Cerca:pink

Before 2021’s “Magic Mirror”, Los Angeles songstress, Pearl Charles released her debut album “Sleepless Dreamer” in 2018. Back in print and available in stores on August 27th, 2021, this pressing on pink vinyl, includes a new 12 x 24” two sided poster, printed inner sleeve and download code.

Bored At My Grandma's House is the moniker of 19-year old Leeds-based Amber Strawbridge, starting out as an exercise in passing time when she was quite literally bored at her Grandma's place. First single & EP opener 'Showers' is about time alone & listening to your mind - “Do you ever think of showers as like a new beginning?“ is a poignant opening line, about that therapeutic space for you to really think and let your thoughts surface. In Amber's own words "showers are a kind of therapy in my opinion, they give you time to reflect and think without influence from anything external."

Born in Whitehaven, Cumbria to musical family, and raised on the likes of Bowie & Pink Floyd there was always plenty of opportunity to mess around on the various instruments lying around the house. Attempts at proper music lessons went awry as Amber shunned the rules & rigidity, and so instead she gradually taught herself piano, guitar & drums. After time travelling in Cambodia, teaching English & helping with projects in various villages, Amber stayed with her Grandma & began to use the aeons of spare time to make tunes on Garageband & upload them to soundcloud. As a wave of BBC Introducing support rolled in, coupled with a move to Leeds to study music, the bedroom set-up evolved & a full EP began to take shape.

Playing all the instruments & self-recording most of the EP at home, Amber took the tracks to Alex Greaves (Working Men's Club, Bdrmm) at the Nave studio for live drums & some final mixing flourishes, leaving an EP full of lo-fi charm but with a studio feel.  Inspired by Slowdive, Wolf Alice & Alvvays, Sometimes I Forget You're Human Too showcases Amber's singular vision of indie-pop, on an EP that deals with topics like humanity, nostalgia & the current refugee crisis.

Speaking on the EP title Amber says "Sometimes I forget you’re human too is the realisation that everyone is the same. In the sense that we are all human, everyone has issues and problems to face, everyone makes mistakes and has success. I used to compare myself to others a lot and think ‘wow they have their life together’ or ‘how are they so happy all of the time’ but that’s not the case it’s just what you can see on the outside ...so it’s kind of an EP of self assurance and reminding myself that it’s ok to not have it together all the time because no one does as we’re all just human after all"

The EP is just the start for Bored At My Grandmas House "I’ve already got a few tracks which I’m thinking could be potentially for an album, I’d definitely like to do a bigger project next and have the sound I’d like in mind. I’ve recently just got a band together so hopefully when live shows are resurrected I’ll have a few of those!" 2021 is looking to be anything but boring for Amber Strawbridge.

“an aggressively modern merger of Rush’s arena art rock, U.K. prog
classicism especially Pink Floyd and King Crimson and the post-grunge
vengeance of Tool” Rolling Stone
Having recently announced that Snapper Music will be representing Porcupine
Tree’s Transmission label worldwide, new CD and LP reissues of the band’s extensive catalogue will roll out throughout 2021.
Originally released in 2007, ‘Fear Of A Blank Planet’ was Porcupine Tree’s ninth
studio album. It was the band’s biggest selling album at the time, was their first
album to break into the Billboard top 100 in the USA as well as charting across
Europe, earned the band a Grammy nomination and has been featured in Rolling Stone Magazine’s Greatest Prog Albums Of All Time.
‘Fear Of A Blank Planet’ was an ambitious 50-minute piece of music made of
6 tracks that flow together to create a cohesive whole, the British art-rockers
Porcupine Tree created a concept album based on the Bret Easton Ellis novel
‘Lunar Park’, with lyrics that addressed how the adolescent protagonist battled
his bipolar and attention-deficit disorders with a regimen of prescription drugs
and Internet overstimulation.
The music used sprawling vocal melodies, atmospheric guitars and drums that
tumbled through chaotic passages to echo the main character’s manic-depressive states. ‘Fear Of A Blank Planet’ features guest appearances from Robert
Fripp (King Crimson) & Rush guitarist Alex Lifeson.
Porcupine Tree released their last album, ‘The Incident’, in 2009, marking another step forward in the incredible journey of the band that began as a solo
studio project created by Steven Wilson in the late eighties to a multi grammy
nominated act and one of the world’s most revered live bands, selling out arenas across the globe and wowing fans with their incredible performances.
This new Transmission version of ‘Fear Of A Blank Planet’ will be released as a
2LP gatefold 140gm edition.
“a dramatic, wide-screen, expertly executed, genuinely thrilling rock record” Q
Magazine

Tape

Two unruly, surreal and feverish electronic tracks, edited and mixed from the original recordings of a live show in Brussels. Limited and numbered edition of 120 copies, inlay printed in silver and pink.

The full-length debut from Bendigo Fletcher, Fits of Laughter is a collection of moments both enchanted and mundane, sorrowful and ecstatic: basking in the beauty of a glorious lightning storm, waking with a strand of your beloved’s hair happily caught in your mouth, drinking malt liquor while bingeing “The X-Files” on a lonesome Saturday night. As lead songwriter for the Louisville, KY-based band, frontman Ryan Anderson crafts the patchwork poetry of his lyrics by serenely observing the world around him, often while working his grocery-store day job or walking aimlessly in nature (a practice partly borrowed from the late poet Mary Oliver). When matched with Bendigo Fletcher’s gorgeously jangly collision of country and folk-rock and dreamy psychedelia, the result is a batch of story-songs graced with so much raw humanity, wildly offbeat humor, and a transcendent sense of wonder.

True to its spirit of purposeful wandering, Fits of Laughter unfolds in a wayward yet lushly detailed sound, embroidered with everything from crystalline harmonies to blistering guitar riffs to heady drum-machine beats. For help in forging the album’s ragged elegance, Bendigo Fletcher worked with producer Ken Coomer (the original drummer for Wilco and Uncle Tupelo), whom Anderson met in a flash of strange serendipity. Soon after he’d connected with Coomer via phone and bonded over a shared affection for Pink Floyd’s Obscured by Clouds, the band headed to Nashville to record in Coomer’s garage studio, laying down the album’s eight songs in nine frenetic days.

In keeping with the regional perspective that defines much of folk and country music, Fits of Laughter ponders certain paradoxes inherent in the band’s homeland. “In Kentucky there’s a long-running frustration of tradition and stubbornness versus progress,” says Anderson. “On one side you’re looking at things like the coal industry or Mitch McConnell, but then there’s also a feeling of togetherness and a fuck-the-man attitude and a loving desire for everyone to be left alone.” Referring to Fits of Laughter as a coming-of-age album, Anderson also examines a more internal conflict throughout the songs, including his choice to abandon his medical-school aspirations in favor of pursuing a career in music. “The title’s really about the spectrum of emotions I’ve felt on the way to finding what makes me feel like I’m living truthfully, rather than holding onto what I think other people’s expectations are of me,” he says. “It’s a phrase that bridges all of those emotions—everything from joy to hysteria.”

Frankenstein Girls Will Seem Strangely Sexy is the second album by the electropunk band Mindless Self Indulgence. The album contains 30 songs, all of which are ranked by their title, including “Bitches”, “Dicks Are For My Friends”, “Holy Shit” and “Royally Fucked”. Industrial madness mixed with hip hop and electronic rock (or, as the band like to call it: industrial jungle pussy punk) packed with crazy lyrics sang by falsetto singer Jimmy Urine. It’s a fascinating record where you’ll discover something new every time you listen to it.

Frankenstein Girls Will Seem Strangely Sexy is available as a limited edition of 1500 individually numbered copies on pink coloured vinyl.

Boys And Girls released in June 1985 is the sixth solo outing from English singer and songwriter Bryan Ferry it would be both a critical and a commercial smash. A No’1 album in the UK certified Platinum selling over 300,000 copies with two top 40 singles “Slave to Love” one of Ferry’s most popular solo hits and “Don’t Stop the Dance” in the US it would go on to sell over half a million copies certified Gold. An album rich with musical aristocracy The guitar solo at the end of “Slave to Love” featured Neil Hubbard and the album featured other famous guitarists such as the Dire Straits guitarist Mark Knopfler, Pink Floyd’s guitarist David Gilmour, Chic guitarist Nile Rodgers and Bryan Adams’ guitarist Keith Scott. Lovingly Re-Mastered from the original tapes by Frank Arkwright at Abbey Road Studios. London. Featuring artwork that has been faithfully restored to reflect its original first press “Boys and Girls” is presented on 180g heavy weight vinyl and is one of those classic albums that would not look out of place in any record collection.

Released on the 40th anniversary of 38 Special’s fourth studio album as part of Snakefarm Records’ “Reskinned” reissue series. This version marks the first repress of the album since it’s original 1981 release and has been specially remastered for vinyl. Comes with sleeve notes and original artwork and pressed on 140g hot pink. Very Limited Edition. Numbers will be shared out when all orders in.

From the many musical lives of artist Glenn Donaldson emerges The Reds, Pinks and Purples, a project that sifts out the purest elements of pop music and in the process chronicles the point of view of an assiduous San Francisco-based songwriter. The Reds, Pinks and Purples’ third album, called Uncommon Weather, is both an elusive portrait of San Francisco––during one of its fluctuations as an untenable place for musicians and artists––and also a self-portrait, however inverted, of a songwriter who has dispatched another treasured collection of timeless sounding DIY-pop songs.

How The Reds, Pinks and Purples arrived here is a story with many roots, the most consequential of which is perhaps the musical aftermath of his earlier band, The Art Museums, whose brief tenure in the late ’00s coincided with an explosive period of the Bay Area rock scene and was followed by a hermetic musical period of Donaldson’s. Disenchanted with the dissolution of his band, Donaldson averted the DIY-pop sound with an instrumental, conceptual project called FWY! but meanwhile started a habitual songwriting practice, sharing nascent songs with friends in an email exchange. In 2013–2014, The Reds, Pinks and Purples took shape as the moniker for Glenn’s most direct expressions in the DIY-pop mode, enabled by this new disciplined output. By then, San Francisco was already a changed place. The tragic loss of his former bandmate in Art Museums was another source of discontinuity and rupture. You can hear in The Reds, Pinks and Purples’ earliest songs this grappling with life, anxiety, and atrophying subcultures. For an artist with an overriding interest in the aesthetic principles of discrete musical genres, this turn toward his immediate world for subject matter was a major shift, setting The Reds, Pinks and Purples apart from Donaldson’s other musical ventures.

Preceding the release of Uncommon Weather was the Reds, Pinks and Purples’ 2nd album, one of the record buying joys of 2020, You Might Be Happy Someday, and, earlier, their first proper full length Anxiety Art, a title that might nod to the classic Television Personalities song “Anxiety Block.” Donaldson’s music continuously reckons with the influence of Dan Treacy, whose own forays into drum-machines, echo, and reverb in the early 1990s is an important reference point for The Reds, Pinks and Purples’ musical template. Paul Weller, Robert Smith, and Sarah Records also come to mind. But, as important, Donaldson sees his projects as visual expressions too, often blurring the lines of records and physical art objects. They could just as well be “art multiples” as well as records. The pattern for Reds, Pinks and Purples’ records is to document San Francisco’s Inner Richmond district in photographs: the muted, pastel colours and unpeopled compositions unfold in a series of images that read like counter-melodies to Donaldson’s distinctive voice, a vocal tone that always complements the colours.

Self-recorded and mostly self-performed, Uncommon Weather features pinnacle versions of songs Donaldson has honed since the beginning of the project. The album arrives with grateful timing, quick on the heels of You Might Be Happy Someday, and alleviating, for a brief window at least, whatever it is that keeps us coming back to this elemental music. Donaldson imagines his listeners are just like himself: fascinated and addicted to the spiritual power of uncomplicated pop classics. Anthony Atlas

* Restless Mashaits hailing from Geneva are based around the core of Jil and Stuf.
They released a sizeable amount of new roots classics throughout the 90s and 2000's.
* This set comprises of the bulk of the instrumental sessions they recorded in Kingston, Jamaica in the mid/late 90 and early 2000’s with legendary musicians such as Dean Fraser, Flabba Holt, Deadly Headly, Dwight Pinkney, Bongo Herman and more.

Hailing from Brownsville, Brooklyn Taphari got his start in the underground queer clubscenes of Bushwick. His live performances are explosive dance parties and an aggressivecall to action. Truly charismatic on stage, music is Taphari's most efficient means ofcommunication. He writes of his struggles as a young loner from the hood seeking asylum inlaughter, queer expression, hip-hop, and the internet. On 'Blind obedience' we find Taphari on a journey of self-actualization, transcending suffering through the power of self-love and authentic musical expression. this hard-hitting,confident debut centers the skilled rapper's syllable hopscotchover mutating beats. staying in a lane he's forged himself, therap alien's rage is explosive out the gate. on lead single "Table42" featuring seasoned rapper pink siifu, taphari sings of lostlove and the end of the world over drum 'N Bass beats. "Backsoon" featuring label mate Benét is a generous breath from thiskinetic collection of bangers.

The seagulls in the sand have heard our prayers! Mondo and Milan Records are proud to present the soundtrack to Lionsgate’s instant cult classic comedy BARB AND STAR GO TO VISTA DEL MAR.

One of our favorite films of the year so far, BARB AND STAR GO TO VISTA DEL MAR is a one-of-a-kind film with an equally unique soundtrack that will have you singing to the seagulls on the beach as we reemerge from lockdown this summer.

Beleaf it or Not, the musical comedy masterpiece was released just this year from the creators of BRIDESMAIDS (Kristen Wiig and Annie Mumolo, writers and the titular stars of the film). Featuring show-stopping Busby Berkley style dance numbers, love ballads for an audience of seagulls, EDM remixes of My Heart Will Go On, musical interludes by Richard Cheese, and an incredible score that blends espionage with calypso by Dara Taylor and Christopher Lennertz, it’s an incredibly unique listening experience - almost as exciting as riding a Banana Boat.

Featuring liner notes by Barb and Star themselves (Kristen Wiig and Annie Mumolo), composers Christopher Lennertz and Dara Taylor, and all new artwork from Johnny Dombrowski, and pressed on 180 Gram split color 180 Gram Pink and Yellow Culotte vinyl, you'll love it with all of your fart.

Spirit Tamer’ is the debut album from Mia Joy available on limited edition
Bright Pink and Classic Black vinyl and compact disc on Fire Talk.
A member of the Chicago Children’s Choir at a young age, the record sees Joy’s
dual backgrounds in music and poetry evolve into a juxtaposition between
soaring emotional synthpop and introspective devotional harmonies.
Past press has referred to Mia’s music as ‘warm, ethereal, endlessly layered,
and beautifully expanding’.
Filled with heady atmospherics and vulnerability that abounds through the
shapeshifting sonic palette, fans of Ana Roxanne or Hand Habits will find much
to love in this painstakingly crafted, endearingly intimate universe.

Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

Krakow's duo Olivia and Chino join Pinkman with their live project Radiation 30376. Both belonging to the generation that has seen decay turn into liberation, together they tint raw industrial soundscapes with the feelings of freedom and nostalgia. Their debut ep Arka consists of 4 uncompromised electro mutants, rich with the atmosphere of the 90s and the sound design of the future.

The Montreux Album was released in 1978 as the fifth studio album by English rock band Smokie. It was named after Mountain Studios in Montreux, Switzerland, where the album was primarily recorded. Recorded at the hight of the band’s popularity, this is the last album made in partnership with Nicky Chinn and Mike Chapman. Three singles were released: “For a Few Dollars More”, “Oh Carol”, and “Mexican Girl”, all of which charted well across Europe.

This limited edition of 1000 numbered copies is released on solid pink vinyl. It includes 4 bonus tracks including the #1 hit-single “Stumblin’ In” by Chris Norman & Suzi Quatro, “Roll On Baby”, “Love’s A Riot” & “A Stranger With You” by Chris Norman & Suzi Quatro. Also included: liner notes in the gatefold sleeve and a beautifully etched d-side.

Big Country’s sixth studio album, ‘The Buffalo Skinners’ was originally released in 1993. The self-produced, impassioned explosion of rock roundly delivers on pulling this band's working-class masculinity, love of full-throated guitar and sense of political and social outrage together in one rousing, melodic, lyrical onslaught.
Featuring the singles ‘Alone’ and ‘Ships’, along with fan favorites ‘What Are You Working For’ and “We’re Not In Kansas”, these relying on a heavier guitar sound than their previous album, the pace rarely lets up throughout, taking in the anthemic `The One I Love' and the outraged “The Selling of America” before it all ends on the angry, science-gone-wrong, cloak and dagger horror tale of “Chester's Farm”.
The original vinyl version of the album only had a limited pressing and was only one 1 vinyl. This new deluxe version has been split across 2 vinyl for optimum sound quality and also features some b-sides and rare tracks on side 4.
The package is a 6mm spine gatefold sleeve and 2x 180gm Heavyweight Black Vinyl with sleeve notes written by guitarist Bruce Watson.

Brooklyn’s TOUCAN SOUNDS presents a talent heavy compilation of Boogie, Afro, Nu Disco & House from JACQUES RENAULT, ADELINE, ELI ESCOBAR, DJ PASTA , I.M. YONI, TONY G & HARUKA SALT. All 6 tracks are excellent without any filler!

Off the back of his debut album as Trance Wax in November, Belfast producer Ejeca returns with his new project of mixtapes of all original material spanning across his musical influences. The first instalment of the mixtape series comes in the shape of 45 minutes of hi-nrg hardcore and rave. The first run of cassette tapes sold out over a weekend and this new edition includes on body printing and fluo pink cassette tape. Limited run of 100 tapes.

Clint Mansell and Clint Walsh’s reimagining of Lou
Reed’s 1973 album ‘Berlin’ as a tribute to
Mansell’s late partner Heather who passed away
in 2014. Now available on vinyl.
Pressed on neon pink vinyl and housed in a deluxe
spined sleeve with spot varnish polaroid image.
The record itself comes housed in a double sided
printed inner sleeve with digital download card
included.
Mansell is best known as the former lead singer of
Pop Will Eat Itself and as a composer for films
such as ‘Requiem for a Dream’ and ‘Black Swan’.
Walsh is a multi-instrumentalist and founding
member of Tweaker and is known for his work with
Courtney Love, Gnarls Barkley and many others.
Mansell and Walsh worked previously together on
the score for ‘Black Mirror’ episode ‘San Junipero’.
“The ‘Berlin’ they've made together isn't a copy in
style, however: instead, it conjures up the sounds
of jangly goth-pop, early ‘90s synth, and classic
singer-songwriter balladry.” - The Quietus

Zapp & Roger’s ‘All the Greatest Hits’ is the band's first Greatest Hits compilation, a collection covering their first four albums performed as a band. The album was originally released on Reprise in 1993 and is now available to pre-order on two-colour per LP Violet and Magenta / Orange and Pink 140g coloured vinyl.

‘All the Greatest Hits’ includes signature hits ‘More Bounce To The Ounce’ sampled by The Notorious BIG, and ‘Computer Love’ sampled by ‘2Pac’ as well as ‘Doo Wa Ditty (Blow That Thing),’ ‘So Ruff, so Tuff’ and ‘Be Alright.’







[f] b2. Zapp - Dance Floor (Pt. I) [Single Version]




[k] c2. Roger - Midnight Hour (Pt. I) [Single Version]

This journey, this slowly drifting sonic meditation, is an 'inner soundscape', a dialogue between the senses, the conscience and the world, inside / outside, interconnected. Like waking up from a long dream, and being stuck into its echo. The April Sessions immerges the listener into a drone-ish universe, full of random acousmatic events, inner monologues and a vast and unwritten subjective map to be drawn.

The April Sessions has been living in a seedy hotel in Brussels for a few months. She listens to the sparse traffic outside her window, locked in and locked down. 'Everything is constructed', she says to herself, 'even the sound of a solitary aircraft at 25,000 feet traverses the sky no further out than the inside of my skull'. Other weird sonic phenomena criss-cross the inner cosmos of her brain and streak across her private sky like comets. And then there is the unshakeable presence of that inner monologue, known to her variously as the Tacit Dictator, the Subvocaliser and, nightmarishly enough, the voice of the Merlucid Hake. (Anthony Moore, St Leonards, 10th of March 2021)

Anthony Moore, Dirk Specht and Tobias Grewenig have known each other and worked together since the early 2000s. They have collectively participated in a number of projects including live performances and recordings. In 2016, as part of The Missing Present Band, they released the live LP 'The Present Is Missing' on A-Musik. The following year they released 'Ore Talks', a double LP, realised in collaboration with Therapeutische Hörgruppe Köln.

Anthony Moore was born in 1948, founded the band Slapp Happy (circa 1972) with Peter Blegvad and Dagmar Krause, then worked alongside a.o. Fred Frith and Tim Hodgkinson in the unclassifiable band Henry Cow. He released several solo albums, composed soundtracks for experimental movies. His path also crossed Kevin Ayers's, Pink Floyd's, Richard Wright's. He was appointed professor for research into sound and music in the context of new media at the Academy of Media Arts in Cologne, Germany. He still continues to write and perform.

Dirk Specht is a sound artist, musician and curator. He studied architecture and media art and is active in the fields of sound works for choreography, radio drama, sound art, film and video art soundtracks. He published releases with several bands and projects. He has been an assistant for research into sound from 2011 to 2016 at the Academy of Media Arts in Cologne, and is a founding member of Therapeutische Hörgruppe Köln.

Tobias Grewenig studied at the Academy of Media Arts in Cologne. He primarily deals with non-linearity in his audiovisual installative works and performances, including projects with the artist group 'Therapeutische Hörgruppe Köln', the ensemble 'The Knob, The Finger & The It' and the improvisation collective "Frequenzwechsel". The conception and development of electronic instruments and code is a key component of his artistic work. He lives and works in Cologne.

Rubyworks are pleased to present a vinyl release of 'Marcata', the much-loved 2011 debut album by Dublin rock-trio The Minutes. To celebrate the 10th anniversary of its release. 'Marcata' will be released on a limited edition fluorescent pink vinyl pressing. 'Black Keys' from the album is currently soundtracking a Jameson Whiskey TV advert. 8/10 - The Goes The Fear An underground classic debut from one of Ireland’s loudest - live4ever One of the Top 30 album releases of 2011 - Hot Press. It is as fine a rock record as you'd expect from Ireland, or any other country for that matter - entertainment.ie Artrocker - The greatest rock 'n' roll band in Dublin. **** A cacophonous, confident and crushing slab of authenticity, steeped in the anarchic history of rock 'n' roll – Hot Press “A thundering combination of old school rock 'n roll with modern guitar music. The Minutes have taken their time in getting here and it was worth every second” 8/10 - State.ie **** “You want to bang your head until it and your neck ache” - Irish Daily Mail **** “Loud, energetic and worth the wait” - News Of The World ***1/2 “A melodic and irresistible strut that makes for compelling listening” - Heineken Music *** “This debut booms, bangs and pulsates from the first note. Boiling over with a sense of urgency” - The Sunday Times *** “Fans of straight up, 'classic' rock will find lots to enjoy here” - The Irish Independent “Marcata certainly cements their status as one of the most exciting sounding bands on the scene at the moment” – Goldenplec “Full of raucous thrills and high-voltage riffage” – The Guardian “Authentically gritty, pulse-quickening rock 'n' roll in the grand style” 7/10 – AU magazine “The Minutes’ debut is a classic rock n’ roll album” – We Are Noise “Heavy riffs, urgent vocals, and pounding beats, the way rock'n'roll should be” – The Herald

Magda Drozd is deeply concerned with listening in her artistic practice. Her second album, 18 Floors, Drozd focused on the apartment building she called home for several years, compiling a corpus of field recordings in and of the building, which she approached as a living organism rather than static material. The result challenges current assumptions about living together in urban settings. The field recordings were woven into eleven speculative tracks consisting of sounds including violins, guitars, synthesizers, drum machines, and Drozd’s voice. The music moves between sound art, ambient, indie rock, and R&B.
18 Floors presciently emphasizes the importance of the home, which has become glaringly obvious in the age of Corona. Her foresight constitutes her avant-gardism as much as her preference for documenting what might be over what actually is. The result is an album that creates a space for what is transient, uncertain, and unstable. And it creates a space for opportunities, which we need now more than ever.

Shura announces a deluxe version of her acclaimed 2019 album
‘forevher’, released via Secretly Canadian.
‘forevher: Deluxe Edition’ is released on cassette and features the
eleven original album tracks with nine extras. These include acoustic
versions of five album tracks recorded and produced with Sam Evian
and featuring Hannah Cohen on backing vocals, previous Bandcamp
single ‘magazine launch (demo)’, last year’s collaborative single
‘elevator girl’ featuring Ivy Sole and two unreleased tracks including
‘obsession’.
On ‘obsession’, Shura explains: “‘obsession’ was one of the songs I
wrote whilst I was writing ‘forevher’. I always wanted it to be a duet
between two women but it never came to fruition during the recording
process. Then, when I toured ‘forevher’ in Europe, Rosie Lowe came
with us and we’d always spoken about wanting to collaborate on
something together and I suddenly remembered this song, which I loved
but had somehow never finished. I sent the track across to Ro and when
she sent back her rough take I was like ‘YES. this is it.’”
With ‘forevher’, Shura’s immediately identifiable way with love, touch and
how we talk about it reached even greater creative heights. Having
moved from West London to New York following her adored 2016 debut,
,Nothing’s Real,, it’s all mirrored in a lyrical journey from rejection and
loss to desire, long-distance love and the prospect of how we make
something real actually work.
In 2020, Shura emerged as one of contemporary pop’s accidental
trailblazers. A frank, funny voice in the LGBTQ+ community whose
contribution to the paradigm-shift in the cultural landscape cannot be
underestimated.
Written primarily about Shura’s relationship with her girlfriend and their
long-distance conception, ‘forevher’ traces everything from the initial pull
of desire to that first real life meeting (‘the stage’), before recognising
when the connection develops into something scarily meaningful. It’s a
classic NYC-to-London love story but one told through the totally modern
filter of dating apps, unanswered texts, Skype chats and MUNA gigs.
And whilst how to live - and love - as a queer woman has always been
integral to Shura, it’s remarkable to hear these stories twisted through
such a gorgeous amalgam of influences: Joni Mitchell and Minnie
Riperton, Bon Iver and Frank Ocean, Prince and Ariel Pink. Through
these inspirations, Shura’s own modern, outlier perspective found a
newer, more daring approach to sound and song.

Originally released on CD in 2012, Chapter's landmark compilation of 70s gay musical pioneers gets a vinyl release for the first time ever - and on limited baby pink vinyl to boot! Strong Love explores the first wave of openly gay songwriting, emerging after New York's Stonewall Riots kickstarted the modern gay rights movement in 1969. It took just a few years for the defiant chanting and interlocked arms of early 70s pride marches to reverberate onto record, and Strong Love begins with the earliest known example, 1972's A Gay Song by London hippie collective Everyone Involved. Across 15 tracks, the compilation takes in disarmingly personal folk, uplifting soul, outsider country and dark synth-rock. But tellingly, none of its songs could be considered well-known. New York's Steven Grossman released the first major label album by an openly gay artist in 1974, and Tom Robinson hit the UK Top 20 with the fiery Glad To Be Gay in 1978, but these are the exceptions. The coy ambivalence of Lou Reed and David Bowie was about as sexually adventurous as the 1970s music industry got, and most Strong Love artists released their own self-funded recordings in very limited numbers. Unlike their lesbian counterparts, who joined forces to create long-lasting record labels, strong distribution networks and considerable sales figures, gay male musicians in the 1970s existed largely in solitary bubbles. Which doesn't mean they didn't carve out niches of their own. Chris Robison played with the New York Dolls and Elephant's Memory, while LA glam seducer Smokey saw members of the Stooges and Quiet Riot pass through his backing band. Steven Grossman was covered by Twiggy and Scrumbly & Martin are infamous for their work with San Francisco drag hippies the Cockettes. Strong Love illustrate the vision, talent and raw courage that drove 1970s songwriters to sacrifice popular careers for the sake of honesty and selfexpression. Compiled by Chapter Music's Guy Blackman, with an evocative introduction from drummer RIchard Dworkin (who played with Blackberri and Buena Vista), the album is a powerful tribute to pioneering artists whose music has been neglected for too long.

• Showaddywaddy eventually had more UK hits in the 1970s than any other act…including Abba!
• From their winning appearance on an edition of ‘New Faces’, the ‘Britain’s Got Talent’ of the day, to become runners-up in
the series’ ‘All Winners Final’, it took just a matter of months until Showaddywaddy released, ‘Hey Rock And Roll’.
• The single reached #2 in the UK Singles Chart.
• The band are still lauded as one of the hardest working live bands in the UK, usually with more than 250 shows a year.
• This vinyl LP collection, showcases the band’s professionalism, in this no-nonsense 16 track rock ‘n’ roll set.
• The album includes their versions of ‘Sea Cruise’, ‘Blue Moon’, ‘The Girl From New York City’, ‘Multiplication’, ‘Doo Wah
Diddy’ and a blistering performance of the Vanda/Young classic, ‘Good Times’, taken from Showaddywadddy’s 1981 album
of the same name.
• The album is pressed on heavyweight 180g pink colour vinyl.

Science Cult presents the Kinetic Series: A limited edition of Picture Discs with kinetic artwork crafted by Chris Dowding. First up are Odd Oswald and Stephan Barnem with their “Horror Haus” EP, an homage to 1980’s Horror movies accompanied by a funky electro remix from Jensen Interceptor. Unique moving artwork is present on both sides, including markers for track start and end points.

Erstpressung auf "Red, White & Blue hi-melt on clear" Vinyl! Das japanische Quartett CHAI veröffentlicht mit "Wink" ihr drittes Album und ihr erstes für Sub Pop. Es enthält CHAIs sanfteste und minimalistischste Musik, aber auch ihr mit Abstand bewegendstes und aufregendstes Songwriting. "Wink" ist zudem ein extrem passender Titel: eine subtile, aber kühne Geste. Ein Zwinkern ist ein unbefangener Akt der Überzeugung. CHAI besteht aus den eineiigen Zwillingen Mana (Gesang und Keyboard) und Kana (Gitarre), Schlagzeugerin Yuna und Yuuki. Nach der Veröffentlichung von "Punk" im Jahr 2019 führten CHAIs Abenteuer sie rund um die Welt, sie spielten ihre hochenergetischen und beschwingten Shows auf Musikfestivals wie Primavera Sound und Pitchfork Music Festival und tourten mit Indie-Rock-Größen wie Whitney und Mac Demarco. Wie alle Musiker waren CHAI im Jahr 2020 gezwungen, die Struktur ihrer Arbeit und ihres Lebens zu überdenken. CHAI nahmen dies als Gelegenheit, ihren Arbeits-Prozess durchzuschütteln und ihre Musik an einen aufregend neuen Ort zu bringen. Hatten CHAI zuvor ihre maximalistischen Aufnahmen genutzt, um die Ausgelassenheit ihrer Liveshows einzufangen und die Reaktionen des Publikums im Auge zu behalten, konzentrierten sie sich nun darauf, die etwas subtileren und introspektiveren Arten von Songs zu entwickeln, die sie gerne zu Hause hören - wo sie zum ersten Mal die gesamte Musik aufgenommen haben. Inmitten des globalen Shutdowns arbeiteten CHAI quasi als Garage-Band und tauschten ihre Songideen - für die sie mehr Zeit als je zuvor hatten - über Zoom und Telefonanrufe aus, wobei sie ihre Einschränkungen in eine Stärke verwandelten. Während sich die Band an einen persönlicheren Sound anlehnte, ist "Wink" auch das erste CHAI-Album mit Beiträgen von externen Produzenten (Mndsgn, YMCK) sowie einem Feature des Chicagoer Rappers und Sängers Ric Wilson. CHAI ziehen R&B und HipHop in ihre Mischung aus Dance-Punk und Pop-Rock, während sie unbestreitbar CHAI bleiben. Ob in Bezug auf diesen neu entdeckten Sinn für Offenheit oder ihre Art, zu Hause zu komponieren, das Thema von "Wink" ist, sich selbst herauszufordern.

LTD PINK PANTHER LP

Nach zwei Alben auf Morr Music erscheint das dritte Album der Münchner ALOA INPUT auf dem Wiener Label SILUH RECORDS. Der versponnen-psychedelische Krautpop-Entwurf mit Independent Folk-Anleihen wird konzeptuell erhöht und darf Liebhabern der Beta Band, Jane Weaver, späten Tame Impala oder Animal Collective nicht entgehen. ALOA INPUT ist im besten Sinne eine Experimental Pop Band. Das dritte Album der Band um Angela Aux, Marcus Grassl und Cico Beck (The Notwist, Joasihno) ist ein Konzeptalbum, hört auf den Namen "Devil's Diamond Memory Collection" und erscheint im Mai 2021. Fünf Jahre sind seit dem letzten Album von Aloa Input, der einstigen Speerspitze des "New Weird Bavaria", vergangen. Eine für die Band ungewöhnlich lange Zeit. Angela Aux, Marcus Grassl und Cico Beck verbrachten sie damit einen endlosen Strom an Demomaterial zu produzieren. Bei Sessions in Ateliers, Kinos und Kellerräumen in München, Mexico City und Montreal entstanden knapp 50 Stücke. Am Ende blieben 14 übrig, die im ersten Konzeptalbum der achtjährigen Bandgeschichte gipfelten. Das Thema? Die ,gefühlte Ewigkeit"! Jedes der 14 Lieder ist aus einer anderen, fiktiven Perspektive aus einem unbestimmten Zeitpunkt in der Zukunft erzählt, eine Rückschau auf die Fetzen unserer Zivilisation. ,Wir wollten eine Platte machen, die wir selber in 20 Jahren anhören würden und sagen, ja: So erschien uns damals die Zukunft". Doch wie lässt man eine Zukunft vor dem inneren Ohr auferstehen, die nur in unseren Gedanken existieren kann? Aloa Input haben auf ,Devil's Diamond Memory Collection" den richtigen Ton getroffen, irgendwo zwischen alienated und alltäglich. "Devil's Diamond Memory Collection" ist der Soundtrack für ein Science-Fiction-Szenario, das nicht als fortschrittsoptimistische Utopie oder bombastische Endzeitvision daherkommt, sondern als geradezu beiläufige Erkenntnis, dass wir längst in unserer Zukunft angekommen sind. 180gr Vinyl in festem Klappcover plus Download Code

‘This Is Telex’ is a brand-new compilation collecting 14
tracks from the innovative Belgium trio, covering their
career from formation in 1978 up to the final album in
2006.

This compilation includes the hit single ‘Moskow
Diskow’ as well as their Eurovision Song Contest
entry, aptly called ‘Euro-vision’.
There are also two wonderful and previously
unreleased tracks unearthed from the Telex archive, a
cover of The Beatles’ ‘Dear Prudence’ and a
reinterpretation of a Sonny & Cher track called ‘The
Beat Goes On/Off’.

All the tracks were newly mixed and remastered from
the original tapes by band members Dan Lacksman
and Michel Moers, keeping all the tracks in the spirit of
the originals but adding a freshness to them.
This compilation sets the way for a comprehensive
reissue campaign of the entire Telex catalogue.
CD in card pack with 12-page booklet.

Coloured vinyl 2LP (side A/B is shrimp pink vinyl, side
C/D fern green vinyl) housed in a gatefold cover with
printed inner sleeves with notes by David Stubbs, plus
digital download code.

Tape packaged in pink case with a green shell, plus
digital download code.

The waiting is hell but heaven is waiting...it seeemed like an age to complete this record, we had demo’d it in a couple of days in swanyard studios and it sounded fresh and powerful, just like we wanted. Signing to Arista had given us the means and funds to take us to the next level and we were itching to get started. We had new equipment, the status of being a ‘signed band’ and we hoped the backing & Finances of a record company that believed as we did, that we could be big. Not ‘pop star big’ that was never for us, but ‘big’ like pink floyd who didn’t have to care about ‘pop’ singles. We were young & naive, even idealistic. Negotiations about producers ensued and Nigel Gray who had produced the Banshees was suggested and accepted and we shipped off for a month to his studios in Leatherhead... (Paul Nash, from the liner notes)

Kleistwahr is the solo project of Gary Mundy, the legendary power electronic and noise-rock musician who is a founding member of Ramleh and runs the highly influential Broken Flag label. Solemn drones and elegiac long-form passages gird Kleistwahr’s Winter, which often chimes, glistens, and glows through a unhurried constructs for organ, synth, guitar, and electronics. Yet Mundy pivots throughout with triumphant explosions of shrill noise, redlined overload, and harrowingly anguished vocals from the great unknown. Quintessential Kleistwahr.

Winter was originally published as part of the instantly out of print On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency, an imprint founded in 2003 and dedicated to post-industrial research, recombinant noise, surrealist demolition, existential vacancy and then some.

With the necessary reissue of Winter, The Helen Scarsdale Agency will embark upon the reissue of much of that material from On Corrosion.

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Repress

coloured vinyl / incl. dl code

Machinedrum and Holly team up for the next output on Vision Recordings.

Pressed on pink marbled vinyl and comes in a full colour printed inner- and outer sleeve. Download code included.

Tape / Cassette

"No Contact" documents the last nine years of live actions from O/H, the duo of David Foster (Huren, Teste, etc.) and Rich Oddie (Orphx, Eschaton, etc.) with recordings from performances in Japan, Russia, Holland, and Canada.

Limited edition of 99 copies on pink C74 cassettes.

Can was founded in 1968 by Irmin Schmidt, Holger
Czukay, Michael Karoli and Jaki Liebezeit who
formed a group which would utilise and transcend
all boundaries of ethnic, electronic experimental
and modern classical music.
This classic album of tracks was recorded at the
beginning of Can’s life and features original
vocalist Malcolm Mooney.
‘Thief’ is now a rejuvenated Can classic having
been covered by Radiohead and since then
discovered by a new generation of fans.
Can’s powerful influence has never diminished and
their indelible mark is apparent in the bands who
freely acknowledge their importance - from
Portishead, James Murphy, New Order, Factory
Floor, Public Image Ltd, Mogwai, Kanye West and
Radiohead - as well as across other disciplines
such as visual art and literature.
“Can are impossible to classify and it’s impossible
to ignore their seismic influence on so many
diverse musical paths” - Richard Hawley
“Can are the most revolutionary band ever” -
Stephen Morris (New Order)
Now available on pink vinyl with digital download
code.

LTD. NEON PINK & NEON GREEN VINYL

The Impossible Kid, released in 2016 on Rhymesayers Entertainment, marked Indie-rap mainstay Aesop Rock's first solo venture since 2012's Skelethon. Aesop continued finding new ways to improve on the skills that have made him one of the kings of indie hip-hop. His creative process now includes a newfound willingness to open up about his personal life, going deep on topics like depression, his sometimes rocky relationship with his family, and the turbulent handful of years that culminated in Aesop leaving his adopted home of San Francisco to live in a barn out in the woods, where he recorded the foundations of The Impossible Kid. There's also moments of levity though, as Aesop taps into the funny side of his persona that he suppressed during the period where being taken as a serious lyricist was more of a priority. Like Skelethon, Aesop exercised complete creative control over every aspect of the album, from the production (which he handled himself, with instrumental help from Philly's Grimace Foundation) to conceptualizing the cover art by his friend Alex Pardee.

Although considered a singles-band, Shocking Blue released a couple of high quality albums. One of the best is Scorpio’s Dance, and not just in a musical way: its cover has been chosen as one of the most legendary LP covers in Dutch pop history. The album continues the band’s exploration into country music and Americana with tracks like “Alaska Country” and “Sally Was a Good Old Girl”. However, the band still stays true to its rock roots as well.

Scorpio’s Dance is rereleased as a limited edition on pink coloured vinyl. This edition contains four bonus tracks that were not available on the original LP.