the gateway into a wonderful coherent musical universe and an entertaining listening experience. Imaginative and sparkling, tender-hearted as well as bouncing when it needs to be. Bella’s EP is as much of a tribute to the UK scene that inspired her over the years as it’s entirely her own and distinctive thing. Like a perfect mixtape, it ebbs and flows, and once you reached its finish, it makes you want to start again – or to go out.


Short version: Bella Boo’s bright and genial debut EP on Running Back. Eight tender-hearted, imaginative and bouncing tracks that are as much of a tribute to the UK Scene that inspired her over the years, as they are the gateway into a wonderful coherent musical universe that is Bella’s own entirely.

In 2018 Far Out Recordings signed a record deal with Brooklyn born, nomadic producer Jneiro Jarel. Having just put the finishing touches to the recordings, Jarel suffered an ischemic stroke while living and working in Costa Rica and his wife Indigo was forced to set up a crowd fund to cover special medical transport back to the states to receive treatment. The release was put on hold, but thanks to the generosity of friends and fans around the world, Jarel was able to get the care he needed and is now on the long road to recovery. We’re overjoyed to finally announce that Jneiro Jarel’s After A Thousand Years is now set for an October 2020 release.

Throughout a career that has spanned over twenty years and seen collaborations with MF DOOM, Thom Yorke, Damon Albarn, BadBadNotGood, Portishead’s Beth Gibbons, Kimbra and Khujo Goodie (Dungeon Family), Jneiro Jarel’s consistently distinctive, forward thinking productions, as well as his love for the music of Brazil, made his partnership with Far Out a perfect fit.

Recorded between New York, New Orleans, Miami and Costa Rica, After A Thousand Years features legendary multi-instrumentalist Bill Summers, famed for his work with Herbie Hancock, Quincy Jones and Eddie Henderson. The album also features Malawian-American guitarist Masauko Chipembere who has worked with the likes of RZA from Wu-Tang Clan and Ladybug Mecca from Digable Planets.

For Jarel, After A Thousand Years is “a culmination of the longstanding musical contributions of the African diaspora.” Permeating the Brazilian music and Latin jazz Jarel has loved and drawn inspiration from, as well as the stateside jazz, soul and funk Jarel grew up around, the influence of Africa and its musical history, on both North and South America, is key to the album’s sound.

On lead single “Banana Peel”, Jarel’s outernational perspective makes for a track that is almost impossible to place geographically: you can hear the swing of Jarel’s native New Orleans jazz, the vibrance of Costa Rican rainforests as well as the influence of Jarel’s vast collection of Brazilian records. “Viberian Waves 1&2” is equally nonconformist, morphing from funky baroque-flavoured instrumental hip hop into a bossa inspired, percussive jam.

Taking its inspiration from the biblical prophecies found in the books of Isaiah, Daniel, and Revelation, foretelling the fully realized, physical and spiritual restoration of the earth and mankind after the thousand year reign of the Messianic Kingdom, After A Thousand Years contemplates and celebrates a world where everlasting love, peace, and harmony abound under a sovereign, divine rulership.

After A Thousand Years will be released on Vinyl LP and CD on the 30th October 2020 via Far Out Recordings.

FEEDBACK

“great release. Really like this!” Antal (Rush Hour)
“Banana Peel is exactly what we need now. Visionary Jneiro Jerel at his finest channelling healing sounds and rhythms from Mother Earth. A much-anticipated lens through Jneiro’s third eye. Thank you!” King Britt
“Sounding real good!” Errol Anderson (Touching Bass)
“I love it!!!!!!!” Raffaele Costantino (RAI RADIO 2)
“Sounds great. Congratulations. Will play it on my radio shows.” Batida
“Will pitch album to my editors” Dean Van Nguyen
“Please send me the full album once it's finished.” Francisco Noronha (Publico PT)
“Beautiful man. So happy that he's ok” King Hippo (WLPN-LP / Worldwide FM)
“cracking tune. already lined up to add to playlist. might go into radio show too.. love it” Oli Brunetti (Collectivo Futuro / Olindo Records)
“Amazing! Ive not heard anything from JJ for a long time but a welcome return, this is a cracking track. Looking forward to hearing more new material.” Mickey Jukes (1BTN FM)
“Very vibrant, fresh release! It gets better every time I am listening to it.” Shantisan (Superfly FM Vienna)
“This is a pretty special track , unique sound but very accessible , like it a lot and will play in my show Look forward to hearing the LP” Andy Wilson (Ibiza Sonica Radio)
“So good to hear Jneiro again, loving this cut. Thanks!” Chris Knight (Astrojazz)
“sublime !!!! will definitely play !!!” Mark Milz (Radio Corax)
“I-Robots approved!” Thanks for sharing...” I-Robots

'Kind of Strange' is taken from Edinburgh super group, Out of the Ordinary's debut album, 'Stranger Things Have Happened'. The original version is an eerily, atmospheric track with a classic film noir vibe, underscored with beats provided by Joseph Malik on the ones and twos, in collaboration with Check Masses members Vic Galloway, Saleem Andrew McGroarty and Philly Collins. Vocal powerhouses, Rosanne Erskine and Philly Collins will have you looking over your shoulder with their edgy, unsettling vocal delivery – was that a ghostly outline or just a curtain blowing in the breeze?

Combine all of these elements with the mighty Steven Christie's keyboard, Paulo ‘Brother’ Riddle’s anchoring percussion and Saleem Andrew McGroarty at the production controls, something rather special comes out of the speakers.

To prepare for their ‘North Street’ remixes, Jo Wallace and Darren Morris immersed themselves in continuous re-runs of iconic TV series, ‘Randall + Hopkirk Deceased’ and ‘Tales of the Unexpected’ enabling them to channel their inner John Barry. Throughout the track, Darren provides swirling, cinematic vamps and lush string arrangements echoing the Warsaw Concerto whilst Chris Greive’s haunting trombone and Vic Galloway, on his electric guitar, beautifully underpin the melody, transporting the listener back to a world of Black and White mystery and suspense.

Daniel Maunick returns with a new EP, Musica Encantada via Far Out Recordings. Continuing the theme of his debut album Macumba Quebrada – which saw support from the likes of Moodymann, Ron Trent, Gilles Peterson, and Benji B – Maunick draws on the deep-rooted Brazilian influences from the many years he has spent in the country, producing records with Azymuth, Marcos Valle, Sabrina Malheiros and Ivan 'Mamão' Conti.

The bossa-jazz house smash ‘Black Magic’ stays exclusive to the vinyl, while the percussive deep-house roller ‘A Chance To See Again’, the tight and groovy ‘Hurt Feelings’, and the slow-mo Brazilian Balearic ‘Africana’ will all see a limited vinyl and digital release on the 23rd October 2020.

Following 2019’s release of Azymuth’s Demos (1973-75), two more home-recorded demo tracks by the Brazilian psychedelic jazz-funk masters have surfaced from a tape in drummer Ivan Conti’s private archive. These five-decade old recordings by the young band show the maturity, musicianship and distinctive style that saw Azymuth become one of the most important groups in Brazilian history.

Featuring an instrumental take on Roberto and Erasmo Carlos’ 1969 Jovem Guarda hit “As Curvas da Estrada de Santos”, and spacey psych-folk oddity “Zé e Paraná”, the new 7” release via Far Out Recordings shines yet more light on this critical period for Azymuth.

As is the case with many of Brazil’s pop icons, Roberto and Erasmo Carlos had been backed by Bertrami, Malheiros and Conti either on stage, in the studio, or with compositions (in Bertami’s case) since the late sixties. Conti notes that “As Curvas da Estrada de Santos” was a big hit in Brazil when it came out in ‘69 and had already been covered by Elis Regina a year later.

But where both Elis’ version and the original were grand pop-rock ballads, Azymuth’s take is a moody, melodic jazz excursion, featuring Bertami’s incredible Hammond organ, Fender Rhodes and grand piano juggling, Ivan Mamao Conti’s distinctively tough drums, and unusually, Alex Malheiros plays a double bass instead of an electric one.

As the title suggests, “Zé e Paraná” is guitarist João Américo (Paraná) playing alongside Bertami’s Rhodes comping, synth embellishments and dreamy wordless vocals. While credited as the composer and guitarist on “Linha do Horizonte” a track from Azymuth’s debut album which would become the theme tune for a famous novella, Paraná has to this day, remained relatively unknown.

Both tracks were recorded in Jose Roberto Bertrami’s house in Rio de Janiero at some point between 1973-75. These tracks were not recorded in a professional studio, meaning the sound quality differs from other Azymuth releases. At Far Out we take great pride and extreme care in ensuring our releases and reissues are produced to the best possible sound quality. In this case the original source material had not aged well and was considerably damaged. The sound has been restored to the best possible condition but there is still some noticeable tape hiss and slight distortion on ‘Zé e Paraná’. For this reason, we strongly advise listening to preview clips before buying this release.

Keyboards: José Roberto Bertrami

Guitar: João Américo ‘Paraná’

Produced by Azymuth and José Roberto Bertrami

Recorded at José Roberto Bertrami’s home studio in

Laranjeiras, Rio De Janeiro, Brazil 1973

Issue and project co-ordinator: Joe Davis

Additional tape restoration by Daniel Maunick at the Sugar Shack

Mastered by Frank at Carvery Cuts

Conceived as a loosely-based concept album around the idea of crushes and young love, that dog’s sophomore album Totally Crushed Out! is a touchstone underrated classic in line with of-the-era releases like the Breeders Last Splash and Liz Phair’s Exile in Guyville.
From the Sweet Valley High reminiscent illustrated album cover, to the A minus rating given by the dean Robert Christgau, to the Jenni Konner songwriting credit (long before she was the showrunner for HBO’s Girls) this album is quirky, smart, well-written and most of all...enjoyable.

that dog’s touring behind Totally Crushed Out! found them sharing stages with Foo Fighters, Weezer and Teenage Fanclub, their songs being covered live by Pearl Jam, collaborating with Beck, and the vid for “He’s Kissing Christian” achieving sub-Buzz Bin status on MTV.
This 25th anniversary reissue marks the first EVER vinyl appearance for this album. Showing their attention to detail, Third Man Records sleuths got their hands on the original oil painting used for the front cover art and worked directly from that for all relevant artwork needs.

Following the release of Milton Nascimento’s Maria Maria, Far Out Recordings proudly presents Nascimento’s 1980 follow up. With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, ‘Ultimo Trem (Last train)’. This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast. “The military government shut down the route and the whole region began to fade away,” explains Milton. “I love train rides” adds the composer, “But today there are almost no trains to Brazil. So when I go to the US and Europe, any time I can, I go by train. The longer the journey the better.”

Featuring much of the same all-star line-up as Maria Maria – including legendary Brazilian musicians Naná Vasconcelos, João Donato, Paulinho Jobim and members of Som Imaginário, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saídas E Bandeiras' and 'Ponte de Areia'.

The title track, ‘Ultimo Trem’ – performed exquisitely by Zezé Mota with a choir and piano – is a mournful lament about the human consequences of the axed line. The ballet brought great media attention to the campaign against closure. “Most of Fernando’s lyrics have some political tone,” says Milton, “This one helped the area a lot because the politicians grew concerned about the subjects.”

Fernando’s and Milton’s shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premièred in 1980. ‘A Viagem (The trip)’, launched with a train’s steam whistle, sees Milton’s guitar moving to a train’s rhythm. In contrast to the usual lyricism, ‘Bicho Homen (Beastly man)’ and ‘Decreto (Degree)’ are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers’ renderings of Bach. ‘E Daí? (And so what?)’, and ‘Olho d’Agua (Water’s Eye)’ were both drawn from ‘Clube Da Esquina’. ‘Olho d’Agua’ is mellow and delicate and Milton’s homage to the great voices of Brazil whilst ‘E Daí? (And so what?)’ is a stunning mosaic of voices. The unusual ‘O Velho (The Old Man)’ conjures up an image of an old shaman singing alone into the wind against the cries of nature. Perhaps the most affecting songs are Nascimento’s ‘Itamarandiba’ and ‘Oração (Prayer)’. The latter is a cry for a change in the situation whilst ‘Itamarandiba’ ends with an upbeat, whirling Hammond organ and guitar timepiece. The closing track ‘Ponta de Areia (Sand Edge)’, was based on one of Fernando’s newspaper stories and became one of Milton’s most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire. It reappeared as a ghostly 45-seconds memory on the ‘Milton e Gil’ album, his millennial collaboration with Gilberto Gil.

After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria. Set for its first ever vinyl release for this year’s Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret.

The Tel-Avivian Berlin Based duo TV.OUT are back on Parallax Records with a beautiful 12' and a fresh Florian Kupfer remix.
It strikes right after their album debut on Dark Entries,
and releases on L.I.E.S Records and BANK Records NYC.

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

Washed Out is Atlanta-based producer/songwriter/multi-instrumentalist Ernest Greene. Over three enchanting, critically-lauded albums and an EP, his music has proved both transportive and visual, each release inviting listeners into immersive, self-contained universes. With Purple Noon, his fourth album, and his return to Sub Pop, he delivers the most accessible Washed Out creation to date. Life of Leisure, Washed Out's 2009 debut EP, set the bar for the Chillwave era, shimmering in a warm haze of off-the-cuff Polaroids and pre-IG filters. Within and Without, his 2011 full-length debut on Sub Pop, morphed into nocturnal, icy synth-pop and embraced provocative imagery. 2013's Paracosm was Greene's take on psychedelia, with a full live band and kaleidoscopic light show, and saw him playing to the largest audiences of his career. The sample-heavy Mister Mellow (2017, Stone's Throw) delivered a 360 audio/visual experience, with cut-n-paste and hand-drawn animation to match the hip-hop influences throughout the album. With each release, Greene has approached his evolving project with meticulous detail and a steadfast vision. For Purple Noon, Greene again wrote, recorded, and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen (Paracosm, Within and Without). Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives) which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of Purple Noon and mark a new chapter for Greene as a producer and songwriter. The vocals are front and center, tempos are slower, beats bolder, and there's a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins, and the lush atmosphere of the great Balearic beat classics. Mediterranean coastlines inspired Purple Noon, and Greene pays tribute to the region's distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love, and loss (Purple Noon's title comes from the 1960 film directed by Rene Clement and based on the novel The Talented Mister Ripley by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in "Too Late"; a passionate love affair in "Paralyzed"; disintegration of a relationship in "Time to Walk Away"; a reunion with a lost love in "Game of Chance." Purple Noon adds a layer of emotional intensity to the escapism of Washed Out's oeuvre, taking the music to dazzling new heights.

Welcome to the funky zone of Boogie Butt, the label that brings you the bass with some musical flavor and boogie synthesizers. On this 4 tracks EP cooked by Lord Funk, you’ll find on A side “Blow Your Mind” featuring Djazzafonk on guitar & jam synths and “Knock Me Out” a killer P-Funk. On B side, you’ll have between the dope boogie of “Luv Girl” or, last but not least, “Do It (If U Like)” for the hypest dancefloors. Don’t miss it!

Longpigs were the alternative rock band who came to prominence in the 1990s Britpop scene. Fronted by Crispin Hunt, the group also featured guitarist Richard Hawley, Simon Stafford on bass and drummer Dee Boyle. Originally released in 1996 on U2’s Mother label, ‘The Sun Is Often Out’ featured four UK top 40 singles including ‘On And On’ and ‘She Said’. Demon Records is proud to present the first ever vinyl reissue of this cult classic, pressed on 180g heavyweight blue vinyl.

You cannot say Nu Groove without saying Burrell. The seminal New York House label that existed from 1988 until 1992 was at the helm of a sound that was as much traditional as it was transitional. Since the closure of the Paradise Garage in 1987 and before the „NYC House sound“ was well-defined and fenced, Nu Groove was a kaleidoscope and an amalgamation of everything that informed it until then: uptempo r&b, reggae, dub, disco, freestyle, techno, jazz, and the sound that was embossed by Larry Heard in Chicago that was so well picked up in the Big Apple, you name it. Ronald and Rheji Burrell provided its basis, first floor and roof. But that story has already been told by our dear friends from Rush Hour, including its most important chapters. But we are going to tell a new one.

Rheji Burrell presents N.Y. House’N Authority & The Utopia Project. Twelve tracks split over two EPs on Running Back. Named „Out of Body Experience“ and „The ’V’EP“, it features all new music that feels like modern garments cut out of a classic cloth. Almost as if the Nu Groove would have never stopped. And that it is - at the risk of self-praise - all that old or new fans and also we could hope for. Two EPs full of deep-that-doesn’t rhyme-with-sleep house music, has simple, yet clever arrangements, features jazzy sounds, but snappy drums, merry melodies and glossy grooves. An overall joy to listen or dance to. The difference in both EPs is for the Burrell-die-hards and Nu-Groove-scientists to decide.

Reggae On Top 10"- Stomp It Out w/ Dubs / Twinkle Brothers

Idris's fifth and perhaps most popular of his near-20 LP strong solo discography (that's not including the epic array of artists he's worked with from Fats Domino to Art Davis) Ranging from the heavily-sampled stone-cold soul stunner "Could Heaven Ever Be Like This" to silky disco funk such as the album title track and the sleazier "Crab Apple" to the frenetic jazz blasts of tracks such as "Camby Bolongo", this is the sound of a man fully committed to the craft and spirit of the groove. Nothing short of essential.

New Future Beat Alliance Records Volume 3 is another outstanding and timeless release from the vaults of the genious Matthew Puffett!

Out Of Romford Records was one of the most underrated old school labels in the history of our scene. Relentlessly innovative and with a unique sound, it was always ahead of the game and perhaps it is only now that the true brilliance of each release can be really appreciated.
This EP contains the absolute classic “Chance To Dance” which back in the day eclipsed the other three tracks on the EP. But years go by, and now all 4 tracks can be re-evaluated. And what an amazing EP this is. Its both a product of its time, and totally timeless in its sound. The remastering has only served to enhance the brilliance of the entire EP. Not to be missed…

Purple Viny

The sickest French band, a trio called France, drums, bass and amplified hurdy-gurdy. They only performs live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one ‘song’ for the duration of their hour-long set. And it’s the most transfixing live experience of intense physical and mental focus, and there is something of early rave too, the togetherness, the energy, the euphory. The distorted hurdy gurdy plugs France’s sound into the country’s history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn’t need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who’ve stayed for the whole duration of their performances know they’ve shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you’re not quite the same person who went in, even though you’d be hard-pressed to pinpoint precisely what has changed. Far Out Far West was the band’s first gig outside of their usual comfortable friendly circle and thus was perceived as a somewhat hostile environment. This was where they met the fellows of Les Potagers Nature who will later release France’s debut untitled album. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). Sales Points: - New album from trio France - All previous releases now sold out and sought after - For fans of drone, rural trance, stoner, psychedelic - 131st release on Mental Groove Music, home of WRWTFWW

Massaroni Record (MSR) was born with the collaboration between the distributor Ermanno Massaroni and the disc jockey Roberto Onofri, who was also a radio and television presenter. "Let's Go Out" captures the essence of the very first Italo-Disco in its most genuine and melodic form where it's not easy to understand the vocal part but this gives to the song a certain ambiguity and a rare case in which the vocoder is fine. In addition to original, radio and the essential instrumental version there is a well structured and strong M.B. Roller Disco Edit by Massimo Berardi (former Harlem Hustlers) useful to give greater balance to the entire release.

incl. Jazzanova Remix

(180g LP) On his debut album Travesseiro Feliz (Happy Pillow) Rio de Janeiro based dreamer and new Far Out Recordings signing Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz and rock.He also takes inspiration from the many Brazilian greats - Caetano Veloso, Arthur Verocai, Hermeto Pascoal, and Azymuth (to name a few) - who he has worked with as an engineer, assistant and producer, in Rio's former RCA studio, Cia dos Tecnicos.

"Regeneration" is the new EP by Marcelus, back on the Out-Er label with a 4 track EP consisting of loopy, hypnotic but driven techno. As you progress through the record you experience the different sides to Marcelus' current sound, from tribal focused and stripped back dance music to complex beat patterns, deep psychedelic grooves and IDM style computer noises. The EP is a true testament to the style that Marcelus has cultivated up until now, and fits neatly alongside Out-Er's back catalogue.

Standards & Practices returns after an extended hiatus with its first release for 2020 and the label's first-ever compilation. Showcasing six exclusive tracks from a variety of musically like-minded allies both new and established, "Out Of Practice Vol. 1" finds some of the most talented artists currently working in electronic music refining their sound and pushing their craft in exciting new directions.

Stave and Grebenstein's "Rack 4", their first collaboration since 2018's acclaimed "Live From Frankfurter Strasse", kicks off the proceedings with a view into a bleak, dystopian sonic landscape, while Italian producer VSK, known for his excellent EPs on Mord and 47 (among others) delivers "Pendulum", one of his best tracks to date - a visceral, unrelenting, broken-beat behemoth. Closing side A is Chicago native Todd Mattei 's contribution, "Lake Charles", a beautifully textured Frippian soundscape.

Kristian Jabs, better known to most as Pessimist, opens side B with "Rut", a sleek, stripped-down, techno track that positively drips with moody atmospherics and tension. Overlook and Karim Maas's contribution, the dense and claustrophobic "Chalk", is an ultra-heavy breaks track with hoovers and enough sub-bass to shatter blocks of granite. "7th Recording 29", an ambient piece which represents Jonathan Krohn's first recorded collaboration with long-time friend and associate Benjamin Mjolsness since their work together in the group Male - closes the compilation.

Almost 10 years after the first release, a milestone in Jazz-House history is hereby re-released.
Be fast - limited edition!

Pedro Zopelar is a musician, producer and DJ based in São Paulo, Brazil. Known for his many different projects like the duo “My Girlfriend” with Benjamin Sallum, the electronic performative act “Teto Preto” and his effervescent party “ODD” - Zopelar presents “Joy Of Missing Out” on Apron Records! a collection of 17 tracks that represents the actual direction of his solo works.

“This album is my most personal work till now, it’s a compilation of tunes I did when I had free time to just study and do whatever I want, without any pressure or preconceived ideas. For me as producer and musician was always really important to walk into different paths to keep myself always in the position of apprentice, so I consider these songs like expressions of someone who’s trying to achieve self knowledge thought the act of making and listening to music”

Black vinyl repress of this long out of press Omar-S 7"

Glasgow based label "Out From Out There" present its first release by label owner "Sadistic" along side "Ohmega Sir". 4 slabs of dark and hard hardcore techno. Limited Edition of 150 Copies - Vinyl Only!