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Mit dem 1964 bei Verve Records erschienenen Album “The Individualism of Gil Evans” schuf der Komponist,
Arrangeur und Pianist Gil Evans eines seiner fesselndsten und detailreichsten Werke. Mit einer atemberaubend besetzten Big Band, in der Größen des Jazz auf junge Talente und klassische Musiker trafen,
präsentiert Evans zwei eigene, von lateinamerikanischer Musik inspirierte Kompositionen, ein gemeinsam
mit Miles Davis geschriebenes Stück sowie eine Nummer aus der “Dreigroschenoper” von Bertolt Brecht
und Kurt Weill.

Mit seiner Band Ubiquity (was so viel wie “Allgegenwärtigkeit” bedeutet) schlug der amerikanische Vibrafonist Roy Ayers Anfang der 1970er Jahre ein neues musikalisches Kapitel in seiner Karriere auf. “He’s
Coming” war 1972 bereits das dritte Album, auf dem der ehemalige Bebopper mit seiner Band ein unwiderstehliches Gebräu aus jazzigen Improvisationen, Funk-Rhythmen, Soul-Harmonien und spiritueller Tiefe bot.
Dieser Sound sollte Ayers Werk während des gesamten Jahrzehnts prägen und ihn später zu einer Inspirationsquelle für Soul-, Funk-, Hip-Hop- und Neo-Soul-Künstler machen.

“Listen to Art Farmer and the Orchestra”, 1962 aufgenommen und im folgenden Jahr bei Mercury veröffentlicht, gilt als eines der ambitioniertesten Werke von Art Farmer. Der Trompeter und Flügelhornist, der
bereits brillante Aufnahmen mit von Quincy Jones, Benny Golson und Chico O’Farrill geleiteten Big Bands
gemacht hatte, präsentiert sich hier an der Spitze eines großen Ensembles unter der Regie von Oliver Nel-son. Das abwechslungsreiche Repertoire, das unter anderem Stücke von Billy Strayhorn und John Coltrane
enthält, wurde von Nelson gewohnt raffniert arrangiert und gibt Art Farmer reichlich Gelegenheit, als Solist
vor dem Orchester zu glänzen.

Mick Goodrick (1945–2022), den das Magazin DownBeat in seiner Rezension dieses Albums als „technisch
einen der besten Gitarristen überhaupt“ pries, war ein subtiler Meister der Gitarre und ein ebenso zurückhaltender Komponist – beide Qualitäten treten auf dieser einzigen ECM-Aufnahme unter seinem eigenen
Namen deutlich hervor. Der Pianist Fred Hersch nannte ihn „den Gitarrenflüsterer“, während John Scofield
bemerkte: „Ich durfte mit Mick spielen, was eine wertvolle Lernerfahrung war – ganz abgesehen davon,
dass es Spaß gemacht hat. Ich liebe sein ECM-Album In Pas(s)ing – ein besonderes Werk, das auch heute
noch relevant klingt.“ Für In Pas(s)ing wurde der Gitarrist, der maßgeblich zu Gary Burtons erfolgreicher
ECM Albumserie der 1970er Jahre beigetragen hatte, von hochkarätigen Begleitern unterstützt: John
Surman, hier überwiegend am Baritonsaxophon zu hören, Bassist Eddie Gomez sowie Schlagzeuglegende
Jack DeJohnette. In weit-offenem, lyrischem Zusammenspiel entfalten die vier Improvisatoren eine leiseeruptive Session voller filigraner Interaktion und heimlich einprägsamer Melodien. Das Magazin Melody
Maker bezeichnete Goodrick in seiner Rezension von 1979 als einen „Komponisten und Bandleader, der
seiner Musik erlaubt an Ort und Stelle anmutig Pirouetten zu drehen“, und führte weiter aus: „Unter den
gegenwärtigen Gitarristen der ECM-Schule scheint er die gelungenste Verbindung von Tradition mit einer
modernen Konzeption zu besitzen. Modisch unaufdringlich versieht er die Musik dennoch mit einer unverwechselbaren Handschrift – durch seinen kühlen, singenden verstärkten Ton, sparsam eingesetzte, aber
feste Hintergründe und das wunderbare Zusammenspiel mit Surman.“ Auch die Mitmusiker würdigte der
Artikel ausdrücklich: „Dies ist jedenfalls eine der besten Aufnahmen Surmans seit Jahren. Natürlich sind
Gomez und DeJohnette entscheidend für den Erfolg der Platte – der Vorwärtsdrang, den sie erzeugen, ist
beinahe übernatürlich diskret, aber absolut real.“ Das Album wurde im November 1978 im Talent Studio
in Oslo aufgenommen und von Manfred Eicher produziert.
Im Rahmen von ECMs Luminessence Reihe neu aufgelegt, erscheint In Pas(s)ing in einem hochwertigen
tip-on Klappcover mit neuen Linernotes von Joel Harrison sowie Photographien aus dem Archiv.

Mit der für die Mizell Brothers typischen Produktion, reich an mitreißenden Rhythmen, schwungvollen Instrumentierungen, lebhaften Percussion-Arrangements und funkigen Orgelklängen, ist Roger Glenns 1977er
Knaller „Reachin’“ eine Latin-Jazz-Fusion-Flöten-Explosion, die nach fünf Jahrzehnten im Rahmen der
„Top Shelf“-Reihe von Jazz Dispensary ihr lang erwartetes Comeback auf Vinyl feiert. Von Kevin Gray
von den originalen Analogbändern (AAA) geschnitten, bei Fidelity Record Pressing auf 180-Gramm-Vinyl
gepresst und in einer Tip-On-Hülle verpackt.

Das Debütalbum „Thin Lizzy“ der irischen Rockband Thin Lizzy erschien am 30. April 1971. Im August
desselben Jahres folgte die EP „New Day“, produziert und aufgenommen von Nick Tauber in den Decca
Studios.
Diese Deluxe-CD- und LP-Veröffentlichungen zum 55. Jubiläum von Thin Lizzys Debütalbum enthalten
Raritäten, BBC-Sessions und bisher unveröffentlichte Musik Richard Whittaker hat einen neuen Stereo-Mix
des Albums erstellt, der auf der CD sowie in den 2-LP-Versionen enthalten ist.
Die 4-LP-Version enthält das Album sowie drei CDs mit seltenem Material, von dem einiges zum ersten Mal auf Vinyl erscheint.
Auf dieser LP haben Thin Lizzy alles in ihre Musik gesteckt und sind dabei Risiken eingegangen. Die
LP ist leidenschaftlich, energiegeladen und unverwechselbar. Die 3-CD-Version enthält ein Blu-ray-Boxset
sowie ein Hardcover-Buch mit ausführlichen Liner Notes von Mark Blake von Mojo und Erinnerungsstücke.

Das Debütalbum „Thin Lizzy“ der irischen Rockband Thin Lizzy erschien am 30. April 1971. Im August
desselben Jahres folgte die EP „New Day“, produziert und aufgenommen von Nick Tauber in den Decca
Studios.
Diese Deluxe-CD- und LP-Veröffentlichungen zum 55. Jubiläum von Thin Lizzys Debütalbum enthalten
Raritäten, BBC-Sessions und bisher unveröffentlichte Musik Richard Whittaker hat einen neuen Stereo-Mix
des Albums erstellt, der auf der CD sowie in den 2-LP-Versionen enthalten ist.
Die 4-LP-Version enthält das Album sowie drei CDs mit seltenem Material, von dem einiges zum ersten Mal auf Vinyl erscheint.
Auf dieser LP haben Thin Lizzy alles in ihre Musik gesteckt und sind dabei Risiken eingegangen. Die
LP ist leidenschaftlich, energiegeladen und unverwechselbar. Die 3-CD-Version enthält ein Blu-ray-Boxset
sowie ein Hardcover-Buch mit ausführlichen Liner Notes von Mark Blake von Mojo und Erinnerungsstücke.

Mit Conal veröffentlichte Conrad Schnitzler 1981 eines der faszinierendsten Werke seiner produktiven Schaffensphase - ein Album, das seinen stetigen künstlerischen Aufbruch eindrucksvoll dokumentiert. Bestehend aus zwei rund 21-minütigen Tracks, entfaltet sich Conal wie ein vielschichtiges Klangpanorama: keine lineare Erzählung, sondern ein offenes Geflecht aus elektronischen Strukturen, Schichtungen und Übergängen. Schnitzler verdichtet hier unterschiedliche musikalische Ideen zu einer Art Momentaufnahme seiner kreativen Entwicklung - roh, präzise und kompromisslos. Die außergewöhnliche Klangqualität und komplexe Gestaltung lassen den Einfluss des Paragon Studios erahnen, das ihm ideale Bedingungen für seine visionäre Arbeit bot. Conal steht exemplarisch für Schnitzlers rastlosen Innovationsdrang - ein Schlüsselwerk elektronischer Musik, das bis heute nichts von seiner Faszination verloren hat.

1969 salsa gem originally released on Mary Lou Records, one of the labels in the right place at the right time, just before Fania smashed almost all the competition. The album is mostly comprised of guaguancós, boleros, and improvised-space-filling descargas (jam sessions). We are now happy to reissue this rare and in-demand album after decades unavailable! It includes an insert with liner notes. "Soogie" (1969) was Willie Rodríguez's first album for Mary Lou Records. Mary Lou Records, at that time, was also one of the labels in the right place at the right time, just before Fania smashed almost all the competition. The album is mostly comprised of guaguancós, boleros, and improvised-space-filling descargas (jam sessions). This is remarkable, as it hardly includes boogaloo, which was still prevalent during those years, yet already on the way out. According to Bobby Marín, its musical director "we didn't call it salsa at the time; it had no name. It was mambo or música movida, they used to call it on the radio." The first tune, 'My Dog Soogie,' which provides the title for the recording, is a playful guaracha about a dog The following track is the wildly popular 'La Puerta del Dolor.' 'El Chivo' (the goat) is a spicy guaracha, which changes into a son montuno-guajira. 'Grande' is a guaguancó, followed by 'Los Callos de Dolores,' also a delightful guaguancó. Then comes the ballad 'Porque yo te Amo,' a monster hit of the sixties by popular Argentine singer Sandro. Next we have 'Al Compás del Güiro,' a guaguancó, with the delicious chorus that goes "cómo va, cómo va, cómo va, mi güiro cómo va." 'Paul's Thing' is an instrumental guaguancó, with engrossing sax solos. Finally, we have the smashing, extended descarga 'Salsa con Willie Rodríguez.' We are now happy to reissue this rare and in-demand 1969 salsa gem after decades unavailable!

Scritti Polittis modernes Meisterwerk Cupid & Psyche 85 erscheint in einer neuen, liebevoll kuratierten Edition - eine Hommage an ein Album, das bis heute nichts von seiner Strahlkraft verloren hat. Die Deluxe-Version vereint die begehrte erweiterte Fassung des Albums mit ausgewählten Raritäten aus dem Bandarchiv und bietet so einen neuen, vielschichtigen Zugang zu diesem Klassiker. Zum ersten Mal überhaupt wird die ursprünglich für das damals revolutionäre CD-Format konzipierte 13-Track-Version aus dem Jahr 1985 auch auf Vinyl veröffentlicht. Die klangliche Aufbereitung übernahm Chris Athens - bekannt für seine Arbeit mit Künstlern wie Drake und den Beastie Boys - unter der Leitung von Frontmann Green Gartside. Ergänzt wird die Veröffentlichung durch drei bislang unveröffentlichte Stücke: Perfect Way (Version), Lover To Fall (12" Dance Mix) und Perfect Way (Perfect Way Mix). Diese Tracks öffnen ein Fenster in die kreative Werkstatt der Band und zeigen, wie selbstverständlich Scritti Politti Einflüsse jenseits der Indie-Wurzeln integrierten. Auch inhaltlich wird die Edition vertieft: Green Gartside und David Gamson, maßgeblich an der Entstehung des Albums beteiligt, steuern persönliche Linernotes bei, die Einblicke in den künstlerischen Prozess geben. Cupid & Psyche 85 gilt als visionär und stilprägend - ein Album, das Pop neu dachte. Mit seiner Mischung aus eingängigen Melodien, anspruchsvollen Arrangements und innovativer Studiotechnik überschritt es die Grenzen der damaligen Produktionsmöglichkeiten. Gleichzeitig nahm es Entwicklungen vorweg, die heute das Fundament moderner Pop- und Hip-Hop-Produktionen bilden. Wo bereits das Debüt Songs To Remember erste Pop-Akzente setzte, entfaltete sich Cupid & Psyche 85 in voller Farbigkeit: ein kunstvoll komponiertes Klangbild, das emotionale Tiefe mit technischer Raffinesse verbindet - und damit bis heute als eines der großen Statements in der Popgeschichte gilt.

French quartet Mourir are preparing to release their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir's approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound - one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating. Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity - a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album. Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past. FFO Ultha, Fluisteraars, Envy and Neurosis

French quartet Mourir are preparing to release their second full-length studio album, Nous, le venin, this summer via Pelagic Records. Their forward-thinking take on black metal and uncompromising approach to their work marks them out as ones to watch when they present this new material live at festivals across Europe including Hellfest, Rock In Bourlon and Resurrection festival in the months to come. With a demo, an album and an experimental EP to their name, the four-piece retreated to the studio at the end of 2025 to write the music for Nous, le venin. Recorded in January 2026 with Amaury Sauvé (Birds in row, Igorrr, Pneu) at The Apiary Studio in Laval, France, the six tracks are the very embodiment of Mourir's approach to black metal. Although they draw inspiration from many artists in the old-school black metal world, they opted to lean into a more modern sound - one that would allow the depth of their sonic choices to shine. Blending elements of sludge and post-metal to the rawness of their black metal sound, and combining this with a mix that gives space to both the low frequencies and the high-octane viscerality, Mourir have created something both distinctive and captivating. Thematically, the band turns their detached gaze towards an ever-more untethered modern society, one that is inhospitable to those seeking meaning in the cruelty and absurdity of a seemingly senseless world. Yet within these tracks exists slivers of light, of hope and of luminosity - a belief that something better is possible is woven throughout the melodic passages and most celestial, ecstatic elements of their sound. The evocative cover art by Thomas Davezac captures the feeling of disconnection that permeates the album. Mourir have recorded an album that cements their place among underground greats who deftly eschew the nostalgic trappings of black metal convention and breathe new life into the genre. Nous, le venin is imbued with raw emotion that is perfectly complemented by stylistic choices that echo the sentiment of being freed from the chains of the past. FFO Ultha, Fluisteraars, Envy and Neurosis

Zum 20-jährigen Jubiläum von "The Greatest" erscheint das legendäre Album von Cat Power erstmals als pink farbene Vinyl-Edition - inklusive einer streng limitierten Neuauflage des ikonischen rosa Foliencovers. Eine Veröffentlichung, die nicht nur Sammlerherzen höherschlagen lässt, sondern auch die zeitlose Magie dieses außergewöhnlichen Albums neu aufleben lässt. Für die Aufnahmen kehrte Chan Marshall damals nach Memphis zurück - direkt an die Quelle des warmen, sinnlichen Hi-Records-Sounds der 70er-Jahre. Gemeinsam mit Soul-Legende Mabon "Teenie" Hodges, Gitarrist und kreativer Partner von Al Green, entstand ein Sound voller Tiefe, Gefühl und musikalischer Eleganz. Hodges, Mitautor von Klassikern wie "Love and Happiness" und "Take Me to the River", prägte mit seinem unverwechselbaren Gitarrenspiel das gesamte Album. Unterstützt wurde er von seinem Bruder Leroy "Flick" Hodges sowie weiteren Größen der legendären Memphis-Szene. Zusammen erschufen sie einen Klangkosmos aus samtigen Bläsern, funkigen Streicherarrangements, sanften Background-Vocals und tief verwurzeltem Southern Soul. Das Ergebnis ist ein Album, das sich jeder Zeitströmung entzieht und bis heute nichts von seiner emotionalen Kraft verloren hat. Songs wie "Willie" wirken zunächst schlicht, offenbaren jedoch bei jedem Hören neue Facetten. "Where Is My Love" klingt zugleich zerbrechlich und zeitlos - wie ein Lied, auf das Cat Power ihr ganzes Leben hingearbeitet hat. Mit "Living Proof" öffnet sich das Album schließlich in einen zurückhaltenden Gospel- und Country-Soul-Swing, der den ruhigen Momenten eine neue Intensität entgegensetzt. "The Greatest" ist weit mehr als nur ein Album - es ist eine musikalische Reise voller Melancholie, Wärme und Schönheit. Zwei Jahrzehnte nach seiner Veröffentlichung gilt es längst als moderner Klassiker und als eines der eindrucksvollsten Werke im außergewöhnlichen Schaffen von Cat Power.

A master class of shimmering, surrealistic '67 British psychedelia that is widely considered a holy grail of the genre and currently fetches huge prices in the collectors' market. 'Baby Your Phrasing is Bad' boldly rides the surging psychedelic wave that was about to crest in London that summer with swirling fuzz guitar, a spiraling solo, and a hazy, spaced-out vocal.First-ever legit reissue. Caleb Quaye only released one single in the sixties under his own name, but what a record it is! Released on Philips in June 1967, 'Baby Your Phrasing is Bad' boldly rides the surging psychedelic wave that was about to crest in London that summer with swirling fuzz guitar, a spiraling solo, and a hazy, spaced-out vocal. On the other side, 'A Woman of Distinction' is only fractionally less freaky with treated vocals and a short but gracefully-executed guitar solo. Contrary to hearsay, rumors and guesswork, it can be confirmed that Elton John did not play on the session. However, shortly afterwards, this same core lineup, with Caleb producing, recorded an album with Elton, "Regimental Sgt Zippo", a superb psychedelic pop work that remained unreleased until 2021.

Reissue of the debut album by Laghonia, one of the most important bands of Peruvian rock. Originally released in 1960, "Glue" will be cherished by lovers of Latin American rock, pop and psychedelia as practiced by other similar classic bands such as Traffic Sound, We All Together, Black Sugar and Telegraph Avenue. After four brilliant singles, in 1969 the Peruvian band New Juggler Sound, formed by Saúl Cornejo (guitar), David Levene (lead guitar), Ernesto Samané (bass), Carlos Salom (organ) and Manuel Cornejo (drums), changed their name to Laghonia and released their debut LP "Glue" on the MAG label. The album included those previously released tracks, which were very influenced by the British rock scene of those years, to which they added fiery guitars bursting with fuzz and wah-wah, the ever present and hypnotic Hammond organ sound and Latin American percussion and rhythms. The result was a wonderful mix of mid-60s British beatmelodies, Jimmy Hendrix's intense rock, Cream's heavy blues and Santana's Latin rock. "Glue" is regarded as one of the key albums of Latin American psych and garage rock and is an essential record for any fan of those genres. Deluxe edition: 180g vinyl LP in tip-on jacket and insert with liner notes.

Debut EP (1969) by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album "Gusano mecánico". Includes versions of 'Born to Be Wild' by Steppenwolf, 'Fire' by The Jimi Hendrix Experience, and 'Sunshine of Your Love' and 'Tales of Brave Ulysses' by Cream. On October 7, 1974, the now-historic "Gusano mecánico" was released - the only full-length album by the legendary Bolivian rock band Climax. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Alvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s Bolivian countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson, Lake & Palmer played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. Their early EPs paid tribute to their musical heroes. The first of these is titled "Born to Be Wild" (1969), including versions of 'Born to Be Wild' by Steppenwolf, 'Fire' by The Jimi Hendrix Experience, and 'Sunshine of Your Love' and 'Tales of Brave Ulysses' by Cream. Recording covers was completely normal at the time and was also their way of learning the musical language. It's worth noting that the term "cover" did not carry the meaning it has today; back then, the main goal was to spread the music and bring it to a wider audience. First time vinyl reissue.

First time double-cassette reissue of 1987's double LP opera rock by Spain's legendary punk band Eskorbuto. "Los demenciales chicos acelerados" is a political satirical work against any kind of dictatorial regime. "Los demenciales chicos acelerados" is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double LP rock opera in the vein of "Quadrophenia" by their beloved The Who. It tells the story of an unscrupulous young man who wishes to achieve power at all costs, stepping over everyone and everything in order to do whatever he wants politically. In the end, he falls due to his ego and is betrayed by those around him. Hence lines such as "crowds are a nuisance", "I'll come unscathed out of the attacks planned by my image consultant" or "shouting in front of the scum". In 1988 band members Iosu and Juanma narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster. This satirical political plot also explains the controversial sleeve art, Eskorbuto were equalling the unprincipled politician of their rock opera with the Nazis and Franco's dictatorship. It's a conceptual record that attacks any kind of dictatorial political regime. The original sleeve caused some trouble, to say the least, with its combination of Nazi photos and the Spanish flag on the back accompanied by the words "Of national interest". lthough "Los demenciales..." came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to the Twins label, which also released it a few months later with new cover art.The album contains new versions of a few previous tracks such as 'Ratas rabiosas' and 'Enterrado vivo' plus the studio version of 'Más allá del cementerio'. For the recording the band enrolled keyboardist Aitor Amezaga, who would also collaborate on their next album.

Second EP (1970) by the legendary Bolivian band Climax, recorded during their hard rock period, before evolving their sound toward progressive rock a few years later with the release of their well-known album "Gusano Mecánico". Includes a new funky version of 'Born to Be Wild' by Steppenwolf, as well as three original compositions by the band. On October 7, 1974, the now-historic "Gusano mecánico" was released - the only full-length album by the legendary Bolivian rock band Climax. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Alvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s Bolivian countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson, Lake & Palmer played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. Their early EPs paid tribute to their musical heroes. Their second EP "Born to Be Wild II" was released in 1970, it featured a new funky version of the Steppenwolf original. It also introduced the band's first original compositions and their new influences: 'Ritmo de la Vida,' an instrumental chord-driven melody with Latin jazz overtones where we begin to hear the influence of Santana; 'El Abrigo Café de Piel de Gallina,' a standard blues number that recalls 'All Your Love' by Otis Rush; and 'The Seeker,' with a Latin vibe and lyrics that include the first reference to drug use in Bolivian music. First time vinyl reissue.

The Bug and Ghost Dubs relentlessly probe and atomize original material culled from Kevin Richard Martin's critically acclaimed 'Sub Zero' album. ("Monolithic and unforgiving, even by the Bug's standards, representing his most suffocating take on ambient dub yet." Pitchfork). Remixed to punish sound systems and freeze up the dance, both Fiedler and Martin trade fresh, contrasting blows, after their recent IMPLOSION face off album on PRESSURE last year. (Dub/Reggae album of the year, 2025, in 'The Wire') The resulting 4 remixes are every bit as hypnotic and persuasive as you would hope for from productions fresh out the soundlabs of Michael Fiedler aka GHOST DUBS and Kevin Richard Martin under his dancefloor destroying Bug alias. Both producers intensify the desolate mood of the originals but introduce demolition inducing beats which provide the literally irresistible momentum. Echoes of the originals are respected and heard throughout, but the extra gear shifts pay off brilliantly. Guaranteed to push serious air, and test the most powerful of sub woofers, these 4 remixes vary from heavy to superheavyweight. i.e. GHOST DUBS outputs a deliriously stoned headnod with his zonal refix of 'When I'm Gone', which miraculously sounds both subtley mysterious, but monolithically huge, whilst The Bug prowls ice cold, on the noirish, narcotic, instrumental hip hop of 'Too Human', which sounds like prime Mobb Deep mixed by Rhythm & Sound' at 16 bpm. Essential remixes of an already very special album, the original atmosphere is not only captured expertly, it is categorically amplified. LARGE.

One of the true, undisputed pioneers of Dutch techno, Steve Rachmad appears on Dekmantel for an EP of peerless machine music. On the 3-6-9 EP, the artist also known as Sterac, Parallel 9 and many other names plies a powerful trade in funked up, gritty and soulful techno made the proper way.

The connection between Rachmad and Dekmantel reaches back many years via his frequent appearances at the Dekmantel Festival — he has two performances at the 2026 edition as well as sets at Dekmantel Selectors lined up later in the summer. The 3-6-9 EP lands ahead of an album and world tour that marks 45 years in service to electronic music, nodding to Rachmad's earliest roots in electro funk through to his day-one embrace of house and techno as it made its way across the Atlantic from Chicago and Detroit.

There's a rowdy, rave-spirited energy to the synth hook bucking its way through the centre of '3 Creation Energy', coming on in brassy tones laced with artful distortion while the drums dutifully jack the way they ought to. There's a more linear, pressure cooker quality to the tidal filter work guiding '6 Physical Manifestation' to its own energetic peaks, while '9 Completion and Delivery' surfs on coursing waves of arpeggiated lead lines before breaking through to the oceanic calm of grandiose pad tones.

There's no mystery to unpick here — this is quite simply techno perfection made with the instinct and experience of a master of the form, whose life is synonymous with every inch of the culture.

Re-Master

Re-Master

2026 Repress

A (new) vinyl version for one of our favourite Mika Vainio (Pan Sonic) albums; originally recorded between 1999–2004 and issued on CD only under his revered Ø alias for Finland’s Sähkö Recordings in 2005.

»Kantamoinen« is perhaps the most intimately beautiful yet little-known LP in the Ø canon, bridging the gap between his classic ’90s minimal techno productions and the project’s subsequent turn to more ambient, kosmic, and dubwise dimensions in the coolly brilliant »Oleva« and »Konstellaatio« albums.

Dedicated to Mika’s grandma, Laina Vainio (1913–1991), and adorned with a cover image of her garden in Artjärvi, Finland, the 16-part 2LP is the closest you’ll get to a type of nostalgia in Mika’s catalogue.

Whilst recorded 1999–2004 at an early crest of his game-changing work with Pan Sonic, the album clearly manifests a quieter space for Mika to emote far more nuanced feels, from the wide-eyed vastness of »Galaxy« to a breathtaking »Sound Picture«, transitioning from Hans-Ulrich Obrist’s snippet of Oskar Sala into icy bliss, and the rosy warmth of »Summerland« clearly dedicated to his nan’s garden. The rest is better defined as ephemeral snapshots adding up to a broader picture, like a mind’s eye filling gaps in the memory from illusive vapours and sensations, generating all-time gems in the steepled choral synth voice of »In Wind«, or a sense of magic realism in the swaying organ of »Antenna-ant«, with the blooz folk wheeze of closer »To Home« that could feasibly score the most haunting moments of a Béla Tarr flick.

A major figure in Cameroonian makossa, Ngallé Jojo returns with Élo-Lodie / Caresse d"Amour, his first recording in over 30 years. A singer, songwriter, and producer born in Douala, he rose to fame in the late 1970s with tracks that have become classics, before settling in France and dedicating himself to his faith, like Al Green or Solomon Burke. Now rediscovered by collectors and new audiences alike, he makes a comeback that retains all the hallmarks of his style: a driving rhythm, layers of synthesizers, rich melodies... and his signature catchphrase: CHAUD (Hot). A must- see.

Between her elaborately conceptual Drag City singer-songwriter albums and celebrated soundtracks for Ryusuke Hamaguchi, in recent years Eiko Ishibashi has quietly self-released a significant body of solo and collaborative work on her Bandcamp page. At times resembling her solo live performances in their organic interweaving of instrumental, electronic, and concrete sounds, each of these less feted online releases offers a snapshot of the experiments always underway at Atelier Eiko. Some Fine Legacy is pleased to announce a vinyl edition of one of the most intriguing of these works, Gasping_Sighing_Sobbing, made in collaboration with Hiroshi Minami and first released in 2021.

Active since the 1980s, Hiroshi Minami is a key figure in the Tokyo jazz scene, as well as a respected memoirist. Devoted to the great standards, which he explores with an Evans-ish delicacy of touch and Impressionist harmonic extensions, he is equally at home working up variations on tunes by Ryuichi Sakomoto and The Beatles or experimenting with ambient electronics. A single note from his piano is the first thing we hear on Gasping_Sighing_Sobbing, the space left by its decay unexpectedly filled by a synth arpeggio that quickly fades away as the piano returns with a balladic chord sequence.

Like her frequent collaborator Jim O’Rourke, Ishibashi possesses the virtue of patience, recognising the beauty of lingering at length in a single musical environment. Throughout its 40-minute duration, Gasping_Sighing_Sobbing remains lost in this maze of obstructed and fragmented piano balladry. The musical surface is in one respect placid, but close listening reveals dynamics and processes that are deeply strange: the resonance of a chord dying away is frozen, expanding to become a cloud that suddenly makes way for the piano’s return; or the piano is looped into a ticking glitch or a time-stretched shudder, momentarily sinking under lapping waves, distant bells, and snatches of conversation. Ishibashi’s subtle vocals and synths colour the piano passages like views through distorted glass. The metaphor of cinéma pour l’oreille is perhaps overused in discussions of the musique concrète tradition, but here the visual associations are almost unavoidable: especially when Daisuke Ijichi joins on upright bass, it’s hard to shake the cinematic image of a smoky jazz bar—shown in a sequence, perhaps, that cuts repeatedly to the musicians’ and audience’s thoughts and dreams. Like much of Ishibashi’s work, this collaboration with Hiroshi Minami is inconspicuously radical, shaped at the deepest level by electro-acoustic procedures even as it luxuriates in melancholic beauty.

The album comes at a time when connection is needed more than ever. A generative connector and community leader Allison Russell, alongside production team Dim Star, cast a creative circle of collaborators to bring the songs to life, emerging from honest, raw dialogues between friends, lovers, chosen family, humans. The new record features Norah Jones, Joy Oladokun, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Brittney Spencer, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma and Ahya Simone. Available on "sea foam" coloured vinyl and digipak CD editions

Houndmouth frontman Matt Myers, whose band spent the previous decade blending rock & roll and American roots music into radio staples like the chart-topping, platinum-selling "Sedona," struggled for two years to finish newsongs

Not just a musical project, but an outlet for him to push the envelope of extreme music, challenging the listener to leave behind preconceptions of genre limitations and to approach the music with an open mind. In his exploration of the musical outer limits, he is joined by fellow seasoned pros Steve Tucker (Morbid Angel) on vocals, Flo Mounier (Cryptopsy) on drums and Derek Sherinian (Dream Theater, Steve Vai, Malmsteen, Kiss) on keys. An allstar line up that grabs the attention of any metal/ progressive music enthusiast. The project began whilst Sonny was on tour with Morbid Angel. Sonny explained the concept of the band to Steve Tucker, who was intrigued and fully committed to getting involved. Sonny wasted no time and began handwriting transcripts for what would become the earliest Arise From Worms material, whilst on tour.

At once scathing and stirring, the sharp, insistent riffs go hand in hand with elegant melodies that never outstay their welcome. The aggression and poignancy is beautifully managed with plenty of variations provided to highlight those emotions at the right times. After experiencing the turmoil of life, the aching pain in the melodies is all too palpable. "No Plenitude Without Suffering" is a heartfelt, meticulously put together, pristinesounding debut from a veteran musician that is bound to stand the test of time if only on the basis of the sheer quality of melodies contained within.

Trha is the most enigmatic and visionary creation of Damian Ojeda, an American homebody known for his project Sadness Trha navigates the depths of atmospheric black metal, dark ambient, and ethereal sounds, creating a bridge to an imaginary world called Endlhetoneg.

Katatonia was formed in 1991 by Anders Nyström & Jonas Renkse. Their debut album, ‘Dance Of December Souls’, was released in 1993, gaining the band recognition for their eclectic brand of gothic doom/death metal & joining acts such as Paradise Lot & My Dying Bride as one of the genre's defining bands. Over the years, Katatonia evolved beyond their more extreme metal origins to become one of the pinnacles of the progressive metal genre.

‘Viva Emptiness’ was Katatonia’s sixth studio album & is considered among the band’s strongest works; a step up even over the seemingly insurmountable greatness of previous release, ‘Last Fair Deal Gone Down’. The album was recorded at the famous Soundtrade Studios (part of the 301 group) in Stockholm in October/November 2002 & released the following year; further refining Katatonia’s unique & poignant brand of melodic dark rock & metal.

This edition of 'Viva Emptiness' features the original 2003 audio mix, which received a recent half-speed master courtesy of Abbey Road Studios, London, & is presented on black vinyl. The release contains the original artwork from Travis Smith.

Across landscapes of electronica, ambient textures and jazz improvisation, Be Quiet unfolds as an intimate, spatial set of recordings - built on proximity and contrast, where different cultures, disciplines and sonic identities meeting Moalvaer's unmistakable trumpet voice. The album is accompanied by a documentary film directed by celebrated Norwegian filmmaker Per Manning, capturing the process, environments and relationships behind the music, and informing the project's visual world. Be Quiet unfolds as Molvaer steps into each collaborator's space, responding in real time and shaping a body of work that remains fluid, intimate and constantly in motion.

* 180 gram audiophile vinyl
* Gatefold sleeve
* High quality PVC Protective Sleeve
* 4 page booklet with liner notes and photos
* Selection of easy listening songs, includes "Ticket To Ride", "Rainy Days and Mondays", "Please Mr. Postman", "Yesterday Once More" and solo songs by Karen's "Still Crazy After All These Years" and Richard's "Karen's Theme"
* Limited first pressing of 3.000 individually numbered copies on white vinyl

The Collected album by the Carpenters brings a beautiful collection from the immense popular soft-pop duo. From their humble beginnings in the late '60s until today, siblings Karen and Richard Carpenter are one of the most successful duos in musical history. With Karen's absolutely perfect vocal delivery and Richard's creative arrangements, they are unstoppable.

This 2LP set inside a gatefold sleeve brings together their hits, album tracks and more. It delivers the best selection of easy listening songs in a nutshell. Glorious pop nuggets by the Carpenters will melt the heart and uplift the soul, including "Close to You", "Ticket to Ride", "We've Only Just Begun", "Superstar", "Rainy Days And Mondays", "Bless the Beasts And the Children", "Hurting Each Other" and many more.

An Easter egg is the track "Karen's Theme" by Richard Carpenter, who dedicated this song to Karen after her tragical death in 1983.

Producing a distinctively soft musical style, they became one of the best-selling music artists of all time. During their 14-year career, the Carpenters recorded 11 albums, 31 singles, five television specials, and a short-lived television series.

The Carpenters had three No. 1 singles and five No. 2 singles on the Billboard Hot 100 and fifteen No. 1 hits on the Adult Contemporary chart. In addition, they had twelve top 10 singles. To date, the Carpenters' album and single sales total more than 100 million units.

Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum) presents his lush Exotica inspired 2016 album on LP for the first time in a limited edition deluxe gatefold sunset swirl coloured vinyl edition, with each pressing having a unique pattern.

For fans of Air, Martin Denny & DJ Shadow.

'The Double Sunrise' is a re-imagining of Exotica seen through Ferguson’s own lens, which includes Pop and Hip Hop elements plus samplers, synths and drum machines thrown into the mix. That combination of beats and lush cinematics owes as much to Exotica pioneer Martin Denny as it does to Air and DJ Shadow.

Guest vocalists include Melanie Pain (Nouvelle Vague), who brings a sweet Francoise Hardy and Jane Birkin influence to her songs, and Australian singer Meg Washington. As well as her own successful career, Bamboos fans would know Washington from her vocals from “The Wilhelm Scream” and “King Of The Rodeo”, as well as “Beautiful Trash” from the 2011 Lanu album ‘Her 12 Faces’.

Ferguson's own instrumentals are also gems of lush, nostalgic delight.

Reviews for ‘The Double Sunrise’

“Even with the clear influence of South Pacific exotica, this second LP is still typical Ferguson: tight, snappy and doused in retro airs.” - Rolling Stone Magazine

“Bamboos supremo Lance Ferguson uses South Seas exotica as a jumping-off point for a record that deftly crosses datelines. Giddy effervescent soundscapes such as “Tiny Dots” sit back to back with breakbeat grooves like “Nightmarchers””. The Age

“This is one of those summer albums you will return to every year. Stunning.” The Daily Telegraph

“The concept for The Double Sunrise is very specific, but it's executed brilliantly...It's one of those records that evokes a place and a feeling that most of us only ever dream about.” - Double J Radio (Feature Album)

African visions, Middle Eastern mirages, and cosmic pulsations: the map of Giuliano Sorgini’s sonic universe continues to expand, revealing new, uncharted territories.

Set for release on 10 July, the 7-inch Savana Selvaggia brings together two extraordinary, previously unreleased tracks, shedding light on one of the most visionary facets of Sorgini’s library music aesthetic. On Side A, “I misteri del mondo” (The Mysteries of the World) transports us to an imagined, ancestral Africa suspended between endless horizons, elegiac wilderness, and analogue electronics.

On Side B, “Arabian Safari” opens the door to a mystical, Arabic-tinged soundscape where African imagery blends with Middle Eastern influences and kosmische futurism. Driven by a potent mix of electronic drums, hypnotic sequencing, and fiercely inventive synths, it strikes a sonic kinship with the finest European Krautrock.

The dialogue between these two tracks perfectly highlights the composer's artisanal, experimental approach. Here, the Solina, Minimoog, modular circuits, pulsating synth lines, and suspended melodies intertwine to form a fascinating, enigmatic, and deeply personal sonic world—one built entirely by Sorgini in his Cat & Fox Studio in Rome, located a mere stone's throw from the RAI headquarters.

Two forgotten tracks. Two cinematic journeys whose original visuals have been lost to time. Two missing puzzle pieces in the ongoing recovery of the work of a composer who sounds more modern today than ever before. A magnificent sonic transmission from a bygone era that lands with the force of a contemporary revelation.

In his most self-aware and sonically refined work to date, JORDY returns with In Retrospect—an 11-track journey through the clarity of hindsight. Transitioning from a breakup record into a manifesto on healing, the album captures the "push-and-pull" of turning 30 and finding power in the wreckage of the past.

Known for his unmistakable blend of "pop precision" and vulnerable storytelling, JORDY moves past the guilt of time wasted to celebrate the person he has become. This is an album about finding yourself again after the noise fades.

In Retrospect is a love letter to the music that shaped a generation. Sonically, JORDY pays homage to his roots, blending the infectious energy of early 2000s pop-punk and Hilary Duff-era bubblegum with the high-gloss production of modern synth-pop.
JORDY commented, “In Retrospect started as a breakup record, but it quickly became something much bigger. It turned into an album about healing. About growing. I think when people find themselves stuck in bad relationships, they often blame themselves for not leaving sooner. They carry guilt over the time they feel they’ve wasted. But writing this album helped me see it differently. The moment I chose to leave the toxicity behind, I felt like I found myself again. I got healthier, mentally and physically. I gave myself permission to mourn the life I thought I’d be living at 30, the future I imagined as a kid. I found peace in remembering that nothing is ever as serious as it feels. I found my power again. In retrospect, the pain and suffering may have been the very thing that saved me.

“Sonically, this album pays homage to my roots - to my younger self blasting Hilary Duff and pop punk bands alone in his room. It’s nostalgic. It’s the kind of music I love to listen to. It feels more like me than anything I’ve made in a long time. It’s funny and catchy, vulnerably heartbreaking, and beautifully hopeful all at the same time. It’s exactly where I am right now,” he added.

Barry Alan Pincus ist kein guter Name für einen Sänger, dachte sich dieser Künstler zu Beginn seiner Karriere, und er nannte sich Barry Manilow. "Brandy" ist auch kein so toller Name für seinen ersten Hit, also entschloss er sich, ihn "Mandy" zu nennen. Das war 1974. Der Rest ist Geschichte. Barry Manilow zählt ohne Zweifel zu den erfolgreichsten Künstlern der populären Musik, seine Nummer-1-Erfolge sind beispiellos, und seine Songs wie "Mandy" leben auch in jüngeren Generationen immer noch fort. Trotz (oder vielleicht auch gerade wegen) seines nicht immer leichten Stands bei den Kritikern hat er über Jahrzehnte eine Fangemeinde um sich geschart, die in puncto Größe und Anhänglichkeit ihresgleichen sucht. Deshalb wird auch die jetzt erscheinende neue Best-Of-CD "Ultimate Manilow" mit Sicherheit wieder ihre begeisterten Käufer finden. Auf ihr sind 19 absolute Hits des Balladen-Königs versammelt, vom erwähnten "Mandy" über "Could It Be Magic" bis zu "Copacabana". Als Bonus-Track zusätzlich: die bislang ausserhalb von USA unveröffentlichte Nummer "Who Needs To Dream" aus dem Manilow-Musical "Copacabana". Die VÖ wird von einer zielgerichteten Print-Marketingkampagne begleitet.

Whether you’re cheering for Montreal or Boston, Hollanov always comes out on top. Relive every beat of Shane and Ilya’s yearslong rivalry--turned--romance with the official Heated Rivalry soundtrack on vinyl, featuring a curated selection of needle--d-rops from the series by Wolf Parade, Feist, t.A.T.u, Harrison and more, alongside selections from Peter Peter’s pulse-pounding, heart-m-elting original score, from the Vegas penthouse all the way to the cottage.

Pressed on two striking block-c-olored discs (Montreal Metros Blue/Red and Boston Raiders Black/Yellow), the deluxe gatefold edition includes printed sleeves, two trading cards, a fold-out poster, and liner notes by show creator Jacob Tierney.