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After the recent reissue of their first eponymous album, Favorite Recordings proudly presents Vegas, the second LP from Venezuelan band Esperanto. Rare and sought-after for many collectors, it was recorded in between Las Vegas and Caracas and originally released in 1981. Following bandleader Jorge Aguilar in his musical trip to the infamous American city bathing into flashing lights and vivid colors, we're invited to an excursion in Disco, Boogie and Jazz-Funk territories. Finally reissued, fully remastered, Vegas will be available as Gatefold Tip-On Vinyl LP.

With great care and attention to details, Esperanto managed to create a very convincing sequel to their Jazz-Funk debuts. Vegas keeps indeed a perfect balance between various influences. Through energic disco beats with intense funky solos, catchy AOR-influenced songs, where Jorge delivers convincing vocal performance, or sunny jazz-funk slow jams, the album still reveals something quite authentic. And this feeling echoes surely the one that could have been felt by Jorge Aguilar while discovering USA on a trip - where it all started for the music he loves. Like sometimes a foreigner's enriching view on some local specialty, he surely brought with the band all his authenticity and young but vibrant experience while convincing at the same time major labels for distribution.

With certain notoriety coming with the release of their first album, Jorge Aguilar and his drummer Pablo Matarazzo planned to go to Los Angeles for a few gigs. But once there, they realized their contact had to leave for Tina Turner's tour in Europe. Before that, he invited them to come along to Las Vegas and eventually meet musicians there. Luckily, the plan worked perfectly: Jorge came back to Los Angeles with a lot of contacts then moved to Boston and NYC before finally coming back to Caracas. He told: "I was so impressed with this trip that I told myself that one day I would return to Los Angeles and Las Vegas. The first tracks I did them in Los Angeles with Kenny More, James Gadson and other session musicians from that city. Later, I took the tracks to Caracas where the musicians of the band recorded overdubs. After that, I returned to Los Angeles to master with Bernie Grundman who was still working in his small studio at A & M records studios in Hollywood. As can be seen in the title of some of the songs like "Hollywood", "Vegas", "Kenny's Place", were only the translation of my experiences at the time."

Nico Gomez, a Belgian orchestra leader of Dutch roots, has long been a favourite with Latin fans, record diggers, DJs, and collectors alike. His blend of bossanova, latin jazz, and easy listening always turns up a few choice nuggets and surprises; what is perhaps most remarkable is that it was recorded in Europe.


Back in 2013, Mr Bongo re-issued Nico Gomez's sought-after 'Ritual' album from 1971, and now we follow it up with another jewel from his catalogue his 1972 album 'Soul Of Samba'. For this re-issue, we have opted to present it with the cover art originally used on the Trio Records version released in Japan. In the Netherlands and Belgium, the album was released with different cover art under the title 'Bossa Nova’, on Omega International and International Bestseller Company records, respectively. We loved the beautiful psychedelic design of the Japanese version and wanted to use it for this re-issue.

'Soul Of Samba' features several euro-bossa-jazz favourites such as the catchy 'Rio'; which was a firm DJ choice cut at jazz dance nights, including Brighton's 'Jazz Rooms' in the 90s. It also featured in Rainer Trüby's classic ‘Glücklich' compilation series which explored European-Brazilian-inspired music. The beguiling ‘Aquarela', with its engaging latin shuffle, entices feet to the dancefloor and is not one to miss. 'Agua’ has a lazy-quirky latin-funk feel with breathy-stoned vocals floating in the background. The album additionally features numerous breezy latin, Brazilian, and easy listening joints, some of which are ripe for sampling.

Mondo, and Jagjaguwar are proud to present a limited edition vinyl pressing of Sharon Van Etten's incredible song 'Let Go,' recorded for the 2020 documentary Feels Good Man, chronicling the emotional journey of comic artist Matt Furie and the discovery that his lovable creation Pepe The Frog had become symbol of the alt-right. A super powerful film about reclamation, artistic expression, and above all else Letting Go.

Featuring the aforementioned original song 'Let Go,' as well as a cover of 'Some Things Last A Long Time' by Texas legend Daniel Johnston as B-Side.

“After watching the documentary, I just followed the feeling of coming to terms with something and tried to evoke peace through my melody and words," says Sharon. "The song and film’s producer, Giorgio Angelini was a great collaborator and communicator and I was given a lot of freedom. That says a lot about the film and the people who made it."

Music by Sharon Van Etten

'Salisbury’ by Uriah Heep, Picture Disc Vinyl, Limited Edition, Official Collectors Release, The sophomore album which helped pioneer the heavy metal genre. LP set on heavyweight vinyl.

BMG are jubilant to announce the release of ‘Salisbury’, the sophomore studio album from Uriah Heep, on an Official Picture Disc LP for the very first time. Containing the original audio recorded in Lansdowne Studios, this new pressing of the album contains the hits ‘High Priestess’, ‘Lady in Black’ and more.

This incredible album was first released in June 1971.

Uriah Heep continue to celebrate the 50th anniversary of the formation of Uriah Heep with the release of the sophomore album’s first official picture disc LP. This LP is contained within a series of collector picture discs releases from the Uriah Heep catalogue.

'Very ‘Eavy, Very ‘Umble’ by Uriah Heep, Picture Disc Vinyl, Limited Edition, Official Collectors Release, The debut album which helped pioneer the heavy metal genre. LP set on heavyweight vinyl.

BMG are ecstatic to announce the release of ‘Very ‘Eavy, Very ‘Umble’, the debut studio album from Uriah Heep, on an ‘Official Picture Disc LP’ for the very first time. Containing the original audio recorded in Lansdowne Studios, this new pressing of the album contains the hits ‘Gypsy’, ‘Come Away Melinda’ and more.

This seminal album was first released in June 1970, featuring the obscured, cobwebbed face of David Byron on the artwork.

Uriah Heep continue to celebrate the 50th anniversary of the formation of Uriah Heep with the release of their debut album ‘Very ‘Eavy, Very ‘Umble’ on official picture disc LP for the very first time. This LP begins a series of collector picture disc’s releases from the Uriah Heep catalogue.

After years of being lost at sea, the ancient scrolls containing the long sought after fragments of X-Coast were discovered. It was decided that the transcripts be pressed onto plates and scattered throughout the realms, so that the age-old knowledge may never be forgotten.

On the front side of the disc, we deciphered two XTC transmissions. The first, "XTC I" dates from the original session. The second is the final attempt known to us, "XTC V".

The reverse side unfolds with an interpretation of "XTC V" by the prophet known as Foamek, who brings it to new, uncharted reaches of euphoria. The next scroll, titled "Horns" is a real collector's gem, played just once before during the inaugural X-Coast Boiler Room - transmission Belgrade.

The plate ends with what we believe is the first X-Coast session ever recorded. Simply called "Horizon”, it was evident that the inhabitants of the island stumbled upon something legendary.

This is a one-time opportunity to obtain the scrolls. Do not let them fall into the wrong hands!

Gonzalo Benitez and Luis Alberto Valencia were kingpins of the musica nacional movement in Ecuador. Check them out on the cover, on a rooftop in Quito’s Old Town, surveying their dominion. In 1970, when Valencia collapsed onstage during a performance of the yaravi Desesperacion — ‘My heart is already in ashes’ — and died four days later, aged 52, his coffin was carried through those city streets on the shoulders of his fans.

They began singing as a duo in their mid-teens. During twenty-eight years together they recorded more than six hundred songs, for Discos Ecuador, Nacional, Granja, Ortiz, Rondador, Onix, Fuente, Real, Tropical, Fadisa, RCA Victor — and of course CAIFE.

Their exquisitely romantic harmonising is a sublime blend of collected forbearance and abject self-annihilation, underpinned and elaborated by the heart-piercing, improvisatory guitar-playing of Bolivar Ortiz. Effectively the third member of the group. ‘El Pollo’ sets the tone and intensity for everything that follows: listen to his soloing at the start of our opener, Lamparilla.

Musically a pasillo — a cross between a Viennese waltz and the indigenous yaravi rhythm — Lamparilla draws its verses from a poem by Luz Martinez from Riobamba, written in 1918 when she was 15, under the influence of Baudelaire and Mallarme. Another pasillo here, Sombras is one of the best-loved songs in the musica nacional canon, setting lines about undercover sex and loss by the Mexican poet Maria Pren, which were considered pornographic on publication in 1911.

And Benitez & Valencia looked back still further, to the indigenous roots of Ecuadorian music, as the key to its future. Carnaval de Guaranda is their take on a song dating back to the era of the Mitimaes, a broad group of Bolivian tribes conquered by the Incas and displaced to Ecuador. ‘Impossible love of mine / I love you for being impossible / Who loves what is impossible / Is the truest lover.’

Lovingly presented in a gatefold sleeve with spot-gloss, and printed inners, with stunning photos and expert notes. Excellent sound, drawn from original tapes, by way of Abbey Road, D&M and Pallas.

An outstanding raga-like drone lp with a distinctive cosmic vibe, Futuro Antico was a short living collaboration between the two italian Walter Maioli (Aktuala), Riccardo Sinigaglia and Gabin Dabiré (from Burkina Faso). The synthesis between ancient, ethnic and analog electronic music is just perfect, the minimalist repetition with slight changes gives associations of a slow growth; cyclic repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey trough ancient, primitive cultures and modern electronic soundscapes.Originally released in 1980, the sound is completly analog and warm, this reissue maintain the first tape artwork + info and photos.

• A straight reissue of this super-rare funk single from 1970 on the Call Me label.

• Original copies of this political soul anthem change hands for a lot of money.

• This slice of Louisiana deep Southern soul has taken on a life of its own since Dave Godin included it on his first “Deep Soul Treasures” CD, and the single has shot up to well over three figures in value.

• In 2021 the song is the subject of a cover version by the-name-to-drop Lady Blackbird and we felt it was about time that it was reissued in its original format.

Anteloper is the electric brain child of jaimie branch (fly or die, high life) and Jason Nazary (little women, helado negro, bear in heaven). Branch and Nazary have been playing together as trumpeter and drummer for years, since meeting at the New England Conservatory of Music in 2002, but in this duo both musicians include synthesizers to push further into the spectral space ship ether. With deep rhythmic passages, telepathic improvisations and effortless melodic negotiations, Anteloper pushes forward, swinging its horns all the while. Originally released on cassette only, Anteloper's debut album Kudu was named one of the 'Best Albums of 2018' by Rolling Stone, Pop Matters, Nextbop, and Bandcamp. In his piece for Rolling Stone, Hank Shteamer said: "The album's collision of fractured beats and pealing, effects-heavy brass suggests a punk-minded update of Miles Davis' most thrillingly weird Seventies explorations, heard on albums like Get Up With It. This is music for serious immersion."

he British singer Paul Young gained his highest level of commercial success with his second album The Secret Of Association, which featured several hit singles. The album was originally released in 1985 and was certified gold in the US and platinum in the UK, reaching #1 in the UK album charts. The album’s most notable single was his cover of Daryl Hall’s “Every Time You Go Away”, which hit #1 on the US single charts and
#4 in the UK. In addition, the album features “I’m Gonna Tear Your Playhouse Down”, “Everything Must Change” and “Tomb of Memories”, which all charted well.

The Secret Of Association is available as an expanded edition and includes various mixes of the singles, B-sides “Give Me My Freedom” and “Man In The Iron Mask”, and also live versions of “No Parlez” and “Bite The Hand That Feeds”. The album is available as a 2LP limited edition of 2000 individually numbered copies on gold & black marbled vinyl.

Jonic coast soundboys collective Butu Yard debut on the label with Good Ova Evil, an ode to positivity tuned on notes of freedom, cadenced on a halftime rhythm. A 150 bpm dubstep tune spreading echoes of hope from southern steppas, with Sativa Club maintaining the late-night pressure on the flip.

Malta-based stoner and grunge rock act A Broken
Design gear up for the vinyl-release of their latest
album, ‘Another Day In Hell’, via Argonauta
Records.
 The band’s much acclaimed debut album was
originally self-released in the middle of the
pandemic in October 2020, but will be now
reissued, for the first time ever, on vinyl.
 A Broken Design were formed in 2014 and feature
former band members of sludge metal
heavyweights Slit, doomsters Nomad Son and
electro rockers Kill The Action.
 With a mix of various alternative and heavy rock
influences, their 2017 debut EP ‘Halo Of Flies’
already showcased A Broken Design’s passion,
drive and skills to write catchy songs that deliver a
heavy dose of flat out grooves with a nostalgic oldschool grungy touch in a raw and rough sound.
 Their album ‘Another Day In Hell’ marks the band‘s
most mature and emotional record to date, delving
deep into a personal catharsis while the four-piece
broadens its sound to further sonic templates.
 For fans of Soundgarden, Los Natas, Life Of
Agony, Stone Temple Pilots, Queens Of The Stone
Age, Alice In Chains, I Mother Earth, Pist.On,
Mother Love Bone, Kyuss, Gruntruck.

A musical journey with Emile Parisien is an adventure, something way out of the
ordinary. The soprano saxophonist’s sound is instantly recognisable - as is the way
with the greats - and you know that you are in the best possible company to set off
for a destination shrouded in uncertainty.
 For the past twenty years, the one-time child prodigy of Marciac has found ways to
astonish, to shake up and to enchant listeners with colourful and productive
experiments. His driving force is a passion which seems physically to take hold of
him as he plays.
 Anyone who has seen his development as a performer knows what he’s about; there
is an element of the dance but also the tension of a coiled spring. And among the
musicians who seek him out are not only the very best of his own generation but also
the jazz masters, such is his reputation both as a leader and as an inspirational
partner.
 As a musician he is one of a kind, with a power to be evocative and to bring
convincing shape to the unpredictable. His musical language can express sudden
frenzy, keeping the listener completely on tenterhooks, but there are also outbursts of
tenderness and a palpable emotional honesty.
 ‘Louise’ takes its title from Louise Bourgeois and more specifically her sculpture of a
spider, ‘Maman’. Her monumental work has motherhood as its theme, also conveyed
through the metaphor of weaving, an underlying thread that runs through Emile
Parisien’s creation.
 He has assembled a group of musicians who bridge the two sides of the Atlantic. The
saxophonist has set out to combine the essence of jazz with his own purposes; so,
what shines through here are both his kaleidoscopic imagination and his appetite for
breaking down barriers. Three American musicians are in the group, all of them
friends whom he has got to know over time.
 Their eagerness to engage in fruitful conversations with a trio consisting of Parisien
himself and two of his closest colleagues from France is miraculous. All kinds of
nuances and a confluence of influences are to be heard here. We find variations of
pace from skittering syncopations to the softly majestic.
 Textures are meticulously calibrated, with a broad palette of instrumental colours
both in the original compositions and in a burning cover of Joe Zawinul’s
‘Madagascar’. This collective endeavour leaves plenty of room for individual
inventiveness, yet there is a happy balance between the different personalities as
well. Emile Parisien, always hyperalert, knows when to step back and to leave the
initiative to his partners, but will then re-enter authoritatively and be the catalyst who
completely re-energise them.
 ‘Louise’ is just magnificent in its twists and turns, and in the way it celebrates the
sheer joy of the groove. ACT have taken a path towards intoxicating freedom with a
team of artists in complete balance both individually and collectively. Through its
subtle amalgamation of diffidence and affirmation, this pellucid music tells us the
truth about life.

After a busy, successful and critically acclaimed
year Matt Berry offers one final salvo to his fans. A
unique 12” single featuring his two collaborations
with Sean Ono Lennon.
 Sean worked on two tracks from ‘The Blue
Elephant’ album and applied his mind to give us
distinctive re-interpretations of ‘Summer Sun’ and
‘Like Stone’. Psychedelics mixed with a stomping
beat for ‘Summer Sun’ and something a little bit
weird and reflective for ‘Like Stone’.
 The 12” comes housed in a sleeve designed for
the occasion by Matt.
 The original versions of both tracks are taken from
Matt’s 2021 psychedelic masterpiece ‘The Blue
Elephant’.
 “‘The Blue Elephant’ is a sonic odyssey.” - Uncut
(8/10)
 “A remarkable record that is, in many ways, the
culmination of all the directions Berry’s music has
taken over the years” - David Quantick, Record
Collector

Debut gospel album from Georgia singer-songwriter Brent Cobb. 8 traditional gospel songs and one new original song (When It's My Time), incorporating multiple genres - country, Southern rock, blues, folk, soul. Produced, engineered, and mixed by six-time GRAMMY-winning producer Dave Cobb (Jason Isbell, John Prine, Brandi Carlile, Chris Stapleton) at RCA Studio A in Nashville, TN.

His third studio album in as many years, ‘La La La’ arrives as the follow-up to 2020's album 'Cheap Medication' and 2019's debut 'Next Episode Starts In 15 Seconds’ in what is the next instalment of Johnny's annual series of releases. The new album continues a prolific spell of activity for the songwriter that has also seen him release two compilations of outtakes and rarities (Low Fidelity Vol. 1 & 2); work in collaboration with his partner Billie Piper and playwright Lucy Prebble (Succession) to score the entire soundtrack for the critically acclaimed Sky Atlantic series ‘I Hate Suzie’ and write the original motion picture soundtrack to Billie Piper's film 'Rare Beasts

Sarcasm has had a storied career. Originally formed in Sweden in 1987, Sarcasm would release blistering Death Metal throughout the early and mid-90’s. After a short-lived reunion in 1997, they would come back into the fold in 2015 with a new re-designed version of their lineup. Now they return with their new full-length album “Stellar Stream Obscured”. A concept-based album that is a journey. Managing to sound like their old selves, the bands launches a fine assault here featuring plenty of furious melodic rhythms alongside their traditional leanings. Although, they clearly have their ties in being an older Death Metal band, their sound still brings with it the youthful exuberance of newer Death Metal bands. They have this almost blackened style of Death Metal that cuts like a knife. The impressive guitar work is highlighted by the brutal blast beats and vile vocals emanating in every track. A surprising factor to their music is the slowing down of the tempo to offer up a more melodic sound. A lot of times the old school Death Metal bands seem to be stuck in their ways, but Sarcasm has implemented the more melodic sound to their brutal repertoire. One should appreciate the vile black metal styled vocals on the album, as they work so well together with the professional sounding musicianship. Take Black Metal, melodies, and Death Metal and blend it all up then you’ll have “Stellar Stream Obscured”. The music is beautiful, vile, and brutal all in the same. “Stellar Streams Obscured” is a triumphantly diverse Death Metal album that brings a complete and competent sound. Sarcasm deliver on every facet musically.

Acclaimed Los Angeles indie songwriter Alex Brown Church has announced the release of Sea Wolf - “Through A Dark Wood (Deluxe)” on November 19 via Dangerbird Records. “Having it come out now feels kind of fitting,” Church remarked. “‘Through a Dark Wood’ originally came out in March 2020 at the beginning of the pandemic, when we were all entering into a new ‘dark wood’ together. We’re beginning to figure it out, though we’re still not sure what’s next. Just like the story of the album.” “Through A Dark Wood (Deluxe)” includes 5 new songs from the original sessions where Church, coming out of a bruising divorce, wrote, recorded and scrapped a full album's worth of material before starting anew. Deluxe Tracklist: 1. Witchknife 2. Reflections On A Grey Dawn (feat. Dustin O'Halloran) 3. Two Figures 4. Here For You 5. Animal Mind

Deutsche Grammophon veröffentlicht ”XII 2021” am 28. Januar 2022 als Vinyl-LP. Das neueste Album
der innovativen, künstlerübergreifenden Repertoire-Reihe des Labels präsentiert zwölf Originalwerke von
ABBOTT, Marie Awadis, Dobrawa Czocher, Büşra Kayıkçı, Niklas Paschburg, Margaret Hermant, Felsman
& Tiley, E.M.M.A., Hannah Peel, We Are KING, Hannah Epperson und Freya Arde. Im Rahmen des
2019 gestarteten Projekts ”XII” wird jeden Monat eine neue E-Single veröffentlicht, die den Hörern die
Möglichkeit bietet, eine speziell kuratierte Zusammenstellung von Stücken zu entdecken und die Arbeit
junger Künstler mit einer anderen Sichtweise auf klassische Musik zu präsentieren.

Tara Nome Doyle is a 24-year old singer-songwriter with Norwegian-Irish roots. In April 2018 her first release, the song Down with You came out. Since then it has been streamed more than four million times. More singles and an EP called Dandelion followed. In January 2020 her debut album Alchemy was celebrated by the German press (“… like Kate Bush singing songs by Nick Cave at Berghain”, SPIEGEL). TND’s second album, Værmin, will be released in January 2022 on Modern Recordings. The album was produced by Simon Goff, a Grammy-award winning producer (for his work for Hildur Guðnadóttir’s Chernobyl score), violinist and engineer.

TND likes to collaborate: In spring 2021 she co-wrote an original song with Isobel Waller-Bridge (Fleabag) for the upcoming Netflix feature film Munich - The Edge Of War. In July 2021 the EP The Moments We Keep, which she co-wrote and co-produced with the Italian pianist Federico Albanese, came out on Mercury KX. In late 2020 TND released recordings with Malakoff Kowalski (Bad Dreams) and 1k Flowers (Clemency). TND has also collaborated twice with Max Rieger (Die Nerven; producer of e.g. Caspar and Drangsal).

On Væermin TND tells a tragic love story, rich in symbolism and nuances, orchestrated with piano, violin and synthesizer and sometimes pulsating beats – and with singing that is both intense and varied, sometimes angelic, sometimes rough and threatening. Væermin is touchingly beautiful – and yet it also celebrates the supposed ugliness that lives in all of us and that we like to suppress and ignore. All songs are named after animals that are considered undesirable pests: leeches, caterpillars, snails and worms. Væermin celebrates their beauty and thus also asks a political question: What would happen if we welcomed these vermin instead of rejecting them? Wouldn't we then arrive at a much richer, balanced relationship with ourselves, to a more differentiated relationship to the world around us and to other people?

Værmin is a grand, wise, deeply moving album. And the songs get stuck in your head immediately, pulling you into their depths: existential music by an extraordinary artist.

On an early morning in November 2015, THE GHOST INSIDE was involved
in an accident that claimed the lives of their driver, the lives of everyone
in the other vehicle, and resulted in multiple injuries for all of the band
members
Jonathan Vigil (vocals) suffered from a fractured back, ligament damage, and
two broken ankles. Zach Johnson (guitar) has since had 13 surgeries for a femur
injury. Andrew Tkaczyk (drums) ultimately lost his leg. The future of the band was
very much up in the air throughout 2016, as everyone struggled to recover.The
road to recovery was both mentally and physically extensive but THE GHOST
INSIDE were determined to get back to doing what they love. Nearly four years
later, the band did just that, returning to the stage July 2019. Originally meant to
take place at the historic Shrine Auditorium, tickets sold out so quick that the gig
had to be moved to the parking lot, selling double the venues capacity. Over 8000
people witness this return to the stage. The accident will always be a defning
moment for THE GHOST INSIDE, but never what defnes them.

See Through Blue is Scarlet Rebels’ second album, following 2019’s
acclaimed Show Your Colours, but their roots go further back
Wayne, Gary and Pricey put together the band VOiD in their hometown of Llanelli
in the late 00s, releasing three acclaimed albums under that name before
deciding itwas time to shake things up. Changing their name to Scarlet Rebels,
the original trio were soon joined by Chris Jones and Josh Townshend – the latter
the nephew of The Who legend Pete Townshend. With See Through Blue, Scarlet
Rebels have delivered on that promise. Few bands marry arena- sized modern
anthems with classic songwriting with as much passion and skill as they do.
Fewer still are brave and bold enough to tackle real- life political and social
problems – especially when they’re as potentially divisive as the ones Scarlet
Rebels are writing about.

Cavity-causing Cordovox-driven 1969 girl-group garage! A delightful
romp through 'Oye Como Va,' 'Proud Mary,' 'Walkin' The Dog,' 'Son Of A
Preacher Man,' their chicle sticky original title track, and so much more!
Cordovox organ, trumpet, bass, drums, congas, and tambourine! Not a
guitar in sight! Out of sight! Pressed on cloud white vinyl!

Deluxe LP features 140g virgin vinyl; heavy-duty board jacket, artwork by Art Rosenbaum + DL. RIYL: Bob Dylan, John Prine, Townes Van Zandt, Ry Cooder, Michael Chapman, Michael Hurley, The Youngbloods & Bonnie “Prince” Billy. Jake Xerxes Fussell’s 4th album finds the acclaimed folksong interpreter, guitarist, and singer navigating fresh sonic and compositional landscapes on the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. Produced by James Elkington and featuring formidable players both familiar (Casey Toll, Libby Rodenbough) and new (Joe Westerlund, Bonnie “Prince” Billy), it includes Jake’s first original compositions; atmospheric arrangements with pedal steel, horns, and strings. One of the most striking and strangely moving moments on Jake Xerxes Fussell’s gorgeous Good and Green Again an album, his fourth and most recent, replete with such dazzling moments arrives at its very end, with the brief words to the final song “Washington.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded. In all his work Jake humanizes his material with his own profound curatorial and interpretive gifts, unmooring stories and melodies from their specific eras and origins and setting them adrift in our own waterways. The robust burr of his voice, which periodically melts and catches at a particularly tender turn of phrase, and the swung rhythmic undertow of exquisite, seemingly effortless guitar-playing here he plays more acoustic than ever before pull new valences of meaning from ostensibly antique songs and subjects. On Good and Green Again, Jake not only ventures beyond his established mastery of songcatching and songmaking into songwriting, but likewise navigates fresh sonic and compositional landscapes, going green with lusher, more atmospheric and ambitious arrangements. The result is the most conceptually focused, breathtakingly rendered, and enigmatically poignant record of his wondrous catalog. It’s also his most deliberately premeditated album, representing his fruitful return to a producer partnership after two self-produced projects, What in the Natural World (2017) and Out of Sight (2019) (William Tyler produced his friend’s self-titled 2015 debut.) This time James Elkington produced and played a panoply of instruments, bringing to Jake’s arcane song choices his own peerless sense of harmony and orchestration, balance and dramatic tension. The pair enlisted a group of formidable players including regular bandmembers Casey Toll (Mt. Moriah, Nathan Bowles) on upright bass, Libby Rodenbough (Mipso) on strings, and Nathan Golub on pedal steel. They were joined by welcome newcomers Joe Westerlund (Megafaun, Califone) on drums, Joseph Decosimo on fiddle, Anna Jacobson on brass, and veteran collaborator and avowed Fussell fan Bonnie “Prince” Billy, who contributes additional vocals. Album opener “Love Farewell” (featuring some beautiful singing by Bonnie “Prince” Billy), an elliptical tale of the folly of war, set to the world’s most heartbreaking goodbye march for a lover left behind. “Carriebelle” and “Breast of Glass” each similarly concerns, in its own way, romantic love and leavings. All three songs highlight Jacobson’s diaphanous, understated brass parts, tying them together in a true lover’s knot. “Rolling Mills Are Burning Down,” with its distant keening strings and capacious sense of space, observes and mourns the loss of work and community in the wake of elemental disaster. Nine-minute tour de force “The Golden Willow Tree,” the sole explicitly narrative song herein, is a hypnotic, minimalist rendering of a tragic maritime ballad about scuttling an enemy ship in exchange for wealth and glory and a captain’s inevitable betrayal. “Fussell is creating his own legacy within the long lineage of traditional folk musicians and storytellers that have come before him.” The New York Times // “So elegant … It’s relaxing in the way that pondering a Zen koan is relaxing, and sweet in the way that the wounded, honey-voiced blues of Mississippi John Hurt are sweet.” Pitchfork // “Music that resides at the seams of Appalachia and the cosmos.”

Press confirmed to run on this includes a lead full page review in Uncut and a boxed out review in MOJO. The Guardian are also running a feature with interview & much more tbc. Optimism is the debut album from Jana Horn of Austin, Texas. Originally self-released in a small vinyl edition, now widely available. Horn says the LP, "seemed to come about indirectly, almost in passing, a feeling of being in-between things. I was really mobile at that time, living wherever... I had just discovered, late, Raymond Carver Broadcast, Sybil Baier, Annette Peacock, Richard & Linda Thompson, a short story called “Car Crash While Hitchhiking” by Denis Johnson. I had “Heart Needs a Home” in mind, “The Great Valerio;” I was just really moving through the world, hanging in the shadows of the people I wanted to be. Hoping, looking out, this is Optimism. I was looking for anything."

Black Vinyl, DL Card. Following Lucy Gooch’s acclaimed ‘Rain’s Break’, her first release on Fire Records earlier this year, the artist’s acclaimed debut EP ‘Rushing’ is revisited with new artwork and a brand new track, ‘Orthione’. “Lucy’s sound marries the etheral qualities of ambient music with buoyant, effortless pop” Crack ‘Rushing’ in its original shorter five-track incarnation was heralded as a touchstone beneath the cascading torrent of modern times and an oasis for turbulent times. An intimate collection of songs built around Lucy’s emotive vocals and unique ambient dream pop, the newly added stand-out track ‘Orthione’ trips into the esoteric world of Laurie Anderson and Philip Glass; here her voice is the grounding force that travels to a space that heals and grows. “For an artist whose favourite trick is the seemingly infinite crescendo, she clearly knows the value of restraint” Pitchfork // “Expansive, upfront, spectral pop” KEXP // “The pastoral element of the music resonates more as you tune in to Lucy’s unique vocal.” Loud And Quiet

“Sunlight to blue … Blue to blackness” - This was one of the more upbeat title suggestions for the very bare, back to basics, reflective album from The Durutti Column. Originally released in June 2008, Sunlight to Blue… was a conscious response to the previous two polished and ‘studio-based’ releases. Here he created some sparse, simply beautiful 'sketches' as he once called them, more reminiscent of his work from the early eighties. Many of the pieces are instrumentals played on his Juan Montero flamenco guitar, and he returns to 'Without Mercy' for the last track 'Grief' whilst reinventing 'Never Known' from LC. Now, for the first time, the LP is available remastered and re-packaged as a gatefold double 12” 180gram vinyl release.

This album also saw the debut of the then talented young pianist and singer, Poppy Morgan, who co-wrote the melancholy Ananda as a duet with what Reilly dryly called 'intrusive guitar'. For the uninitiated, Vini was the first artist signed to Manchester’s influential Factory Records, co-wrote and played on Morrissey’s first solo album ‘Viva Hate’, and was heavily featured in the Manchester music culture film, ’24 Hour Party People’. Vini Reilly has recorded under the name The Durutti Column since 1978 and has a rich portfolio of work, releasing over twenty albums in this time. Ever critical of Vini’s voice, but ever a fierce champion of his talent, the late Tony Wilson would surely appreciate this return of The Durutti Column.

Aleksandir's debut album on Omena, Skin, was both musically and conceptually, a truly personal and expressive record.
Here we have three tracks from the album in glorious remix form.

Tom VR has managed to carve out a unique sound with his music, released on labels such as All My Thoughts, Intergraded, Lionoil Industries and Valby Rotary.
He delivers a dreamy, lucid and melodic take on 'Skin & Mind' and makes an already beautiful track almost implausibly wide-eyed

After several stunning and diverse releases, we had to get Ikonika on board to remix 'I Used To Dream'. Her take on the track is a futuristic electronic beat construction, polished with class and driven by weighty production.
John Dunk launched the Cameo Blush project in 2019 with the 'Murky Waters' EP on Nick Hoppner's Touch From A Distance label and released a follow-up 'Lucky', earlier this Spring on Ross From Friends' Scarlet Tiger label.
Both showcase his inventive rhythms and sunrise-ready melodies. His remix of Prado is both colourful and vibrant, a melting pot of swirling sounds that gives the original new life...

El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA's blending their signature cinematic soul sound with influences from Turkis Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls "a carnival of dusty funk and soul". The EP starts off with the unreleased gem "Messy Grass" whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi's Qanun dances over. On "Cham Cham" EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season's "Perfect Harmony". Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; "Poison Song", "Uncut Gem", "Smoked", and "Progress" are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago's Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, "Forms" has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. Last year, The Micronaut released Olympia (Summer Games) - an album that continued to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games. Continuing on this Olympic journey, the German producer now releases the second part to the project, Winter Games, containing a fresh twelve tracks that capture the essence of winter sports. Winter Games is an eclectic ride, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. In the EDM-influenced track Bobsleigh, which contains samples from a DJ describing the state of his own profession, The Micronaut seems to be drawing a line between what he's doing, a true Olympic feat in some regards, to a lot of the lazy productions around today. 'He thinks it's cool to just play with an iPod or a USB stick,' we hear a voice say over a hyper-synthetic beat. It's The Micronaut's critical statement on the superficialness that much of dance music has come down to, "Of course there are exceptions, but unfortunately there are only a few," he notes. At times, Summer Games veers towards techno and at others it seems to be inspired by electro-pop. Towards the end of the album, 'Curling' is a refreshing vocal piece filled with warm chord progressions. "Bernhardt's vocals are really touching, they give warmth to the minimalistic structure of the song," says the Micronaut. The track offers a comforting counterpoint to the high-energy feelings of competitiveness present in the rest of the album with lush pulsating synths and a laid-back groove. "Every time, when I wanted to continue working on "Curling" I was afraid of destroying its very fragile initial structure, but in the end, I think it worked," adds the producer.

Bonfido Disques is delighted to welcome Elado (Razor 'n' Tape, GAMM) to the family. For this superb solo expedition the original party starter, record collector and decks aficionado delivers three exotic disco gems for the body, soul and dancefloor on a limited 12" vinyl.

2024 Repress

Cool - gelassen - überraschend: Volume 15 dieser superlativen Serie wurde wieder von Compost’s Mentor Michael Reinboth zusammengestellt. Das pralle Paket birgt 21 Tracks, davon 8 exklusive unveröffentlichte Delikatessen und gibt es als 4-LP / 2xCD. Viel Vergnügen.

Die exklusiven Tracks kommen von: Area (schätze, man kennt seine brillianten Innervisions Veröffentlichungen), Arnau Obiols & KAYYAK (schwer von Gilles Peterson gefeatured, ihre EP “Chang‘an” war in seiner 2021 top 5 Liste), Ron Deacon (gehört zur Workshop-Crew mit Move D, Even Tuell and Kassem Mosse), Class Compliance, oh man was für ein Hammer Track, Mille & Hirsch (Operatoren des feinen Polish Records - Labels), All Is Well (dahinter steckt natürlich Fred Everything), Ben Sturm (ein neues Talent aus Leipzig’s viraler Underground Szene) und Oliver Kieser (bestens bekannt als Teil von Kieser & Velten mit einigen Platten auf G-Stone).

Gut, schön, wie immer, fast alle Tracks sind wunderbare Hybride, perfekt für jedes eklektische Set, aber auch für den entspannten Genuss von Wein, Bier, härterem oder grünem Zeug. Vielleicht besonders zu erwähnen wäre der Esa Williams Remix von Bantu Clan Vs Sarabi and Kevin Yost’s Original Mix von “Another World”, die gab es so in den Versionen bisher nicht auf Vinyl.

Diverse Magazine haben die Future Sounds Of Jazz als eine der besten Compilation - Serien aller Zeiten gewählt. Wir sind geschmeichelt. Mit dem Start der Reihe 1995 wurde das Genre Future Jazz quasi aus der Taufe gehoben, unetabliert.

Hailing from Sydney, Australia, prolific producer Cabu (860K Monthly Listeners and more than 90M cumulative streams on Spotify alone) has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit (37M Spotify-streams) to Big Wild's "Empty Room" flip (20M Spotify-streams) – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

From his early days in 90s collective KMD to his reinvention as a masked supervillain leading the indie hip-hop revolution, MF DOOM has consistently pushed the boundaries of hip-hop in new and unexpected directions. While DOOM's lyrical genius is well documented, he has quietly become an important figure behind the boards as well. DOOM has always produced his own music, and in the early 2000s he released the acclaimed ten-part Special Herbs instrumental series, introducing the world to the dusty, lo-fi loops that define his production aesthetic. In the years since, DOOM has supplied soundscapes for Ghostface Killah's classic Fishscale album, produced an entire album for Masta Ace, and witnessed a new generation of emcees (including Joey Bada$$, Capital STEEZ, and Bishop Nehru) using Special Herbs beats on their breakthrough mixtapes. Now, the villain is putting the spotlight back on his production with the official vinyl release of Special Blends, Vol. 1 & 2. Originally self-released in extremely limited quantities back in 2004, Special Blends Vol. 1 & 2 pairs vintage DOOM-produced Special Herbs instrumentals with classic hip-hop and R&B vocals. Mixed by DOOM himself, this collection incorporates vocals from a wide range of iconic records. Special Blends Vol. 1 & 2 is available in standard 2XLP vinyl format, as well as a deluxe version inside a custom-printed burlap bag.

»Neon City« is the debut release by Erik K Skodvin & Otto A Totland's Deaf Center project, finally re-issued 18 years since its first appearance.

Listening to »Neon City« in 2022 is like taking a melancholy journey down rainy city streets of the early naughts, made by the then two young Norwegians in their mid 20s after spending time together in a basement full of vintage items. Armed with young optimism and a sense of musical experimentation, they started sampling everything around them, be it an old television broadcaster, tape recorders, a game of table tennis or conversations on film and merging it with pianos, plucked guitar, strings and anything in-between. The record turned out as something unique in the fields bordering post classical and ambient music, though without landing on any set genre. The record was filling a place in music that was barely touched upon and made them further experiment with samples and classical music which landed them on the 2005's classic »Pale Ravine«.

Although Erik and Otto both had been making music solo before, »Neon City« was the start of their more focused future paths as purveyors of both light and darkness in music that seeps through your soul to battle the anxieties of the world. We're glad to see this important start again be available to new ears. The record comes with a remix of the opener track “Dial” by Helios aka Keith Keniff, taken from the same original.

Clear Vinyl Repress

After the unbridled success of her eponymous debut album, and the subsequent relentless touring schedule that took her to all corners of the earth, Nina Kraviz has finally found the time to get back in the studio and has bestowed another gift of musical material to the Rekids catalogue. 'Mr Jones' is a neat, 6-track package featuring Nina's first original output since her 2012 LP, which has since been pulled apart, re-imagined and remixed by the likes of Steve Rachmad, KiNK, Marcellus Pittman, Fred P, DVS1, DJ Qu and Radio Slave to name but a few. Now it's Nina's turn to get back behind the mixing desk, and fans of her slightly lesser-known B-side 'Tanya' will be pleased to hear the release kick off with 'Desire' - as Nina's seductive voice surges in and out over a hypnotically dissonant groove with slightly menacing undertones, much like her aforementioned track. On title track 'Mr Jones' Nina's voice is very much the star of the show - musing on the mysterious man himself, while a constant 'oom-pah' backbeat props up ticks and whirling textures generated by Nina's own vocal chords. Detroit's Luke Hess joins the fold on 'Remember', and certainly brings the flavour of his hometown, as the track builds in intensity with battering ram percussion and siren-like bleeps that are sure to land this one straight in Jeff Mills' record bag. Next up, it's back to House on the spicy 'Black White', where enchanted melodic cross-rhythms filter in and out through an Afro-Caribbean bounce, while Nina chants and calls over the top. 'So Wrong' is a more solemn affair, reminiscent of the more melancholic yet danceable tracks from her much lauded album, and 'Sheer' ends the release much like it starts, unnerving whistles and warbling textures combine to disorienting effect over a steady kick drum pulse.

AVA. Records celebrates its 10th anniversary with 52 artists. “10 Yahre” is a 4LP compilation housing 22 tracks, a printed 30 pages magazin and a mixed CD. All wrapped in a custom made silkscreen sleeve, also including a textile keychain and stickers. Sonically spanning from ambient to techno, 10 Yahre carries new and exclusive material, all woven around the label’s decade focus on dance floor culture, started 2011 in Cologne, Germany.

The 4LP vinyl includes music by: Am Kinem, Andy Hart, Axel Boman, Cinthie, Damiano von Erckert, Dman, Dogpatrol, форм, Jürgen Ratan, Jus-Ed, Lauer, Lowtec, Move D, Paingel, Paradise Grey, Retrogott, Robi, Ron Trent, Sinoesin, Tito Wun, U-I, Will Saul and Wolfey.

The mixed version of the entire compilation is contributed by Sally C.

The full color magazin and video includes works by: Alina Bader, Andy Kassier, Angel, Anna Beil, Ata Macias, Bailey Keogh, Damiano von Erckert, Dirk Jeans & Lou de Bètoly, Funkycan, Guido, Jana Marei, Jana Maria Dohmann, Joana Pratschke, Johannes Wohnseifer, Juri Bader, Kuchenbaum, Manuel Fischer, Maria Sécio, Martin Fengel & Public Possession, Mathias Schmitt, Maximilian Schweizer, Michael Satter, Naum Hirsl, Nicolas Wenz, Peter Wolff, Rein Vollenga, Rucksack Leer, Stelan Mergenthaler, Suzanne Caroline de Carrasco, Twit One and Yves Taron Harouche.

Compiled by Juri Bader and Damiano von Erckert, mastered by Enyang Urbiks. Design and concept by DVE 1989.

ACCIDENT IN HEAVEN was originally released in 1987 as a hand-made micro-edition of about 40 cassette tapes. It was only the third ever release on the short-lived now near legendary SDV label which had been established that same year by Konrad Kraft, Bernd Sevens and Dino Oon in Düsseldorf.

Finally finding a more substantial and appreciative audience on vinyl over 30 years after its original limited release, ACCIDENT IN HEAVEN is a strong testament to the explorative experiments of Detlef Funder a.k.a. Konrad Kraft, whose homebuilt studio sound attempted to bridge the clinical roughness of Severed Heads and the psychedelia of Coil with the density and force of industrial, post-punk and prototechno. Concurrent with his ever-expanding production skills, KONRAD KRAFT's sound work in the second half of the 80s stayed firmly rooted within a highly stylised underground spirit. Both his music and also the freshly launched SDV label first and foremost served as a medium for communication. The vital urgency of ACCIDENT IN HEAVEN underlines the record's core narrative which arguably sounds even more futuristic today than it did 30 years ago.

Hallmarks of ACCIDENT IN HEAVEN are an 8-track tape recorder, a Yamaha DX7 synth and a Roland 707 drum computer and the late 80s’ internationally ubiquitous shift from analogue to digital music production. Whilst its predecessor ARCTICA (another cassette-only release from 1986/87, previously reissued on TAL in 2018) was significantly more experimental and almost an in-between-states affair, ACCIDENT IN HEAVEN was the point at which Konrad Kraft really began to experiment with beat structures, sequenced synth pads and the framework of 'dance' music. However, the rhythmic elements are submerged so far beneath his expertly crafted drones it's almost impossible to label these sounds as “dancefloor oriented” work at all, as the tracks on the album joyfully disrespect the rules and boundaries of that or indeed any other genre.

ACCIDENT IN HEAVEN also epitomizes the decade's ending energy and sharp momentum with its successful merging of highly individual production and irresistible rhythm tracks.

The rich wealth of references is mirrored within the silhouettes and the graphics of the album’s unique artwork, which was created by Dino Oon. The new mastering has all sounds on ACCIDENT IN HEAVEN emerge in fresh shades and three dimensional plasticity, inviting the listener not to merely revisit the full palette of KONRAD KRAFT’s creation but offering an entirely new sound experience.

The original 7-inch versions of these two tracks by the cult vibes man. The A-side is a long-time jazz dance favourite, whilst its flip is a furious soul dancer.

Repress : The Desert Storm with Capsule Corporation and Empatysm. Kicking repressed (original production in 2005)

The Senior Service returns with a brand new 10” for 2022. A year or so ago, The Senior Service decided that it wanted to add a little more to its well-honed instrumental sound. On one slightly drunken night out, they approached local songwriter and chanteuse Rachel Lowrie and asked if she’d like to perform guest vocals on some specially written new material. By this time, Rachel had supplied impressive ‘pipework’ on quite a few Medway records so the band was confident that she’d be able to deliver – the band was right.
Following a lengthy hiatus in activity due to lockdown restrictions, The Senior Service was finally able to get together to record the new songs, so they piled into Ranscombe Studios to crack on. It soon became apparent that they’d lost none of the chemistry that had made them such a powerful musical collective and the instrumental backing tracks were laid down with relative ease. It was when Rachel arrived and sprinkled vocal sugar over the tracks that they really began to shine! Intuitively, she understood the approach needed and delivered a made-to-measure performance for each song. this collection includes four original tracks penned by the band plus two rollicking covers of lesser-known instrumentals; John Schroeder’s take on ‘Lovin’ You Girl’ – a slinky slice of lounge grooviness, given a slightly chunkier sound, informed by the band’s musical aesthetic, and ‘Mysterious Land’ – The Chris Lamb Orchestra’s little heard filmic masterpiece; a track seemingly tailor-made for the band to get its musical chops around. So, we invite you to spend ‘A Little More Time with The Senior Service’.

10” black vinyl with download code. File under: Indie, UK. It’s been four years since we last heard from Tigercats, with the 2018 album Pig City marking the expansion of their sonic palette from indie-pop and alt-rock, to include highlife, afrobeat, and scuzzy West African psych. The New Works EP is another step into the new for Tigercats, the sound of an increasingly political band, unbound by the records they’ve made previously, and enjoying the freedom of exploring and experimenting for these 5 new tracks. “We’ve been a band over 10 years and it felt like all of our previous recordings have been leading up to this one. After Duncan switched from guitar to kalimba a few years back, and we welcomed a horn section into the line-up, the sound has been getting denser and grittier, particularly live. With this recording we’ve finally managed to capture some of that energy on record.” The opening track New Work, a song about the relentless tyranny of labour in the 21st century, grows from the synth bass riffs and riotous brass lines with production inspired by industrial techno like JK Flesh, to display lyrical ferocity not often heard. The Space came together completely improvised in the studio, and reflects on the fight for space to create art - in a world fighting for your attention 24-7, and the depletion of available arts spaces. The intensity subsides for The Picture, a track whose origins date back to the writing of the band’s second record. More reminiscent of Tigercats’ indie credentials, drawing on the textures of Low or Yo Lo Tengo, it is developed here by a band confidently hitting their stride. New Works was written in 2019 and recorded at Lightship 95 on the Thames, and at Big Jelly in Ramsgate. Originally scheduled for a spring 2020 release, we’re excited to finally bring you these 5 tracks and the promise of a return to blistering live shows from Tigercats. Tigercats are a kalimba-led psychedelic pop band from East London. Having honed his songwriting craft in the short-lived but much much-missed Esiotrot, in 2010, Duncan Barrett went about forming a new band and recruited sibling/long-time producer Giles Barrett (bass), talented songstress Laura Kovic (keys), as well as Paul Rains (guitar, of Allo Darlin’). The band have performed throughout the UK and Europe and have supported The Wave Pictures, Allo Darlin and Darren Hayman among others. They have also performed at the End of the Road and Primavera Festivals and have appeared on Spanish TV (RTVE Radio3) and Indietracks. A tour of the USA and Canada included a headline appearance at NYC Popfest. New Works harks a return to Fika Recordings, having released the debut Tigercats album Isle of Dogs back in 2012, bookending albums with Fortuna Pop! (2014’s Mysteries) and El Segell Del Primavera (2018’s Pig City). Tigercats are: Duncan Barrett - Vocals, Kalimba. Giles Barrett - Bass, Production. Laura Kovic - Keys, Vocals. Paul Rains - Guitar, Vocals. Will Connor - Drums, percussion. Seb Silas - Baritone saxophone. Meridyth Dickson - Alto saxophone. Thom Punton – Trumpet.

TAPE012 ASYLUM - Is This The Price? 7” EP Formed in 1981 by a crew of hardcore punx and skins from Stoke-on-Trent in the industrial Midlands of England, Asylum fully embraced the ‘Noise Not Music’ rallying call. The missing link between Discharge and Japanese Noisecore, their sound is characterised by detuned ear-piercing distortion: buzzsaw guitars, fuzzed bass, charging drums and gargled vocals battle each other in a maelstrom of lo-fi production murk that reflects the bleak outlook of their lyrics. Only existing for a brief moment in time (playing a handful of mainly local gigs and releasing one demo tape and the occasional track on compilation tapes) and obscure even during their existence, Asylum were nonetheless influential, their ‘1,000 M.P.H. Hardcore Punk’ inspiring other U.K. groups such as Skum Dribblurzzzz and Napalm Death. This release contains the 6 Track demo Is This The Price? Which was originally released as a tape only EP on Retaliation Records. The tracks have been remastered and mark the first time Asylum have released anything on vinyl. Asylum had an urgent intensity that surpassed other bands of the era: Death of Music - Birth of Noise. (Nic Bullen) This reissue comes with a 12 page booklet and repro of the original lyric insert. FFO: LÄRM, Early NAPALM DEATH, DISCHARGE, WRETCHED, GASMASK, TRANQUILIZER, DISCLOSE

Crazy superb romantik Speedcore... Here you can listen MP3 as 33 rpm AND 45 RPM (its original speed, of course). But as 33 RPM it's not that bad as well as we say ^^ ahahah

A superb 13th OPUS in the vein of some XMF or INGLER oldskool tunes

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

This album comprises hits from the repertoire of the most famous Cuban and Boriquen orchestras in the late '50s, performed by young Peruvian percussionist Ñiko Estrada and his sonora. However, due to contractual restrictions, the album was released under the fictitious Sonora MAG name.
Fascinated by the music of the Cuban orchestras broadcast on the radio and the colourful and flamboyant outfits they sported when played Lima, Ñiko Estrada named his first band Los chicos de Cuba (The Cuban Boys). In 1958 he put together his own group, sonora, signing to the local label Smith and recording a number of hits. At the same time, he also agreed to anonymously record more music for MAG, the Peruvian company owned by Manuel Guerrero. An imaginary Sonora MAG was born…

"El Negro Bembón con la Sonora MAG" includes, with the only exception of the instrumental track 'Té Para Dos', mostly vocal songs -guarachas and boleros- by the likes of Manolo Castro, Rafael "Chivirico" Dávila, and Vicky Zamora, being her take on 'Pepito' the biggest hit of the album.
This album is currently almost impossible to find in its original edition, so we are now happy to present the first ever reissue of "El Negro Bembón con la Sonora MAG" in its original artwork and 180g vinyl pressing.

First ever box set from one of the most thrilling bands of the Twentieth
Century.
 Deluxe 7” singles box set featuring the phenomenal original run of singles
with two bonus singles exclusive to this set. Seven 7” singles housed inside
a lift-off lid box with a booklet featuring an essay by Clinton Heylin,
reminisces from Thurston Moore, Henry Rollins, Mark Lanegan X and Dan
Stuart, rare photographs and flyers, new exclusive issue of the ‘Fire of Love’
fanzine, Ruby Records postcard and a ‘Gun’ button badge.
 If ever there was a band seemingly determined to come from nowhere and
go straight back there, it was The Gun Club. Jeffrey Lee Pierce’s search and
destroy combo was spawned by the LA punk scene in 1979. Two years later
their first LP, the incendiary ‘Fire Of Love’, was spewed out by Slash
Records, a matter of months after the punk zine Pierce wrote for, and the
label named itself after, breathed its last. ‘Fire Of Love’ was one of the 80’s
genuinely shape-shifting US debuts, igniting post-punk depth and minting
genres including blues, psychobilly and Americana.
 Jeffrey Lee Pierce was an extraordinary character. Learning to play guitar at
the age of 10, he quickly immersed himself firstly in reggae and later the
Delta Blues, particularly works by Tommy Johnson and Robert Johnson. By
1976, he had become obsessed with Blondie, going on to become President
of the West Coast Blondie Fan Club. It was Jeffrey Lee Pierce who
suggested to the band they cover ‘Hanging On The Telephone’. The Blondie
connection would later resurface in 1982 when Chris Stein signed and
produced The Gun Club for his Animal Records label. In 1996 after releasing
seven studio albums, 37-year-old Jeffrey Lee Pierce sadly passed away
following a stroke. What he left behind is a legacy of work that has had a
prolific effect on some of the most distinguished rock acts of the past 20+
years, these include Nick Cave & The Bad Seeds, Sonic Youth, The White
Stripes, Mark Lanegan, Primal Scream and The Black Keys.
 “Jeffrey was a human tornado. Yet during the most turbulent points in his life,
he was able to tap what seemed to be a limitless supply of astonishingly
beautiful music. Even now, songs like ‘Flowing’ and ‘Desire’ catch me up.
The immense power that passed through Jeffrey, like an electrical current,
informed his amazing body of work. That level of unrelenting heat and
incandescence is simply not survivable. I wouldn’t wish it on anyone.” -
Henry Rollins (April 2021)
 Six 7” singles reprinted with original artwork. Additional ‘Miami Demos’ 7”
exclusive to this box set. All singles remastered especially for these vinyl
editions.

Original 1986 demos from Dream Theater’s original days as “Majesty”. Previously only available on CD through the band’s Ytsejam Records, now remixed and remastered, and available for the first time on vinyl in The Lost Not Forgotten Archives.  Featuring a collection of rare tracks, “The Majesty Demos” captures Dream Theater’s iconic history during their time as students at Boston’s Berklee College of Music.

Original 1986 demos from Dream Theater’s original days as “Majesty”. Previously only available on CD through the band’s Ytsejam Records, now remixed and remastered, and available for the first time on vinyl in The Lost Not Forgotten Archives.  Featuring a collection of rare tracks, “The Majesty Demos” captures Dream Theater’s iconic history during their time as students at Boston’s Berklee College of Music.

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

"With a unique trademark sound that is instantly recognizable even through a massive block of ice, Finnish melodic power metal overlords Sonata Arctica never fail to enthrall their audience with captivating hymns of Nordic splendor and magic. Graced by the aurora borealis, they’ve released ten studio albums thus far, taking us into their world since the majestic tunes of their long-fabled debut, “Ecliptica.” Now, however, the band is about to start a whole new chapter. Aptly titled “Acoustic Adventures – Volume One,” Sonata Arctica carefully strip their sound of all things metal only to reveal precious, stunningly beautiful acoustic songs that still capture the heart, spirit and very essence of this band. After Sonata Arctica hit the road in 2016 to premiere their marvelously crafted acoustic set to a stunned audience and then again in 2019, the idea was born to immortalize these intimate, pure, and heartfelt renditions of their iconic catalog on two acoustic albums, the second of which will follow in close succession. “The fans truly seemed to enjoy this side of the band quite much so there was clearly a demand to record these versions of our music.” Having said that, such a release was only a matter of time, anyway: At the very heart of every Sonata Arctica song lies a sublime melody, wreathed in melancholy. “We originally planned to record these songs in Los Angeles at a friends’ studio but since most of our touring seized we decided to do the recordings a bit sooner,” remembers Henrik “Henkka” Klingenberg. “Acoustic Adventures – Volume One” was recorded during summer 2020, with mixing and mastering following suite. Even though the songwriting material is so strong in this band -- you could hear it played on a triangle or a saxophone and still get goosebumps -- some songs proved to be trickier than others. “Not all of the stuff we tried worked out which is why some songs were not recorded,” Henkka says. “Luckily we have quite a large collection to choose from so there’s really no shortage of material.” It’s no exaggeration. The band has over one-hundred songs to choose from, which is a rather fortunate situation. What’s typically Sonata Arctica about all this is that they not only replaced electric with acoustic guitars. Instead, they didn’t shy away from writing whole new arrangements. “Thus, a lot of the songs sound quite different from the original versions.” Starting with the songs they already performed during the “Acoustic Adventures” tours, they added some personal favorites or gems to the mix after that and recorded the whole bunch live! Opening with the mesmerizing “The Rest Of The Sun Belongs To Me” and going via the banjo and organ infused (!) “A Little Less Understanding” to the heartbreaking ballad “Tonight I Dance Alone,” it becomes clear that Sonata Arctica have found solace and a home in these tender versions. One song especially proved to be a challenge for Henkka. “‘Wolf & Raven’ was quite the thing to play on acoustic piano,” he laughs, “but the whole session was a big challenge for everyone. On top of doing it all live, we also didn’t use a click track or metronome so you had to be really alert and make sure the songs stayed in tempo. I think ‘For The Sake Of Revenge’ is still is my favorite. It turned out really special and so different from the original. We also didn’t play the acoustic version live so nobody has heard it.” Yet, he means. The next acoustic tour is around the corner. Singles & Videos: 03.12 „The Rest Of The Sun Belongs To Me“ Sigle & Lyric Video 14.01 „For The Sake Of Revenge“ Single & Video // Focus Track"

The innovative hard bop of Jackie McLean began to evolve and take on a harder edge as the early-1960s progressed. Inspired by Ornette Coleman, the alto saxophonist began to venture gradually into the realm of the avant-garde, but on his own terms, never fully relinquishing a grounding in a soulful sense swing and chordal structures.With his 1963 album Destination… Out! he created a masterpiece of inside-out jazz with a unique quintet featuring Grachan Moncur III on trombone, Bobby Hutcherson on vibraphone, Larry Ridley on bass, and Roy Hayes on drums. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Continent is the fourth studio album by American hardcore powerhouse The Acacia Strain. This is the first album with bassist Jack Strong and second with drummer Kevin Boutot. Recording began on April 13, 2008 with acclaimed producer ZUESS and Planet Z and it was released originally August 19, 2008 via Prosthetic Records. Founding member and vocalist Vincent Bennett spoke to MTV News about the band's forthcoming LP, saying it was the band's "darkest" effort to date. The album debuted at No. 107 on the Billboard 200 chart and No. 2 on the Billboard Heatseekers chart with first week sales of almost 5,600 units "The Acacia Strain’s Continent is perhaps one of the first records to really bring to my mind an even fusion of hardcore and death metal and it’s an aggressive, engaging album – period." - METALSUCKS

Old-school industrial live improvisation with overdubs on 4 track portastudio.

Recorded at Black Prince Studio, Coventry, England. 1982.
Influenced by classic zombie films, “Death House” lends truth to that rumor by delivering forty-six minutes of blackened paranoia-inducing ambiance. Split into two sprawling pieces, “Death House” conjures the grim, unsettling atmospheres of such films like “The Last Man On Earth” and the original “Night of the Living Dead” and portrays them
into musical form. Step inside this nightmare Remastered by Martin Bowes at the Cage, Coventry, England. 2020.

These soundtrack recordings were originally issued on cassette on Adventures in Reality, September 1982.

Travelling Without Moving; long considered one of Jamiroquai’s most
popular albums and the best-selling funk album of all time celebrates it’s 25th year in 2021 with this special heavy weight coloured vinyl release.

Originally released in September 1996, the album features seminal hits ‘Virtual Insanity’ & Cosmic Girl’ which helped catapult it to #2 in the UK charts and Jamiroquai into the limelight globally.
This edition includes an updated sleeve for 2021, new liner notes by
Jamiroquai frontman JayKay and the Dimitri From Paris Remix Radio Edit of Cosmic Girl, previously only available physically in limited numbers on Dimitri From Paris’ own label.

Having produced the Emskee – Wall To Wall 12” released early 2021, AE boss Mr Fantastic is back with another slab of essential Hip Hop made without pretence or adhering to modern trends – in others words, how it used to be. Featuring Teekay of Dragon Fli Empire, hailing from Calgary, Canada, ‘Breakdown’ is a stand-alone single with no plans as being part of any album release right now and comes with the Instrumental version on the flip. Pressed on black vinyl and supplied in full colour card sleeve, as is the standard high-quality packaging from AE Productions.

Although only being acquainted via the internet, Mr Fantastic and Teekay have mutual admiration for each other’s work which lead to this collaboration. This funky 45 features crisp drums and disco funk samples that have been chopped into that good old Hip Hop. The beat has a reasonably sparse stabbing feel with subtle wah-wah guitar between the stabs which bounces along not just at a perfect tempo for DJ’s but also sonically perfect for a big sound system, hence this track being picked for a single release and packs that punch that sounds best played loud. No moody introspective thing here, this is crowd rocking Hip Hop.

Teekay’s rhymes flow over the beat like it is 2nd nature to him because, well, it is 2nd nature to him, and is further evidence of why his group Dragon Fli Empire alongside DJ Cosm, have been able to maintain a steady string of superb releases going all the way back to 2002 and have toured Canada, USA and Europe. The chorus features Mr Fantastic’s turntable skills backing up Teekay’s vocal giving a nicely conceived and executed song structure with a little help from 2 of Soul and Funk’s legends.

The artwork for this one was hand painted by Bristol graffiti heavyweight Turroe who favoured a nod to comic book covers for the theme which was then scanned and arranged into the sleeve format with courtesy of AE artwork regular Nick Pointon of Fine Print.

Ibiza’s finest Valentín Huedo will present the serene and cleansing TONIGHT EP. Finding a fitting home on Lee Burridges’ magical All Day I Dream label, the project explores dynamic styles while staying rooted in melodic house. Explore the serene soundscapes and lush instrumentals spread out across 3 original tracks on TONIGHT.

Born and raised in Ibiza, Valentin Huedo grew up surrounded by seductive tunes and grooves - connected with astounding nature and free-minded people. He grabbed the core of the island and understood the way music transcends us, and makes us bond with ourselves and with each other. Since, he’s been projecting it both on the island and all over the world.

$ (Original Motion Picture Soundtrack) is the soundtrack to the 1971 movie of the same name. The soundtrack was composed and produced by Jazz legend Quincy Jones and includes performances from Roberta Flack, Little Richard and Doug Kershaw. This version will be the first repressing since 2002, and will be pressed the color of money on mint green vinyl.

Ici Sans Merci releases at his imprint AURA with his debut EP. An original soundscape with a clear signature by the labelboss.

Nusrat Fateh Ali Khan & Party lose themselves in this collection of ancient songs whose lyrics recall Sufi poetry and stories. Shahbaaz is intense, ecstatic and uplifting. Nusrat Fateh Ali Khan is one of the key artists on Real World Records and certainly one of the most influential. His voice is universally recognised as one of the greats in musical history and he was key in bringing the Qawwali music tradition—a form of Sufi devotional music popular in South Asia—to the Western world. In his lifetime, Khan collaborated with many Western musicians, including Peter Gabriel, Eddie Vedder and Michael Brook. His vocals appeared on soundtracks to films directed by Martin Scorsese, Oliver Stone and Tim Robbins. The foremost reason for his popularity is inventiveness—an ability to bring together separate traditions. To the popular Qawwali (devotional Sufi) form he has blended elements of the highly classical vocal tradition known as Khal (Persian for imagination). In this way he has created a wholly original fusion. More importantly perhaps he also draws on a range of lyrical material. It is as though he is continually both forgetting and reliving the six centuries of his family’s musical experience in a quest to find new and ever more daring paths to the sublime, carrying both eastern and western audiences to that realm known to the Sufis as Isshq— the state where earthly passion and divine love are reconciled.

The ninth album in BBE Music's J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz. Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan. This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze's distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry. The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken's strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass. At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy. This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies. The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

Six months on from the release of their critically-acclaimed fourth album, ENTERTAINMENT, DEATH, Philadelphia trio SPIRIT OF THE BEEHIVE closeout 2021 with brand new 7” THE DOOR, comprising two previously-heard but never physically released songs in “THE DOOR IS OPEN” and “THE DOOR IS CLOSING”.

A special and limited release, 500 copies of the single have been pressed on cloudy teal vinyl. The 7” is led by “THE DOOR IS OPEN”, a 2020 single that marked a new chapter for the band ahead of the release of ENTERTAINMENT, DEATH. The song “continues to defy definition”, Stereogum said upon its initial release, before adding: “It’s amazing that they made such a short track feel like such a dreamy journey.”

It’s backed by “THE DOOR IS CLOSING”, a bright and skewed gem of a track that was originally released earlier this year via Through The Soil, a charity compilation that benefited the NAMI COVID-19 Mental Health Support Fund.

Whether opened or closed, THE DOOR is a bold reminder of SPIRIT OF THE BEEHIVE’S many layered and colourful ideas. It also ribbon-ties a brilliant 2021 for the band, one which saw ENTERTAINMENT, DEATH labelled as “an intensely beautiful, intensely difficult record” by Pitchfork, a “sprawling odyssey of haunting dissonance and blissful euphoria” by Flood Magazine, and a "storm of sound with a deep humanity coming through” by Fader.

SPIRIT OF THE BEEHIVE is Zack Schwartz, Rivka Ravede and Corey Wichlin.

English jazz-funk band Level 42 released their tenth studio album Forever Now in 1994. While Forever Now marked the return of original drummer Phil Gould, it was the last album before the band’s breakup. Featuring the popular singles “Forever Now”, “All Over You”, and “Love In a Peaceful World”, the album was a commercial success. It reached #8 on the UK album charts. Music critics were also generally favourable, calling it the band’s “best album since the mid-80s heyday of World Machine and Running in the Family”.

Promised Land is the twenty-first studio album by world famous American singer and musician Elvis Presley, originally released on January 8, 1975, Elvis’ 40th birthday. It reached number 47 on the Billboard Top 200 and number one on the Billboard Top Country Chart. The album spawned two hit singles: “If You Talk in Your Sleep” and title track “Promised Land”, the latter of which was also used for the 1997 sci-fi comedy film Men in Black. Promised Land remains a timeless classic by the King of Rock and Roll.

Straightaways is the second album by the American rock band Son Volt. It was originally released on April 22nd, 1997. The group was formed by Jay Farrar after his previous band Uncle Tupelo broke up. The sound of this album is much related to the sound of their first album Trace. However, where Trace is still very alt-country oriented, Straightaways has a more alternative rock sound.

Newly remastered audio.
LP pressed on black vinyl & housed in a gatefold jacket.

Willie Nelson’s 1996 album Spirit is an emotional concept album illustrating the forlorn tale of a man abandoned by the great love of his life. We follow him down the path of loss as he confronts grief, gets back on his feet, and eventually finds solace in acceptance. While producing Spirit, Nelson assuredly knew the commercial risks behind releasing an album this melancholic. After all, in 1973 he himself wrote: “sad songs and waltzes ain’t selling this year.” Beloved by those familiar with Nelson’s deep catalog, Spirit largely slipped through the cracks in the mainstream, but remains highly revered amongst critics and fans alike.
Backed by legendary country fiddler Johnny Gimble (of Bob Wills and His Texas Playboys), sister Bobbie Nelson on piano, and his longtime touring guitarist Jody Payne, the song-cycle is anchored by lilting Spanish-inspired instrumentals that absorb a lonesome gravity when placed next to ballads that tug at even the most unwavering heartstrings. Likened to Bob Dylan’s Time Out Of Mind or Waylon Jennings’ Right For the Time, Spirit sees Nelson maturing most gracefully: he trades rousing sing-alongs and saloon tunes for gut-wrenching lyrics and instrumentation of greater precision and skill, proving this release as deep and as challenging as his career-defining albums released twenty years before.
Originally released by Island Records in 1996, Spirit is newly remastered and housed in a gatefold jacket. This is a chance to own this unique album in its most beautifully presented form.

Boy Harsher’s latest release, ‘The Runner (Original Soundtrack)’, is an exorcism.

Augustus Muller and Jae Matthews’ fifth release entitled ‘The Runner (Original Soundtrack)’ is not a traditional album. Rather, it is the soundtrack to a short film, also entitled ‘The Runner’. The film, written, produced, and directed by the duo, is a searching horror film, attached to a meta-style “documentary” about Boy Harsher’s recording process. The album includes several distinct components: cinematic arrangements, vocal features, and of course classic Boy Harsher dark pop.

Both the album and short film will be released in January 2022.

Last year, in the midst of the obvious chaos (the global pandemic), but additionally with Jae’s MS diagnosis, Augustus started working on moody, cinematic sketches. It was uncertain what these pieces would become, other than catharsis. In Jae’s period of convalescence, she kept thinking about this sinister character: a woman running through the woods. Together, they developed this idea further into a film. They were unable to tour, a drastic (and isolating) shift in their career, and making ‘club music’ did not feel right. But there was so much they needed to get out. The next Boy Harsher release would be a reconciliation of this time. The album processes feelings of universal anxiety and the confrontation of at home illness. A necessary expulsion during a time of unrest.

The album opens with “Tower”. The only track on ‘The Runner (Original Soundtrack)’ that Boy Harsher has previously played live, but never recorded. The song is an incantation, with its pulsing synth and Jae’s begging vocals. A spell about desire and impending destruction. Jae asks 'But are you honest? Do you trust? You trust in me?' Questions answered by her desperate yells. It starts both the film and the soundtrack with a heavy presence.

Two songs on ‘The Runner (Original Soundtrack)’ feature vocalists other than Jae Matthews. He allows a distinct sound for both vocalists and really leans into the possibility of divergent genres. “Machina”, is a HI-NRG homage, performed by Mariana Saldaña of Boan, and “Autonomy” a new wave tribute, performed by Cooper B. Handy of Lucy. Augustus Muller fully embraces the soundtrack ethos, by creating fictional ‘bands’ to generate additional content.

‘The Runner (Original Soundtrack)’ is exactly what’s in the name: a soundtrack. At first the shape of the release was nebulous - yet once realized the album is dynamic. It serves as the story of the running figure and her musical accompaniment. Those expecting a traditional release will be surprised, but not disappointed.

2020, a year that will be forever engraved in our memories as Year One of the Covid debacle.

So much has already been said about it that we feel there is no need for more.

However, 2020 was also the year when we’ve released Tapan’s remix to Decha’s song Niebla from her sold-out debut album Hielo Boca as part of MT0028 Decha - Hielo Boca Remixes. This remix led to a fresh collaboration between the Serbian duo and the German vocalist, which in time bred a brand new track, titled simply TWENTY.

On Twenty, Tapan’s massive bass lines, heavy kicks and their sense for drama and epicness, meets Viktoria Wehrmeister aka Decha’s soft poetic lyrics and tribal style. The result is a massive slow yet heavy tribal industrial track for the alternative dance floors and late night situations in dark dark basements.

The record is comprised of 4 tracks, an original version and a beatless version as well as a deep and trippy dancehall interpretation by our favourite remixers Full Circle (aka Joakim & Alexis Le-Tan) and a punky mid-tempo banger by Mexican maestro and total inspiration Rebolledo who gives his signature sonic attitude to his interpretation of the original track.

»Infuso Giallo aka Philipp Carbotta originally hails from rural Western Germany, first cut his teeth in the music scene of nearby Cologne and conducts a host of activities in Berlin for a couple of years now – co-running the label Kame House, designing graphics and producing and playing leftfield electronic music. His debut LP Ocular Soda presents an intersection of these activities – self-released, self-designed and of course self-produced. Even before the first synth chords and reverse atmospheres of the two-part opener 'Every Waking Hour' tickle the ear, it is the eye that is drawn to the bright, cut-out style cover art – itself made up of two eyes on the front and what seem to be their rough shapes or discarded counterparts on the back.
To stay within that metaphor, Infuso Giallo's music is indeed of a reflective and calm nature, taking cues from Berlin School, library and New Age musics from roughly the 1970s to the 1990s – steadily repeating and slowly evolving ostinatos, lush digital pads, quirky filtered toplines and electronic percussion that mostly eschews four-four monotony in favor of much more subtle syncopations. Balearic bomb 'The Big Rip' with its big drums and acid bass turns the energy level up a notch while retaining the somnambulistic, lingering quality that makes Ocular Soda such a coherent listening experience – music on the sheath of waking and dreaming, both worlds and their inherent logics freely bleeding into each other. There are moments of great expanse, such as in 'Mole Gaze' – I couldn't help but see myself hovering somewhere in mid-air while the music unfolds as if on a great deserted plane below me. Maybe this is what it sounds like once the mole leaves his tunnels and takes in the sound of the world overground. 'Hello World', indeed, in its multitude of information to eye and ear, in its gently overwhelming quality. The title track 'Ocular Soda' closes the proceedings with a whimsical nod to 1970s botany-centered library music, its brooding chord sequence and sweet lead lines gradually fading in the distance. A fitting ending to an impressive LP of highly evocative, at times sombre and at times blissfully naive pieces that leave me yearning for more.«

Written, recorded & produced by Infuso Giallo in 2020 & 2021 in Berlin. Mixed by Philipp Janzen & Sebastian Blume at Dumbo Studios, Cologne. Mastered by Sam Irl in Vienna. Design by Infuso Giallo.

Flee Lord brings you his Lord Talk Trilogy album on limited edition vinyl. Originally released in 2020, this album is the third installment of his Loyalty or Death / Lord Talk series. The 10-track project is fully produced by godBLESSbeatz and also features guest appearances from Ransom, Eto and T.F. In 2020, Flee Lord pledged to release a full length album for every month of the year. Not one to let his fans down, Flee kept his promise and released 12 high quality projects in 2020, culminating with the release of the acclaimed In The Name of Prodigy album. An ode to the legacy of the late Prodigy, Flee Lord tapped in with Havoc (of Mobb Deep) to handle all of the production. Looking to keep up his momentum, Flee has since teamed up with Roc Marciano to drop their collaborative Delgado album to rave reviews in 2021. In 2022, Flee followed up with the release of Pray for the Evil 3 and his latest effort, Ladies & Gentlemen. Lord Lord!

Grey Vinyl

Polymorphism Records continue their intercultural and cross-genre work with their third release E Source. Female vocals return to the label with four original tracks by Russian artist Sestrica, who brings in her characteristic emotional narrative. A remix by Konx Om Pax and
a rework by Antwood make up the crew boarding on a galactic grey/silver vinyl.

PM003 takes off with electro-to-techno beats fuelled by a mild, wrapping acid melody in Today We Meet, where the uplifting countdown to launch can be felt. Sentimental Value gets
us deeper into the spatial trip. Darker samples and a heavier bassline give extra gravity to the anthem of the journey across sonic galaxies. Floating to slow, surrounding sounds and loops we land on a calmer planet called Intention. Its tidal sensation is created by an
orchestral combination of meditative vocals and other layers of composition. New Era enters an orbit of elegant syncopation within a rotating reverb stardust. Ancestral beeps subtly acknowledge legacy to be taken forward to the next odyssey.

Musician and graphical artist Konx Om Pax from Glasgow beautifully introduces nostalgia to New Era with playful breaks and scratches, getting us back to our roots in this excursion visiting alien territoires. Sestrica’s vocals from her original track are drawn into the remix as
echoing words rendering a mysterious aura, travelling through a deep trance of diverse yet harmonic rhythms and effects. A journey within a journey.

Canadian producer Antwood’s rework of side A jumps into an epic vortex of more experimental, unexpected sounds. The album-closer builds up towards absolute chaos, to then create a vacuum to emptiness. A supermassive (tribute to black holes intended) drop
leads to the last minutes of the EP: up tempo cyber-influenced sounds that bring us to a bright futuristic landscape ironically far from a dystopian prophecy.

Purely coincidental fact: the last track of PM002’s originals being Crisis Apparition and its homologue in PM003 New Era, hope seems to be peeking through current times to send an accidental message with this first series of the label.

Mind the overuse of Space metaphors; in this year 2021 where humans are going farther and further in exploring new places out there, it is a tribute and celebration to discover new musical journeys like this out here, on Earth.

Environmental sustainability and social justice are core values of Polymorphism Records. Following their strong interest in contributing to a good cause, shown from the early days, all Bandcamp digital sales are donated to projects such as Team Trees or The Ocean Cleanup.meet f B3 E Source side A (Antwood rework)

A little info about the guys. All three of them as you'll hear are music fiends/collectors/diggers and lovers. They met whilst attending a pagan mushroom festival on the Wrekin hills and have been firm friends ever since they decided that night/morning to go on a quest to find some musical magic in the far-off lands (ye old music shoppes). They only made it as far as the cave around the corner (which happened to have a stack of records and a computer) and thus have remained there ever since much to the joy of their respective wives, cooking up some late-night cosmic melters for the enlightened to enjoy whilst at the dance.

Thus the label was born and this is their first offering to the world. With this release the Wrekin Havoc lads have pulled out all the stops with some tasteful and respectful edits of some little-known Balearic bombs, extending and editing them just enough to allow the originals to shine a little longer – the occasional flourish has been added but that's about it. No multiple plug-ins on this one.

Three Bonafide euro chuggers on A1/A2/B1 for early doors / early morning, actually anytime is a good time to play them!! The fourth and last track B2 is aimed squarely for the end of the night/sunrise/morning music if you will. The only criteria for this release, would we buy this 12” - it was a resounding yes. We hope you enjoy it also.

If anything is made from the first or future releases all proceeds will be donated to charity via Prime Direct Distribution. Stay Gold WH.

This release is a special one; a moment where the two halves of the Mr Bongo record label unite, our heritage re-issues and our contemporary artists roster.

Minoru Muraoka’s 'The Positive and the Negative’ is a firm favourite at Mr Bongo. It sees a master of the shakuhachi, a traditional bamboo Japanese flute, flex his prodigious skill resulting in a unique mix of breakbeat jazz and Japanese folkloric music. 'The Positive and the Negative’ featured on the 1970 'Bamboo’ album, which Mr Bongo reissued in 2019. Heralded by DJ Shadow, Cut Chemist, Egon, and many others. The record’s cult status had us thinking how could we pay further homage to a sublime track such as this. The opportunity came to us in an email from Melbourne’s Surprise Chef with a link to the fabulous reinterpretation of the track which they had just recorded.

"Minoru Muraoka’s ‘Bamboo’ LP has long been a fixture in our record bags, mostly for the killer shakuhachi funk cut The Positive and The Negative. The record is possibly our favourite from Mr Bongo’s extensive catalogue of reissues, and certainly the most influential to Surprise Chef; The Positive and the Negative’s cinematic atmosphere paired with the wonky drum feels and dramatic performance makes it a near-perfect amalgamation of what we try to capture on Surprise Chef records. We’ve borrowed an element or two from the tune over the last few albums (such as the percussion on ‘The Limp’), so it felt right to go head first into reinterpreting the entire track for ourselves. We recorded the tune in Karate Boogaloo’s attic studio with our man Henry Jenkins at the controls and Hudson Whitlock on percussion. We spent an entire day trying to get the take; we felt such a deep responsibility to capture the intensity of the original, we must have done 20 or 30 takes before we were finally happy. We stuck a fork in it late into the night, satisfied that we’d had our best crack at paying homage to a masterpiece by the great Minoru Muraoka.” - Surprise Chef

Forged in their signature sound, "The Chef" have made 'The Positive and the Negative' their own whilst simultaneously treating the original with utmost respect. The shakuhachi and koto have been replaced by synths and guitars, but the breakbeat psychedelic vein flows richly through both instruments

The 7" vinyl format was the right fit for this release, so the original Minoru Muraoka recording which clocks in over nine minutes has been edited into a 7” version to accompany Surprise Chef’s new take.

repressed !

Some people are just not destined to have enough sleep.When you don't sleep enough the world appears to be a different place, compared to the way it is when the mind is fully rested. In such cases very different scenarios may occur.
Starting with a dreamy melody of Roma Zuckerman's 'Sleep not found', which inspired the entire 008 album, and ending with a thirteen minute live recording by a_000, the side project of Alex Backdrop, the entire record has a dreamy and tripped out flow. 008 continues the tradition of gatefold double EPs as conceptual album.All tracks are selected around a particular story, a trip, and presented as a continuous sonic landscape.All tracks are structured in a way that they can be mixed one with another an endless amount of times making a continuous loop, a trip, that needs only end when the party stops. Kraviz works without release dates or deadlines, enabling her to achieve a certain sound bank to shape the story, unmasking the thoughts and unravelling like a dream. A1. Roma Zuckerman - Sleep Not found (North Edit) Apart form the fact that he leaves in Krasnoyarsk in the middle of Russia, very little is known about Roma (short version of the name Roman). But listening to his music and engaging in random short conversations late at night makes it clear that there are really a lot of things going on Romas mind... Minimalistic yet emotionally complex, his music always stands out with it's murkiness and signature moodiness that Roma creates like nobody else.
A2. Deniro - G Deniro continues the record's journey with his new live cut that like pretty much everything he did so far is a beautiful sparse atmospheric groover. He says he wanted it to be angry and it its done with triggering synths from the tr909 and tr808.
B1. Maayan Nidam - Infinite Rattle
Maayan was born in Tel-Aviv. She does not like computers and prefers to record her music live using hardware only. In order to do so she built her incredible studio in Berlin where she recorded "Infinite Rattle'.There is much more to come from Maayan on
B2. Bbbbbb - Prins Polo Caramel milkshake.
Side project by Bjarki-bbbbbb. Like any other normal Icelander, Bjarki really likes ice cream. In Iceland they are absolutely crazy about it.They walk the streets, ice cream in hand, even when its freezing cold outside. But even more than that Icelanders like Milkshakes with all sorts of added cookies and candies. Bjarki's favourite is called Prince Polo after the name of a chocolate bar. He always believed Prins Polo was an Icelandic brand but a couple of months ago somebody proved him wrong.
C1. Exos- dub jazz
In Iceland Exos is a legend. Everybody knows him there. He's been playing incredibly powerful and technically advanced techno sets since the late 90s and releasing delicious dub techno on Icelandic label Thule. Nina always appreciated his subtler, dubbier side, and this short recording a the continuation of it.
C2. Maaayn Nidam - Justice for some
This second live recording was a perfect fit for this album. Maayan has managed to create a particular mysterious night time dreamer here. Sound wise it's even more unique. It took a few times to get the master right, because we wanted to keep the original breathing of the machine that has captured a seriously freaky vibe. Maayan has always been one of Nina's favourite DJs as they share a similar attitude towards music. But after this tune she has also reserved a place in Nina's collective of favourite producers. D1. A_000
This is a side project of Italian native Alessio Meneghello (Alan Backdrop) & Enrico Voltan. . A beautiful 13-minute sonic journey.

A Colourful Storm presents Tangerine, a collection of songs by Reiko and Tori Kudo. Recorded at Village Hototoguiss, Japan, in 2011 and 2012 and Cafe Oto, London, in 2009, Tangerine is the result of over thirty years of improvisation and intimacy between Reiko Kudo and Tori Kudo (Maher Shalal Hash Baz, Fushitsusha, Noise, Ché-SHIZU). Their live performances would welcome local musicians, neighbourhood children, friends and passersby on stage while in the studio, they have been joined by Ikuro Takahashi (LSD March) and Takashi Ueno (Tenniscoats), releasing on indie labels such as Geographic and K. A touchstone of contemporary Japanese folk minimalism and significantly the last recorded appearance of the duo. Originally released on CD by Hyotan in 2013 and presented for the first time on vinyl by A Colourful Storm. Full-colour sleeve with insert, postcard and lyrics in Japanese and English.