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William Orbit returns with his first new album in over eight years. Entitled ‘The Painter’ it is unmistakeably William Orbit and features vocal collaborations from an array of artists including Katie Melua, Beth Orton, Georgia, Polly Scattergood, Ali Love and more.ja

L.A. Woman is the sixth studio album by the American rock band the Doors, released on April 19, 1971, on Elektra Records. L.A. Woman was recorded in November 1970 over six days at the Workshop, the band’s rehearsal space on Santa Monica Boulevard. A success both critically and commercially, the album contains some of the band’s most enduring music, including hits “Riders On The Storm,” “Love Her Madly,” and the title track.
December 2021 saw the release of L.A. Woman (50th Anniversary Deluxe), a new 3-CD/1-LP set to commemorate the album's 50-year anniversary. Featured on the album anniversary set, this 1LP, 180g black vinyl release is the newly remastered breakout of the original studio album.

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry.

Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

The unstoppable DMX Krew returns for his third full EP on the label. As classy as ever and packed with different flavours.

The A side opens with the Wigged out and intense Techno assault of 'Spasm', clearing the path for the tortured alien beauty of Electro track 'Second Moon'.

Over on the flip, DMX revisits 'The Wiggly Worm', giving it some DMX Acid with a sardonic stomp for the dancefloor and the EP closes with a nod to Detroit with 'It Isn't What It Was' .

Also included are 2 tools, useful bridges for the discerning DJ !

Funk friven early Italo Disco by Phono! "Music Is My Sex" is to be inserted in the Italo-Disco trend of the early 80s, but also with a nod to Funk and Disco Music from overseas. The use of the Nile Rodgers-style guitar completes a rhythmic base in which the bass is played on the synthesizer, while the melodic lines are entrusted, in addition to the voice, to the electronic keyboards. Three members of Phono sang the various verses, while the bridge was entrusted to a carpet of keyboards. The keyboardist and arranger Paolo Biasich, a great fan of electronics, had built some synthesizers (also used by Giorgio Moroder) used in the song. The piece was recorded in Sandy Dian's studio in Gambellara (close to Vicenza), whit text by the eclectic author and dee-jay Art De Rosa was a declaration of love for the music that goes around ("around and around") and that "gives us more", coming to compete with sex... The vocal version on the A side of the vinyl is joined by an instrumental version on the flip that ends with a piano solo. Limited edition of 300 copies in vinyl reissue at 180 grams.

Retro house sounds from Italy on this release... tunes that still go down well with some of the big name festival dj's during their summer tour! A track that remained unpublished for 33 years until Devil Dee decided to make it public and bring his own voice to the spotlight joined by jazz-blues singer Joan Faulkner, (former supporting voice of Boney M and Milli Vanilli, also known by her stage name 'Dee-Vah'). Devil Dee is Davide Mancori - a cinematograph with a flattering career as a club-dj from 80s-90s onwards - who lovingly produced this release which differs from most of the releases on Best Record by its housey vibe. 'And The Beat Goes On', was written in Germany in 1989 by Leonie Gane and Ryan Paris. Laying the crucial foundations for an evolutionary step of the italian disco music. A step forward for the 'Italo' movement which at the end of the 80s was been considered obsolete and defunct. In fact, the track is also referring to the latest Italo-Disco which entirely covered the scene of the 1980s with furious activity, If the meeting between Devil Dee and the famous interpreter of 'Dolce Vita' - Mister Ryan Paris - creates the alchemy, the explosive mix is completed with the precious work of Marco Magrini. The arrangement by Pierluigi Cerin and the executive work of Claudio Casalini close the magic circle. Five friends and a great singer from Indiana to fill the dance floors all over Europe, while the images of the provocative and surreal video-clip capture the audience by splitting in two. There are those who do not want to see certain issues publicized and those who appreciate their cheekiness, such as Best Record which by publishing the vinyl printed at 180 grams celebrates the 40 years of activity.

Back in 2011 Markus Guentner and Heiko Badje formed Stareaway to follow their vision of creating both enchanting and haunting music from melodies and drones. Combining Guentners complex Wall of Electronic Sound and Badjes ethereal androgyn voice and multifaceted guitar play, they indeed produced some epic works between Ambient, Pop and Shoegaze, strangely shimmering and profoundly mysterious.
Now Stareaways fantastic (and back then maybe a little overlooked) album No Life In This Ghost Town sees its rerelease and is, for celebrational purposes, accompanied by this EP of four stunning remixes by stunning artists Rafael Anton Irisarri (who also did the mastering), Simon Scott (Slowdive), Thomas Fehlmann and David Westlake (ex Sneaker Pimps). Rafael Anton Irisarris magical take on O Suomi sparkles bright, still with melancholia always present. David Westlake emphasizes the Pop-aspect of Appointments, adding lush synth melodies and light-filled grooves while Thomas Fehlmann lets All Over You spiral into Popambients most majestic heights. Finally Simon Scott builds a Kathedrale aus Klang on Dreams May Never. Amazing remixes of amazing originals.

What happens when you let go of something you've always been passionate about? Will it come back? And if so, in what ways and with what impact?
These questions laid the foundation for Toby Whyle's debut album 'Call It A Night'.

It is a journey to find out what feels right to him-this means escaping old patterns and allowing himself to try new things. Musically, he exposes himself unreservedly to the gravitational forces of electronic music and guitar pop by orbiting these points of attraction without ever really getting caught by either of them. Each song moves along its own trajectory, fueled by Toby's thoughts and experiences.

His first single, 'No One Moves', hitting number 1 on the FM4 charts in early 2021, marked the beginning of a new adventure-a journey upon which Toby embarks entirely on his own for the first time. After his first EP, 'A Mood Of Its Own', and the release of further singles, the debut album 'Call It A Night' will be out on May 20th, 2022, on Matches Music.

PRESSTEXT
Writing songs has always been quite natural and ever-present in Toby Whyle's life. And he's written plenty of them over the last decade. However, what's new is the realisation that songwriting is one of his few means to slow down the bright and fast-paced world surrounding us. Driven by the urge to create and develop something new, he started to write again. And suddenly, this feeling of being able to pause time came out more intense and immediate than ever.

In this way, the singer, songwriter, and guitarist manages to stand back from the constant rush, carving out space to move freely at his own pace. " Each song is an empty room, and I can decide for myself how I'm going to furnish it. It might get rather chaotic with stuff piled up to the ceiling, then again there's almost nothing in it", he describes his approach to songwriting. For him, creating melodies, crafting music and lyrics is not just a means of reflecting on situations he finds himself in but also a tool of handling them. Toby's music strives to affect and inspire people in all the different phases in life, as his songs are also a result of the diverse situations he's gone through.

Aesthetics and craftsmanship play a crucial role in Toby Whyle's creative process, from crafting songs, recording and producing them, and building and maintaining a particular visual language. He aims to create high-quality and exceptional music that enthuses and delights people, which sparks energy and conveys a certain feeling.

Fresh and zesty with subtle tropical flavours, this is a delightfully listenable debut from Matthieu Beck on Growing Bin. Inspired by the lilting rhythms, jazzy instrumentation and slow listening gems found on his Love In The Afternoon radio show, the Frenchman has crafted a gorgeous collection of laid back sophisti-pop, perfect for long summer days or seasonally affected escapism.
Any suggestion of sorrow in the album title is actually a mislead - this may be a solo LP, but Matthieu's surrounded himself with the musical friends he's made over the years, serving as composer and bandleader to a willing troop of collaborators. Longtime friend and former Metronomy bassist Gabriel Stebbing, Source Ensemble drummer Emmanuel Mario, and of course Laetitia Sadier herself, stepped in to lend their services and bring Matthieu's music to life, before Jérôme Caron (Blackjoy) expertly mixed it all down.
Though the tracklist may read like a travelogue, these nine tracks all began at home with Matthieu sat behind a Fender Rhodes with a drum machine by his side. Soon live bass, saxophone and flute strolled into his unhurried arrangements, retaining the simplicity of his demos while expanding the emotion. Weighty synth drones and bubbling bass balance the airy elements of tracks like "California" or the dream-pop romance of "Rooftop Rome", while the mellow "Malika" and joyful "Retour De Plage" showcase the Frenchman's relationship with jazz. Elsewhere there's hints of digi-dub ("Island" and "Suede"), coastal boogie ("Tokyo Montana"), stripped back city pop ("California") and downtown nostalgia ("Dora"), before Beck arrives at the poetic, progressive but peaceful finale "Piano Fin", which recalls Air at their prettiest, without stepping outside Matthieu's well defined sound.

Polifonic Records is the melodic balance between antagonistic vibrations, spirits and energies that inhabit the land of Puglia since the dawn of time.

An harmonic exploration into colorful, vibrant sunrise atmospheres and emotional, introspective sunset sensations. One Body. Many Souls.

PF004 // The fourth vinyl of Polifonic Records label brings together artists from different cultures and ethnicities to create a seamless blend of sounds with diverse influences. Encompassing genres like house, Balearic beat, and acid, harmonized through ambient arrangements and 4-tothe-floor rhythm patterns to chill and groove to, this record is a material embodiment of the multicultural and polyhedric approach that Polifonic adopts throughout the multiple extensions of our projects.

The first track “Generations of Sunsets” by Lipelis joining with Andy Butler from Hercules and Love Affairs, vividly illustrates the extent of their sonic palette: a journey that runs through a Balearic groove - also with the use of guitar - and expands the mind to exotic places keeping the body moving with its acid touch.

Italian 90’s riviera house meets percussions and ethnic grooves in the born new track from the Milano duo Eternal Love. “Kuasi Riviera” reflects perfectly the nature of Polifonic between clubby atmospheres and connection with the wild world.

Then comes the darker side with Yu Su, who switches it up with new diversions in tempo and rhythm throughout “Oil” with a blend of deep basslines and obscure soundscapes contributing to this journey through space and time.

Benedek’s “Desperado” doesn’t shy away from deep diving right back to the 90s Italian house overlapping bold soundscapes through the lens of a contemporary producer. Distinctive,
immersive, and dauntless.

SONIKKU announces the release of their new album ‘Joyful Death’, via Bella Union. “I love songs that make you want to cry and dance at the same time,” says Tony Donson, the London-based musician who records as SONIKKU. That sense of unfettered release and liberation drives their new album, ‘Joyful Death’. A fluent, fertile and full-colour hybrid of vibrant Italo-house, liquid synth-pop, righteous disco and French philosophical asides, it’s an album that signals the emergence proper of SONIKKU - a fully formed dancefloor artist. It’s also a farewell of sorts, perhaps, but with an emphatic rebirth at its heart. “This album feels like a transformation in the sense that I’m creating the music I’ve always wanted to make. A fully realised, coherent pop record that showcases my craft as a song-writer and producer.” Total control of their craft is swiftly asserted on ‘Let The Light In’, where the
influences of lost-in-music disco and the Pet Shop Boys merge under vocals from immersive, exploratory British singer-songwriter Douglas Dare. The pace accelerates as ‘WKND’ gets into a groove pitched somewhere between Madonna, Daft Punk and Indeep, with LA future-pop singer LIZ primed for dancefloor abandon on vocals. Meanwhile, SONIKKU’s independent intent is firmly asserted on the freestyle-inspired ‘Don’t Wanna Dance with You’, where singer Aisha Zoe coolly brushes off unwanted advances in favour of dancefloor pleasures.
LIZ assumes vocal duties again for ‘Sweat’, a song fully equipped to make dancefloor devotees do as its title suggests. Dreamily melodic evidence of SONIKKU’s dynamism (and love of melancholy Swedish electro-pop queen Robyn) beckons on ‘X Hopeless Romantic’, where Little Boots contributes a sweetly loved-up vocal over a sublimely
infectious chorus. Pummelling synths signal a dramatic shift of pace on the almost electro-darkwave dash of ‘Remember To Forget Me’, where actor/singer Chester Lockhart presides over a summit meeting between Depeche Mode and New Order. Performance artist Tyler Matthew Oyer takes the vocals for the Italo-disco-inspired title-track, a vividly imagined album manifesto - of sorts - inspired to varying degrees by an 1892 poem, French thinker Gilles Deleuze’s concept of the “body without organs” and a 1997 anime called The End Of Evangelion. Finally, that grand piano takes over as Dare returns, presiding over an achingly stripped-back version of ‘Remember To Forget Me’. With help from friends and artists they admires on vocals, ‘Joyful Death’ is a hugely confident and self-contained leap forward for SONIKKU after his time as a feted DJ. Having moved from Derby to London at the age of 18, Donson worked as an intern (at MTV, Dazed & Confused, SHOWstudio and elsewhere) then turned to DJing (from
London to Tokyo, Paris and Berlin) after they were signed to London label Lobster Theremin. Though they continues to DJ regularly at Tottenham’s LGBTQ rave-up Adonis, they have extra ambitions in mind: “I love DJing but I’m more looking forward to developing a live show.” LP pressed on mint green vinyl with digital download.

Quiet Signs is the journey of an artist stepping out of the darkened wings, growing comfortable as a solitary figure on a sprawling stage.

Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she's on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with 'Opening Night', a nod to Gena Rowlands' harrowing, brilliant performance in the John Cassavetes film of the same name, as well as to where this spare, beautiful collection of songs falls within the course of the California artist's career. Quiet Signs is also Pratt's first album fully recorded in a professional studio setting, her songs and guitar arrangements have been pared back to include only what is essential, while the home recorded haze of previous efforts parts to reveal the full scope of her vision. On the first single, 'This Time Around', Pratt hits on a profound, late-night clarity over just a couple of deep chords, evoking Caetano Veloso's casual coastal brilliance.

The album was written in Los Angeles and recorded at Gary's Electric in Brooklyn, NY over 2017/2018.

Formed in 1996, Goatsnake was an ultra-heavy, blues-doom powerhouse consisting of guitarist Greg Anderson (Engine Kid), vocalist Pete Stahl (Scream, Wool) and the mega rhythm section of Greg Rogers (drums), Guy Pinhas (bass) from underground heavy legends The Obsessed. The band’s tenure has ebbed and flowed for over two decades, leaving behind a legacy of legendary live shows and classic albums and EP’s.

VERY LIMITED QUANTITY OF BLACK VINYL FOR UK.

Goatsnake’s classic debut album— appropriately entitled 1 (one)— was originally released by Man's Ruin Records in 1999 on CD and LP formats. The album featured 8 songs that gracefully combined monolithic, Sabbath-y riffs with soulful vocals to create a monumental introduction to the band, and a style that would be influential for years to come.

Following the release of the first two parts of
CAN’s live series, Mute and Spoon Records
reissue a ‘Monster Movie’ on blue vinyl.

With the sounds of Jimi Hendrix, Captain
Beefheart and The Velvet Underground ringing in
their ears, Holger Czukay and Irmin Schmidt left
behind their careers in academia to form the
influential group in the late 60s.

Together with Michael Karoli, Jaki Liebezeit and
American singer Malcolm Mooney, they recorded
their debut album, ‘Monster Movie’, in a castle
near Cologne in 1968.

The record was then remastered in 2004 from the
original master tape for a CD release. It was
overseen by Holger, Irmin and Jono Podmore to
refine it to how it was always intended to be heard.

“‘Monster Movie’ is an amazing debut” - Pitchfork

“‘Monster Movie’ sounds like nothing else released
in 1969 - and still acts as a template for the future” - Sound Affects

“Had Can’s debut album, ‘Monster Movie’, been
their only one, it would have assured their place in
the history of German music and of rock as a
whole” - Shindig Magazine


Includes digital download code.

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

Nigerian Afrobeat composer, bandleader, and multi-instrumentalist Fela Kuti has a vast catalogue that dates back over half a century. Roforofo Fight is one of the many standouts and it was recorded in Lagos in 1972 on the Jofabro label with the legendary Tony Allen on drums as well as Christopher Uwaifor on tenor, Lekan Animashaun on baritone and many other key players alongside the main man. The lyrics convey Fela's frustration at intolerant and violent behaviour as told through the story of a street fight.

Rhythm Section INTL are back with another release from SAUL, ‘Mutualism’ drops on August 19th 2022. Jack Stephenson-Oliver (keys player of fellow Rhythm Section signee, Vels Trio) and producer Barney Whittaker, aka Footshooter.

Their newest project is a feel good, summer-ready soundtrack, bursting with uplifting synths and groove- heavy broken beats. When the two of them get together, their jam sessions result in a fusion of alternative future jazz. Collaboration is a key element to the creative output of SAUL, shining a light over individual talents such as Allysha Joy, Natty Wylah, Lex Amor and James Mollison.

The Gamelatron is many things; one could call it a sculpture, a multimodal installation, an instrument, a robot, a feat of engineering, a vision—and it is all of these things. More importantly, though, it is a concept sustained by Aaron Taylor Kuffner, aka Zemi17, whose Gamelatrons are “sound producing kinetic sculptures” designed to create an immersive, visceral experience for the listener. Not a small feat, and yet the ambitions of Zemi17 are absolutely realized in this long-standing project, culminating now in his third release for The Bunker NY: Gamelatron Bidadari.

The Gamelatron Bidadari is not just a name—it is one of seventy-plus musical sculptures that Zemi17 has conceptualized, designed, and fabricated. Therefore, it would be inaccurate to think of this release as simply a series of arrangements composed in a finite period of time. Rather, it’s a window into a project and a process that is much larger than any single album can encapsulate. Gamelatron Bidardi is the culmination of more than a decade of work, and is central to Zemi17’s evolution, not only as a musician but as an artist.

Having studied gamelan for many years in Indonesian villages and at the Institut Seni Indonesia in Yogyakarta, Kuffner is a musician, an artist, technologist, and craftsman. The gongs in his sculptures are co-created with master Indonesian artisans. Each Gamelatron composition is site-responsive, meaning its sounds are composed for the acoustics and intentions of the space it inhabits, whether it’s an art gallery, a wooded landscape, or the inner temple of Burning Man. The Gamelatron does not stand alone: it is in constant co-creation with its physical environment, and in dialogue with gamelan’s long-standing history.

Originally exhibited at the Smithsonian Renwick as part of a show entitled, No Spectators: The Art of Burning Man, the Gamelatron Bidadari produces sounds that are delicate yet strong, and deeply hypnotic. Textured chiming creates intricate polyrhythmic patterns that are both complex and simple, or in a word, elegant. On Gamelan Bidadari, Zemi17 refrains from adhering to the strict musical structures; his approach to composition is free flowing.

He says, “I want to evoke what the music tells me it has to offer. It is like following water to its conclusion (or non-conclusion).” The arrangements on this album, written by Zemi17 and performed by the robotic arms of the Gamelatron, leaves the listener feeling enchanted, nourished and enriched.

A sense of the mystical comes through in the tonal quality of the instrument, and is conceptually felt in the sculpture’s name: the Bidadari, which loosely translates to “forest nymph.” The music conjures up natural wonder, and the four sculptures that make up the Gamelatron Bidadari, in fact, resemble trees. They are four independent yet connected entities, each with a large gong situated at their structural base—the sonic “roots” of the sculpture—while smaller gongs branch off of a golden, trunk-like spine. The Gamelatron Bidadari is as physically stunning as it is mesmerizing to the ear. A kind of divinity is invoked through its sound, or a sacred cohesion between past and present, tradition and new form. Meant to be viscerally experienced, the sounds of the Gamelatron call for sublime togetherness. Gamelatron Bidadari is not just an album but the crystallization of Kuffner’s work; it is a condensed yet spacious glimpse into the sonic power of Zemi17’s Gamelatrons, which have already been heard and experienced live by over a million people.

A previously unreleased project of Henning Christiansen, monumental in scope, traversing years, countries and now, formats. The Henning Christiansen Archive is proud to finally present one of the crown jewels of the archive, the masterpiece ‘Penthesilea’ as a 2LP and 5CD set. Both limited to 300 copies. Pentheseila is one of the most ambitious works in the entire Henning Christiansen oeuvre. A large-scale work from the mid eighties based on the play of the same name by Heinrich von Kleist (1808). Both Henning and his widow, Ursula Reuter Christiansen, were enthusiastic about Kleist’s text, both making works around the themes within this portent text. Henning Christiansen first developed a work around this text for the Rosenfest festival performed in Berlin in 1984. Rosenfest was curated by René Block and featured a variety of composers presenting works in response to Kleist’s work including Robert Ashley, “Blue” Gene Tyranny etc. Henning formulated a composition utilising tape, field recordings, voice, soprano, and violoncello alongside the home made instruments of Werner Durand. The live presentation was then expanded upon and first performed two years later at Teatro Olímpico, Rome on the 8th November 1986 as directed by Carlo Quartucci. The two releases presented here include a 2 x vinyl LP of the Rosenfest recordings in 1984 and a 5CD set sharing the four and a half hour backing track prepared for the Teatro Olímpico performance in Rome in 1986. Together these two releases make up a substantial overview of one of the most significant works in the entire Christiansen canon. THE REALITY IS A GHOST IN MY MIND (LP1) is a work that unfolds patiently with a mix of field recordings; wind, bird song and the sound of snow being crushed underfoot all unite in a foreboding atmosphere. IN PENTHESILEAS HÖHLE (LP2) features electronic treatments to the original field recordings found on THE REALITY IS A GHOST IN MY MIND, a representation of psychological reorientation perhaps? A deep ground tone (or ROOT as Henning calls it) leads the listener through a variety of realistic and unrealistic environments. As Henning says in his essay reprinted on the back sleeve: “Then comes a section where the field recordings of the sea, the storm, birds, cars and other things, are built together so that the realism of these sounds become unreal. For example the cars drive into the sea and the birds are singing within the storm. When you hear footsteps in the show, it’s Kleist sneaking past Deutsche Schauspielhaus. When you hear a deep, human sleeping noise, it’s Achilles sleeping. When you hear hammering it’s the weapon smith working. When you hear a stone being thrown it means the unanswered question: “Who threw the first stone?” These recordings lead to the finale where Carla Tatò’s haunted vocals into her singing mournfully along with Jan Tilman Schade’s violoncello and tuba, then a chainsaw appears. Presented in a deluxe di-cut sleeve with writings by Ursula Reuter Christiansen and Henning Christiansen and adorned with an artwork, Penthesilea by Ursula Reuter Christiansen, 1983.

Sacred Bones is an independent record label and publishing company based in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we’ve had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We’ve also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists.

. An original suite by Bruno, the starting point for Out of Doors was the eight Hungarian folk melodies used by Bela Bartók in his 1920 composition 8 Improvisations Op. 20.
Over the 8 movements, Bruno's roots in impressionistic classical music are concentrated by Andrea's classical training and deep understanding of European jazz and Gene’s renowned groove and swing.

Bruno Heinen – Piano
Andrea Di Biase – Bass
Gene Calderazzo – Drums

LIMITED EDITION DIRTY WHITE VINYL REMASTER.
FIRST TIME AVAILABLE ON VINYL FOR 15 YEARS. 300 COPIES.

17th anniversary remaster. New sleeve artwork with photos by Steve Gullick and pressed on dirty white vinyl.
Ladybird ... one perfect heavy as fuck hypnotic riff played over and over and over and over across 2 sides of an LP.
Back when Shit And Shine formed, the idea was basically to sound like their heroes DRUNKS WITH GUNS and STRANGULATED BEATOFFS, using that same basic formula. A big dumb ass catchy riff played over and over until the joke gets old ... then keep going.
Recorded live at Southern Studios, London (fun fact: the same room where BAUHAUS recorded 'Bela Lugosi's Dead'!) in 2004 with just two basses, a snare drum, a huge cardboard box and a tiny toy Casio sa-1 keyboard (using the "airplane" sound hitting the same key over and over for 41 minutes)
Some still say it's the best thing shit and shine has ever done. I'm not arguing.
Originally released on CD, and super limited vinyl waaay back in 2005. This was Shit And Shine's second release and it sold out REAL quick.
Remastered and beefed the hell up by Craig Clouse at Shit And Shine Ranch 2022.
Don't sleep on it.

Continuing the ‘first time on vinyl’ purge of the AMT archives. Here’s the band's classic 2006 album finally available on double vinyl for the first time. Housed in full colour gatefold sleeve.
‘Myth of the Love Electrique’ is another scorcher from these ridiculously prolific psych masters. This album is notable for being the debut of their newest band member: Kitagawa Hao. Kitagawa's presence doesn't dominate the recording by any means, but her contributions nicely complement the swirling chaos the group generates. Acid Mothers Temple always manages to find a breath of fresh air at the most opportune times, and this is no exception. While remaining a tight unit, bringing Kitagawa into the fold adds another dimension to their chaotic sprawl without having to sacrifice any of their strengths on this incendiary album.
“Comprised of four lengthy tracks, the album explodes with a start: "The Man from Giacobinid Meteor Comet." Kawabata Makoto's guitar quickly becomes a tangle of screams, a frenzied surge that drags the band along with it. The rhythm section is ferocious. Bassist Tsuyama Atsushi frequently ventures out to the stratosphere, but he also knows when to hold back or to provide a vaguely melodic foundation. Likewise, the amount of energy drummer Shimura Koji dedicates to his performance is a lesson in endurance. Divided into three movements, this track eventually cools down and then glides to a drone landing, alighting the listener breathlessly upon calmer ground.
Kitagawa's voice makes its first appearance on "Five Dimensional Nightmare," floating over a bouzouki arrangement that sounds like singing glass. This one is divided into three sections like the previous track, but starts airy and then goes into a drone as Tsuyama briefly takes over the vocals. From here, strings are tortured like fingernails on a blackboard before a guitar and Higashi Hiroshi’s water drop electronics restore balance.
As much as I loved the two previous tracks, the band forges ahead into something different on "Love Electrique." Kitagawa's presence is most felt on this track. Her voice streaks across the mix as blistering guitars and freaky electronics blast all over the place. Over the course of 20 minutes, it hits several different moods and textures on a truly transcendent journey.

Of the four tracks, only the live staple "Pink Lady Lemonade (May I Drink You Once Again?)" may seem a little redundant. Kitagawa, however, breathes new life into this standard by bringing her vocals to the fore over the entire track, as if restoring an element that previously had been missing. It's hard to call it a definitive version because so many other excellent versions already exist, but it is a great one in its own right. For fans who may be weary of this song after all of its appearances over the years, it is easy enough to stop the disc after gorging on the first hour of music, and it is still a welcome dessert if the mood should strike”

Limited to: 300 copies.

Lera Lynn blurs the boundaries between genres, carving out a sound inspired by art-pop, indie-folk and the outer edges of American roots music. She’s a singer. She’s a songwriter. She’s a road warrior. She’s a multi-instrumentalist and producer. She’s a mother.

Texas born, Nashville resident Lera Lynn is just as comfortable creating an album entirely by herself, as she is collaborating with her heroes. In 2018, she worked with T Bone Burnett and Rosanne Cash on tracks that were not only picked up by the TV show True Detective, but Lynn was cast as a recurring character who performs in a dive bar frequented by the main characters.

However, nothing could have prepared Lynn for the lessons learned during motherhood. She welcomed her first son during the early months of the pandemic and began writing down her insights, chronicling this newfound experience of shifting priorities, strange endings, and new beginnings. Inside, she was battling postpartum depression. Outside, a bigger picture began taking shape: a feeling of interconnectedness, of cyclic renewal, of the knowledge that every beginning is an end and every end is a beginning. Those realizations coalesced into Something More Than Love, a record filled with synthesizers, lush soundscapes, the pop-noire punch of Lynn's voice, and the most dynamic melodies of her career.

Inspired by the cyclical patterns that shape our place in the world, Something More Than Love was co-produced and largely performed by Lynn and her partner, Todd Lombardo (Kacey Musgraves/Donovan Woods/Kathleen Edwards). They'd met years earlier, not long after Lynn relocated to Nashville from her college town (and musical launchpad) of Athens, Georgia. "My first time ever co-writing a song was in Nashville with Todd," she says of the ACM-nominated multi-instrumentalist. The two became fast friends and, eventually, partners; their creative chemistry giving way to romance and a growing family. That partnership reached a new milestone in 2021, with the newfound parents sharpening their creative instincts and expanding their palette for Lynn's sixth album.

"A lot of people were making records during the pandemic," Lynn notes, "and all they had was time. But it was the opposite experience for us. We created this whole record while still in the fog of early parenthood, and we didn't have the luxury of waiting for lightning to strike. We had to be focused and intentional."

Striking a balance between intimate self-reflection and universal insight, Something More Than Love poses big questions over even bigger-sounding music, with tempos and layered arrangements that find Lynn at her most dynamic. Illusion opens the album with spacey synthesizers before snapping into a taut, 1980s-influenced groove, combing reverb and rhythm into a song that swoons one minute and struts the next. I'm Your Kamikaze — a deconstructed burst of indie garage-rock, heavy on melody and percussive pulse — unfolds like a salute to self-sacrifice, with Lynn dedicating her own existence to ensuring her child's flourishing. What Is This Body? finds her reassessing her ideas of physical identity and womanhood, while the album's gorgeous title track makes room for slow-burn strings and a meteoric chorus.

Together, those songs turn Lera Lynn's experience with absolute surrender — surrendering oneself to the trials and triumphs of motherhood — into a universal record about the experiences that bind us together. This isn't just Lynn's story. It's the story of a life cycle that repeats itself over and over, every termination point becoming a starting line, every death matched by a rebirth, every edge giving way to the circular slope of the ouroboros.

From colossal opening track 'A Cleaved Head No Longer Plots', CONAN’s upcoming magnum opus will overrun you like a steamroller. The British kings of brutally heavy slowness put their down-tuned pedals to the limit, crushing ears and minds when huge, rumbling chords and riff beasts muscle their way in over lances of infinite distortion. On tracks such as 'Levitation Hoax', CONAN showcases their trademark sound combined with uptempo, fierce riffage, and a pounding, impulsive groove in epic Caveman battle doom grandeur, before the song drags you into a safe, deep black hole. Second album single, 'Righteous Alliance', emphasizes that CONAN are the masters of their craft, while Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio of bass, drums and guitar. Evidence of Immortality was recorded and mixed by Chris Fielding, was mastered by James Plotkin, and also sees former band member Dave Perry performing on 'Grief Sequence'. Bow down and hail CONAN, as their sound will live immortal on the battlefield of doom, and their new album will be the ultimate Evidence of Immortality! 1. SINGLE - EN On first single 'Levitation Hoax' off of Evidence of Immortality, CONAN showcases their trademark sound combined with fast-paced riffage and a pounding groove in epic doom metal grandeur, before dragging you into a safe, deep black hole. The British trio is one of the leading and most heavily touring doom metal bands of modern times, with millions of streams on Spotify alone. This further proves that their sound will live immortal! 2. SINGLE - EN Evidence of Immortality single 'Righteous Alliance' emphasizes that CONAN are the masters of their craft, while frontman Jon Davis spits his lyrics over the uber-synchronized power chord changes and tempo shifts of the anti-holy trio. Boasting sold-out international headline tours, frenetically acclaimed appearances at Hellfest, Desertfest and more, and millions of streams on Spotify alone, England’s doom metal masters strike back again on their new album. Hail Conan!

CHICAMACOMICO is a record about loss. Over a six-month span at the end of 2019/beginning of 2020, I lost my grandmother, my mother and watched as the world fell into a 2+ year pandemic that decimated businesses, relationships and dreams. This is a record about dealing with those losses. My hope is these songs serve a salve for anyone else experiencing loss. A reminder that you are not the only one that lost a friend this year, or a parent, or a loved one. There's a special kind of hope that comes from that realization. I am not alone. I wrote this record in the February 2020 on the northern coast of Hatteras Island in a small beach town called Rodanthe. In the summer, this area is an extremely popular vacation destination packed with tourists, but in the winter, it was a desolate ghost town. The perfect backdrop for the record I was trying to write. Over the course of two weeks these songs would take shape and come to life, and it quickly became obvious that the overall theme would be dark. During my stay I realized that the town used to be named Chicamacomico until the locals changed it in the name of ease and progress. In that moment, I knew I had the name of my record. We enlisted Brad Cook (Bon Iver, Nathaniel Ratliffe, Waxahatchee) to produce the record and traveled to Sonic Ranch, a world-renowned recording complex tucked in the middle of a 1,700-acre pecan orchard, in the Texas border town of Tornillo. Over the course of ten days, we watched these songs go from simple folk ruminations into fully formed band arrangements. In my sixteen-year career I have never been prouder of a set of songs, lyrically or stylistically. The songs have weight, but they aren’t weighed down. It’s a sad record, that makes you feel good. It's a culmination of nearly two decades of work. Chicamacomico sounds like nothing we've ever done yet it sits comfortably amongst the rest of our catalog. My records are chronological observations and I feel like this record perfectly represents the highs and lows of the last few years. Themes: Loss, Death, Darkness, Suicide, Divorce, Losing A Child, Losing A Parent, Losing A Spouse, Addiction, Recovery

This release will have you dancing and crying at the same time. On his debut album, Paris-based producer and founder of the "raw poetry" aesthetic Loyce Demellier - AKA DJ Physical - takes us on a fast-paced journey through techno, electro, breaks and more. Whilst the music's indisputable home is the club, Physical teases out moments of playfulness and sentimentality amongst hard-hitting electronics.

"Silver Lake" LP resides on the colder, more industrial side of Demellier's sonic spectrum, following on from his latest release on London imprint 10 PILLS MATE which saw him depart from the more lofi quality of his previous releases in favour of a raw, club-focused sound. On the A-side, Demellier situates the release within the context of old warehouse raves, with euphoric acid melodies and a 140BPM propulsion ("Uranium"): and high-pitched synth stabs that ascend from darkness ("Gold Mines").

The B-side maintains the pace, but this time it's about electro and breaks. On "Overshoot", reverberating cymbals add another layer of depth to Amen break interludes whilst "Lawbreaker" harnesses a cheekier tone, offering respite from the previous tracks' venom. This air of playfulness sticks around on "Lunatic State" helped by MPC drum claps and a ludic electro melody, before fellow Parisian Ika Sile steps up for "Early Sprinter" and "Bootybounce": the former offering a slicker take on acid techno and the latter: rave music at its absolute with piano stabs and sleazy vocal chops. Silver Lake LP drops 22nd July 2022 via Lost Palms

Repressed , please note price increase, all orders have been cancelled, please re-order! Pre-Revolution Psychedelic Rock from Iran: 1972 - 1979

Now-Again Records is proud to present Back from the Brink, the only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh’s Pre-Revolution recordings were thought lost after Islamic fundamentalists took control of Iran. They weren’t: Kourosh had protected them – along with key ephemera from the 70’s. Their collection here - spread over two CDs, a 3-LP and a 4x7” box set - bolstered by Kourosh’s first person recollections of Iran’s 70s rock scene and its death after the Revolution, tells the story of an immensely talented artist’s desire to persevere in the face of terrible adversity.
Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran’s musical landscape in the late 60’s and early 70’s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them. Later, inspired by the unlikely duo of Elton John and James Taylor, Kourosh’s music took a sophisticated turn, and he churned out funky, progressive rock that is as imminently enjoyable as it is impossible to categorize.
His star on the rise was knocked off course by the Revolution, and its backdrop of Islamic fundamentalists burning record companies and harassing musicians. But while most Pre-Revolution musicians – including his brothers – fled Iran in 1979, Kourosh stayed, loyal to the country of his birth. He has suffered a performance and recording ban for twenty-two out of the last thirty-two years. Yet he remains stoic and resolved to continue bolstering Iranian musical tradition.
Kourosh still lives in Tehran and is pleased that his story – and his glorious 70s recordings – will finally spread the world over.

Eleventh album from the Juno-nominated Burlington, ON post-hardcore and emo band that has sold 1.2M+ albums worldwide. Produced by Sam Guaiana The Devil Wears Prada, Between You & Me, Like Pacific. The lead single “It’s Over” streamed upon release on NME [“return to emo roots coupled with a post-hardcore edge…intense melodies”]. Further praise from HM Magazine, Loudwire, Rock Sound. Eight of Silverstein’s albums have charted in the United States, including A Beautiful Place to Drown [2020, #5 Billboard “Hard Rock Albums” “#7 “Alternative Albums”], which was nominated for “Rock Album of the Year” at the Juno Awards]. They’ve toured with Good Charlotte, Blessthefall, August Burns Red, Silent Planet, Four Year Strong. They toured the United States and Canada this autumn with support from The Plot in You and Can’t Swim, and they’ll be back on the road in the United States this spring with The Devil Wears Prada. Released independently via Australia's leading heavy music label UNFD.

Eleventh album from the Juno-nominated Burlington, ON post-hardcore and emo band that has sold 1.2M+ albums worldwide. Produced by Sam Guaiana The Devil Wears Prada, Between You & Me, Like Pacific. The lead single “It’s Over” streamed upon release on NME “return to emo roots coupled with a post-hardcore edge…intense melodies”. Further praise from HM Magazine, Loudwire, Rock Sound. Eight of Silverstein’s albums have charted in the United States, including A Beautiful Place to Drown [2020, #5 Billboard “Hard Rock Albums” “#7 “Alternative Albums”], which was nominated for “Rock Album of the Year” at the Juno Awards]. They’ve toured with Good Charlotte, Blessthefall, August Burns Red, Silent Planet, Four Year Strong. They toured the United States and Canada this autumn with support from The Plot in You and Can’t Swim, and they’ll be back on the road in the United States this spring with The Devil Wears Prada. Released independently via Australia's leading heavy music label UNFD.

Chart-topping, multi-platinum rap superstar YoungBoy Never Broke Again’s huge album, SINCERELY, KENTRELL is available on Vinyl.

SINCERELY, KENTRELL serves as a testament to YoungBoy’s remarkable talent and versatility, showcasing the Baton Rouge, LA-native’s true heart and soul over 21 featureless tracks. The album sees YoungBoy joined in the studio by a number of longtime collaborators and rising new producers, including Dubba-AA, Mike Laury, TnTXD & Dmac, Smashdavid (Big Sean, Chris Brown, Khalid, Bad Bunny), MikeWillMadeIt (Kendrick Lamar, Rae Sremmurd, Eminem, Beyonce), and TayTayMadeIt (Roddy Ricch, Swae Lee, Jack Harlow).

With 76 total RIAA certifications and over 72.5M certified units under his belt thus far, YoungBoy Never Broke Again is without question among the landmark hip-hop artists of this or any era. 2020 and 2021 have both seen him become America’s #1 most video on demand streamed artist of any genre. His second studio Album, Top, is officially platinum certified after an explosive debut at #1 on the SoundScan/Billboard 200 upon its September 2020 release. YoungBoy was also last year’s #3 most audio on demand streamed artist industrywide and is currently #5 for 2021 thus far and it serves as a testament to his remarkable talent and versatility, showcasing the Baton Rouge, LA-native’s true heart & soul.

180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• INCLUDING INSERT WITH LINER NOTES
• HIGH RESOLUTION AUDIO MASTER, CUT ON 45 RPM
• GRAMMY AWARD NOMINEE, THREE-TIME ECHO AWARD
NOMINEE, THEODORE PRESSER AWARD RECIPIENT JAZZ MUSICIAN THEO CROKER
• FEATURING ARI LENNOX, GARY BARTZ, CHARLOTTE
DOS SANTOS, MALAYA, IMAN OMARI, KASSA OVERALL &
WYCLEF JEAN
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED
COPIES ON TURQUOISE COLOURED VINYL

Every trip needs a guide. Through the trumpet, the Grammy Award-nominated artist, producer, composer, tought leader, influencer and tastemaker Theo Croker narrates a human story rooted in intimate experience, yet cognizant of cosmic consciousness. This journey unfolds in technicolor on his sixth full-length offering, BLK2LIFE || A FUTURE PAST.

“BLK2LIFE || A FUTURE PAST is meant to be a deeply impactful, personal experience for the listener. One that you can also dance to - it is Black music after all,” Croker says.

BLK2LIFE || A FUTURE PAST consists of 13 tracks and is inspired by the forgotten hero’s journey towards self-actualization within the universal origins of blackness. It’s a sonic celebration of Afro-origin, and ultimately a reclamation of the culture, for the culture. Joining Croker on the album are Ari Lennox, Charlotte Dos Santos, Gary Bartz, Iman Omari, Kassa Overall, Malaya, and Wyclef Jean.

BLK2LIFE || A FUTURE PAST is cut on 45 RPM with a high resolution audio master. The album is available as a limited edition of 750 individually numbered copies on turquoise coloured vinyl, housed in a gatefold sleeve.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDING PRINTED INNERSLEEVE
• 4-PAGE BOOKLET WITH LYRICS AND PICTURES
• 2019 ALBUM FEATURING ELEW, ERIC HARLAND, KASSA
OVERALL AND JAMAICAN SINGER CHRONIXX
• MASTERED & MIXED BY GRAMMY AWARD WINNING
PRODUCER BOB POWER (D’ANGELO, ERYKAH BADU)
• LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED
COPIES ON TRANSLUCENT BLUE COLOURED VINYL

Star People Nation is a project described by Theo Croker himself as an intimate exploration of “the everyday rituals of blackness”. A translation of his personal, spiritual and creative experience, the album is a self-reflective collection of powerfully passionate and boundary-busting compositions that speak to our greater, shared human existence. The album features jazz pianist ELEW on “The Messenger”, which is a great combination of a smoky blues piano with a traditional swing rhythm, locking into the pocket and showcasing Croker’s mastery of the swing.

Star People Nation is available as a limited edition of 750 individually numbered copies on translucent blue coloured vinyl. The vinyl package includes a printed innersleeve and 4-page booklet with lyrics and pictures.

Like meeting an old friend again, Dalmata Daniel welcomes DJ Overdose back to their catalog. Six years ago the infamous Dutchman's '05 Poly 800 Loop' EP was released, which served as a powerful launch to Dalmata Daniel, opening the first chapter in their story. Later in 2019, a split release with Sematic4 was also a highlight in the life of the label; and now, 3 years later, DJ Overdose checks in with the 'Powers of Ten EP' with a J. Mono remix, available both in digital and vinyl format, the latter having 2 bonus tracks.

The distinct, crunchy sound of DJ Overdose, bearing aspects of old school hip-hop-infused sampling and contemporary analog vibes creates the perfect blend of both worlds. 'Garden of Lust' opens up the adventure with a combo of warm basslines and solid drum-programming. This initial track feeds us these cardinal elements as the bread and butter they are: subtle variations and fine spices do appear here and there as the track goes along, but the key, beating pulse in 'Garden of Lust' brings massive hits stable as a sledgehammer in the hands of a blacksmith.

'Feed The Beats' elevates the game to cinematic territories: its majestic string-like central melody makes me alert and ablaze, making me feel like I'm in a late 80s L.A. setting facing malevolent zombie-aliens in my Wayfarer shades. Blasting beats and Carpenterian coolness all over the place, while the spooky bassline just keeps sneaking up on me endlessly.

If you are wondering when's the best time of the year to bring out your boombox at last, then this is your lucky day: with 'BOB', the first bonus track on the vinyl, we can experience some roarin' bassdrums, snappy snares, MCs with the speed of light and all that jazz. The low-bit sampling and vinyl scratching come and kick you right in the face so hard that it becomes pretty obvious you'll can't help but start some serious beatbox battles in your bathtub with your rubber duck.

A feverish groove in the prime time of a funky bash, in the haze of a sensual rave-up: that's all one really wants when going for a Saturday night out. We definitely get this and much more from 'Room 714', another vinyl-only bonus track. A berserk voice and ethereal chords guide us through this mysterious track, but while we are busy trying to impress our crushes on the dance floor, things around us are slowly getting very, very freaky, maybe a bit way too freaky.

As wobbly and jolly as it gets, our Dutch friend ends his session with 'Ðr ¡v€ M€ ¢r@z¥', a vocoder-heavy disco banger, full of merry vocal FX and smart rhythmic glitches as he completes his flight. To close the EP, our local hero, J. Mono delivers an insane remix of 'Ðr ¡v€ M€ ¢r@z¥': one can clearly imagine how he grabs and turns the BPM knob all the way up, fires up some arpeggios on his mighty synths and casts a complete reimagination of the original track.

Dubartis compilation is a double LP of previously digitally released tunes.

First LP is dedicated to Lithuanian dub reggae band Ministry of Echology remixed by local artists and producers. Deep spaced-out dub and cinematic electronics.

Second LP - boom bap and experimental beats collection from KASETA and Genn Bo. All about sampling, looping, slicing, cutting, blending old dusty records.

Long before Lina Seybold became a geologist, the singer and guitarist was already writing songs and making a name for herself far beyond the city limits of Munich with her Steve Albini-trained (and produced) quartet candelilla, before the band dispersed into new projects. During her studies, she met Moritz Gamperl and the two realised that what they learned in rock research could also play a role in rock music. Thus, the material history of the planet became both a source of existential reflections for the two and the impetus for a highly accomplished and often graceful sound, which has been expressed in the band pirx together with drummer Sascha Saygin since 2019: Technically sovereign, obstinate songs that - with Seybold now on bass and vocals - create subtle dramaturgies, cinematic aesthetics, far-reaching arcs of tension.

With Lamina, the trio now presents an excellent debut album, recorded by Martin M. Hermann, which shoots out of the earth with explosive force as hot lava, only to flow into the valley in glowing beauty the next moment, changing the earth's surface, telling of elemental forces - until it finally evaporates the water in the sea and lays a comatose fog over all existence. Or in other words: pirx make creation music, in all directions of time!

Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans.

pink vinyl

Sciama's debut 12" for Auxiliary comes after four hugely successful cassette album releases over the past few years. Myriad collates four impressive beat-heavy tracks from Michael, spanning multiple genres and tempos.

Forced Inward starts proceedings by setting an ominous tone, before erupting into bass tones and soft percussive kicks. The beauty is revealed once the melodies take centre stage. Observe takes things on a more schizoid trip, with its anxious percussion and moody synth tones swelling against the frenetic pulsing kicks. The Lost Pleiad sees Sciama back in contemplative nature, while steadily raising the tempo and energy before Indignation seals off the EP with more brooding textural synth and bass-stabs.

Myriad is an EP you will not want to miss, and ticks all the boxes for what Auxiliary is about as a label.

PRESSED ON OPAQUE YELLOW VINYL WITH JAPANESE STYLIZED INSERT AND DELUXE OBI STRIP

Remastered From The Original Analog Tapes

The first live Miles Davis electric band release since 1977’s very dark and heavy Dark Magus. The album features live performances from shows at Boston’s Kix Club. The double vinyl release contains reimagined versions of songs from The Man With the Horn (1981), tunes from the pre-electric Gil Evans collaboration Porgy and Bess (1959), and a dedication to the Boston venue called Kix. While this was one of the first live Miles Davis performances in over half a decade it certainly did not show!!! This album features R&B legend Marcus Miller on bass, Mike Stern on guitar, Bill Evans on saxophone, Mino Cinelu on percussion, and electric band alumni Al Foster on drums. Produced and edited by long time Miles collaborator Teo Macero.