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VIBRAPHONE RECORDS PRESENTS ANOTHER STUNNING RELEASE BY TAI DAVIS !

The Total Space sees Boa Morte edge deeper into the woods of ambient, drone and synthesised sound with little to guide them but their innate melodic compass and instinct for unorthodox song. Daniel Presley, the perma-nomadic Texan producer, flew in to safeguard the Boa Morte fundamentals: emotive yet unsentimental vocals; a disquieting ease with space and silence; percussive interventions on drum-shell, tom-rim and cymbal-cup; an aversion to rhythm guitar; harmonies that add rather than dilute personality, and a bloody-minded patience when it comes to pacing.

Derry-based, LGBTQ+, 3-piece pop-punk band Cherym unveil their long awaited debut album 'Take It Or Leave It'. A spring '24 UK and EU album headline tour is already announced, as well as supporting Enter Shikari in Ireland in March 2024. With previous sold out support shows with Nova Twins & The Beths, as well as performances at SXSW & Truck Festival, the band have received stacks of support from BBC Radio 1 (5 plays of the latest single in one week), Kerrang, 6 Music, & Dork. 2024 is the year of CHERYM.

Head Body Connector is the third offering from Noah Prebish, Peter Spears, and Brother Michael Rudinski’s Psymon Spine project. It is a record that relishes in the heady, the psychedelic, the abstraction of temporality as we know it. Head Body Connector is a studio record from a band obsessed with production. It’s also a record that more so than any other Psymon release is interested in explicitly sounding live. It’s a guitar-forward album. Something that is ready-made to be performed. It. features Liquid Liquid’s Dennis Young’s percussion and Angel Deradoorian (Dirty Projectors, Flylo, The Roots) on backing vocals as well as long time collaborator Sabine Holler. Head Body Connector also saw the induction of two longtime friends of the band, drummer Zeb Stern and singer/guitarist Sarah Aument, both on tour and in the studio.

The WYLDE TRYFLES from Bordeaux sound wild and out of control, playing their modern take on ultra-fuzzed female-fronted 60s garage-punk, full of snotty garage vocals, screams, back from the grave vibes and hypnotic dangerous dancing beat! So, what do they serve on their third Soundflat Records-release 'Outta Tyme'? It's a brand-new killer 60's-garage-mayhem-punk-LP with 10 astounding tunes in the tradition of US-garage and British R&B/Freakbeat with an amazing vintage studio sound. You can expect the obvious classic fuzzy 60's garage-punk influence by the likes of LITTLE PHIL AND THE NIGHT SHADOWS, THE FIVE CANADIAN, THE OMENS, THE MUSIC MACHINE and THE YARDBIRDS; at the same time a great portion of 80's garage-revival-legends inspiration like THE PANDORAS or THE CYNICS, and of course the WYLDE TRYFLES' unique approach to their signature sound. You get nine smashing melodic TRYFLES-originals like the breathtaking 'Don't Leave Me This Way' or the catchy 'Don't Press Your Luck', plus one wylde coverversion of THE SAVOY's 'Can It Be', which seems to be tailormade for the band and will keep you dancing all night long. This LP is definitely among the top 60's garage revival records. 'Outta Tyme' is a fantastic new album by French garagepunkers THE WYLDE TRYFLES - don't miss out on this wylde nugget! Ready, steady, go and get it!

THEOPHONOS (ex-Serpent Column) and Profound Lore Records present “Ashes in the Huron River” to be released on LP/CD/Digital Feb 09, 2024. The new LP is named in honor of the local woods and riverlands that continue to inspire the studio project. This record is an account of a life spent in the rotten heartlands of neoliberal capitalism and a tribute to the vibrant underground music cultures that thrived before the second half of the last decade.

Expanding on the directness of “Nightmare Visions”, “Ashes” is grander in scope, and is internally regarded as a more focused analogue to 2019’s “Mirror in Darkness”. Hafsteinn Viðar Ársælsson’s dark and intricate illustrations once again accompany the music with striking depictions of abandoned landscapes, arranged to evoke a sense of catastrophe and unwilling transformation.

Primary musical influences include Death Grips’ “Jenny Death” (which the record homages in its gradient-like structure, its centerpiece “Still You Haunt Me” even acting as a reimagined “On GP”), the downtuned hyperaggressions of Morbid Angel’s “Gateways to Annihilation”, and the cinematic, raw intimacies of Pelican’s “The Fire in Our Throats Will Beckon the Thaw.”

THEOPHONOS (ex-Serpent Column) and Profound Lore Records present “Ashes in the Huron River” to be released on LP/CD/Digital Feb 09, 2024. The new LP is named in honor of the local woods and riverlands that continue to inspire the studio project. This record is an account of a life spent in the rotten heartlands of neoliberal capitalism and a tribute to the vibrant underground music cultures that thrived before the second half of the last decade.

Expanding on the directness of “Nightmare Visions”, “Ashes” is grander in scope, and is internally regarded as a more focused analogue to 2019’s “Mirror in Darkness”. Hafsteinn Viðar Ársælsson’s dark and intricate illustrations once again accompany the music with striking depictions of abandoned landscapes, arranged to evoke a sense of catastrophe and unwilling transformation.

Primary musical influences include Death Grips’ “Jenny Death” (which the record homages in its gradient-like structure, its centerpiece “Still You Haunt Me” even acting as a reimagined “On GP”), the downtuned hyperaggressions of Morbid Angel’s “Gateways to Annihilation”, and the cinematic, raw intimacies of Pelican’s “The Fire in Our Throats Will Beckon the Thaw.”

All-Analogue Vinyl LP for the First Time in Almost 50 Years!
Mastered by Bernie Grundman from a 1-to-1 Flat Transfer of the Original Analogue Master Tapes!

Pressed on RTI's HQ-180 for the First Time Ever!

Deluxe "reversed" tip-on jacket that faithfully reproduces the original with highest-grade materials
Exclusive full-colour insert with new historical and production notes by Charles L. Granata and photos from the Sony Music Archives



This next all-analogue, HQ-180 gram LP is an impeccably performed and stunningly recorded late-period gem from The Titan of modern violinists. The Lark revisits works that helped define Heifetz in various points of his illustrious career and which highlight his crisp attacks, imaginative phrasings, and mellifluous sustained notes.

The repertoire is intriguing, combining two iconic pieces (Tomaso Antonio Vitali's Chaconne in g minor for Violin and Continuo, written in the Baroque period; and Gabriel Fauré's Violin Sonata No. 1 in A Major, Op. 13, written in the late-Romantic period) with Mario Castelnuovo-Tedesco's The Lark: Poem for Violin and Piano (a 20th-century modern tone poem). Although nearly two-hundred years separate their composition, these pieces complement each other beautifully: a testament to the discerning judgment of Heifetz and producer John (Jack) Pfeiffer, who helped create his albums.*

The LP was cut by Bernie Grundman from a straight 1-to-1 copy of the original session masters, meticulously created by Andreas Meyer at Swan Studios NYC. No digital processing of any kind was used. The original reverse-tip-on-style jacket and a brand new 4-page insert split the difference between the authentic, nostalgic feel of a mint original and a reissue's value proposition you've come to expect from Impex Records.

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). Ballads is an album that will never go out of style and never be unwelcome on any jazz lover's turntable.

You're about to experience Ballads at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you'll also receive a !2" x 12" 12-page booklet featuring liner notes by Ashley Kahn and recording session images by Jim Marshall.

The intense passionate Coltrane interpretation of standards such as "All Or Nothing At All," "What's New," "It's Easy To Remember" and the Sinatra classic "Nancy (With The Laughing Face)" are the essence of Ballads. When asked why attempt such an undertaking, Coltrane replied "Variety."

While it may have been a short detour by Trane before he exploded off into the nether regions of jazz music a few years later, it is still a fantastic document of one of the premier jazz groups of the 1960s.

Recorded December 21, 1961 and September 18 & November 13, 1962 at Rudy Van Gelder Studios.

"It's impossible to sleepwalk through tracks like "You Don't Know What Love Is" and "I Wish I Knew" and impart them with even a fraction of the emotional heft that the Quartet achieves. This is the type of jazz album in which the music just washes over the listener with it's restrained grace and beauty, and while it may not have the adventurousness that some listeners think Trane should have had each and every time he recorded, I'd say it shows off a side of him that only makes us appreciate his more bold and daring albums even more." — The Jazz Record

Soul Jazz Records’ feature-length documentary/CD/Book ‘Studio One Story’ is being re-released on 1 August 2011, and is also available for the first time as a stand alone DVD. The DVD is being issued as a prelude to the forthcoming deluxe-hardback book ‘Original Cover Art of Studio One Records’ released this autumn by Soul Jazz Records as well as a new Studio One album compilation on Soul Jazz to coincide with the new book.

Studio One Story is a documentary this is both a staggering slice of musical history and a definitive guide to Studio One, Jamaica’s greatest ever record company, and its legendary founder, Clement ‘Coxsone’ Dodd. ‘Studio One Story’ was filmed in 2002, two years before the death of the legendary Clement ‘Sir Coxsone’ Dodd, a man famously reticent of being interviewed - until the making of this film. Described by Chris Blackwell as the Motown of Jamaica, or ‘The University of Reggae’, Studio One is where the careers of literally hundreds of reggae artists began: Bob Marley and the Wailers, Alton Ellis, The Heptones, Ken Boothe, The Skatalites, Burning Spear and Sugar Minott, to name but a few! Studio One is the ‘foundation’ label of Jamaican Reggae and Clement ‘Sir Coxsone’ Dodd is seen by many as its father.

One and a half years in the making, Studio One Story is a truly unique documentary in which the late Clement Dodd gave unprecedented personal access to tell the previously untold story of how he and the many artists and musicians at Studio One literally shaped the rise of Reggae music from the 1950s onwards through to the late 1970s. This is the true story of reggae music and its Jamaican roots told from the inside: From the rise of Kington’s sound systems in the 1940s and 1950s, through to the evolution of a Jamaican music industry (and Studio One’s dominance) in the 1960s and the worldwide success of reggae in the 1970s.

The 4 hour documentary (including over an hour of extras) was filmed on location in Kingston, Jamaica and features interviews with Horace Andy, Alton Ellis, Ken Boothe, Sugar Minott, Denis Alcapone, The Ethiopians, Sylvan Morris, Johnny Moore, Lone Ranger, King Stitt and many others. The DVD also includes rare footage of The Skatalites, Jackie Mittoo, Count Ossie, Marcia Griffiths and others. As well as the stand-alone DVD, Soul Jazz Records are reissuing the original (DVD +CD+Book) original box set.

IF YOU ARE ORDERING THIS PLEASE CHECK IF YOU NEED NTSC (AMERICA, JAPAN, ETC) OR PAL (EUROPE, AUSTRALIA, ETC).
THE DVD HAS FRENCH AND ENGLISH SUBTITLES.

NB.MP3 Release is for the audio CD only.

REVIEWS ‘Studio One was Jamaica’s Motown. This documentary brings it brilliantly to life.’ The Telegraph ‘The history of Clement ‘Coxsone’ Dodd’s legendary Jamaica studio is fantastically told through interviews, copious amounts of music and historical footage and more.’ Uncut ‘Studio One Story is no mere historical document; it is a map that will lead you directly to a massive seam, endlessly mineable, of musical gold’ The Observer ‘A fascinating documentary’ The Telegraph ‘Compulsive viewing for anyone with an interest in Reggae’ The Wire

Warehouse Find!

A true studio visionary and son of Incognito's Jean-Paul 'Bluey' Maunick, Daniel Maunick virtually grew up behind the mixing desk and worked his way through the scenes of drum n' bass, acid-jazz, disco, samba, deep house and beyond. As Far Out's in-house producer his work is a key component in the consistency and transience of the label's sound, with key albums include Azymuth's Fênix, Marcos Valle's Estatica, Sabrina Malheiros' Dreaming and Far Out Monster Disco Orchestra. His latest credit on the catalogue is the next chapter of his Dokta Venom alias, Moodswings.Each track brings you a visceral dancefloor experience both sonically and structurally. Opener 'See the Sun' evokes an elevated, cloudy ether, with each kick drum another step up to the sky. Title track 'Mood Swings' deploys components of broken beat, garage, house, IDM and boogie, but shrouds them into a hazy deepness, like a dream through Maunick's musical memories. Whilst keeping the same intensity, 'I Owe u Something' ups the tempo and swings the mood. Propulsive percussion blurs the acoustic with the electric, glowing synths and anguished vocals formulate this eruptive full-floor belter that lodges somewhere in between early Pepe Bradock and Azymuth.With a solo album from Azymuth drummer Ivan 'Mamao' Conti, a collaboration between Sean Khan and Hermeto Pascoal, along with a long awaited new record from Sabrina Malheiros, 2017 is set to be an exceptional year for Maunick and Mood Swings is an inspired prelude of things to come.

Anyone who takes their old-skool hip-hop seriously knows Main Source were the real deal, and their 1991 album Breaking Atoms remains one of the greatest albums in the genre. While there was an eventual follow-up in 1994, hip-hop folklore has often spoken of their shelved 1992 LP The Science.

Bar the odd bootleg single or demo here and there, the album has never been heard but now a major missing piece in the story of early 90s rap is being put back into its rightful place, as P-Vine present the first ever release of The Science, cut from the group's own master tapes and guaranteed to be a new favourite for anyone who values the golden age of beats and rhymes.

Established in 1948 by César Roldán, Discomoda is one of the earliest record labels of Venezuela and the oldest family operated label in the country. Home to one of the most complete folkloric and popular music catalogues of Venezuela, the label also invested heavily in Afro-Caribbean and tropical rhythms that became popular in the 60s and 70s.

In the 1960s and before the Salsa era truly kicked off, Venezuela had a significant dance orchestra and big band movement. Unlike local record competitors dedicated to selling foreign productions, Discomoda achieved its leading position by recording the most important national bands, including Los Megatones de Lucho, Orquesta Sonoramica and Super Combo Los Tropicales; all featured in this compilation.

Later on, surrounding the festivities for the 400th anniversary of Caracas in 1967, the word "Salsa", which had been recently coined by famed radio host Phidias Danilo Escalona, was formalized to identify an Afro-Caribbean musical style with growing popularity in Venezuela and beyond. By then, the country was among the top 20 music markets in the world, with the local label Discomoda leading the way, responsible for one out of every five records sold in the country.

With the prolonged celebrations approaching due to the 400 years of the city, Discomoda and other labels began to capitalize on this new musical style by betting on both established and new local bands, such as Nelson y sus Estrellas, Los Kenya, Principe y su Sexteto and Los Satélites. As a result, this would kick off what could be considered a golden era of Salsa in Venezuela and which lasted until the mid-70s.

As we approach the 80s and with the emergence of new musical styles and bigger multi-national record labels funded by larger pockets, a lot of the previously popular bands begin to disband or choose to leave the country. Nonetheless, a few artists, like Rodrigo Mendoza, La Renovación and Grupo Yakambu, were still pushing out quality music.

We are thrilled and honored to celebrate one of Venezuela's and, equally, Latin America's most significant record labels, and to share a slice of their enduring influence in advancing Venezuelan-made Salsa music.

Soul Jazz Records’ 200% Dynamite! set the benchmark for reggae meets funk compilations that has never been bettered. Out of print for over 15 years this new 2023 edition with new tracks and is being released in a one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023.
Jam-packed with reggae tunes that crossed-over to become dancefloor hits such as Tenor Saw’s sound boy anthem ‘Ring the Alarm,’ K.C. White’s classic cut of the seminal ‘No, No, No’ and Augustus Pablo’s ‘Rockers Rock’, 200% Dynamite explores the links between reggae, jazz, funk and soul.
Carrying on perfectly from 100% Dynamite, this second compilation continues to trace the history of Jamaican reggae and the influence of American styles such as funk and jazz had on this music.
Featured here are serious funk and rocksteady tunes from the likes of The Skatalites and Johnny Osbourne through to Jamaican jazz from masters such as Tommy McCook and Byron Lee, as well as some serious dub from the likes of Augustus Pablo, King Tubby and Jackie Mittoo.
New bonus tracks on this new 2023 edition include seminal dancehall party cuts Sister Nancy’s ‘One Two’ and Chaka Demus and Pliers’ ‘Murder She Wrote’, alongside classic soul to reggae covers including cuts of Marlena Shaw’s ‘Women of the Ghetto’ and Odyssey’s ‘Don’t Tell Me Tell Her’.






‘Once again, Soul Jazz goes digging through the reggae vaults and produces another sterling compilation. If you’re looking for a primer on the music of the island, you could do worse than buying every one of the records in this superb compilation series.’ All Music
‘In Soul Jazz’s outstanding Dynamite! series 200% is the head-turner. The label has its finger on the pulse of the now just as surely as it does on that of the past.’ Pitchfork
‘Soul Jazz Records ‘Dynamite’ series has quickly become a
rewarding guide to reggae’s most infectious back pages. Every home
needs some Dynamite.’ Irish Times
‘Soul Jazz Records’ long-running series
of highly-regarded reggae albums.’
Rough Trade

Soul Jazz Records’ new 10th anniversary edition of their long-out-of-print Punk 45: There Is No Such Thing As Society. This is a one-off limited-edition heavyweight specialedition cyan coloured vinyl pressing + download code. The album charts the rise of underground punk and post-punk in the UK from 1977-81. This album is fully remastered and relicensed and includes five new tracks from 23 Skidoo, Notsensibles, Pretty Boy Floyd, The Astronauts and The Impossible Dreamers.


The album is a collection of seminal, classic, obscure and rare punk and post-punk singles from the likes of The Mekons, Johnny Moped, The Killjoys, The Rings and many more which all chart the rise of independent music and Do It Yourself culture that exploded in the wake of punk and during the years of Britain under Margaret Thatcher. The album comes complete with text, biographies on each of the bands, exclusive photos and original record artwork and is newly available as a limited-edition super-loud, super-heavy double gatefold-sleeve vinyl edition complete with full sleeve-notes plus download.

1973 Killer with 2 Dubs & 2 Clavinet Instrumentals

- Betty's classic third album, originally released by Island Records in 1975 - New vinly pressing on Metallic Gold colored wax - Featuring Betty's band Funk House - Booklet includes liner notes by John Ballon interviewing Betty plus full lyrics - Newly remastered from the original analog tapes by Kevin Gray at Cohearent Audio // In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic, and in full control, Betty paved the way for generations of future artists who said 'funk you' to the music industry and social norms. In 1975, Betty Davis's star was on the rise. With the backing of Island Records and a new band, Funk House, Betty's third album, Nasty Gal, leans into the hyper-sexualized persona with which her critics were so obsessed. She raps, purrs, shrieks, and moans on top of Funk House's manic funk-rock and lays claim to the "bad girl" anthems that now saturate the music industry. Mastered from the original tapes, Nasty Gal showcases Betty's groundbreaking work as a performer, writer, and producer.

First vinyl edition of the album »Rhetorical Islands«, originally released in 2012 as a limited-edition CD on Ielasi's Senufo Editions label. The album’s ten tracks have neither titles nor accompanying text, standing for themselves as what Ielasi himself has called ›isolated sound worlds.‹ They are nonetheless unparalleled in their plasticity, acoustic events with a rare degree of tangibility. Ielasi evokes physical objects, some of which seem to have been constructed out of paper and cardboard, others based on a mechanics of elastic materials. Of course these objects are hallucinations, and precisely because Ielasi constructs them so masterfully there’s no need for any further information. read on / listen

What can you say about the bass playing (and way more) legend that is Ade Shaw? During a long and mind-altering career, Ade has played with many outfits, most notably psych warlords Hawkwind, for whom he provided his trademark basslines for several years in the mid 70s. He has also played with Atomic Rooster (albeit briefly), Magic Muscle, Rustic Hinge, The Hawklords, Keith Christmas, Mike Moorcock’s Deep Fix and many more. More recently, (well, the last 30 years actually!) he has been the bass player in The Bevis Frond. For the last year or two, however, he has had to stand down from touring and gigging for personal reasons, but happily this has not prevented him from recording a new album. So it is with great pride and delight that we are now able to release ‘A Dark Reflection’ on Blue Matter. Eleven brand Adrian Shaw new songs ranging from out and out psychedelia, through rock to even a splash of lilting balladry. With Ade playing all the instruments bar a couple of guest appearances from Nick Saloman & Bari Watts, this is the Ade Shaw album we’ve all been waiting for. It’s a real stormer, and it’s a great privilege to be able release it on our label. Give it a listen & hopefully you’ll see what we mean

Chicago hip-hop outfit Angry Blackmen made up of Quentin Branch & Brian Warren (ABM) have been stretching their arms and tapping into different sounds since they smashed onto the scene with their debut single “OK!” in 2017. A prime introduction starring two emcees showing they deserve to wield the microphone and do so with good cause. Then barely a month later ABM released sophomore single ‘Riot!’ a complete shift in sound that still housed the foundation set in ‘OK!’ A few years later the duo would drop their debut project ‘Talkshit!’ which saw them amass the following they have today.
‘The Legend of ABM’ immediately smacks the listener in the eardrum leaving no second wasted and jumping straight to the point. The 11-track adventure truly presents an expression of hip-hop that we haven’t seen before, infusing multiple sounds with the 50-year old genre. To go even deeper, Quentin Branch & Brian Warren are teaching a masterclass in top-notch poetic lyricism, creating both accessible and mind-bending music. “Stanley Kubrick” has both heroes shattering the beat with their braggadocio for what is just the appetizer to prepare the listener for what’s to come in the next ten tracks. ‘Sabotage’ tells the story of two Black men hustling through the trenches of capitalism and the effect that this journey has on them. While the album exudes catchy wordplay and spine-splitting production, if you lift up the hood, ABM is spinning a tale of depression, existentialism and self-reflection that isn’t always pretty. “Dead Men Tell No Lies” is another mutation in sound for the duo, where the industrial sounds clash, violently yet perfectly together with a blistering hook harkening to the end of time. Warren & Branch’s raw poetry educates the listener of the pre-apocalyptic world we’re already living in throughout this project. ‘The Legend of ABM’ is not an excursion for the weak, the production is meant to snap your spine in half, the lyrics from Quentin & Brian are pathos-infused and relatable to anyone simply trying to survive.

A Place To Bury Strangers announce “Change Your God,” from their new 7-inch series, The Sevens, via Dedstrange. “Change Your God” appears alongside “It Is Time” in the first installment of the series, out digitally today and physically this Friday, February 23rd. The Sevens are four 7-inch white vinyl records being released each month from now through April. They unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed sixth album, See Through You. Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk/shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems.

Autumn 1904 is a post-punk indie-rock band formed in 1982 in Edinburgh, Scotland by Allan Dumbreck (keyboards) and Ross Thom (guitar). The band originally became a five-piece (Billy Bowie – bass, Keith Falconer – drums, Billy Leslie – vocals) but grew to a seven piece in early 1983 (taking on two female backing vocalists, Indira Sharma and Lisa Cameron). Autumn 1904 were part of the DIY indie-rock movement in Edinburgh in the early to mid 1980’s kicked off by The Shop Assistants, they worked alongside The Wild Indians, Finitribe (originally Gallery Macabre) and Goodbye Mr MacKenzie, often performing together or attending each other’s shows.

In February 1984 the band performed at the John Peel Roadshow at Edinburgh University and afterwards were invited to record a BBC Radio 1 session which was broadcast three times on the Peel show. They were immediately courted by 11 major record and publishing companies. In March 1984 their song “I heard Catherine Sing” featured on the Deadbeat magazine compilation album “Deadbeat 1”. Internal tensions and health issues over the summer of 1984 held up development and caused Sharma and Cameron to leave the band.

The band first split in January 1985 with Thom, Bowie and Falconer going on to form The Crows with former members of First Priority, including future Glasgow Cathouse / Garage promoter Donald McLeod MBE. Dumbreck and Leslie reformed the band and performed throughout 1985 sometimes including Shirley Manson, then working with Goodbye Mr MacKenzie and later with Garbage. This line-up lasted until November 1985 when the band split again. Dumbreck went on to work with Scottish groups The Big Dish, Horse and Thrum. Later working extensively in music education setting up the music department at UWS where Jim Prime (Deacon Blue) and Paul McGeechan (Love and Money) became lecturing staff.

The line-up at the time of the Peel session was Dumbreck, Thom, Bowie, Falconer, Leslie and backing vocalists Indira Sharma and Lisa Cameron.

In May 2021, the original five members agreed to re-master / re-record the original material from their studio recordings for release. Work began with producer Liam McCluskey (Gun, King King, Twin Atlantic). Approaching Ian Smith in 2022 at independent record label Last Night from Glasgow for advice, he offered to release the album on the label. The final masters include Tippi from label-mates The Hedrons on vocals and a number of fresh recordings of material written in 1982-83 but never previously recorded.

From out of nowhere - if nowhere is the febrile, warped and twilit imagination of Julia McFarlane - comes Whoopee, the second album by J.McFarlane’s Reality Guest. Whoopee is an esoteric, kaleidoscopic movie in music form directed by Julia McFarlane and co-conspirator Thomas Kernot. Full of life, breakbeats and smokey vignettes on the fragile nature of interpersonal relationships, Whoopee is a stylistic evolution from everything McFarlane has done before. Surreal, beautiful in parts and replete with the aching wisdom McFarlane’s songwriting has always promised, this Reality Guest pulls back the curtain on a whole scene of naked truth. Recorded in Melbourne in bursts since the release of 2019’s Ta Da, Whoopee features a new sound palette and band member in Kernot. The duo dive deep into electronic pop tropes, mining digital synths, samples, breakbeats and deep bass grooves, largely dispensing with live instrumentation. If Ta Da took twists and turns with your expectations, offering a Dada-ist, monochromatic take on pop music, Whoopee is McFarlane’s subterranean love-sick pinks, reds, greens, purples and blues. Becoming something of a tradition, the album starts with an instrumental intro pilfered from a 90s’ spy film or cinema intro music, puffing up the listener for the heart-squeezing bathos of Full Stops. Over a bleary backdrop of walking bass lines, jazz- inflected keys and smoked-out atmosphere, McFarlane’s poetry narrates the fragile state of a relationship: “You put a full stop where I thought there’d be a comma, I want the story to continue even with all the drama.” Over a palpable pain, the narrator is revelling in the drama of a relationship, addicted to tumult and heightened emotion. On Sensory, a space age bachelor lounge pad ballad, the converse state of the previous song is explored, here the narrator is battling the numbness of being out of the drama, stuck in a sensory-deprivation tank, anaesthesized and battling to emerge from the fog. Wrong Planet explores an otherworldly pop music, hewing a bright hook out of a sense of confusion. A bona-fide, sing-along chorus bursts out of the narrator musing on the absurdity of existing in this reality. It speaks of one of Julia McFarlane’s main talents, her knack of inspecting human relationships and states with a clear perspective, like an alien visiting Earth and realising everything we are is really, really strange. Whoopee is both more accessible than previous Reality Guest work and somehow more obfuscated. Where the production on Ta Da was dry, sharp and strange, this Reality Guest is blurred, almost smeared with the effluvium of 90s+00s culture and existence. Through it all, it’s hard to deny the undeniable pull of the songs. Precious Boy carries on the lounge theme with a whole sampler of cut up sounds fading in and out of the haze as McFarlane’s voice is right up to the speaker cooing and free- associating, maybe in love or maybe in confusion... maybe they’re the same thing? Sometimes the listener is invited to just bathe in the tone of the vocal, as on Apocalypse, where the texture and timbre of the vocal is luxurious, bathing in piano tinkles and double bass throb. On lead single Slinky, a cut up beat reminiscent of Washingtonian Go-Go drum patterns leads, the song slipping through your fingers, elusive and presenting sound as pure pleasure. Closer Caviar jumps back into the broken breakbeats of a surreal funk, fuelled by the sensory pleasure of the music, a hedonistic whirl in rapture, the narrator now living life to the fullest in all its giddy heights and deep troughs. This is the album’s main character fully-actualised and in the terrible, beautiful moment.

Happy we can introduce a new addition to our catalog THINNER005, an EP called

“ & . . “

as the title tells, it’s a joint release by our friends, KOOLMFL, Sonic Weapon &. . Lemmi Ash

“& . . “ EP includes three club tracks, which been power played by Powder over these years in many different moment.

Each track can add a distinctive touch to the night, as like completing your cocktail with lemon and/or lime.

_

KOOLMFL, fka K-LINE and Sonic Weapon is our regular suspects from Nagoya, motor city of JAPAN.

Some may know them putting out a shared EP “G” before on Thinner Groove and now they back to it again.

atonbow by KOOLMFL features words of a space traveller in state of peaceful sorrow, seemingly communicating their honest thought to the loved one who might not be hearing, Can you hear me ? … Hi astronaut, at least we can :)

KOOL’s clicky drum work pass the words to the floor, and the party breaks down with sudden synth and take all of us home.

,

On track HOMIE, Sonic Weapon shows his signature fast boogie style again in a new approach with much dubbed out, ear pleasing, filtering, minimalistic, and stylistic way. The texture keeps changing but keeping the groove.

Feels like the beauty of watching a bridge getting slowly collapsing after somehow you made it to the other side.

& . .



We also want to introduce Lemmi Ash, a Swedish duo formed by Samo DJ and Martinou, newly joining the TG spectrum,

The duo previously had a release from ESP institute and each of them countless solo appearance on various releases . . .

Nonetheless, they a good long time friend and perfect fit for this release.

The duo features comfy calming ear tickling electronic sound with some kiddish, animalistic, or primitive humor in their own balance. This track Presence grooves with a leaning forward racing gamey phrase drifting around the mini synth explosion, feels like a joyful cruise during regardless the intense highway.

Hypnotic synths, compressed grooves and enveloping textures are the Conrad Van Orton's trademark that we find also in this release. Four tracks for vinyl and a bonus track for digital: we are proud to present the second EP of the Roman producer (based in Berlin) on Attic Music.

Following on from their contribution to theButter SessionsCome Togethercompilation released in March this year, Melbourne'sPolitodeliver their debut EPUltraparallel.Politois the collaboration between musicians Robert Downie and Finnian Langham and dancers Arabella Frahn-Starkieand Hillary Goldsmith. The ensemble integrates improvised techno and contemporary dance to form well-considered and captivating performances. The spirit of these performances are masterfully captured on the 12" record. On the transition between mediums, the group states; "we always aim to capture the unpredictability and liveliness of our improvised performances when we record, and try to sculpt the feeling of continuous movement which is so intrinsically tied to Polito's identity."

Ultraparallelconsists of four tracks that were extracted from studio sessions, emerging organically whilst jamming. The EP's introductionHornet's Webwields mutilated samples of vocals and spoken word, paired with abrupt rhythms to forge anomalous techno. The eponymous trackUltraparallel, recorded in 2018, is a dark and brooding arrangement with a murmuring melody and an infectious recurring bassline. Polito reflects; "this track is from the first batch of studio sessions we had as Polito where our intention was to create more discrete 'tracks' which could be played by DJs, rather than the longform compositions more similar to the live performances which we had recorded up to that point."

Turning the record over,Seventh Limbembodies the music for dance nuance by infusing dub with sounds from outer-space. Polito reveals; "we wanted to explore creating something more in line with the mood of our live performances, which are typically slower and have a rather meditative atmosphere. The more relaxed tempo allows the dancers to move at a sustainable pace and gives the musicians more space to prepare and manipulate the various musical elements in real-time. The result is our first formal exploration of 'the chugger.'"Ultraparallel'sfinaleSublunaryis a playful sequence mingling electronics with an airy clarinet and saxophone.

Attuned to their audience,Politoimagines how their music will be consumed throughout the creative process. They comment "while making music in the studio, we try to transport ourselves mentally to hypothetical dancefloors the music we're making could be played on, adding moments and sounds which would excite, energise, disorient, or have some other desired somatic effect. We're also considering not just how the music sounds, but how it would 'feel' when played on large sound systems."Ultraparallelultimatelypresents a refreshing visual take on literal dance music; a considered and holistic approach to enhancing the experience of listening and moving.

Brvtalist Sound Recordings is proud to present Guided by Shadows, the new EP from madwoman. Following up her smash debut LP, Psychedelic Force (Brvtalist S.R., 2020), the Berlin-based artist returns to label for her first vinyl EP and delivers her strongest work to date. With three original tracks of her signature powerful strain of industrial techno and one infectious remix by the one and only Corroid.

UK duo Wrecked Lightship debut on Peak Oil with a six-track slate of cyber aquatic alien bass music as placeless as it is precise: Antiposition. Comprised of Laurie Osborne (Appleblim) and Adam Winchester (Dot Product), the pair share a fascination with destabilized rhythm and retro-futurist dreaming, smudging dub, drum n bass, synthetic tribalism, and kinetic sound design into fresh electronic frontiers.

Antiposition both refines and refracts the project’s vision. From wobbly interstellar ascension (“Hex”) and cavernous industrial dub (“Bizarre Servants”) to junglist murk (“Sunken Skies”) and fractal shuffle (“Diminished Ark”), Wrecked Lightship move between haze and hyperspace, mythos and mystery. It’s less deconstructed than reconstructed, fashioned from galactic debris and congealed by the gravity of outer spheres.

For the first time, Brandt Brauer Frick’s seminal album Mr. Machine is being reissued on coloured vinyl.

‘Mr. Machine’ is a record that put them alongside names as Steve Reich and Philip Glass, but with considerably more groove. More than anything, Daniel, Jan and Paul are keen that the Brandt Brauer Frick Ensemble are not written off as a curiosity.

“Often people focus a lot on this whole "cross-over" aspect,” says Brauer. “We wish people would simply notice we have good chords, melodies etc. and take the music as it is. Because we make it the way we feel, and not for other, let's say purely conceptual reasons. Some only seem interested in how it’s made. Some reviewers perceive us as minimal techno, some as modern classical, some as nu jazz and so on. But we don’t divide the world into techno and nontechno.”

Dave Saved makes his debut release on studio 33 with Passing Images, an entrancing suite of hazy dance floor mementos, infused with a characteristic chopped and screwed soul.

As if heard through the dusty circuits of an android's dying memory drive, replaying songs picked up during its lifetime and mixing them into elegiac reveries in a final flashback of its existence, the sound is glowing with a patina hued warmth that feels uncannily familiar.

It's a considerably more dance oriented work than Dave's previous output but with a distinctly textural approach to the composition as well. The result is a densely vaporous sublimation of pure emotion. All refracted through an almost ghostly view of dance music's potentially hypnagogic effect, by way of repetitive progression and dreamy abstraction.

Written and Recorded by Sonja Tofik in Stockholm and Paris 2023 Visual by Viktor Fordell
Mastered by Giuseppe Tillieci at EnissLab, Rome
With 'Respire', Stockholm's Sonja Tofik presents a collection of works that cluster around themes of disunion and contemplation. In two halves, tiers of synthetic materials are layered into sullen reveries with organic components and concrète treatments, and as the obscurity of their genesis reaches a crescendo, these delicate and foreboding compositions find further means of communication the more they blister and bloom.

Dark Machine Funk is delighted to welcome the first guest producer into the fold, Head Front Panel. A huge source of inspiration to DMF since those highly sought after HFP 12”s hit the record store racks in 2014, Head Front Panel delivers a superb well rounded 4 track EP titled ‘Tactile’ for DMF’s 5th release.

The opening track 'Panama' opens with some otherworldly pads, sweeping resonances tickle the ear before signature HFP drums hit you with pure engaging energy. Broken kick drums and rattling percussion perfectly sit on this hypnotic tribal-esque sonic dream, a depth and area that we've not heard from HFP before. 'Tactile' brings the perfect tool, loopy rhythms that stretch the perception of time whilst getting lost in subtle rides and eerie door creaking atmospheres, deep listening will provide a new journey on every repeat. 'Surdo' open's side B, and we're catapulted into the fire with shaker/hi hat percussions that grab your attention immediately and vocal samples scatter across the stereo field. Shimmering pads take the track into deeper territory but all while keeping in a constant state of forward motion accented by the occasional double kick drum. A huge baseline swings the track to give it it's funk. 'Them' probably the most recognisable HFP track hammers with a thunderous kick drum and a subtle repetitive synth line, groove is king here where percussion elements are pushed and modulated to create enough interest to carry the track through till close.

We are more than honoured to present ‘Head Front Panel - Tactile’ on DMF!

Cassete comes with 3 extra panels of artwork from Ciaran Birch

Outerwordly collaboration between two great artists at the forefront of their scene, a release that was sparked by a commission from the BBC!

Dali de Saint Paul is known for her vast amount of collaborations, most notably with Moor Mother & Valentina Magaletti.

Maxwell Sterling's previous work includes sublime & diverse albums on The Death Of Rave & AD93.

When they met to create an improvised session for the famous experimental music radio show Late Junction on BBC Radio 3. Their encounter was so prolific that day that a lot of their music was not played on the show, so they have decided to give their audience the chance to listen to the fragile, brilliant and dark composition they have produced together.

“Music gives us a place to be lost. Washing away thought, place, time and identity. It’s in the falling into the river, the dream, that we find just who we could be”.

Classically trained cellist, composer and storyteller Lihla (Lih-Qun Wong) presents her debut album, ‘Socha’ for A Strangely Isolated Place. Combining a vast instrumental skillset of piano, cello, electronics and spoken word, she crafts intensely immersive aural-hallucinatory worlds of intricately shifting landscapes.

A deeply personal work, Socha explores the ‘diaspora of time and space, and why we all feel so displaced.' Piano chapters capture the meeting place between memory and longing, while explorational vocal and cello textures invoke and echo the ancient, the feminine, and the otherworldly.

Lihla’s voice guides us, weaving through electronics and field recordings of the ‘real-world' to set the path for a poetic and deeply haunting journey through the internal psyche that is truly transportive and escapist.

‘Socha’ will be available on transparent smoke 12” and digital.

London band Those Unfortunates release their second album, Welcome to Woodberry Down, on October 27th through Gare Du Nord Records, on LP accompanied by a limited edition photobook.
Welcome to Woodberry Down is a collection of songs about the eponymous housing estate in the London Borough of Hackney. Singer/lyricist Ben Brill’s family were among Woodberry Down’s first residents in 1950. Dubbed the estate of the future, and built on land that had previously been the preserve of the wealthy, Woodberry Down’s social homes were emblematic of a new post war optimism.
Brill’s family called Woodberry Down home for over 50 years, eventually seeing the estate fall into managed decline. Not long after his grandmother’s death in 2006, the bulldozers moved in, and the foundations were laid for a new, privately owned housing development.
Brill started work on this project in 2016. At the time a Hackney resident, he spent countless early mornings walking round the condemned – but still not quite empty - estate, and watching a new version of the future rise in its place. He took photographs, and started writing songs, inspired equally by the liminal spaces he explored, and the utopian ideals of the London County Council planners.

The band will be celebrating the album’s launch with friend Paolo Ruiu at Margate’s Tom Thumb Theatre on October 27th, and London’s Betsey Trotwood on October 28th.

7” vinyl single w/ colour sleeve. For Fans Of Garage Punk, Power Pop, New Wave, Cheap Trick, Dollyrots, Pretenders, Go-Gos, Kate Bush, The Muffs, The Bangles, Larkin Poe. Josie Cotton’s Kitten Robot label issues their first 45 rpm 7”, and it’s a split between two of the label’s fave ladies: Josie her own bad self and Hayley and the Crushers. Josie’s song is the title track of her latest full-length, the Crushers issue a rowdy Iggy Pop cover that is also their latest digital single, releasing on Halloween of this year. Said Thoughts Words Actions of Day of the Gun, “The result is Josie Cotton’s signature sound, both timeless and contemporary, showcasing her ability to stay true to the roots while also pushing the envelope in new directions. Day Of The Gun is a masterclass in musical creativity and musicianship where Josie Cotton’s experience, talent, and ideas have come together to create an album that is both diverse and cohesive.” Meanwhile, Faster and Louder had this to say about Hayley’s recent LP. “Modern Adult Kicks makes it sound like Hayley and the Crushers have fast-forwarded ten years since 2020. This album doesn’t wallow in misery, but it confronts some heavy stuff...all the while reminding us to keep dancing no matter what happens

The oblique and annihilating transmissions emanating from the workshop of Polar Inertia have been issued intently and surely over the last decade and more. Environment Control grants access to the biggest consignment to date, with eight tracks of mesmeric play that are fraught with clinical impulsiveness and astringent rushes.

Opening with a didactic panegyric to transmutation, Polar Inertia swiftly counter our recoil with an ominous display of pressure on 'Smothering Dreams'. The intensity is sustained—as if to suggest that there's now no way back—until the menace relents on 'Artic Horizon', its shimmering gravitational pull amounting to an idealism after the unease that delivered us here.

Whatdufaque?! Dutch artist Renée Van Trier is back on Swiss label CAF? for another record! Following her first album released in early 2020, she comes back with “HUMBLE,” the soundtrack of her new eponymous show performed at De Pont Museum (NL) and Arsenic (CH).

“At birth you are a promise, but at the same time also the greatest possible risk.” Inspired by children’s dances on TikTok where happy facades coexist with exploitative backgrounds, Renée Van Trier creates a fantasy world that’s anything but Disneyland. You’re invited to experience its soundtrack, taking you through dark atmospheres, eerie voices, glitched techno, and uplifting climaxes. Over the course of the 11 tracks, Renée Van Trier morphs into a dolphin, a puppet, and many other different characters, maintaining a blurry border between amazement and creepiness. Everyone wants the best for their children, but sometimes it doesn’t end well.

Available on vinyl LP & CD (with extra tracks). Robin Way has been making psychedelic music for decades under the name Oak Acetator. Mostly home recorded, Oak Acetator’s world of sound encompasses an intoxicating mix of psychedelia, punk, space rock and pop, with the emphasis strongly on hallucinogenic psych. ‘Power Trip’ is Robin’s seventh album, his previous six coming out on the hallowed Dig The Fuzz label, though strangely, none of his work appears on Discogs! Robin wrote, produced and played everything on ‘Power Trip’ in his Folkestone attic studio, and it is a work of crazed brilliance. Respected musician and writer Louis Wiggett summed it up succinctly when he said of Power Trip ‘Oh, that bonkers genius from Folkestone, can’t get enough of it. So good, almost sounds like a cosmic Stooges with synths and deadpan humour. Love it!’ And he’s absolutely right. Robin exudes his unique, very British style from the first moment to the last, sounding at times like Johnny Rotten backed by Hawkwind, but with touches of Gong and Krautrock thrown in for good measure, but really just like himself. It’s a total joy to be able to put this deranged masterpiece out on Blue Matter. We adore it, and we hope you will too

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed on Neon Yellow Vinyl, 4x platinum 1999 #1 album Steptacular includes the UK number one Tragedy, plus the
classic hits Love’s Got a Hold on My Heart, Deeper Shade of Blue, Say You’ll Be Mine, After the Love Has Gone and
When I Said Goodbye.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed on Neon Yellow Vinyl, 4x platinum 1999 #1 album Steptacular includes the UK number one Tragedy, plus the
classic hits Love’s Got a Hold on My Heart, Deeper Shade of Blue, Say You’ll Be Mine, After the Love Has Gone and
When I Said Goodbye.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.

As part of Demon Music’s Suede30 campaign, the label are issuing Suede’s first four singles as seven-inch picture discs, reproducing the original arresting cover images on the discs.

The fourth, and final, release in this series is ‘So Young’, originally issued on Nude Records on 17 May 1993. It reached No 22 in the UK singles chart.

The B-side to ‘So Young’ was ‘High Rising’ which didn’t appear on the Suede album. The new picture disc is strictly limited to 1000 units worldwide and is only available via the SDE shop and the official Suede store.

The ‘So Young’ seven-inch picture disc is released on 5 January 2024 via Demon Records. The far away release date is probably in part because ‘Metal Mickey’ (sold out) and ‘Animal Nitrate’ (still available) have both been delayed slightly. Pre-order ‘So Young’ via the shop using this link or the buttons (‘pre-order’) below.

Malka Tuti is proud to present the solo debut EP by mister Andrei Rusu, 
 one half of Khidja.

After a series of stellar remixes in the past year to Cosmo Vitelli (on Im a Cliché), Dadalus & Bikarus, Santaka & Nic Arizona, Rusu is finally ready to present his own original solo materials to the world.


Ahead of a full LP planned on MT for later this year, Rusu is presenting us with 2 fresh new tracks. The A-side is a 120bpm dirty and distorted super- trippy banger for the biggest floors and the darkest rooms.

On the B-side Rusu collaborates with an artist known to the followers of the label - Decha, who contributes her signature expressive vocals on this half time industrial dub track. This time however, the vocals run through the hands of Rusu who soaks them with distortion and even more punk attitude, almost echoing the energies of the late Genesis P-Orridge.

The release includes 2 remixes by a couple of master remixers who also happen to be part of our extended family. 


Remixing the title track, and off the success of his 2 incredible albums
released on 2023 (Music From Memory & Offen), Philipp Otterbach supplies a remix for the books, channeling the original track’s intensity through oceans of reverb, whimsical samples and addictive trippy rhythms.
For the Hedesch Remix we’ve asked one of our favourite remixers out there aka Black Merlin to contribute his cut and boy he didn’t disappoint (does he ever?)


Black Merlin supplied us with a long and addictive psychedelic synthetic and very dubby journey for the b-side.

"Waxwork Records is thrilled to present BODY DOUBLE Original Motion Picture Soundtrack by Pino Donaggio. Body Double is a 1984 American neo-noir erotic thriller film directed, co-written, and produced by Brian De Palma (Carrie, Scarface, Phantom of the Paradise). It stars Craig Wasson, Gregg Henry, Melanie Griffith, and Deborah Shelton. The film is a direct homage to the 1950s films of Alfred Hitchcock taking on plot lines and themes such as voyeurism and obsession.

The film tells the story of a struggling actor, Jake Scully, who is offered a gig house-sitting in the Hollywood Hills. While peering through the beautiful home’s telescope one night, he spies on a gorgeous woman dancing in her window. But, when Scully witnesses the woman’s murder, it leads him through an underworld of the adult entertainment industry on a search for answers, with porn actress Holly Body as his guide.

After fighting censorship boards over the rating of his film Scarface - initially rated X and having to battle to make it R - Brian De Palma resolved to make Body Double as a pushback. At the time he said, “If this one doesn’t get an X, nothing I ever do is going to. This is going to be the most erotic and surprising and thrilling movie I know how to make… I’m going to give them everything they hate and more of it than they’ve ever seen. They think Scarface was violent? They think my other movies were erotic? Wait until they see Body Double.”

The film’s memorable soundtrack by legendary composer Pino Donaggio (Carrie, Tourist Trap, The Howling, Don’t Look Now) features memorable and influential cues including the standout track “Telescope”. The dynamic soundtrack music also features striking and exciting orchestral cues that are a throwback to classic Hollywood thrillers coupled with synth driven, electronic dance cues which complement the excessive 1980’s neon-washed porn industry in which the film is set.

Waxwork Records is excited to present the complete Body Double film music by Pino Donaggio for the first time on vinyl as a deluxe double LP featuring 150 gram Body Double red and blue colored vinyl, heavyweight gatefold jackets with film laminate gloss finish, an 11”x11” insert, and artwork by Robert Sammelin. The cover features the film’s classic 1984 original poster art restored."

Le Cavalier Du Crépuscule by Elvis Presley, released 22 February 2024, includes the following tracks: "Poor Boy" and more.

This version of Le Cavalier Du Crépuscule comes as a 1x7".

The vinyl is pressed as a black disc.

Le Cavalier Du Crépuscule by Elvis Presley, released 23 February 2024, includes the following tracks: "Poor Boy" and more.

This version of Le Cavalier Du Crépuscule comes as a 1x7".

The vinyl is pressed as a translucent, grey disc.

Le Cavalier Du Crépuscule by Elvis Presley, released 22 February 2024, includes the following tracks: "Poor Boy" and more.

This version of Le Cavalier Du Crépuscule comes as a 1x7".

The vinyl is pressed as a translucent, red disc.

Le Cavalier Du Crépuscule by Elvis Presley, released 22 February 2024, includes the following tracks: "Poor Boy" and more.

This version of Le Cavalier Du Crépuscule comes as a 1x7".

The vinyl is pressed as a translucent, yellow disc.

Le Cavalier Du Crépuscule by Elvis Presley, released 22 February 2024, includes the following tracks: "Poor Boy" and more.

This version of Le Cavalier Du Crépuscule comes as a 1x7".

The vinyl is pressed as a translucent, Blue/Green disc.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a transparent disc.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a translucent, red disc.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a translucent, yellow disc.

Noël Avec Elvis by Elvis Presley, released 23 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a orange disc.

Noël Avec Elvis by Elvis Presley, released 22 February 2024, includes the following tracks: "I Believe" and more.

This version of Noël Avec Elvis comes as a 1x7".

The vinyl is pressed as a black disc.

- The Black Angels' classic sophomore album - Special color edition pressed on Metallic Silver Wax. - Triple LP housed in a Stoughton tri-fold gatefold jacket // "The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war," Maas sings in `Never/Ever.' `They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders." - David Fricke, Rolling Stone Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide Directions On How To See A Ghost. If you're familiar with Passover, the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it `hypno-drone 'n roll'. It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of '60s psychedelia. While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel We and in Christian Bland's words "psychic information from the past and future." See, The Black Angels really are in contact with ghosts. "Civil War battlefields are prime spots for seeing ghosts," says Bland. "One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like `retreat,' and I did. I later learned that the spot where I was on the battlefield was known as `the dead angle', the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek." The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she's a descendent of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group's home. The band released Passover in 2006 to critical acclaim for both the album and the song "The First Vietnamese War". Most of all, Passover established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album. "Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes," says Christian. "Only then will we understand the reality of this world and progress beyond where we are now as humans. We've built upon that theme with Directions to See a Ghost. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life." _"War is Peace. Freedom is Slavery. Ignorance is Strength. Keep Music Evil."_

2024 REPRESS

RAWAX proudly welcomes The Legend Adonis the the Family!
We're very honoured to present you on the 30th edition of our Chiwax Classic series the man who produced 1986 his fist of many House Anthems, "No Way Back"! Now in the rebound: The 1989 originally on Jack Trax released "Do You Wanna Jack/ Lost In The Sound". As bonus track Adonis gave us "My Space". Another outstanding track, he did with Virgo aka Marshall Jefferson! This release is quite unique in this combination - so don't sleep on it! We'll have it on black solid vinyl and also on purple vinyl - it's up to you!

Ein Sinfonieorchester. Komponisten aus der Welt des Metal. Ein wilder Dirigent. Ein wirklich einzigartiger Solist. Attitüde und Talent. Ein Album und eine Live-Show. Das ist Bright & Black mit Eicca Toppinen, Kristjan Järvi und Baltic Sea Philharmonic.

Metal und Orchestermusik, zwei parallel existierende Welten, prallen endlich aufeinander und ein noch nie gehörter Sound entsteht. In einem beispiellosen Schritt verschmelzen die Welt des Metal mit der Welt des Orchesters, indem die in der Metal-Szene verwurzelten Autoren direkt für das Orchester komponieren, was diesem ein völlig neues Set an Farben gibt, um eine Serie von neuen Klängen zu erzeugen. Mit einem Knall. Die vom Baltic Sea Philharmonic unter der Leitung von Kristjan Järvi und der Solistin Eicca Toppinen aufgeführten Kompositionen stammen von Eicca Toppinen (Apocalyptica), Fredrik Åkesson (Opeth), Erik Danielsson (Watain), Nico Elgstrand (Entombed AD), Tomas Haake/Dick Lövgren (Meshuggah), Jacob Hellner und Kristjan Järvi.

Die vollständige Dolby Atmos-Produktion des Albumprojekts wurde im Herbst 2022 im Studio des Estnischen Nationalradios in Tallinn aufgenommen. Produziert von Jacob Hellner. Aufgeführt von Baltic Sea Philharmonic. Dirigent: Kristjan Järvi. Orchestrierungen von Jonny Abraham. Abgemischt in Stockholm von Jacob Hellner und Stefan Glaumann.

Ein Sinfonieorchester. Komponisten aus der Welt des Metal. Ein wilder Dirigent. Ein wirklich einzigartiger Solist. Attitüde und Talent. Ein Album und eine Live-Show. Das ist Bright & Black mit Eicca Toppinen, Kristjan Järvi und Baltic Sea Philharmonic.

Metal und Orchestermusik, zwei parallel existierende Welten, prallen endlich aufeinander und ein noch nie gehörter Sound entsteht. In einem beispiellosen Schritt verschmelzen die Welt des Metal mit der Welt des Orchesters, indem die in der Metal-Szene verwurzelten Autoren direkt für das Orchester komponieren, was diesem ein völlig neues Set an Farben gibt, um eine Serie von neuen Klängen zu erzeugen. Mit einem Knall. Die vom Baltic Sea Philharmonic unter der Leitung von Kristjan Järvi und der Solistin Eicca Toppinen aufgeführten Kompositionen stammen von Eicca Toppinen (Apocalyptica), Fredrik Åkesson (Opeth), Erik Danielsson (Watain), Nico Elgstrand (Entombed AD), Tomas Haake/Dick Lövgren (Meshuggah), Jacob Hellner und Kristjan Järvi.

Die vollständige Dolby Atmos-Produktion des Albumprojekts wurde im Herbst 2022 im Studio des Estnischen Nationalradios in Tallinn aufgenommen. Produziert von Jacob Hellner. Aufgeführt von Baltic Sea Philharmonic. Dirigent: Kristjan Järvi. Orchestrierungen von Jonny Abraham. Abgemischt in Stockholm von Jacob Hellner und Stefan Glaumann.

Les Disques du Crepuscule presents a unique anthology by artful Brussels postpunk-funk band Marine, fondly remembered for their dazzling debut single ‘Life In Reverse’ in 1981, and now back with a clutch of brand new studio tracks.

The cover art is by LDDC art director Benoit Hennebert and based on the ‘Same Beat’ single sleeve from 1982. The vinyl edition s of TWI 143 is limited to 500 copies pressed on blue vinyl and includes a digital link. All tracks are newly remastered in 2023.

Formed in late 1980 around charismatic frontman Marc Desmare together with musicians from infamous punk band Mad Virgins, Marine made an early splash supporting Orange Juice and Josef K at the legendary Plan K venue, Postcard Records afterwards keeping tabs on the Sound of Young Brussels.
Snapped up instead by chic boutique label Les Disques du Crepuscule, Marine released their infectious debut single ‘Life In Reverse’ in April 1981, attracting rave reviews in the Belgian and UK press, reaching the giddy heights of #6 on the NME indie chart, and even being invited to record a radio session for John Peel - a world first for a Belgian band.

Soon favourable comparisons were being drawn with The Pop Group, A Certain Ratio, Defunkt, James White and Fire Engines, some pundits even sensing a new Haircut 100. ‘We’re not a fashion band,’ insisted Marc in UK rock weekly Sounds, ‘and it’s not really dance music. But all the same I’m glad people dance to it.’

Alas, artistic differences caused the fast-rising group to part ways in a London studio, when half the band quit to form pop-funk sophisticates Allez Allez. With new Marines on board, Marc and bassist Paul Delnoy went on to release two further singles (‘How to Keep Cool’ and ‘Same Beat’), gigged extensively around France and the Low Countries, and played a headline show at The Venue in London. ‘Fine, disciplined and gleeful rhythm workers,’ enthused Chris Bohn in NME. ‘A happy, contagiously clean aural equivalent to a Serge Clerc cartoon.’

Alas by the summer of 1982 Marine were all washed up, with Marc going on direct films and documentaries as Marco Laguna. Four decades later, finally heeding desperate pleas from Crepuscule that his sensational first band never cut an album, Marc has written and recorded another 6 remarkably authentic sounding Marine songs with help from like-minded friends in Brussels and Paris, once more drawing on a heady mix of supercool funkabilly, jazz and soundtrack influences.

‘It was an incredibly strange experience to revisit my past,’ says Marc, ‘but definitely fun. I’m glad, and I’m proud!’

Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro, out February 16th, and presents the trip-infused lead single 'Lunar Barge'.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations "post-classical grunge". Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed 'No Perfect Wave' (2016, Injazero) and subsequent releases 'Exit Rumination' (2018), 'White Whale' (2020) and 'In Love & Fracture' (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer's unprecedented second "heat dome", which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of "simple ecstatic improvisation." Diab explains: "I wanted to place myself in a space for creation with little thematic pretence, with the belief that music 'shows its face' as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play."

Dicks’ debut LP has been acknowledged as a foundational statement in Punk ever since its initial 1983 release. Following their first single, 1980’s “Dicks Hate The Police,” and a live split with fellow Austinites the Big Boys, Kill From The Heart does not disappoint. Originally released on SST, the album stands apart from the mass of generic thrash-hardcore contemporaries— fueled by the manic, but controlled power of singer Gary Floyd along with the original lineup of guitarist Glen Taylor, bassist Buxf Parrot and drummer Pat Deason. Dicks were operating at an absolute peak at this point, alternating damaged workouts that suggest Flipper or No Trend on one end and highly charged tracks in the vein of Minutemen or Tales of Terror on the other. Straight out of the gate on “Anti Klan,” the band trades blues-grounded guitar with squealing feedback and intensely political lyrics. The raw emotional sincerity of Floyd, who was openly gay in Reagan-era Texas, provides unmistakeable urgency to songs such as “No Nazi’s Friend,” “Rich Daddy” and the title track, which remains one of the stone-cold classic punk anthems. Forty years on, Kill From The Heart continues to smolder—an arresting testament to the possibilities embodied in creative rage. It is no surprise that Dicks have been covered by Mudhoney, Jesus Lizard and more. Superior Viaduct is honored to present this truly essential reissue. Comes with original tracklist, insert and download card.

Double LP on Hibiscus & Butterfly Pea Tea Vinyl Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much-loved coffee brewing and heart-to-heart talking simulator - "Coffee Talk Episode 2: Hibiscus & Butterfly". You are a barista and your customers aren't always humans. Listen to their stories and influence their hearts with a warm cup of coffee or two. Introducing "Coffee Talk Episode 2" on vinyl. Dive into the soothing rhythms of this atmospheric lo-fi soundtrack, which captures the very essence of the Coffee Talk universe. Each groove transports you to that familiar coffee shop corner, where the patter of rain, heart-warming chatter and captivating melodies intertwine flawlessly. Presented in a stunning analogue format, the cover is drawn by Junkipatchi, Episode 2's lead writer and narrative designer. The tracks themselves have been handpicked by Andrew Jeremy, game producer and music composer, who has this to say: "The world is so chaotic that it can break you down. Just take your time to rest and re-energize with relaxing and chill music, before you start each day conquering the world once again." So, settle down with your favourite brew and let Coffee Talk Ep. 2 on vinyl guide you on a melancholic yet tranquil journey, evoking the Seattle from a parallel universe that you've come to know and love. Secure your auditory escape today and immerse yourself in an unmatched coffee shop ambiance.

Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much-loved coffee brewing and heart-to-heart talking simulator - "Coffee Talk Episode 2: Hibiscus & Butterfly". You are a barista and your customers aren't always humans. Listen to their stories and influence their hearts with a warm cup of coffee or two. Introducing "Coffee Talk Episode 2" on tape. Dive into the soothing rhythms of this atmospheric lo-fi soundtrack, which captures the very essence of the Coffee Talk universe. Each groove transports you to that familiar coffee shop corner, where the patter of rain, heart-warming chatter and captivating melodies intertwine flawlessly. Presented in a stunning analogue format, the cover is drawn by Junkipatchi, Episode 2's lead writer and narrative designer. The tracks themselves have been handpicked by Andrew Jeremy, game producer and music composer, who has this to say: "The world is so chaotic that it can break you down. Just take your time to rest and re-energize with relaxing and chill music, before you start each day conquering the world once again." So, settle down with your favourite brew and let Coffee Talk Ep. 2 on tape guide you on a melancholic yet tranquil journey, evoking the Seattle from a parallel universe that you've come to know and love. Secure your auditory escape today and immerse yourself in an unmatched coffee shop ambiance.

Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much-loved coffee brewing and heart-to-heart talking simulator - "Coffee Talk Episode 2: Hibiscus & Butterfly". You are a barista and your customers aren't always humans. Listen to their stories and influence their hearts with a warm cup of coffee or two. Introducing "Coffee Talk Episode 2" on tape. Dive into the soothing rhythms of this atmospheric lo-fi soundtrack, which captures the very essence of the Coffee Talk universe. Each groove transports you to that familiar coffee shop corner, where the patter of rain, heart-warming chatter and captivating melodies intertwine flawlessly. Presented in a stunning analogue format, the cover is drawn by Junkipatchi, Episode 2's lead writer and narrative designer. The tracks themselves have been handpicked by Andrew Jeremy, game producer and music composer, who has this to say: "The world is so chaotic that it can break you down. Just take your time to rest and re-energize with relaxing and chill music, before you start each day conquering the world once again." So, settle down with your favourite brew and let Coffee Talk Ep. 2 on tape guide you on a melancholic yet tranquil journey, evoking the Seattle from a parallel universe that you've come to know and love. Secure your auditory escape today and immerse yourself in an unmatched coffee shop ambiance.

Step One is the debut album by British pop group Steps. It was released in the UK and Europe on 14 September 1998. The album charted at number two on the UK Albums Chart upon its release, going on to spend 64 weeks in the chart. It was beaten to number one by This Is My Truth Tell Me Yours by Manic Street Preachers, who also beat Steps' single "One for Sorrow" to number one on the UK Singles Chart with the song "If You Tolerate This Your Children Will Be Next". In February 2000, the album was re-released in the US, containing songs from both Step One and its successor, Steptacular. The tracks "5,6,7,8", "Last Thing on My Mind", "One for Sorrow", "Heartbeat" and "Better Best Forgotten" were released as the singles in UK. The album contains some covers; "Last Thing on My Mind" was originally released in the 1980s as a single by British girl group Bananarama, while "Love U More" was originally recorded by techno/house band Sunscreem. "Experienced" was originally recorded by boybands The Bario Boys & Worlds Apart, and "Stay With Me" appears on Romeo's Daughters' self-titled début album.

Step One is the debut album by British pop group Steps. It was released in the UK and Europe on 14 September 1998. The album charted at number two on the UK Albums Chart upon its release, going on to spend 64 weeks in the chart. It was beaten to number one by This Is My Truth Tell Me Yours by Manic Street Preachers, who also beat Steps' single "One for Sorrow" to number one on the UK Singles Chart with the song "If You Tolerate This Your Children Will Be Next". In February 2000, the album was re-released in the US, containing songs from both Step One and its successor, Steptacular. The tracks "5,6,7,8", "Last Thing on My Mind", "One for Sorrow", "Heartbeat" and "Better Best Forgotten" were released as the singles in UK. The album contains some covers; "Last Thing on My Mind" was originally released in the 1980s as a single by British girl group Bananarama, while "Love U More" was originally recorded by techno/house band Sunscreem. "Experienced" was originally recorded by boybands The Bario Boys & Worlds Apart, and "Stay With Me" appears on Romeo's Daughters' self-titled début album.

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed neon violet vinyl, double platinum 2000 album Buzz includes the UK number one Stomp, plus the classic hits
It’s the Way You Make Me Feel, Summer of Love, Better the Devil You Know, Here and Now and You’ll Be Sorry.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.

Available on viny for the first time, Demon Records and Fascination proudly presents the three original Steps Studio
albums. Steps are the most successful co-ed group in British chart history. Irresistible and inimitable, their unique
blend of perfect pop anthems, dynamic dance moves and a sheer sense of fun has been delighting fans for over 25
years.
Pressed neon violet vinyl, double platinum 2000 album Buzz includes the UK number one Stomp, plus the classic hits
It’s the Way You Make Me Feel, Summer of Love, Better the Devil You Know, Here and Now and You’ll Be Sorry.
All editions feature painstakingly rebuilt original artwork, complete with additional images and full lyrics.

This 1960 album’s inventive Richard Weiss arrangements combine with Carter’s uniquely masterful – and modern - vocals for fresh takes on standards. Highlights include a lively run through ‘What A Little Moonlight Can Do’, inspired scatting on ‘On The Alamo’ and a beautifully tender take on ‘There’s No You’.

This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

1966’s Look To The Rainbow is one of the jewels of Astrud Gilberto’s catalog and of the bossa nova canon. Teaming with arranger Gil Evans and producer Creed Taylor, the orchestral backing perfectly complements Astrud’s whispery, understated voice, especially on the title track and the sweet ballad, ‘I Will Wait For You’.

This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

DOG BEACH is Merryn Jeann’s first full length album, produced by Rob Ellis, comparing her directely with his previous collaborators.

Rob Ellis is a record producer, composer, arranger and musician who has been acting for about 40 years and during which he's had the honor to work with such notable artists as PJ Harvey, Marianne Faithfull, Scott Walker, Nick Cave, Warren Ellis, Brian Eno, Thom Yorke, Anna Calvi, ...

About working with Merryn : "In every instrumental phrase that she arrived at and each line of her vocal delivery Merryn's enthusiasm and very individual creativity comes across brilliantly I think... whilst still managing to retain an expression of deeply felt heart and soul... a rare combination in my experience, and a match for any of my aforementionel, much admired collaborators."

"The days in the studio were endlessly creative and playful... and subsequently very exhilarating... by the end it felt like we had really gone through something extremely special, and I believe the resulting LP strongly reflects that." Rob Ellis

Album was recorded over 5 weeks in England, including musicians such as Jim Barr (Portishead), Ben Christophers (Bat For Lashes) or Patrick J. Pearson (Daughter, LYR) but also Christelle Canot aka Confuse, half of IN CASE OF FIRE recently signed to Steve Budd’s prestigious record producer agency.

Merryn Jeann is a Naarm/Melbourne and Bundjalung Country/Byron Bay Shire based singer-songwriter and multi-instrumentalist. She has crafted a genre-bending, dreamy world of soundscapes that bear an enticing musical wisdom.

Sitting somewhere between Caroline Polachek, Cat Power, Weyes Blood, Feist, and Kelsey Lu, Merryn Jeann’s sound is fueled by authenticity. Her raw and honest self packaged into intricate and reflective morsels, many of which are yet to be revealed.

She played Glastonburry at the beginning of her career with the band TORA.

UK and international promo by Whiteboard PR.

A second LP will be recorded in 2025 again with Rob Ellis at the production.

Side projects : OSOO with Kyson & Chris Hill, IN CASE OF FIRE

- Klassisch schwarzes Vinyl
- 2x12" Vinyl
- Deutsche Pressung
- Überarbeitetes Artwork in einem der Bildwelten würdigen Großformat
- Stabile Kastentasche
- Mehrfarbig bedruckte Innenhüllen mit allen Songtexten
- Mehrfarbig bedruckte Vinyletiketten
- Limitiert auf 500 Exemplare weltweit

- Klassisch schwarzes Vinyl
- 2x12" Vinyl
- Deutsche Pressung
- Überarbeitetes Artwork in einem der Bildwelten würdigen Großformat
- Stabile Kastentasche
- Mehrfarbig bedruckte Innenhüllen mit allen Songtexten
- Mehrfarbig bedruckte Vinyletiketten
- Limitiert auf 500 Exemplare weltweit

Klassisch schwarzes Vinyl
- 2x12" Vinyl
- Deutsche Pressung
- Überarbeitetes Artwork in einem der Bildwelten würdigen Großformat
- Stabile Kastentasche
- Mehrfarbig bedruckte Innenhüllen mit allen Songtexten
- Mehrfarbig bedruckte Vinyletiketten
- Limitiert auf 500 Exemplare weltweit

Für Maria Raquel gibt es keine Angst, wenn es darum geht, ihrer Leidenschaft zu folgen. Ob sie nun von Kolumbien nach New York zieht, um ihrem Traum zu folgen, oder ob sie mit den Größen der lateinamerikanischen Musik auf der Bühne steht, Maria kennt keine Bedenken. Auf ihrem Debütalbum 'Mucha Mujer' taucht Maria kopfüber in die klassischen Klänge von Boleros und Cumbias ein und bringt ihre rauchige Altstimme inmitten eines 16-köpfigen Live-Orchesters aus Perkussion, Streichern, Bläsern, Bass und Gitarre zur Geltung. Das Album besteht ausschließlich aus Eigenkompositionen und wurde auf analogem Band aufgenommen. Es erinnert an klassische Aufnahmen von Künstlern wie Omara Portuondo, Celia Cruz und La Lupe, doch Maria Raquel haucht diesen klassischen Genres neues Leben ein - die eindringliche Sehnsucht der Boleros kontrastiert mit der pulsierenden Beharrlichkeit der Cumbia. Mit einigen der besten Latin-Musiker New Yorks wie Reuben Rodriguez (Tito Puente), Marcos Lopez (Marc Anthony) und Ivan Renta (Eddie Palmieri), arrangiert und produziert von Mike Eckroth (Orquesta Akokán) und Jacob Plasse (Los Hacheros), stellt Mucha Mujer der Welt ein fesselndes neues Talent vor.

Six years ago, Oum Shatt released a critically acclaimed debut album that led to Song of the Year awards from Berlin Radio Eins ("Gold To Straw") and TAZ Popblog ("Power To The Women Of The Morning Shift"), as well as BBC and Arte features and appearances at SXSW, Transmusicales in France and Electric Picnic in Ireland. Now, the Berlin-based band, whose members are otherwise known from bands such as Kissogram, Fenster, Die Türen, Golden Showers and Peaches, consisting of singer and songwriter Jonas Poppe, founding member Chris Imler on drums, guitarist Richard Murphy, and Rémi Letournelle on bass and synthesizer – return with a second effort that even surpasses their debut. Building on the minimal-rock style of their debut album (Vogue Magazine), OUM SHATT weaves a mystic, at times psychedelic soundscape with meandering guitars, a wild percussive aesthetic, and Jonas Poppe’s evocative, mantra-like baritone. "Opt Out" also stands as a thematic concept album, delving into the individual's various forms of resistance against societal expectations. While drawing from obscure influences, the album remains unmistakably unique.

Opt Out by Oum Shatt, released 26 January 2024, includes the following tracks: "Love the Way She Stands", "Madame LeSoleil LeVant", "Over the World and Out", "Investors" and more.

This version of Opt Out comes as a 1xLP.

The vinyl is pressed as a blue disc.

His Lordship ist eine Band mit einer Mission. Das hat auch die britische Mojo erkannt: “This band absolutely has a mission and that’s to rip people’s heads off with blistering rock’n’roll. It’s something we haven’t seen for way too long.”
Der 2021 in London gegründeten Band eilt der Ruf einer der aufregendsten Livebands voraus, die Großbritannien in den letzten 20 Jahren hervorgebracht hat.
Lorbeeren die sich das 2021 gegründete Duo aus James Walbourne (Gitarre/Gesang) und Kristoffer Sonne (Schlagzeug/Gesang) redlich erspielt hat.
Live wird die Band um Bassist Dave Page (von den Pretenders) ergänzt.
Co-produziert von David Wrench (XX, Hot Chip, Courtney Barnett etc.) und abgemischt von Wrench und Tchad Blake (The Black Keys, Arctic Monkeys etc.), kommt auf dem knapp über 30 Minuten langen Debütalbum der Band keine Langeweile auf.
Ein wilder Ritt aus 50er-Jahre-Rockabilly, New Wave, Surf-Instrumentalmusik, Post-Punk und glühendem Garagenrock der Jahrtausendwende.

Ennio Morricone is known throughout the world for the Italian Western genre, but most of all for his famous soundtracks for Sergio Leone’s

masterpieces which have entered into popular culture on an international level, and here represented by iconic themes such as

A FISTFUL OF DOLLARS (1964), FOR A FEW DOLLARS MORE (1965), ONCE UPON A TIME IN THE WEST (1968), A FISTFUL OF DYNAMITE (1971) with extraordinary

soloists such as the whistle of Alessandro Alessandroni, the harmonica of Franco De Gemini, and Edda Dell’Orso’s soprano voice.



For the Westerns starring the legendary Giuliano Gemma - A PISTOL FOR RINGO and THE RETURN OF RINGO - both directed by Duccio Tessari, he wrote the songs

“Angel Face” (with lyrics by Gino Paoli) and “The Return of Ringo” respectively performed by Maurizio Graf with pop music arrangements that were popular at the time.

With PISTOLS DON’T ARGUE (1964) Morricone experiments with a still undefined pre-Leone sound, DEATH RIDES A HORSE (1967) presents a main theme for

guitars ostinatos, exotic flutes and choir. For LIFE IS TOUGH, EH PROVIDENCE? Ennio Morricone creates a theme that mixes religious elements for a female choir

with modern arrangements. And A FIST GOES WEST (1981) a late Western in which the composer himself interprets the Indian’s screams.

The studies with Goffredo Petrassi and the association with Gruppo di Improvvisazione Nuova Consonanza let the Avant-garde playing an important role in the career of Ennio Morricone,

who wrote many contemporary pieces for himself, but then the author composed soundtracks where dissonance played a major role.

For the Italian edition of the film SPACE: 1999 (1975), the cult British TV series, he composed a very neurotic Jazz with muted horns.

Also for the science-fiction film THE HUMANOID (1979) Ennio Morricone created hallucinating strings scores mixed with electronic effects. For SACCO E VANZETTI (1971)

an electronic score by Walter Bianchi evokes all the drama of the undeserved death sentence of the two protagonists.

Experimental music of great impact in the film and off the screen for famous thrillers such as THE DEATH DEALER (1974), SHORT NIGHT OF GLASS DOLLS (1971).

Avant-garde music has always been present in Elio Petri’s films set to music by Morricone such as PROPERTY IS NO LONGER A THEFT (1973).

Avant-garde music in the noir cinema of VIOLENT CITY (1970) and A PURE FORMAL- ITY (1994) and in auteur films such as GARDEN OF DELIGHTS (1967) and SARAH’S LAST MAN (1972).

The romantic side of Maestro Morricone contrasts the dramatic side of Thriller and Crime genre where dissonances always dominate.

For TIE ME UP! (1989) Morricone composed a delicate love theme for his one and only collaboration with the great Spanish film director Pedro Almodovar.

For FOR LOVE (1976) he created a motif for piano and orchestra as a back- ground to a love triangle.

The first sexual experiences of a teenager with older women at the end of the war in DISOBEDIENCE (1981) are accompanied by piano, strings and oboe.

“Desperate love theme” from MAKING LOVE (2000) is a very nostalgic classic tune for violin and orchestra. “Per le antica scale (Preludio)” from

DOWN THE ANCIENT STAIRS (1975) is a captivating, slow and sensual, love tune for piano and orchestra with a predominant flute solo.

“Beata and Joe” from THE STAR MAKER (1995) a sentimental theme for the two protagonists performed by an orchestra with the intervention of a classical guitar in the second part.

The crystal voice of soprano Edda Dell’Orso appears very frequently in Ennio Mor- ricone’s soundtracks as in the case of THE GOOD THIEF (1980),

THE MASTER AND MARGARITA (1972), WHAT HAVE YOU DONE TO SOLANGE? (1972), ORIENT EXPRESS (1979).

Always timely reissue of Muqata'a's first self-released EP from 2017. After years of fertile digital existence on his own Bandcamp, 'La Lisana Lah' now gets a much deserved tactile version through Souk, the Discrepant sublabel responsible for the already classic 'Inkanakuntu'. One of the most prominent figures of the Palestinian electronic scene, Muqata'a's trajectory has been one of resistance and urgency, leaving a sonic imprint of his own from pretty much the beginning.

Without anything tentative or vestigial about its sonic fictions, 'La Lisana Lah' deploys an arsenal of Muqata'a's traits that would be explored on subsequent releases: the glitchy thick textures verging on noise of 'Tib Al Huroof', the narcotic broken beats of 'Taqdirahu Anta' and 'Zyadet Naqs' or the alluring disruptive harmonic suspension of 'Dijla Wal Fada', everything cared for with an essential attention to space and evoking the heritage of Palestinian resistance through his use of samples and scales. A visionary from the get go.

Burning Bug Records presents the new 7-inch reggae single, Universal Love, a collaboration between the established English producer Lewis Bennett and the iconic Jamaican vocal group, The Viceroys.

Universal Love is a captivating fusion of old-school Roots Reggae and modern Dub music, and is a testament to the enduring power of Reggae music to unite people through its positive message.

Bennett brings a wealth of experience to the single, infusing the track with his signature Spanish Flamenco guitar techniques, adding a unique and vibrant flavour to the traditional Reggae sound.

The Viceroys, who are from the heart of Jamaica and regarded as veterans in the Reggae scene, lend their authentic and soulful vocals to the collaboration, adding an extra layer of authenticity and nostalgia to the single.

Universal Love is a song which transcends boundaries, celebrating the roots of Reggae while embracing the evolution of the genre in the modern age.