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Super Limited edition PURPLE VINYL REPRESS

DJ Robert Smith presents his first ever scratch 12” - ‘Double Jabbed’!!
Previously lacing the portablist and 45 spinning community with 2 instant 7 classics ‘The Kure’ and ‘The Booster’, ‘Double Jabbed’ is ALL that and then some!

Remixed and remastered, Side A contains all 12 of the skip-proof phrases from ‘The Kure’ plus an additional section with these arranged in ultra-pitch. It concludes with a full phrase containing all of the samples from sides A and B in regular speed, then in ultra-pitch. Side B contains all 13 of the skip-proof phrases from ‘The Booster’ then again a section with these as skip-proof ultra-pitch phrases. Pressed on premium purple vinyl, the full colour picture sleeve is again illustrated by skate industry legend Mark ‘Fos’ Foster (Heroin, Baker, Toy Machine, Santa Cruz, Element and more).

• Produced by DMC Champion turntablist DJ Robert Smith
• 25 unique skip-proof scratch phrases and full sentence
• 12 ultra-pitch scratch phrases and full sentence
• Features original samples from rapper Andy Cooper (Ugly Duckling/The Allergies)

Unhinged Aussie grunge captured just as the Scientists were imploding/attempting to explode. Recorded over three days in February 1986, Weird Love is the band''s last ditch effort to bring their bad vibes to bedrooms the world over, a colossal failure and brilliant mistake that sounds best when blasting out of 1982 Corolla's blown Alpine tweeters.

Introducing "Uprising Volume 2" by Zaratustra, the Highly Anticipated Second Installment of the Acclaimed Series on Skylax Records. Following the Groundbreaking Success of "Uprising Volume 1" in the Indie Dance Scene, Zaratustra Returns With a Collection of Tracks That Push the Boundaries of Genres, Inspired by Indie Dance, Italo Disco, Ebm, New Beat, Acid, and Ethnic Music. Prepare to Be Captivated by the Infectious Energy of "Uprising Volume 2." the Ep Opens With the Mesmerizing "Dark Clouds" (Club Mix), Reminiscent of the Futuristic Vibes of I-F's "Space Invaders Are Smoking Grass" and the Early 2000s Brilliance of Tiga. the Instrumental Version of "Amours Electroniques" Takes You on a Nostalgic Journey, Evoking the Spirit of Miss Kittin & the Hacker's Iconic Sound. Emilio Van Rijsel Delivers an Astounding Acid Trance Techno Remix of "Dark Clouds," Surpassing Expectations and Becoming an Undeniable Highlight of the Ep. for an Extra Treat, Those Who Purchase the Vinyl on Our Bandcamp Will Receive the Full Instrumental Version of "Dark Clouds," the Vocal Version of "Amours Electroniques" (Feat. Angst for Greta), and the Vocal Version of Naranja's Remix. Speaking of Naranja, the Ep Features a Dynamic and Uptempo Remix of "Amours Electroniques" (Instrumental) by the Talented Producer. Naranja's Remix Infuses the Track With a Pulsating Rhythm and Compelling Grooves, Elevating the Energy to New Heights While Maintaining the Essence of the Original. It's a Captivating Reinterpretation That Will Ignite Dancefloors and Leave Listeners Craving More. "Uprising Volume 2" Is a Powerful Testament to Zaratustra's Ability to Revive the Spirit of the Early 2000s New Wave and Electroclash Era. Each Track Encapsulates the Essence of That Time, Infusing It With a Modern Touch That Will Leave Listeners Craving More. Join the Uprising and Immerse Yourself in the Electrifying Soundscapes of Zaratustra. This Vinyl Release Is a Must-Have for Any Music Enthusiast Seeking a Sonic Adventure That Defies Genres and Rekindles the Spirit of a Bygone Era. Grab Your Copy of "Uprising Volume 2" and Witness the Evolution of Zaratustra's Artistic Prowess, as He Continues to Shape the Future of Electronic Music....

Die gefeierte Can Live Serie wird mit einem Konzert in Paris mit Damo Suzuki fortgesetzt! Die zweite Phase der gefeierten Can Live-Serie, Can Live in Paris 1973, wird am 23. Februar 2024 auf Vinyl, CD und digital über Mute und Future Days (das neue EU-Label von Spoon Records) veröffentlicht.

Live in Paris 1973 zeigt Can in magischer Form bei einem Auftritt, der am 12. Mai 1973 im Pariser L'Olympia aufgezeichnet wurde und bei dem erstmals Damo Suzuki am Gesang zu hören ist. Von 1970-73 wurde die Stammbesetzung von Irmin Schmidt, Jaki Liebezeit, Michael Karoli und Holger Czukay durch den japanischen Improvisator und Sänger Suzuki ergänzt. Sie lernten sich durch eine zufällige Begegnung kennen, als Suzuki als Straßenmusiker in München unterwegs war; einige Monate nach dem hier veröffentlichtem Auftritt verließ Damo die Band. Dieses neue Album in der Reihe ermöglicht es uns, die Band in einer besonders wichtigen Phase ihrer Karriere zu erleben, da zwei ihrer am meisten gefeierten Alben - Tago Mago und Ege Bamyasi, wobei letzteres in den Pariser Auftritt einfließt - erst kürzlich veröffentlicht wurden. Die Aufnahmen wurden von Gründungsmitglied Irmin Schmidt und Produzent/Sound Engineer René Tinner, die alle Alben dieser Reihe zusammengestellt und bearbeitet haben, aus Aufnahmen in den Archiven von Spoon Records und von hilfsbereiten Fans eingesandten Aufnahmen zusammengesetzt und für das 21. Jahrhundert aufgearbeitet. CAN, die in den späten 60er Jahren gegründet wurden und sich ein gutes Jahrzehnt später auflösten, haben sich mit ihrer beispiellosen und kühnen Verbindung von hypnotischen Grooves und avantgardistischen Instrumentalstrukturen zu einer der wichtigsten und innovativsten Bands aller Zeiten entwickelt, und diese Alben zeigen die Gruppe aus einer ganz anderen Perspektive. Man hört vielleicht vertraute Themen, Riffs und Motive, die auftauchen und sich durch diese Jams wälzen, aber es sind oft nur flüchtig wiedererkannte Gesichter in einer wirbelnden Menge. An anderen Stellen hört man Musik, die es nie in den offiziellen Albumkanon geschafft hat. Bei diesen Aufnahmen gehen Can in noch extremere Bereiche als bei ihren Studioarbeiten: von sanftem, atmosphärischem Drift-Rock bis hin zu Momenten, denen die Band den Spitznamen "Godzillas" gab. Und selbst wenn sie sich von Minute zu Minute dem Rhythmus anpassen und hinterher jagen, kann man die außergewöhnliche musikalische Telepathie hören, die ihre Mitglieder miteinander teilen.

Die neue Veröffentlichung folgt auf Can Live in Brighton 1975 "Pure dynamite... keep them coming" - MOJO; Can Live in Stuttgart 1975, UNCUT's Reissue of the Year, #2 in MOJO's Reissues of the Year, #7 in THE WIRE’s Archive Reissues of the Year, und Can Live in Cuxhaven 1976, das ebenfalls in den “Reissues of the Year” stark vertreten war.

Can Live in Paris 1973 wird am 23. Februar 2024 auf Doppel-Vinyl, 2 x CD und digital über Mute / Spoon Records veröffentlicht.

“There goes my TARDIS!” Demon Records celebrates David Tennant and Catherine Tate’s partnership as the Doctor and Donna with two audio-exclusive stories, read by the actors themselves. In Pest Control, read by David Tennant, the Doctor and Donna face monstrous insects and a ruthless robot exterminator when the TARDIS is lost in battle on a distant planet. The Doctor sets off in pursuit of his craft, while Donna finds herself accepting a commission in the Pioneer Corps. Something is transforming soldiers into monstrous beetles - and she could be the next victim. In The Forever Trap, read by Catherine Tate, the duo find themselves imprisoned in a complex of luxury apartments in space, and neighbours to a terrifying assortment of aliens. Deadly mobs wage battle in the corridors and on the stairwells, and the travellers must cross their paths as they search for the ultimate authority. Who, or what, lies at the heart of the Edifice? This stunning box set, with an illustrated lift-off lid, features 6 x 140g vinyl LPs - three in Transparent Red and three in Transparent Yellow - each housed in a unique inner sleeve. A four page booklet features sleeve notes by authors Peter Anghelides and Dan Abnett, who reflect on the process of writing for the Tenth Doctor and Donna, and how they regard the stories 17 years later. Now for the first time on vinyl, accompanied by original sound design and Murray Gold’s Series 4 arrangement of the familiar theme music, these two high-octane adventures are a reminder of the excitement, humour and magical wonder of Doctor Who

The phenomenal three-piece band includes members of Oranssi Pazuzu, K-X-P, Grave Pleasures and Aavikko


Svart Records is proud to release the debut album, I, from Haunted Plasma, a powerhouse of futuristic synth in symbiosis with the super violent atmospherics of kosmische Black Metal. Haunted Plasma is “man meets machine” in a cybernetic wasteland, set to a conceptual backdrop of William Gibson and Phillip K. Dick style mind-melt. The highly evolved creatives at the heart of Haunted Plasma’s sound, cite Terry Riley, Massive Attack, a contemporary take on Krautrock hypnosis, psychedelic Black Metal and 90s Techno, resulting in an orgy of mutant sound.



The phantoms at the beating nucleus of this unearthly machine are Juho Vanhanen (Oranssi Pazuzu, Grave Pleasures), Timo Kaukolampi (K-X-P, Op:l Bastards) and Tomi Leppänen (Circle, Aavikko, K-X-P), transmitting a music form evolved from a life of redefining sonic boundaries in their respective projects. Also featuring guest vocals from Mat McNerney (Hexvessel, Carpenter Brut, Grave Pleasures/Beastmilk), Pauliina Lindell (Vuono, Dust Mountain) and Ringa Manner (Ruusut, The Hearing). Haunted Plasma promises an extraterrestrial experience from some of the foremost contemporary musicians at the heart of the Finnish heavy and avant-garde musical underworld.



Haunted Plasma reveals:

“We are liberated futurists, embracing free-form and natural composition, mirroring the merciless forces of cosmic creation. We have a motto to stay true to our feelings, to spawn a sound that’s never been heard before. Servants of music. Energizing, radical and pure”


The first single from Haunted Plasma’s cascading debut, Reverse Engineer, is a creepy, slowly erupting, synthetic nightmare, of a downloaded being waking up in the wrong future. Ghostly vocals demand the listener to “give us what we want” in an Orwellian glimpse into the current dystopia we live in, where information is controlled, and thoughts are bought and sold. As McNerney intones the words “technology of power” he describes the threat of a malevolent and omnipresent artificial intelligence, as much as describing the oppressive and electromagnetic sonar pulse of Haunted Plasma’s sound itself. Psychedelic guitar hypnosis from Vanhanen snakes around Kaukolampi’s molten and morphing synths, while Leppänen’s uncanny man/machine rhythms pull our strings and animate their other-worldly mechanisms. Have a look at the official visualiser of "Reverse Engineer" on the Svart YouTube channel here


Culminating in the full-blown fast Krautrock of the final self-titled track, oozing with blistering noise elements and enigmatic vocals from Ringa Manner, the album's journey reaches its zenith, taking you to unknown territories on a Kubrikian space trip. I is a rare record of talented musicians coming together to create a completely new sound, which is entirely their own, boldly glowing, where no light has shone before. From the dreamy psychedelia of Echoes to the discombobulated Spectral Embrace, Haunted Plasma is a willful force of deliberate sound contortion.


Whether you want to give in to Haunted Plasma’s sound or not, you are being watched, you are being recorded and your every move is monitored. Haunted Plasma will enter your system on the 31st of May 2024. Turn on your phantom circuits and be prepared for an interdimensional excursion into Haunted Plasma’s alien dreams.

The debut album from Haunted Plasma will be packaged in a beautiful tip-on sleeve, swirling fog artwork, complete with 12” booklet and pressed on 3 exclusive vinyl colours: 300 copies on Standard Black Wax, 500 copies in Amber + Black Smoke and 200 copies of Svart exclusive Turquoise/Black Marble. The album will also be available on CD and digital platforms.

2LP Soundtrack for UbiSoft video game in the Avatar series on Translucent Blue & Pink Vinyl Set after the events of the first Avatar film, you’ll embark on a journey across the Western Frontier, a never-before-seen continent of Pandora, as you join other Na’vi clans to protect Pandora from the formidable forces of the RDA. Created in collaboration with Disney and James Cameron’s production company, Lightstorm Entertainment, you will experience a first-person open-world action-adventure game exclusively developed to maximize the power of new-gen consoles and PC. Abducted by the human militaristic corporation known as the RDA, you, a Na’vi, were trained and molded to serve their purpose. Fifteen years later, you are free, but find yourself a stranger in your birthplace. Reconnect with your lost heritage, discover what it truly means to be Na’vi, and join other clans to protect Pandora from the RDA.

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

AAA Audiophile 200g 45rpm Triple Disc LP!
Sourced from First Generation Analogue Recordings without Any Digital Corruption!
2xHD Mastering on Nagra Equipment by René Laflamme!

Sound Restoration by George Klabin & Fran Gala!

Cut All Analogue at Bernie Grundman Mastering on Tube Cutting Equipment!

There have been many guitar gods, but there's never been an electric bassist as deified as Jaco Pastorius. – Michael J. Agovino

This live album by Jaco Pastorius and the Word-of-Mouth Big Band, featuring harmonica virtuoso Toots Thielemans as special guest, was recorded in analog 24 tracks by the Record Plant mobile truck at Avery Fisher Hall in NYC on June 27, 1982, as part of George Wein's Kool Jazz Festival. This Deluxe 45rpm 200g edition is the first one to be mastered from the original 2 track master tapes that were found some 30 years later (the previous digital download versions were released from a digital remix of the 24 tracks). What we have here is the direct copy of the original pure analogue 2 track mix.

The brightest star in the electric bass firmament, Jaco Pastorius burst onto the national scene in 1976 with his audacious self-titled album on Columbia Records, featuring a line-up of top jazz musicians. With his extraordinary fretless electric bass playing as the centerpiece, Jaco Pastorius created an immediate sensation with the public and the media. His signature approach employed Latin-influenced funk, lyrical solos on fretless bass, bass chords, and innovative use of harmonics. In Jaco's work with Weather Report and beyond, the self-described "greatest bass player in the world" (an assessment shared with virtually the entire music world) established a new identity and role for his instrument and became the torch-bearer for a new way of playing both technically and conceptually. But behind it all was an ever present R&B and Latin-influenced groove and a screaming rock-'n'-roll attitude that he refined and incorporated into sophisticated jazz harmonic structures.

In addition to his extraordinary virtuosity, Jaco was also developing into an accomplished and sophisticated composer and arranger and those talents are gloriously on display on this album. The 3-time Grammy Award nominee was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honored (and the only electric bassist). His legacy as a bass innovator continues to this day, more than 30 years after his untimely death in 1987.

Galaxy Orange/Black Vinyl. Limited to 500 copies. Data Diamond is the sound of FOUR STROKE BARON at their most confidently unhinged. Originally conceived as two separate EPs (one purely electronic - Data, one heavy - Diamond) that would then meld together on one full length release, the idea morphed into what is now the succinct sucker punch of an album that is heading our way at speed. Heavily inspired by their own work on Data Diamond's predecessor, Classics, Witt and Vallarino got to work in their laboratory creating the most potent, concentrated form of FOUR STROKE BARON possible. Data Diamond - a dizzying sub-40 minute dive into the deranged psyches of its creators. The tracks on Data Diamond are lithe yet still allow enough room for idiosyncratic flourishes that mark this out as a true FOUR STROKE BARON opus. If Classics was a Man vs. Food belly busting plate of indulgence, Data Diamond is an upmarket Gordon Ramsay dish, served with a side of insanity. Finding a co-conspirator in Cynic's Paul Masvidal, the trio get somewhat psychedelic on the album's eponymous closing - and most expansive - track, which also features Vola's Adam Janzi on drums. Thematically, this is their most murderous anthology to date. Those who find themselves embroiled in these bloodthirsty tales include a Radio Shack CEO, an internationally acclaimed cyborg, an accidental trafficker of human body parts, and the leader of a death cult located in a convenience store. FOUR STROKE BARON's anomalous view of the world takes a particularly dark turn across the songs on Data Diamond, yet, as ever the macabre tragedies are dressed up with catchy melodies, pop hooks for days and a big shimmering bow of positivity.

Limited Pink w/ Purple & Cream Swirl Vinyl. To celebrate the 10 Year anniversary of their album The Things We Think We're Missing, Balance and Composure teamed up with longtime collaborator Will Yip to track the record live for a one-time livestream event in late 2023. That performance has been pressed to vinyl & is now available in a one-time vinyl pressing.

After five long years, Balance and Composure return with Too Quick To Forgive--newly signed to Grammy-nominated producer Will Yip's label, Memory Music, the alt-rock darlings sound more assured and adventurous than ever across two vulnerable tracks. Too Quick To Forgive is a reflection on personal perseverance in the wake of confrontation, told through two distinctly different scenarios. "Savior Mode" finds frontman Jon Simmons baring his soul in a way that is unparalleled in their discography, while "Last To Know" is an emotionally-resonant highlight that leaves a lasting impact well after its final notes play out. Simmons' vulnerability and emotional delivery across both tracks cut through with unflinching precision courtesy of Andy Slaymaker (guitar), Matt Warner (bass), Erik Petersen (guitar), Dennis Wilson (drums), and who the band considers their 6th member--producer Will Yip. In the fall of 2022, the group got together at his Conshohocken, PA studio, Studio 4, with a few ideas that Yip helped turn into these otherworldly tracks. "It was all magic," Jon says. With a renewed sense of purpose, Balance and Composure will return to the stage for a series of Too Quick To Forgive release shows in some of the biggest rooms they've ever played.

New Jersey-born Ali Berger is a drum machine specialist and low-key US dance music standby, now based in Pittsburgh after spending the 2010s in Boston and Detroit. His catalog of original music runs deep, with over 60 releases on his Trackland label and EPs on imprints like Spectral Sound and Sequencias, all resulting from a lovingly-cultivated studio approach which respects improvisation as a spiritual practice.

Here with this sublime release on Scissors and Thread, Ali shares a multitude of sounds and atmospheres across the five tracks. As Ali himself puts it “This record collects tracks from the last three years, plus 0221 (Serious Mix) which is from 2018. There's a full cross-section of production techniques represented here, from one-take jams to multi-tracked compositions, but through it all there's a deep melancholy which (I hope) is tempered by enough groove to be uplifting. Maintaining emotional balance takes constant, caring attention; music is a part of that process for me and these tracks reflect that.”

This balancing of melancholic atmospheres and groove is evident throughout - Rhythm & Simplicity is a low key thoughtful banger for the more discerning dancefloors, while A New World To Forget also exhibits a deep love of cultured house music and analog drum machines. Tape Jam pt 2 is the perfect mix of improvisation and pure groove, put down in a rough and gritty fashion. 0221 (Serious Mix) merges a breakbeat with pads and synths that give off a balearic sunrise vibe, while Motion Anthem wraps up the EP with a tougher groove coupled with wistful melodies and oceans of feeling.

Co-founded by Detroit natives Rahill Jamalifard and Lenny Lynch, Habibi got its start in Brooklyn in 2011, earning early raves every- where from Pitchfork and NME to All Things Considered and The New Yorker, who praised the band for infusing “the Colgate-white glisten of sixties-girl-group pop with an uncensored edge.” Dreamachine, Habibi’s mesmerizing new record releasing on Kill Rock Stars, marks a major sonic evolution for the band, rising beyond the critically acclaimed five-piece’s garage rock roots to arrive at a singular swirl of analog and digital elements that underpin their search for spiritual and physical transcendence. Produced by Tyler Love and longtime collaborator Jay Heiselmann and featuring MGMT multi-instrumentalist James Richard-son, the collection draws on a mix of post-punk, experimental pop, and vintage disco, calling to mind Tom Verlaine, Diana Ross, Kate Bush, and Kim Deal, all filtered through the band’s shared love of Middle Eastern psych music. The songs here are their own distinct worlds, each an immersive quest in pursuit of something greater, and the band’s performances are relentless and hypnotic to match, driven by lush synthesizers, sinewy guitars, and a muscular rhythm section. The result is a record as fearless as it is enthralling, an alternatingly fierce and joyous work that ascends to new heights as it reckons with desire and escape, love and surrender, rebellion and reality.

THIRD EAR BAND stammen aus Canterbury und begannen als psychedelische Band namens THE GIANT SUN TROLLEY, die in Südlondoner Clubs lange und improvisierte Sets spielte. Nach einem Auftritt wurde der Band fast die gesamte Ausrüstung gestohlen. So wurden sie aus purem Zufall und offensichtlicher Notwendigkeit eine Akustikband und nahmen den Namen THIRD EAR BAND an. Von 1969 bis 1972 veröffentlichte die Band drei Alben auf dem progressivem Harvest-Label, "Music From Macbeth" (1972) war davon das bekannteste und kommerziell erfolgreichste. Am 24. April 1970 traten die Third Ear Band beim 2. Essener Pop & Blues Festival. Aus welchen Gründen auch immer tauchten sie aber weder auf dem offiziellen Plakat zur Veranstaltung noch in den Programmheften zum Festival auf. Das Billing des Tages war mit Acts wie The Flock, Ekseption, Rhinocerous, The Groundhogs, It"s A Beautiful Day und den noch unbekannten Black Sabbath, die gerade ihr erstes Album veröffentlicht hatten, prall gefüllt. Das Essener Konzert in der Quartettbesetzung mit Sweeney am Schlagzeug, Minns an der Oboe, Coff an der Violine und Smith am Cello fand nur wenige Wochen vor der Veröffentlichung des zweiten Albums statt, das die Fans als "Elements" kennen, obwohl es schlicht "Third Ear Band" heißt und im Juni 1970 erschien. Von den vier Elementen spielte die Band an dem Abend "Earth" und "Water", aber in einer kürzeren Fassung im Vergleich zu den Albumversionen. Erst vor kurzem sind die professionellen Tonaufnahmen vom Festivalauftritt der Third Ear Band wieder aufgetaucht und jetzt restauriert, klanglich aufgearbeitet und gemastert worden.

“Thou Shalt” is the second album by The Answer Lies In The Black Void. Serene, invoking imagery of darkness; sweeping soundscapes tear and twist at the emotions. The latest album by The Answer Lies In The Black Void is a work of magical beauty. The duo, a collaboration of Martina Horváth from avant-garde folk metal project Thy Catafalque and Jason Köhnen from Celestial Season, The Lovecraft Sextet, Bong-Ra, Mansur and The Kilimanjaro Darkjazz Ensemble, follows up on their 2021 debut “Forlorn”.

The prevalent element here is doom, but there is so much more buried deep within the dark vaults of this compelling record. The nine new tracks are deep, richly layered songs, with Horváth demonstrating her stunning shimmering vocals over the complex creativity of Köhnen, the multi-instrumentalist who takes responsibility for everything instrument-driven here. There are crushing riffs, echoing lead guitar work, melodic choruses and harrowing passages which send shivers down the spine, and all the time the atmosphere builds; The Answer Lies In The Black Void seeks to embrace beauty in darkness and fragility in heaviness.

Data Diamond is the sound of FOUR STROKE BARON at their most confidently unhinged. Originally conceived as two separate EPs (one purely electronic - Data, one heavy - Diamond) that would then meld together on one full length release, the idea morphed into what is now the succinct sucker punch of an album that is heading our way at speed. Heavily inspired by their own work on Data Diamond’s predecessor, Classics, Witt and Vallarino got to work in their laboratory creating the most potent, concentrated form of FOUR STROKE BARON possible. Data Diamond - a dizzying sub-40 minute dive into the deranged psyches of its creators. The tracks on Data Diamond are lithe yet still allow enough room for idiosyncratic flourishes that mark this out as a true FOUR STROKE BARON opus. If Classics was a Man vs. Food belly busting plate of indulgence, Data Diamond is an upmarket Gordon Ramsay dish, served with a side of insanity. Finding a co-conspirator in Cynic’s Paul Masvidal, the trio get somewhat psychedelic on the album’s eponymous closing - and most expansive - track, which also features Vola’s Adam Janzi on drums. Thematically, this is their most murderous anthology to date. Those who find themselves embroiled in these bloodthirsty tales include a Radio Shack CEO, an internationally acclaimed cyborg, an accidental trafficker of human body parts, and the leader of a death cult located in a convenience store. FOUR STROKE BARON’s anomalous view of the world takes a particularly dark turn across the songs on Data Diamond, yet, as ever the macabre tragedies are dressed up with catchy melodies, pop hooks for days and a big shimmering bow of positivity.

Unhinged Aussie grunge captured just as the Scientists were imploding/attempting to explode. Recorded over three days in February 1986, Weird Love is the band''s last ditch effort to bring their bad vibes to bedrooms the world over, a colossal failure and brilliant mistake that sounds best when blasting out of 1982 Corolla's blown Alpine tweeters.

Reissued for the first time outside of Brazil, this is Tom Zé's first LP on Continental Label and the press release warned: “1972 marks the beginning of a new phase in Tom Ze´’s career. He decided to move into simpler forms of writing and released an album that is a result of that”. Tom Zé is considered the most "paulista" of all Tropicalistas. He came from Bahia, but his wry urban poetry, infused with the uncomfortable sounds of the largest metropolis of South America, is pure São Paulo.

A landmark recording and masterful symphony of performance, composition, and execution, Miles Davis' E.S.P. established the template jazz would follow for the following decade. The 1965 record splits the gap between accessible hard-bop and the cutting-edge approach Davis increasingly pursued into the 1970s. Adventurous, sophisticated, and yet altogether cohesive, E.S.P. stands out not only due to its elastic compositions but via its chemistry, interplay, and feeling attained by the instrumentalists. The first album Davis' classic second quintet made together, it's also very arguably the group's best. Never before has the effort been experienced in such transformational sound.

Pressed at RTI, this 180g 45RPM 2LP set of E.S.P. renders the music's dynamics, pitch, colors, and textures with lifelike realism and proper scale. Reference-caliber separation, wall-to-wall soundstages, and distinct images magnify the intensity and beauty of Davis and Co.'s creations. Whether it's the distinctive snap of Tony Williams' drum sticks against the snare head, air moving through Davis' trumpet, acoustic thrum of Ron Carter's bass, or upper register of Herbie Hancock's piano, the sound is better than you'd even hear in the most intimate jazz clubs. Prepare to be swayed on every level.

For many, E.S.P. looms among the decade's best albums if only because of the significance of Davis' line-up. While Hancock, Williams, and Carter are holdovers that began playing with one another on 1963's Seven Steps to Heaven, Wayne Shorter functions as the secret weapon and key addition responsible for this ensemble hitting a new peak. Indeed, the saxophonist helped pen two of the seven compositions here – notably, E.S.P. is entirely comprised originals and clocked in as one of the longest-running jazz LPs issued at the time – and, more importantly, grants Davis the confidence and leeway necessary for the eruption of enigma, steadiness, and tension.

As he did with John Coltrane year earlier, Davis hangs back and picks his moments to solo, with Shorter stepping up to supply the churn. Their bandmates respond in kind, itching to take off into new stratospheres all the while keeping their improvisations grounded and connected to the piece at hand. Guided by Davis' visions and inspired by current boundary-pushing works by the likes of Ornette Coleman, Cecil Taylor, and Coltrane, the magnificent results spark with variation, harmony, emotion, energy, and brilliant movement.

Interlocking lines drive "Little One," alternating rhythms pulse through the funky "Eighty-One," melodies soar on the balladic "Iris," the aptly titled "Mood" broods over minor-key structures, and "Agitation" – goosed by a two-minute percussive introduction by Williams – delivers on its promise. No record – and no group of musicians – have ever balanced coherent themes and exploratory playing in better fashion than Davis' quintet on E.S.P. It's the avant-garde record even jazz traditionalists love, and essential on every level.