Buscar:paper bird

Schwarzes Vinyl! Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey). Black Vinyl. Originally released in 2017 & now available for the first time in Europe via Sub Pop! Pure Comedy, Father John Misty's third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. While we could say a lot about Pure Comedy including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen we think it's best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species' only hope for survival, nding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like "love," "culture," "family," etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species' loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty's longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).

Poni Hoax, a French band born in the early 2000s under the impulse of Laurent Bardainne, immediately emerged as the union of converging forces: on one side, the precision of a composer and instrumentalist breaking away from jazz conservatory traditions; on the other, the magnetic presence of Nicolas Ker, a terminal new wave crooner with a sepulchral voice. Surrounded by Arnaud Roulin on keyboards, Vincent Taeger on drums, and Nicolas Villebrun on guitar, they made an instant mark with Budapest—dark and haunting—followed by the unstoppable She’s on the Radio, crafting a unique identity that blended the venomous elegance of Roxy Music, the tension of New Order, and the fervor of Larry Levan. With Images of Sigrid, Poni Hoax achieved the miracle of an instant classic before continuing their journey with A State of War and Tropical Suite, sonic odysseys haunted by memory and distant horizons. On stage, it was either an apocalypse or a revelation—a Formula 1 driven by a gang of Gremlins, a blazing energy leaving only burning embers in its wake. The adventure came to a tragic end with the passing of Nicolas Ker in 2021, as the notes of Laurent Bardainne’s saxophone rose into the gray skies of Père-Lachaise, the final echo of a dazzling odyssey.In 2025, Poni Hoax celebrates its 20th anniversary with the release of Greatest Hits: Everything is Real.

Somewhere between Solid State Survivor, Force Majeure and Danzindan-Pojidon you’ll find Shinichi Omata’s Boku ・ Neko ・ Platanus. Or rather you won’t – throughout his captivating debut from 1984, reissued by chOOn!! in 2022, you’ll hear connections to other music but its unique unbridled will keeps pushing those references out of mind.

Shinichi Omata is a fascinating figure – an unsung hero of early Japanese electronic music who between 1981–84 recorded three albums of incredible DIY techno-pop while studying as a student in Tokyo. At University, Omata worked and collaborated as a sitar player and keyboardist with artists such as Hiroko Yoshihara, Takami, DEA and various members of the LLE music circle, where he developed an expressive fusion of minimal synth and psychedelia.

This selection, lovingly extracted from Omata’s unreleased early recorded output, dating from 1981’s Neo Modernism through to 1983's With My Dog Ricky, demonstrates just how closely he clung to the original abstract ideal of moulding 8-bit bleeps and ungainly drum patterns into lo-fi triumphalism. On paper you wouldn’t give this aesthetic clash a pass were it not for the aural evidence of a unique sensibility, precociously openminded and visionary, charmingly transparent in respect of its influences yet possessed of a need for individuality.

Throughout this kaleidoscopic collection, all the ghost plastic in Omata’s head, Kosmische synthesis, synth-funk squiggles, arcade games and early Ambient is thrown together, reimagined and regarded affectionately – through a glass lightly, so to speak. Beneath the pulsing arpeggiated bleeps, Omata’s compositions show a remarkable economy and poise hinting at European classical influences - like a reimagining of Erik Satie’s piano miniatures that swaps 19th century Parisian boulevards for Tokyo’s 1980s technopolis. The music is sheer skin- puckering delight throughout, a delirious, mesmeric collage of dark disco bubblegum and eccentrically enchanting atmospheres that you cannot quite believe you’ve never heard before.

Available for the first time on vinyl, With My Dog Ricky: The Early Works of Shinichi Omata 1981-1983 is a vivid selection of synth miniatures lovingly extracted from Omata’s unreleased early recorded output.

Produced in cooperation with the artist for chOOn!!.

Mastered for vinyl/digital by Josh Bonati. Artwork by the acclaimed book designer Luke Bird

There was a time when a person would pick up an instrument to compose yet another song for a loved one. A sad figure humming into a microphone, pronouncing the most basic words and forms to convey quantity, quality, fact, statistics and similar sounds describing pain, loss and sorrow. The human brain would perceive the melody sad and perhaps within herself feel a sense of melancholia.

In another parallel world a new composition would then appear. But not one composed on a wooden built instrument, no, sounds made into structures and tables that would assists the listener into providing an additional context and meaning through digital synthesis and quantised harmonies. But who could really tell if these sounds were real? Or where they just sounds impersonating an idea of something?

Rhyme nor reason is as abstract in its shapes and ideas as it is concrete and elegant in its narratives. A carefully crafted wooden cabinet with an over-whelming amount of different drawers and hidden compartments. Each box storing blissful arrangement; a fluorescent stone, a paper note saying something about lunch, some collectible objects, a forgotten token or perhaps an autograph, all so very vibrant and joyful for its possessor.

Deleted files stored on rapidly rotating platters coated with magnetic material. Small, easy to loose SSD memory cards of recorded corrupt files and digital artefacts. Software engineered compositions trying to grasp the shared belief of an upcoming future, vivid and uncertain; birds, waters and long lost recollections. A release unconcerned with the literal depiction of things from the visible world. At least not for now.

Blau-weiße Corona-Vinyl Doppel-LP im Klappcover. Ursprünglich 2017 rausgebracht und jetzt zum ersten Mal in Europa über Sub Pop erhältlich! Pure Comedy, das dritte Album von Father John Misty, ist eine komplexe, oft sarkastische und ebenso oft berührende Reflexion über die verwirrende Torheit der modernen Menschheit. Father John Misty ist das Projekt von Singer-Songwriter Josh Tillman. Wir könnten viel über Pure Comedy sagen, zum Beispiel, dass es ein mutiges, wichtiges Album in der Tradition amerikanischer Songwriting-Größen wie Harry Nilsson, Randy Newman und Leonard Cohen ist, aber wir denken, es ist am besten, wenn sein Schöpfer es selbst beschreibt. Los geht's, Mr. Tillman: Pure Comedy ist die Geschichte einer Spezies, die mit einem unvollständig entwickelten Gehirn geboren wurde. Die einzige Überlebenschance dieser Spezies, die sich auf einem grausamen, unberechenbaren Felsen wiederfindet, umgeben von anderen Spezies, die in dieser ganzen Sache viel geschickter zu sein scheinen (und für die sie eine Delikatesse sind), besteht darin, sich auf andere, etwas ältere, halb ausgebildete Gehirne zu verlassen. Diese Abhängigkeit bekommt im Laufe der Geschichte verschiedene Namen, wie ,Liebe", ,Kultur", ,Familie" usw. Mit der Zeit und da sich ihre Gehirne als bemerkenswert gut darin erweisen, Bedeutung zu erfinden, wo keine ist, wird die Spezies zum Lieferanten immer bizarrerer und raffinierterer Ironien. Diese Ironien sollen helfen, mit der abscheulichen Verletzlichkeit der Spezies fertig zu werden und zu versuchen, ihre Fantasie mit der Monotonie ihrer Existenz in Einklang zu bringen. So in etwa. Pure Comedy wurde 2016 in den legendären United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, Kalifornien, aufgenommen. Produziert wurde es von Father John Misty und Jonathan Wilson, die Tonarbeit übernahm Mistys langjähriger Tontechniker Trevor Spencer und die Orchesterarrangements stammen vom bekannten Komponisten und Kontrabassisten Gavin Bryars (bekannt für seine umfangreichen Soloarbeiten und seine Zusammenarbeit mit Brian Eno, Tom Waits und Derek Bailey).

"Marionette presents Mélodies pour Clairons, the debut album by multidisciplinary artist Ioa
Beduneau. Based in the South of France, Ioa’s world is rooted in creation - building intricate
self-playing installations and handmade DIY electronics. His practice is driven by a desire to
connect, challenge, and open up dialogues around disability and other social constructs.
Proudly identifying as a disabled artist who is attuned to how our bodies interact with the world,
Ioa brings a fresh and inimitable perspective to electronic and electroacoustic music.
On Mélodies pour Clairons, Ioa contemplates lifeforms using modular synths, channeling
principles of physical modeling and bioacoustics. Ideas begin on paper and evolve into sound,
forming an abstract yet intentional sonic ecosystem. Clairons refers both to a musical instrument
and to a loved one with whom this music was shared, serving as a kind of sound diary during
the stillness of the pandemic. The movement of air, pressure, resonance, and the physical
properties of the clairon (a medieval trumpet) are reimagined and manipulated on this album,
resulting in impressionistic and deeply moving compositions with poetic sensibility. Organic
ASMR tones, synthesized bird calls, and pirouetting melodies of pipes and bells score an
imaginary biodome where chaos and harmony coexist. Striking and singular, these works
embody the kind of boundary-pushing music that defines Marionette."

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

"Donald Duck, kill Minnie!" These words, ordered with urgency against a circular series of drum strikes and manipulated guitar/electronic textures, come over three fourths of the way through the album known as SYR 5 (aka "Olive's Horn"). While the words and sounds taken on their own may shock, their appearance within this collaborative effort between Kim Gordon (Sonic Youth, Body/Head, solo efforts), Ikue Mori (DNA, solo) and DJ Olive (We, solo) by this point in the album are not surprising. Taken on whole, SYR 5 sees its creators' respective histories forged in the 80s downtown noise scene, No Wave zone and Marclay-inspired club collide head on to create the audio equivalent of a slow-playing J.G. Ballard novel. Starting from the album's initial impressions where shimmering tones are interrupted by the sounds of winding clocks and bird calls before giving way to a cinematic sweeps of percussion, alien samples and blown out wasteland subs, the listener is constantly taken on a guided journey through a waking dream state where anything is possible. It is a world where dub samples, gurling beats and plaintive vocals (as only Gordon can deliver) fit together like the final locking puzzle pieces, the only elements needed to fully grasp a new reality. Re-appearing on vinyl for the first time in 25 years, these sounds have proven to be jaw-droppingly timeless. - Cory Rayborn, 2025

This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band.

The 3LP collection now contains 38 tracks, 30 of which have new mixes for 2023. The set’s 12 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 collection is a joyous celebration of The Beatles’ timeless musical legacy.

Beirut Birds (طيور بيروت) is a sonic memory capsule honoring (inter)personal stories of migration, displacement, and the cyclical turbulent circumstances in Lebanon. Transforming her multi-year project, multidisciplinary artist and composer Nour Sokhon crystallizes the performance Beirut Birds (طيور بيروت) into her long-awaited debut album. When presented and performed live, it is accompanied by juxtaposed images of the Lebanese capital’s city life and avian migration across the Mediterranean Sea, representing themes strongly woven into the music.

In her variegated artistic process, Nour has undertaken and recorded interviews with diasporas and repatriates to commemorate, share, heal, and envision. These source materials become the album’s core elements that loop, narrate, and return throughout time, with Nour responding with both instruments and her voice. Chanting in dialogue with the interviewees, crafting near-mantras, Nour further congregates these materially-rooted soundscapes by including field recordings that she gleaned during 2018–2021 in Lebanon and her subsequent move to Berlin.

Embedded within the composition are manipulated sounds from objects that symbolize migration, such as office bells, a luggage wheel, car parts, and bureaucratic paperwork. Musically, the songs are enriched by Nour’s improvisations on classical piano, electronics, synthesizers, violin, and various percussion instruments. As time is sculpted and the layers blur, words become specters, while an entropic orchestra of drums and melody rises, giving shape to an in-between space for those who have left, and stayed.

Music and artistic research by Nour Sokhon, 2018–2024. Recording, editing, and mixing by Rabih Beaini at Morphine Raum, Berlin. Mastered by Rashad Becker at Clunk.

Sixth album by Belgian band Isbells - produced by Chantal Acda

Limited hand numbered edition of 2000
Booklet featuring photos from the show and technical details.
140g black vinyl.
Rice paper inner sleeves.

Housed together in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With logo, we proudly present the Be With 10 Years record and book package.

Record contains 10 exclusive never-before-on-vinyl tracks from 10 Be With family members. 310mm square softcover book printed on a 350gsm woodfree uncoated board. Book block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. 140gram vinyl with a 380gsm jacket. 1000 copies only for the world, no repress!

''One Foot in the Rave'' is a vibrant collection that showcases Jonny's signature style--a blend of melodic, melancholic acid jams, bleepy funk, and warm analog electronics. Whether for the stereo or the sound system, the LP moves from the upfront bounce of ''The Apocalypse is Now'' and ''Raymond Tuesday's Big Day Out'' to the shimmering reverb of ''Starry Night'' and the birdsong-infused ''Ringfort.'' Listeners will find themselves in familiar Automatic Tasty terrain, rich with psychedelic exploration. According to Jonny, ''What to say about this record? I don't really know and it hardly matters. I wrote them on different bits of gear; ye olde faithful Roland SH101, my MC202 (pencil and paper de rigeur), a battered x0xb0x 1.0 (thx Daniel!), a beloved Yamaha Cs-5, a similarly beloved Roland SH5, a truly hammered Juno106, a Roland JX3P, a Nord something or other, an MPC2500, my TR606, and a Vermona DRM1 MKII being sequenced via a bedraggled TR626. Also Jay's TR808 is on there (thx Jay!) and a TR8 being squashed through a Mutronics Mutator (wheee Damo!) and a Zoom H4n recorder. I edited them on a dilapidated laptop, with no headphones or monitors, steering by the tiny speakers on the computer and playing them in my car, twiddling the mix as I went. But these are frivolous and unimportant details. All that matters is that these songs were made out of love. Cheerio, Jonny. P.S.: This record is dedicated to Jay 'Winthorpe' Kelly.'' ''One Foot in the Rave'' will be available on vinyl and digital platforms starting October 14th.

Masterminded by the prolific collaborators The Fattoruso Brothers, Airto Moreira, and Hermeto Pascoal, Opa’s Goldenwings a latin-jazz-fusion extravaganza that weaves a sonic world that lives at the intersection of lush three-part vocal harmonies, tender flute solos, pulsating percussions, and robust synth textures. Reissued on vinyl for the first time in 50 years as part of Jazz Dispensary’s Top Shelf series, the album was cut from the original analog tapes by Kevin Gray, pressed on 180-gram vinyl at RTI, and packaged in a gatefold tip-on jacket.

Das Debütalbum des für einen Grammy nominierten R&B/HipHop-Künstlers Blxst, der zu den heißesten Newcomern im Hip Hop gehört.
Produziert von Grammy-Preisträger Sounwave (Kendrick, Taylor Swift, Beyonce, Baby Keem, Kali Uchis), ist I'll Always Come Find You das bisher
klanglich vielfältigste und introspektivste Projekt von Blxst. Das 20 Tracks umfassende Konzeptalbum besteht aus vier Akten, in denen Blxst in die
Rolle von "Birdie" schlüpft, einem jungen Mann, der den Chauffeurservice Evgle & Son" seines Vaters erbt.
2022 erklärte die LA Times: "Blxst führt die neue Welle des L.A.-Hip-Hop an", und wir bereiten uns jetzt darauf vor, dass er mit der Veröffentlichung
seines Debütalbums I'll Always Come Find You erneut die Führung übernimmt.

crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT096), Making Conversation documents a different facet of cole’s work, presenting three rigorously conceptualised commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions.

The side-long title piece is a stereo version of an 8-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia / San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she ‘observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place’. Drawing on field recordings as memory aids (but including none in the finished piece), cole’s piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. We hear insect-like twittering and birdsong fragments, resonant thuds and distant roars, furtive crunches and taps, muffled breath and metallic scrapes. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cagean drive to ‘imitate nature in her manner of operation’.

‘Valid ForeverrRrrRRrrr… (pt. 1)’ began as cole’s contribution to an Issue Project Room commission to realise a score from Alison Knowles and Annea Lockwood’s Women's Work, a 1975 collection of text and conceptual scores by women artists and composers. cole’s piece begins from Beth Anderson’s Valid for Life, a complex arrangement of the letter R in various typefaces. Where the composer suggests a realisation on a trio of acoustic instruments (playing rolls with velvet beaters), cole translates the piece into her characteristic sound and object language as a trio of rolling sounds on ‘two large similar paper things and one 5-pin bowling ball’. Rolling from one side of the stereo field to the other, the bowling ball’s uneven movement is the heart of this immersive textural array, created with the simplest materials, which generates phantom sensations of pitch and phasing effects solely through amplified friction.

On ‘Valid ForeverrRrrRRrrr… (pt. 2)’, cole makes a first foray in translating her signature approach into conventional instrumental sounds, here in the form of a transcription for MIDI percussion ensemble. The result is refreshingly puzzling, comparable perhaps only to the sparsest moments of Keiji Haino’s classic “C’est parfait…” Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole’s work, extending her signature concerns in new sonic and conceptual directions.

Warehouse Find!

FIRST TIME ON VINYL
HALF SPEED MASTERED 180 GRAM VIRGIN VINYL PRESSINGS
INCLUDES COVER ART PRINT
INCLUDES EXCLUSIVE CHRIS ISAAC COVER VERSION
INCLUDES DOWNLOAD CODES FOR THE ORIGINAL MIX AND UNMIXED VERSION IN WAV AND MP3 FORMATS

Trentemøller is the Dane who did. He's been making electronic music of one kind of bent or another for over 15 years, first making his name as part of Trigbag, a live house act that toured extensively. But it's his solo material that has impacted on the dance community - and beyond. 'La Champagne' was a game-changer and his remixes of artists like Sharon Phillips secured his place as an artist with some serious chops. But that's not all he is. You can hear that yearning in his productions and it's evident here, a sort of Protestant northern European melancholy. He is aided on his journey towards the Baltic by some heavy hitters, of course: Velvet Underground, Mazzy Star, This Mortal Coil. But that's not the story, it's not where the plot comes from, it's not where we're going. It's just a little indicator to reassure you we know the way. No. For it's in the dark beauty of Low's tremulous 'Amazing Grace' or even the way that the Shangri-Las' '(Remember) Walkin' In The Sand', surrounded by the similarly inclined, takes on a funereal gait. As we navigate the flatlands of your mind, we're helped along by a generous sprinkling of Anders' fellow Danes, like Darkness Falls (the atmosphere of this mix aptly encapsulated right there), Ekko, Chimes & Bells and the Late Night Tales tradition, Trentemøller's cover of Chris Isaacs' 'Blue Hotel', sung by Marie Fisker and Steen Jørgensen.

Originally released in 2010 this mix has gone on to become a classic, it was never released on vinyl at the time, so due to public demand we have carefully mastered each track and carefully cut at half speed for optimum sonic reproduction.

DIIV - Andrew Bailey, Colin Caulfield, Ben Newman und Zachary Cole Smith - kündigen ihr viertes Album "Frog in Boiling Water" an. "Frog In Boiling Water", das von Chris Coady produziert wurde und über Fantasy Records erscheinen wird, war ein vierjähriger Prozess, der die Band fast zum Scheitern gebracht hätte, bevor das Album fertiggestellt war.

Mit dem Ziel, ihren Sound voranzutreiben & eine Platte zu machen, die sie herausfordert, und die Band zum ersten Mal demokratisch behandelt, begaben sich DIIV auf eine neue Reise, sowohl individuell als auch kollektiv. Das Ergebnis sind 10 Songs, die eine neue lyrische und musikalische Tiefe ausschöpfen, wobei sich diese beiden Hälften in einem reflektierenden und eindringlichen Ganzen spiegeln. Es ist ein hypnotisches Zeugnis des Durchhaltens und der Vorstellung, dass es auf der anderen Seite etwas anderes gibt, während man hier, in dem sich langsam erhitzenden Wasser des Hier und Jetzt bleibt.

DIIV - Andrew Bailey, Colin Caulfield, Ben Newman und Zachary Cole Smith - kündigen ihr viertes Album "Frog in Boiling Water" an. "Frog In Boiling Water", das von Chris Coady produziert wurde und über Fantasy Records erscheinen wird, war ein vierjähriger Prozess, der die Band fast zum Scheitern gebracht hätte, bevor das Album fertiggestellt war.

Mit dem Ziel, ihren Sound voranzutreiben & eine Platte zu machen, die sie herausfordert, und die Band zum ersten Mal demokratisch behandelt, begaben sich DIIV auf eine neue Reise, sowohl individuell als auch kollektiv. Das Ergebnis sind 10 Songs, die eine neue lyrische und musikalische Tiefe ausschöpfen, wobei sich diese beiden Hälften in einem reflektierenden und eindringlichen Ganzen spiegeln. Es ist ein hypnotisches Zeugnis des Durchhaltens und der Vorstellung, dass es auf der anderen Seite etwas anderes gibt, während man hier, in dem sich langsam erhitzenden Wasser des Hier und Jetzt bleibt.

DIIV - Andrew Bailey, Colin Caulfield, Ben Newman und Zachary Cole Smith - kündigen ihr viertes Album "Frog in Boiling Water" an. "Frog In Boiling Water", das von Chris Coady produziert wurde und über Fantasy Records erscheinen wird, war ein vierjähriger Prozess, der die Band fast zum Scheitern gebracht hätte, bevor das Album fertiggestellt war.

Mit dem Ziel, ihren Sound voranzutreiben & eine Platte zu machen, die sie herausfordert, und die Band zum ersten Mal demokratisch behandelt, begaben sich DIIV auf eine neue Reise, sowohl individuell als auch kollektiv. Das Ergebnis sind 10 Songs, die eine neue lyrische und musikalische Tiefe ausschöpfen, wobei sich diese beiden Hälften in einem reflektierenden und eindringlichen Ganzen spiegeln. Es ist ein hypnotisches Zeugnis des Durchhaltens und der Vorstellung, dass es auf der anderen Seite etwas anderes gibt, während man hier, in dem sich langsam erhitzenden Wasser des Hier und Jetzt bleibt.

Die legendären RED & BLUE Compilations der Beatles gehören seit fünfzig Jahren in jeden Plattenschrank und jedes CD-Regal. Um die Veröffentlichung des letzten Beatles-Songs "Now And Then" zu würdigen, erscheinen am 10.11. Neuauflagen mit erweiterten Tracklists im neuen Stereo- und Dolby Atmos Mix. "Now And Then" ist die Fertigstellung von John Lennons Gesangs- und Klavier-Demo aus den 1970er Jahren. Sowohl neu eingespielte Parts von Paul McCartney und Ringo Starr als auch alte Gitarrenaufnahmen aus den 90ern vervollständigen das emotionale Stück. Das RED Album („1962 – 1966“) wird mit 12 neuen Songs ausgestattet; mit dabei sind einige von George Harrisons frühesten Songs sowie Beatles-Versionen von R&B und Rock ’n’ Roll Hits, die prägend für die Band waren. Auf der BLUE Version („1967 – 1970“) werden 9 zusätzliche Songs zu hören sein, unter anderem auch "Now And Then".

Die Alben werden als Vinyl-Versionen, als CD und digital erscheinen. "Now And Then" erscheint am 03.11. als 7" und 12".

The Beatles 1962 – 1966 & The Beatles 1967 – 1970 (2023 Edition) 6LP BLACK

These landmark compilations have introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collections have been expanded: ‘Red’ has 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band. ‘Blue’ has 9 additional tracks including “Blackbird” and “Glass Onion” including the last new Beatles song, “Now And Then” for a total of 21 new additions which are all compiled onto the 3rd disc, effectively creating a ‘new’ LP for each set.

Together the 6LP’s contain 75 tracks, 36 of which have new mixes for 2023. The inserts contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 & 1967 - 1970 collections are a joyous celebration of The Beatles’ timeless musical legacy.

Rare Montreux festival sessions from 1982.
Live Album by Detroit/Tribe Jazz Icon Reggie Fields.
Featuring an All-Star Line-up.
First ever vinyl reissue.
180g BLACK vinyl limited to 500 copies (w/obi strip) . Non-Returnable.



The Real ShooBeeDoo (AKA Reggie Fields) has always been a consistent name on the Detroit jazz scene … Fields who played with Pharoah Sanders while he was living in Motor City, worked with Sun Ra in the late 1970s and early 80s and who was also a close associate of the Afro-centric TRIBE label and artist collective, leaving his marks on a few essential TRIBE sessions such as Phil Ranelin’s “The Time Is Now!” as well as Ranelin & Wendell Harrison’s masterpiece “A Message From The Tribe”. It was Wendell Harrison who gave Fields the chance to record his landmark solo album (Reminiscing from 1981) to be released on his Wenha imprint. Reggie chose to record under his moniker “The Real ShooBeeDoo” because he built a rock-solid reputation as an internationally acclaimed performer under that name.



In 1982 he embarked on a European tour and performed at various clubs in countries such as Germany, Holland, Belgium, Italy, Switzerland, Luxemburg, France and Norway. This ecstatic touring vibe can later be heard on his fantastic ‘‘Live at Montreux Jazz Festival, 1982” album (simply called ‘Good To Go’).



“Good To Go” which we are proudly presenting you today features 10 tracks consisting of smooth Jazz-rumbas, French avant-garde jazz vocalizations, bass lines that can blow through walls as if they were made from paper, foot stomping rhythmic beats, lyrics that are pure poetry and ecstatic beats that took the crowd on a musical trip that ended in them raving for more. Playing before a large and enthusiastic crowd, Reggie’s spiritual cosmic free-flowing rhythms took the audience by storm…and the stakes were high because the bill was pretty impressive, he shared the stage with some of the biggest names in the genre (the festival bill also included Miles Davis, Dizzy Gillespie and Sonny Rollins).



Also…a quick closer look at the cast of all-star players featured on the album is most likely to be enough to get an impression that this is a very special record. Detroit preferred pianist Earl Van Riper brings his rich musical experience to the table that he perfected during his collaborations with Marcus Belgrave, Eddy ‘Cleanhead’ Vinson, Dinah Washington, Wes Montgomery and countless others. On the tenor saxophone we have Robert Barnes known for his work with Donald Bird…and last but not least we have Tani Tabbal on drums who is famous for his performances and recordings with Roscoe Mitchell and Sun Ra!



All of the above makes this rare album a total must-have that just begs for a prominent place in your record collection.



Tracklist:

Jumping With The Bellboy , Dark Eyes , Qu'est Ceque C’est , Do You Call that Friendship , Oo Shoobee Doo , Crazy She Calls Me , Have You Met Miss Jones , Ye Brac Hareesee , Hit That Jive Jack , Too Late Now

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Machine Gun Kellys zweites Punkrockalbum „mainstream sellout“ ist nun auch als Vinyl erhältlich!

Das Punkrock-Masterpiece besteht aus 16 Songs, unter anderem mit Features von WILLOW, Lil Wayne, blackbear, Bring Me The Horizon, Gunna und Young Thug. Produziert wurde „mainstream sellout“ von niemand geringerem als dem Schlagzeuger Travis Barker. 2021 gewann Machine Gun Kelly einen Billboard Music Award als bester Rock Künstler. Grundlage dafür war sein 2020 veröffentlichtes, erfolgreiches Album „Tickets To My Downfall”, das als erstes seiner Alben auf Platz 1 der US Billboard Charts einstieg und sich seit
Release in 2020 immer noch in den Charts hält. In Deutschland hatte Machine Gun Kellys Album ebenfalls sein bisher erfolgreichstes Chartdebut, auf #11 der MC-Charts.

Die vorherigen Alben des Sängers haben in den USA alle Gold- oder sogar Platinstatus erlangt.
Machine Gun Kelly ist neben seiner musikalischen Karriere auch ein erfolgreicher Schauspieler, wie sein Mitwirken in „Bird Box“ an der Seite von Sandra Bullock oder auch seine Verkörperung von Tommy Lee in der Bandbiografie über Mötley Crüe zeigen.

Tape
"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

Betonska continues their journey of (re)releasing concealed and wantlisted gems from the past, for the future. The Biotone - D.Wave EP is the first one on sub-label Dzungla, a sub-label focusing on the heavier sounds from the 90s and beyond. This early psy-/breaks release from 1996 was one of the first of many great releases by Sebastian Taylor, pushing the UK rave scene to its fullest.

While delving not too deep in the ‘psy’ part of early psy, this release remains notably bright/clean, uplifting and proggy, with a healthy dose of acid lines and breakbeat rhythms. An early bird in the psy-breaks genre, ready to strengthen its existence on contemporary dance floors."

"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

* Comes with an 8 page booklet **

The Dead Mauriacs is the project of French artist Olivier Prieur, "Paravents et miroirs, une cérémonie" is a live soundtrack.

The Dead Mauriacs describe their music as "Exotica Concrete" - their music is composed of field recordings made on a daily basis, as well as a diverse collection of sounds, including piano, Indian harmonium, violin, ukulele, didgeridoo, pieces of wood, glass, paper, and metal plates. The album is a spectacular 40-minute sound collage, assembled by sampling Exotica music represented by musicians and arrangers such as Les Baxter and Arthur Lyman, who were active in the 1950s.

"Exotica is a musical genre or sub-genre that emerged in the 1950s in the United States with musicians and arrangers like Les Baxter or Arthur Lyman. It is an extraordinary music because it is false: bird calls imitate bird songs, you can hear the sound of the waves, it is a Western fantasy, particularly North American, of a world and an imagery that never existed. It is a music associated with mass tourism, mass entertainment, consumerism. Arthur Lyman recorded about 30 records in 10 years in Waikiki. With his band, they played and recorded under a geodesic aluminum dome. The dome belonged to the owner of the hotel he played for every night. They did this at night to avoid noise. It's music that is both profoundly naive and totally flawed. In this, it is seductive and intellectually interesting. It is music that could easily be criticized today, but it is an imaginary in itself, like the Italian film music of the 1960s and 1970s." (Excerpt from the calax's interview)

The Dead Mauriacs are not only involved in music, but also in a wide range of other creative endeavors, including video and painting. He also repsonsible for the artwork of this LP. The inside of the product is also accompanied by an 8-page interview with Mauriacs and compiled his amazing artworks.

The Dead Mauriacs
Paravents et miroirs : une cérémonie / Screens and mirrors: a ceremony

Side A
Courte dérive, une ouverture / Short drift, an opening
Le retour des insectes électriques / The return of the electric insects Les oiseaux étranges / The strange birds Tension, terreur factice / Tension, false terror
Dénouement malais / Malaysian ending
Rituels et vanités 1 / Rituals and vanities 1
Rituels et vanités 2 / Rituals and vanities 2
Italiens dʼHambourg / Italians in Hamburg

Side B
Secrets pour piano / Secrets for piano
La suite Monory, Padoue-Le Caire-Nassau / The Monory Suite, Padua-Cairo-Nassau Hommes à découper / Men to cut out Lassitude moite / Clammy weariness
Le soleil artificiel du pont croisière / The artificial sun on the cruise deck
Pirogues et palmiers, vus de la scène / Pirogues and palm trees, seen from the stage La traversée / The crossing Rideau / Rideau
Fields recordings : Semproniano and Siena, Italy, Figueira, Portugal, Charentes, France. An electrical wire with a frequency shifter gave birth to the insects. Real and fake piano. Everything made with a computer and a midi keyboard.
Music premiered at Hörbar, Hamburg, 28th of December 2017. Music (and video) Olivier Prieur.
Thanks to Thorsten Soltau and all people at Hörbar.
Hello to Felix Kubin & Marie-Pierre Bonniol, Julia & Jan Warnke. Kisses to Hélène.

Both LPs pressed 45RPM in gatefold jacket+ white paper sleeves + LP3 insert for full album download. Yellow vinyl is for Indies only. It might be too soon to declare In Prism the best Polvo record ever…but it might be okay by the time you’re done reading this. ...Only at this point in life would Polvo be so assured, so casually stormy and intensely calm, graceful and free with their power without setting aside anything that made them the rock artists they were during their first, unblemished run. There is not a thing on In Prism that they aren’t doing better than before: the sidewinder guitars and the mighty roar and the moody atmospheres and the psychedelic explosiveness; the writing, the singing, the words you can understand, the ones you can’t. Polvo spent 1990–98 giving voice to a chorus of discrete rock & roll ideas that really hadn’t been heard before. And while there was nothing wrong before, it’s now so much more right—perhaps because after ten years none of the peripheral stuff matters anymore. Now is for Polvo, and Polvo is for now. In Prism is the best Polvo record even before you get to the majestic “A Link in the Chain,” serene and tempestuous like few other things you’ll hear. The album was recorded with Brian Paulson and Polvo has never sounded better. Don’t you agree? Mike Wolf, NYC (2009). Side A 1. Right the Relation 2. D.C. Trails Side B 3. Beggar’s Bowl 4. City Birds Side C 5. Lucía 6. Dream Residue/Work Side D 7. The Pedlar 8. A Link in the Chain

To celebrate the 10th anniversary of Recital, we present Autumn Fair: A group LP comprised of 44 guest players (full list below), curated and edited together by Sean McCann.

Autumn Fair aptly embodies the feeling of Recital as a record label; the infusion of abstract sound art and sentimental beauty – performed by both younger and older generations of artists.

Oren Ambarchi - guitar, Ed Atkins - paper shredder, Jason Bannon - family, Derek Baron - keyboard, Karla Borecky - upright piano, Andrew Chalk - guitar, crys cole - birds, Loren Connors - guitar, Philip Corner - grand piano, Maxwell August Croy - whistle, Sarah Davachi - electronics, Aaron Dilloway - SFX, Delphine Dora - voice, Giovanni Fontana - voice, Scott Foust - trumpet, Peter Friel - impression, Malcolm Green - camera, Judith Hamann - cello / voice, Mark Harwood - speech, Forest Juziuk - voice, Johnny Kay - tapping, Kajsa Lindgren - hydrophone, Rob Magill - guitar, Lia Mazzari - whip, Molly McCann - flute, Sean McCann - editing / voice, Nour Mobarak - voice sampler, Azikiwe Mohammed - interview, Charlie Morrow - MIDI piano, Kiera Mulhern - SFX, Zachary Paul - violin, claire rousay - SFX, Michel Samson - violin, Troy Schafer - strings, Eric Schmid - tone generator, Ben Schumacher - SFX, Tom James Scott - keyboard / SFX, Asha Sheshadri - reading, Patrick Shiroishi - winds, Sydney Spann - voice, Matthew Sullivan - instruments, Flora Sullivan-Kelly - percussion, Connor Tomaka - SFX / synth, Alex Twomey - upright piano.

I won't go into too much detail on the album itself, but after many twists and turns, the album concludes with “Recital Program,” an intense track that manically collages two-second excerpts from every Recital album to date.

I extend a sincere ‘thank you’ for all the incredible support for Recital over the past decade.

Ltd. LP Edition of 350 copies on 175gram black vinyl, gold foil printing, incl. program notes, comes with printed ticket, mechanically numbered.

This boxset features remastered versions of all of Sade’s studio albums to date, on pure 180 gram black vinyl the first complete collection of their studio work up to the present day All six of the band’s acclaimed albums Diamond Life 1984 Promise 1985 Stronger Than Pride 1988 Love Deluxe 1992 Lovers Rock 2000 and Solder Of Love 2010 are packaged into the beautifully finished, white case bound box Revisiting the audio, the band worked from high resolution digital transfers of the stereo master mixes, from the original studio recordings, remastered at half speed at Abbey Road Studios The elaborate, half speed mastering process has produced exceptionally clean and detailed audio whilst remaining faithful to the band’s intended sound No additional digital limiting was used in the mastering process, so the six albums benefit from the advantage of extra clarity and pure fidelity, preserving the dynamic range of the original mixes for the very first time The six album sleeves have been meticulously reproduced in exact detail with authentic paper and printing methods, perfectly replicated for the first time since their original release.


Over an exceptional career spanning more than three decades, Sade’s six albums have amassed over 60 million worldwide sales and have been certified platinum 24 times over Producing singles such as ‘Your Love Is King’, ‘Smooth Operator’ and ‘By Your Side’, Sade have gone on to achieve Number 1 albums across the world, collected several Grammys, MTV Video Music Awards, and a BRIT Award along the way, quietly taking their "place in the pantheon of cultural influence” New York Times, October 2017. Their most recent studio album, Soldier Of Love, charted at number one in 15 countries, including the US, upon release in 2010.

Remember Rainbow Bridge', the new album by Croatian Amor, is a homage to youth and the delicate metamorphosis that occurs as childhood trips into maturity. Focused on this tender flux, the songs on 'Remember Rainbow Bridge' are infused with the restless energy of adolescence and a dawning sense of mortality. From the sun-kissed title track, to the night burn and wet pavement of 'Paper Birds', monumental highs are shuffled with great lows that we perhaps feel most clearly and earnestly in those formative years. Since the earliest collages committed to tape under the name of Croatian Amor, Loke Rahbek's alias has at every step gravitated towards constant discovery and experimentation. The sound collages are still present while the unity of each song's construction now often conceals the juxtapositions and overlapping edges. Employing a medley of diffuse electronic music traditions, fantastical synthetic worlds are evoked and while 'Remember Rainbow Bridge' heavily relies on rhythmic structures to propel the compositions, Croatian Amor continues to tend a highly textured field in his own inimitable way. 'Remember Rainbow Bridge' is a celebration of the liminal space between phases of life, the chrysalis of youth. It is a record about coming to terms with our ever-changing place in the world, its title urging us to see the world with a child's eye, to never forget the miraculous at play only an arm's-length away. "This world as we see it is passing away"

The debut LP from duo Sunflower Aquarium offers a full spectrum bloom into the electronic ecosystem. Dylan Batelic (Paper-Cuts) and Thomas Martin (Furious Frank) fuse together for a 7 track collection of low-slung immersive deepness, embodying a cycle of life via the ebbs and flows of sonic seasonal evolution. A collaboration of cyber synthesis; written simultaneously Melbourne through Adelaide during late 2021, the result a refined yet spontaneous take on dubbed downtempo through to driving dance deviance.

Beginning with a birth, the stand alone Intro’s saturated glow cultivates a vivid timbre and sun kissed sub-stratosphere. Sprouting melodic constructions continue to blossom throughout the record and growing pains are welcomed with open arms, a mature moodiness brooding delicately through assured drums and fleeting Janet vocal fragments. Broken beat patterns group together and tessellate, the woven sunken bass leaves space for flickering hi hat fissure in SA-124, this groove based atmospheric momentum evolving cohesively track after track. Bright, refined concepts that linger and dissolve in your subconscious for weeks. The B Side preserves the introspective tip but dives deeper, faster; Birds Of Paradise melting organic field recordings into blissful synth voices and ricochet breaks. Bubble (Contagious Mix) feels like a midnight highway dub drive, shooting and gliding fluently; coloured lights iridescently blurred as if it was all a dream... then the closing track, which induces a sharp sense of hypnosis. Traditional techno expressions flirt with your ears, layers of repetition locked and loaded, dwindling into the abyss; conclusion of the cycle.

The Melvins’ first ever acoustic collection, featuring 36 songs including classics like ‘Night Goat’, ‘Honey Bucket’ and ‘Billy Fish’, as well as covers of Brainiac, The Rolling Stones and Alice Cooper tracks.

 This newly recorded acoustic collection features a career-spanning collection of songs, from 1987’s ‘Gluey Porch Treatments’ to 2017’s ‘A Walk With Love & Death’ - the entire gamut of the legendary band’s catalogue is represented.

 “I knew I wanted to do something ridiculously big,” explains Buzz Osborne of the band’s first ever acoustic offering. “36 songs reimagined by us acoustically is certainly ridiculous but it works. The magic of the songs is still there regardless of it being acoustic. Since we weren’t touring we had the time to do something of this size. I’m very excited about this record. Dale and Steven did a fantastic job on this. I think it’s a very special record. I can’t
think of anyone else who’s done something like this.”
 The band previewed the impressive offering with the release of ‘Night Goat’.
Dale Crover noted: “I think people will be surprised that we can do an
acoustic version of a song like ‘Night Goat’ without losing any of the
heaviness. We also worked hard on the vocal arrangements. People are
going to freak out!”
 ‘Five Legged Dog’ also features acoustic versions of several rarities from the
influential band’s overflowing discography, including a cover of Redd Kross’
‘Charlie’ (from the limited edition ‘Escape From LA’ single), ‘Outside
Chance,’ a Turtles cover from the ‘Slithering Slaughter’ single and new
interpretations of The Rolling Stones ‘Sway’, Brainiac’s ‘Flypaper’ and Fred
Neil’s ‘Everybody’s Talking’ (popularised by Harry Nilsson). Butthole Surfer
Jeff Pinkus lends his vocals (and banjo) to ‘Don’t Forget to Breathe’ and
‘Everybody’s Talking’.

 The seven-headed Aussie rock beast King Gizzard & The Lizard
Wizard return with a new vinyl edition of ‘Fishing For Fishies’,
perhaps their most perfectly-realised album to date.
 The Eco Edition has been pressed on Eco-Mix vinyl and is housed
in a brown paper bag after previous pressings quickly sold out.
 Released on the band’s own Flightless Records, here is a world
where the organic meets the automated; where the rustic meets
the robotic. Where the past and future collide in the beautiful
present.
 ‘Fishing For Fishies’ is a blues-infused blast of sonic boogie that
struts and shimmies through several moods and terrains. From the
soft shuffle Outback country of the opening title track through the
sunny easy listening of ‘The Bird Song’ (think a lysergically-soaked
Laurel Canyon circa 1973) and on through the party funk of
‘Plastic Boogie’ (which somehow summons the spirit of Stevie
Wonder’s ‘Innervisions’) the road-trucking, Doors-like highway
rock of ‘The Cruel Millennial’ and ‘Real’s Not Real’ - what
Carpenters might have sounded like had they existed entirely on
vegemite and weed - it’s a dizzying, dazzling display which
addresses a number of pertinent environmental issues along the
way.
 “We tried to make a blues record,” says frontman Stu Mackenzie.
“A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it -
or maybe it was us fighting them. Ultimately though we let the
songs guide us this time; we let them have their own personalities
and forge their own path. Paths of light, paths of darkness. This is
a collection of songs that went on wild journeys of transformation.”
 Quiet though it was on the record front, 2018 was hardly a year of
rest for King Gizzard & The Lizard Wizard. In almost perpetual
motion, the band continued their unstoppable rise as their
juggernaut of a live show grew and grew and grew, with a mindblowing headline slot at Green Man Festival, a massive sold-out
US tour in the summer which saw them play their biggest venues
to date, a brain-frying sold out Brixton Academy show, two gigs in
Russia and Istanbul where they played in front of over 15,000
people and putting on the fourth edition of their annual Gizzfest in
Melbourne amongst the highlights.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Paper Birch is a collaborative experimental noise rock duo formed by Fergus Lawrie (Urusei Yatsura) and Dee Sada (NEUMES / An Experiment On A Bird In The Air Pump) in May 2020. United by mutual feelings of despair, fragility and hope, they passed ideas and sounds between London and Glasgow whilst the UK was in lockdown. The resulting 9-track debut LP morninghairwater is set to be released on vinyl, CD and digital. A melting pot of genres, morninghairwater twists and turns through moments of 60’s inspired
indie-pop, fuzzed out angular shoegaze and glitchy electronic soundscapes with astonishing ease. This album draws not only on the influence of both Lawrie and Sada’s individual back catalogues but which at times echoes with everything from Heavenly to Joy Division. The album also marks the beginnings of a collaborative relationship with renowned visual artist, Thomas James who has created thrilling films for Ghostpoet, Paloma Faith and most recently, The English National Ballet. Whilst morninghairwater may be a product of the universally challenging time in which it was recorded, the duo has already started work on their second album and Paper Birch looks set to be an enduring fixture of the UK experimental scene. Press and radio coverage for Paper Birch “an intoxicating squall of noise pop” - God Is In The TV “Sada’s signature softly cooed atmospheric translucent vocals prove a congruous fit with Lawrie’s
deeper, more grunge-y despondency; sounding at times like Psycho Candy-era Jesus And Mary Chain in harmonious matrimony with Mazzy Star, or, the Pop Group hooks up with MBV” - Monolith Cocktail “mixing in disparate elements from classic 60s pop to glitchy electronica to transportative effect” – Joyzine “with a strong baseline and a sea of roaring guitar, a bit like The Pastels vs My Bloody Valentine (nothing wrong with that!)” - Is This Music “The texture is suggestive, the atmosphere hypnotic and the climate oppressive” - Sun Burns Out “A true jewel of modern and underground psychedelic pop” - Acute Pop