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Kënnlisch, one of the rarest haunting psychedelic acid folk LPs from France, was the work of brothers Philippe and Jean-François Macherey.

Originally released in 1976 on the mega collectable label Le Kiosque d'Orphée, it contains some of the most beautiful sounds to come out of the 1970s alternative music scene.

An instrumental album, it opens with a burst of sunshine vibes and takes them into the experimental scene of French alternative folk avantgarde with a strong Cosmische influence. Beauty is the word, grown over acoustic guitar parts harmonised with the most elegant Moog Satellite lines you'll ever hear to create atmospheres of sound that make this is the perfect record for your mind to float away on a peaceful Sunday morning under a clear blue sky - it does have that therapeutic quality that we miss so much in modern music.

Wah Wah presents the very first official reissue of this mega rare LP, housed in it's original minimalist hand made artwork with the little upgrade twist of silk-screen printing and including a 4-page colour booklet with photos and text provided by the Macherey brothers themselves.

500 copies only!

Although this amazing U.S. popsike gem seems to have remained under the radar since it was first released in 1969, copies of an original pressing of this LP fetch several hundreds of dollars among the small circle of collectors that have managed to discover the amazing works of Don Beckmann and David Rea.

Their only LP was originally released on their hometown Denver’s Stylist Records label back in 1969. The production is amazing: to the strength of the duo’s compositions and their guitar and vocal talents, a complete band is added, plus impressive orchestrated arrangements with scores provided by Dan Goodman and Mark Schuster and conducted by Ben Kaufman, the result being a deliciously beautiful album that could be a missing link between the works of Simon & Garfunkel and those of soft pop maestros like The Free Design or Harper's Bizarre or baroque pop legends The Left Banke.

Definite reissue of this No Wave classic, originally issued in 1979. Previous reissues of the Contortions and James White albums on Infinite Zero have been deleted for the better part of a decade. These are all officially sanctioned by the originating label, Ze Records; packaged in fold out digipaks, with deluxe 20 page booklets. The 21st century has produced a new generation of young contenders of all kinds, who have, within months, spread a new string of names across the planet such as The Rapture, Playgroup, LCD Sound system, Liars, Yeah Yeah Yeahs, Radio 4 and the likes, just to name a few. Once again the heat was initiated in NYC, even though its Lower East Side epicenter 'cleaned up' by Giuliani and Bloomberg, has moved a few blocks east and across the river to Brooklyn and Williamsburg. It might be wise to remind the younger ones among us that the origins of this new musical cycle is for the most part rooted in the No Wave movement of which James Siegfried aka James White, aka James Chance is undoubtedly one of its most prominent figures. New York City was hands down the artistic telluric center of the second half of the 20th century, especially from the 70's, on. Rising from the ashes of the Velvet Underground, a slew of local bands redefined the aesthetics of rock'n'roll which the merchants of the temple hastened to rename under various designations, such as punk, new wave, no wave, jazz-funk or even disco and disco-punk without forgetting to mention the original Electro designation pioneered by the band Suicide. One of the indispensable and emblematic figures of the mid-'70s is of course James Chance.

Ma Rainey’s Black Bottom is the official soundtrack to the 2020 Netflix original film of the same name about “Mother of the Blues” Ma Rainey. The album features score music by critically-acclaimed saxophonist, instrumentalist, composer, bandleader and educator Branford Marsalis, as well as newly-recorded covers of both popular Ma Rainey tracks and blues and jazz standards from the era. The multi-GRAMMY Award® winner brings over four decades of experience across stylistic boundaries to the project, imbuing the film with an authentic 1920s Chicago soundscape. The film was directed by George C. Wolfe and stars Viola Davis and Chadwick Boseman. It is lauded by critics and moviegoers alike, and it is expected that Ma Rainey’s Black Bottom will be a favorite at many 2021 award ceremonies. Ma Rainey’s Black Bottom is available to watch on Netflix now.

Raleigh Ritchie releases his highly anticipated second album, ANDY. A twelve track project, Andy sees Bristol born and London-hailing Raleigh holding a colossal magnifying glass to himself. Over the production, for the most part, from long-term collaborator Chris Loco but also, the incredibly talented GRADES on “Time In A Tree” and “27 Club”, Raleigh leaves no stone unturned. The album is a creation of heartbreakingly honest songs that seamlessly fuses sweeping soul and mellow R&B with forward-thinking electronica and gutsy orchestral moments. (Raleigh has become well known for working with the sensational Rosie Danvers and Wired Strings.) This is a truly powerful record, a long-awaited return that packs a poignant punch.

It has been four years since Raleigh aka Jacob Anderson, released his inaugural debut album You’re A Man Now Boy but fans have not been left wanting. When he wasn’t releasing music, performing at his sold out show at Shepherds Bush Empire, or alongside Stormzy in his iconic Glastonbury headline, featuring on Gang Signs & Prayer, Stormzy’s critically acclaimed debut, or acting as Grey Worm in the hit HBO series Game Of Thrones, he was and is “Andy”.

We are starting 2021 with this incredibly beautiful and critically acclaimed track by Deborah Jordan, from her latest album ‘See In The Dark’ and this outstanding rework and extended edit by the songs original producer Marc Rapson. The extended edit is an exquisite journey through the original into an instrumental with stunning piano flourishes, magical strings and soaring vocals, continuing the journey of this unique and timeless track, which has been described as Deborah’s Magnum Opus. Rapson’s new Rework evokes memories of our most endeared hip-hop beat makers (Dilla, Q-Tip, Pete Rock) and takes us deep with masterful piano textures, resampled voices and the warmest bass you would have heard in years.The bonus track ‘Senses’, a standout from Deborah’s album, has also received the Rapson touch with a perfect hip-hop swing and ridiculous bass line which is exclusive to this vinyl release.

Back by popular demand, Memorials of Distinction is rereleasing Porridge Radio's shed-recorded debut album on a limited pressing of 1000 clear vinyl and CD. This comes after a year in which Porridge Radio's Every Bad, their first on Secretly Canadian, led to top reviews in Pitchfork, The Guardian, NME, The Times, The Quietus, Clash, Uncut, Q, The Independent, LOBF, DIY, Stereogum, Paste, Vice, amongst others, and then being shortlisted as one of the Hyundai Mercury Prize's 12 Albums of 2020. Porridge Radio started as Dana Margolin’s bedroom project, but grew to a Brighton-based band who, on this debut, inelegantly knotted together tender melodic pop songs with vicious and furious emotional outpour. After a series of home-recorded solo demos and the growing legend of their live shows on the UK DIY scene, they originally released this lofi debut full band LP in 2016. The album documents struggles with life, love and boredom - spelt out with sticky fingers by five idiot savants. RP&OF's lyrics, title and artwork, as well as the group's name, brings to mind a certain scrapbook absurdism at the core of Porridge Radio's earlier work. Faced with the dark abyss of existence, Margolin and co. scrape together some value from the nonsensical and the pointless, and then cling to it, giggling, for dear life.

LTD edition... Crossbredd at Radio Bomb is an original adventure.
Producting Hardcore/jungle since 1994 Alex Aka Radio Bomb saw the "crossbreed" name taken by a more formated style, very drum & bass oriented while this original style was more jungle. Here comes a collection of 4 tunes exposing his point of view on this "name style".

So here come the original X Breed style !

Jimmy Cluck brings you Stunt Cock Breaks!

Limited edition BLACK 7 inch vinyl.

Samples from cult classic films arranged in a fun and romantic way for the discerning turntablist.

Side A and B contain six non-skip scratch phrases at 100bpm. Parental Advisory. Explicit Content.

After three years of waiting since her seminal Sister funk hit single "2 Kinds Of Men", Record Kicks finally presents "Stop Look Listen" the debut album from the new Oporto soul diva Marta Ren & The Groovelvets that will hit the streets 19 February 2016. Anticipated from the first single "I'm Not A Regular Woman", which is getting airwaves all over Europe (including BBC 6, Rai Radio 1, LeMouv / Radio France), produced and recorded on an Ampex eight-track tape machine by New Max from Portuguese funk combo Expensive Soul and mastered in NYC by Andy Vandette, "Stop Look Listen" is pure dynamite and follows the best tradition of the Soul Sisters of the 60s. Marta Ren, not surprisingly described as the new Marva Whitney, brilliantly supported by her super tight 8-piece rhythm & soul combo The Groovelvets, serves you 11 tracks of pure fire and takes-no-prisoners. From the floorshakin' opening track "Don't Look" to the mellow feel-good anthems "Smiling Faces", "So Long" and the afrotastic "Be Ma Fela", the Portuguese combo deliver a visceral deep funk album, proving that they're the new 'real deal'.

Marta Ren is not a newcomer as she has been around in the Portuguese scene since the mid 90s lending her deep and powerful voice, amongst others, to break-beat outfit The Bombazines, recording two albums and establishing her unique talent at clubs and festivals all around Portugal. But Marta's passion has always been for the deepest funk and rawest soul of the sixties, and now the time has come for her to show the world her immense talent. With a powerful voice that would make the founding soul sisters proud, Marta Ren is looking to rule the world and make herself a household name. Fans of Sharon Jones & the Dap-Kings get on it!

If conceivable, imagine a collaboration between Brian Eno and Aphex Twin, both in their ambient periods, recording stock music for an Italian Library music label. If so, then behold Psycorama!, a collection of experimental music used to soundtrack a series of films and documentaries produced by the Italian filmmaker Roberto Rossellini. Composed by Mario Nascimbene, a name synonymous with the golden age of Italian film music, a composer whose grandiose scores of the 1950s and 60s defined the very essence of Cinecitta. While the widespread influence of these soundtracks is undeniable, it is beyond the commercial domain of the major studios where this compendium takes focus, revealing a deeper, darker and more complex composer. Forged on the 'Mixerama', a unique homemade sampling instrument, Nascimbene employed visionary techniques to deconstruct and render sound, sculpting pre-existing recordings into intense and evocative other-worldly soundscapes (most notably used for the 1971 existential TV drama Socrates and the 1969 Egyptian modernist film Al-Mummia (The Night Of Counting The Years). Previously unpublished except for a lone and mysterious Library music LP, the soundtrack cues are collected here for their first commercial release. Psycorama is a fascinating document of electro-acoustic music comparable to the beautifully dark music of fellow colleague Egisto Macchi. Including liner notes and rare photos.

Reissue of a rare Italian experimental Library LP.
Music used to soundtrack Roberto Rossellini films.
Pioneering sampling techniques and tape manipulation.
Brian Eno's Music For Airports meets Aphex Twin's Ambient Works II!

LIMITED TRANSPARENT RED WITH BLACK SWIRLS DOUBLE VINYL

Nine years after it’s initial release, 'The Ripper At The Heaven's Gates Of Dark' is back. The original black vinyl and CD editions sold out pretty quick, and have been a constant source of repress requests ever since. So, at Makoto’s personal request here it is. And I agree with him that it’s definitely the best AMT studio album from that short lived four piece line up.

With the exception of the album's opener 'Chinese Flying Saucer' and it's unashamedly obvious musical references to Led Zeppelin II (hello 1969!) the rest of the album locks into a much more laid-back groove than on recent AMT releases. This dynamic shift is best displayed on the 22 minute jam, 'Shine On You Crazy Dynamite' and also the album's closer 'Electric Death Mantra'. The band opt for less frantic explosions of electric guitar overload and fuzz, replacing those elements with a more epic, blissed-out and at times brooding Japanese psychedelia, with more emphasis on acoustic guitars, sitar, organ, synthesiser and at times, really trippy vocals (most prevalent on 'Back Door Man Of Ghost Rails Inn'), recalling the twisted psychedelics of early Pink Floyd. Yet still, their sound remains so expansive that it is easy to become totally immersed in this album.

Epic in proportions, cloaked in a cosmic haze and shimmering in a synth utopia. 'The Ripper At Heaven's Gates Of Dark' maintains AMT's status as masters of out-of-this-world music and reveals their darker side of the moon.

Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording were :Tsuyama Atsushi : monster bass, voice, soprano sax, cimpo flute, soprano recorder, acoustic guitar, cosmic joker Higashi Hiroshi : synthesizer, dancin'king Shimura Koji : drums, latino cool Kawabata Makoto : electric guitar, electric bouzouki, sitar, organ, percussion, electronics, speed guru

Recorded at Acid Mothers Temple, Japan Produced & engineered by Kawabata Makoto
Digital mastered by Yoshida Tatsuya.

LIMITED TRANSPARENT BLUE WITH BLACK SWIRLS DOUBLE VINYL HOUSED IN A NEWLY REDESIGNED FULL COLOUR GATEFOLD SLEEVE/JACKET.

Nine years after it’s initial release, 'The Ripper At The Heaven's Gates Of Dark' is back. The original black vinyl and CD editions sold out pretty quick, and have been a constant source of repress requests ever since. So, at Makoto’s personal request here it is. And I agree with him that it’s definitely the best AMT studio album from that short lived four piece line up.

With the exception of the album's opener 'Chinese Flying Saucer' and it's unashamedly obvious musical references to Led Zeppelin II (hello 1969!) the rest of the album locks into a much more laid-back groove than on recent AMT releases. This dynamic shift is best displayed on the 22 minute jam, 'Shine On You Crazy Dynamite' and also the album's closer 'Electric Death Mantra'. The band opt for less frantic explosions of electric guitar overload and fuzz, replacing those elements with a more epic, blissed-out and at times brooding Japanese psychedelia, with more emphasis on acoustic guitars, sitar, organ, synthesiser and at times, really trippy vocals (most prevalent on 'Back Door Man Of Ghost Rails Inn'), recalling the twisted psychedelics of early Pink Floyd. Yet still, their sound remains so expansive that it is easy to become totally immersed in this album.

Epic in proportions, cloaked in a cosmic haze and shimmering in a synth utopia. 'The Ripper At Heaven's Gates Of Dark' maintains AMT's status as masters of out-of-this-world music and reveals their darker side of the moon.

Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording were :Tsuyama Atsushi : monster bass, voice, soprano sax, cimpo flute, soprano recorder, acoustic guitar, cosmic joker Higashi Hiroshi : synthesizer, dancin'king Shimura Koji : drums, latino cool Kawabata Makoto : electric guitar, electric bouzouki, sitar, organ, percussion, electronics, speed guru

Recorded at Acid Mothers Temple, Japan Produced & engineered by Kawabata Makoto
Digital mastered by Yoshida Tatsuya.

Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which - thanks to ist collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a fi rm fan-favourite, among Cherry Tree’s seven tracks are now National classics ‘About Today’ and ‘All The Wine’, plus a thrilling live version of ‘Murder Me Rachael’ that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World. And with this new master, it’s never sounded better too.

Raver's Guide VA features russian underground with top-notch names again. There is a heavy & classy intro by Gemüt, the crusader of Moscow's Monasterio. Then you get trapped in a warehouse honey banger by Melier Avenue. And also here is a hypno trance atmo delivered by Disco Morato. Embodied in the thick black vinyl.

Lost Horizons release their new album ‘In Quiet Moments’ via Bella Union. The album features a stellar array of musical guests including John Grant, C Duncan, Marissa Nadler, Porridge Radio, Penelope Isles, Karen Peris (the innocence mission), Tim Smith (Midlake), Ren Harvieu and many more.
In 2017, Simon Raymonde and Richie Thomas had both abstained from making music for 20 years until they united as Lost Horizons and released a stunning debut album, ‘Ojalá’ - the Spanish word for ‘hopefully’ or ‘God willing.’
“These days, we need hope more than ever, for a better world.” Thomas said at the time. “And this album has given me a lot of hope. To reconnect with music.... And the hope for another Lost Horizons record!” Thomas’ hopes had a mixed response.
On the plus side, the new Lost Horizons album ‘In Quiet Moments’ is an even stronger successor to ‘Ojalá’ with another distinguished cast of guest singers and a handful of supporting instrumentalists embellishing the core duo’s gorgeously freeflowing and loose-limbed blueprint that one writer astutely labelled, “melancholydelia.”
On the minus side, any hope for a better world, as Earth continues to freefall toward political and social meltdown. Then, to make matters worse, as Raymonde and Thomas buckled down to create the improvised bedrock that Lost Horizons is built on, the former’s mother died. At least Raymonde had a way to channel his grief.
“The way improvisation works,” he says, “it’s just what’s going on with your body at the time, to let it out.”
Raymonde (bass, guitar, keyboards, production) and Thomas (drums, occasional keys and guitar) forged ahead, creating 16 instrumental tracks to send to prospective guests. When he did, Raymonde suggested a guiding theme for their lyrics: “death and rebirth. Of loved ones, of ideals, at an age when many artists that have inspired us are also dead, and the planet isn’t far behind. But I also said, ‘The most important part is to just do your own thing, and have fun.’”
Lost Horizons’ melancholy-delia also feels buoyed aloft by airy currents, informed in part by Raymonde and Thomas’ former respective bands: the legendary Cocteau Twins and Dif Juz. Their former bands were labelmates on 4AD in the mid-80s, which is how they first met.
“I think ‘In Quiet Moments’ is more in the direction of where we’re going,” Thomas concludes. “People have retreated into their lives and, in those quiet moments, reflected on the world, how we fit in and who we and trust. Maybe the next album will be about rebellion! But the road is long and winding. We just need to express ourselves in how we feel at the time.”
Coloured vinyl 2LP (disc one green, disc two blue) in PVC outer sleeve with printed text, 350gsm wide spined sleeve on uncoated/reverse board, 16pg booklet on standard paper with contributions from all featured artists and digital download code.

Be No Rain, the moniker of South London’s Sam Frankl is a project that was born out of a studio decked out with disco balls, fairy lights and fake ivy; a perfect aesthetic to the sound that followed.“It felt like there needed to be a character that could be as flamboyant as I wanted to be and remove the constraints that being human leaves you with” Frankl explains “It was incredibly liberating”.It’s about being trapped into that infinity loop of emotions, like a cartoon character wandering through a world he never quite understood”.The debut album from Frankl comes on the back of a collaboration with Armin Van Buuren on single Hollow. All album’s come signed by Frankl.

• Around the second anniversary of Chas Hodges’ passing, his son Nik began going through Chas’s multitracks and picking the pieces that he felt his dad would’ve considered finished and ready to be heard by all. Back in 2007, Chas had bought himself a digital hard-disk multi-track “portastudio” recorder, which allowed him to make fully-produced recordings rather than just rough demos, playing all the instruments himself.
• So here are fourteen previously unreleased wonderful gems – ten original songs and four covers. The originals include instant classics like “Street Games” and “Rock ‘n’ Roll Allotment”, as well as two songs written with the “Only Fools And Horses” West End musical in mind, “Trigger (Is What I’m Known As)”
and “What You Got You Gotta Show It”.
• The standard “I Can’t Give You Anything But Love” is given the unmistakable Chas Hodges treatment, and the album ends with his touching rendition of The Beatles/John Lennon classic “I’m So Tired”.
• The artwork includes personal notes by both Chas’s wife Joan and son Nik, as well as previously unseen photos.

All the leaves might be brown and the sky gray, but fortunately Willie West is still a man. This relentless underdog of the New Orleans soul history known for his work with The Meters and Allen Toussaint has been laying low in the northern parts of the US for a while now. Lately he has emerged with new raw sound, which fuses very distinctly personal lyricism with heavy minor key grooves provided by the guys at Timmion Records.

While arriving to Finland for the first time in 2014 to perform on account of his latest album "Lost Soul", Willie couldn't help laying down a few lyrics at Timmion studios in Helsinki's Kaapelitehdas. The session produced a fresh new track "I'm Still A Man", which continues on the same slow, dark and melodic path, which he paved with The High Society Brothers in 2009 with "The Devil Gives Me Everything".

From the first desolate guitar licks on Willie starts to lure the listener into his damp and heavy-aired space, like only the few masters brewed in the southern climate can. There's not many of Willie's breed still around and who knows how long his dark wail will bless us with gems like this. Let this true artistry sink its nails in you.

Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R&B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends its name to Bridges and Khruangbin’s new collaborative release. “Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.” On ‘Texas Sun’, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future - a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys bootscooting at Billy Bob’s in Fort Worth, the chopped-andscrewed hip hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multi-coloured melange, purple hues as vivid and unpredictable as one of the state’s rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances and late night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, ‘Texas Sun’ is guaranteed to get you where you’re going - especially if you’re in no particular hurry to get there. Khruangbin and Leon Bridges are critically acclaimed artists with extensive coverage in print and online, including the New York Times, NPR, FADER, four Grammy nominations (Leon Bridges), The New Yorker, Washington Post and Pitchfork, among many others.

Today, The Wytches announce their third album Three Mile Ditch. The album features the recently released single “Cowboy” which marked their return after four years away and to celebrate the announcement they share new single “A Love You’ll Never Know”. The track is accompanied by a music video by Mark Breed and he explains,

“The music video format was a long process. Making the set was incredibly fun with Kristian crafting most of the miniatures.I then had to film the green screen band performance within the set before recording the edited version onto my VHS camera. Finally I shot the finished edit inside the view finder.”

The album recorded with Luke Oldfield at Tile House Studios will be released on their own label Cable Code Records on Friday 2nd October.

“This is the first thing that I've ever been proud of for longer than a week,” says The Wytches frontman Kristian Bell of the band’s latest album Three Mile Ditch. This sense of vigour and enthusiasm coming from Bell about the band’s third album is matched by its contents. The album is an explosive collection of 10 tracks that weaves seamlessly between gut-wobbling monster riffs, swampy rock, slick surf, and finely tuned songcraft. It’s also the result of a band coming back from the brink of collapse.

The band’s early trajectory was a steep and speedy one as they quickly established themselves as one of the country’s most exciting and pulverising new bands. Major festival slots stacked up at places such as Glastonbury, SXSW, Reading and Leeds, and British Summertime with the Strokes. As did the tours across the US with METZ, traversing Europe with Fat White Family and Death Grips. They garnered support from BBC 6 Music, DIY, MOJO, NME and more. However, when the ascent to the stratosphere is moving at such a speed, there’s a risk of burning out and imploding, and the band came close to this.

They were on the rocks for a while, unsure of themselves and if the band should - or even could - go on. “I had it in my head that this kind of thing only really happens once and to try it again might be a big waste of time,” Bell reflects. However, despite the difficulties, the powerful pull of the band was too great to ignore.

“We had an album’s worth of songs that was some of our best material. The mission became to complete a Wytches album rather than get The Wytches back on the touring circuit. This album helped us make the decision to try it again.”

For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early songwriting practices, and revisiting the studio where they first recorded together.

In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

Another throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I something?” Baldi screams on the song of the same name. “Does anybody living out there really need me?” It’s a heartbreaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody.

“Is this the end/ of the life I've known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.

The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure. With word of mouth now spreading on the band, critics proved equally enthusiastic... Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-eff acing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure... Livid as a bruise, this is brave, desperate, beautiful music.” No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time.

Formed in Essen, Germany in 1984, Kreator are arguably the most influential and successful European thrash metal band ever, like many of their European speed metal brethren, Kreator fused Metallica's thrash innovations with Venom's proto-black metal imagery. Often credited with helping pioneer death metal and black metal by containing several elements of what was to become those genres. The band has achieved worldwide sales of over two million units for combined sales of all their albums, making them one of the best-selling German thrash metal bands of all time. The band’s style has changed several times over the years, from a Venom-inspired speed metal sound, later moving in to thrash metal, and including a period of transitioning from thrash to industrial metal and gothic metal throughout the 1990s. In the early 2000s, Kreator returned to their classic thrash sound, which has continued to the present. Their last studio album ‘Gods Of Violence’ charted top twenty in ten countries, including a number one slot in their home country of Germany.

Remastered Limited Blue Vinyl with Gatefold Sleeve.
Includes A2 poster and 3 art prints of each individual band member.

Way back in 1982, Battersea based mod heroes The Direct Hits had released one single on Dan Treacy’s Whamm! record label, ‘Modesty Blaise’ earlier in the year. This was singled out in the music press as not just one of your average Jam crash / bang /wallop mod revivalist tunes.
Live gigs showed they had a mighty powerful set of catchy mod / pop tunes in the back pocket. Whamm! were struggling to provide the funds to record an album, the songs were too good not to commit to a full 12’ set, so the Direct Hits pooled their limited resources and self financed a very cheap one day recording session in a tiny studio in Tooting, South London called Broadway Sound.
Early on the morning of August 12th 1982 the band, comprising of Colin Swan, Geno Buckmaster, Brian Grover and their trusty roadie ‘Robbo’ assembled at the tiny studio to begin recording as many of their songs as they could get down on tape for the tiny budget they had scraped together. As most of the songs were already well rehearsed thanks to the band’s busy live schedule, the recording of the first nine songs on this disc were finished by mid afternoon without any problems. Throughout the late afternoon and early evening the band toiled over scant overdubs with limited keyboard facilities and a distinct lack of musical ability. The recordings immediately came to life however, when Colin Swan and Geno Buckmaster’s stage-honed tight harmonies were added, there was no time for vocal overdubs, and the mixing was completed by midnight. Tired and worn out, the band ventured out into the cold night air happy with the days work, clutching the precious reel to reel tape.
Two weeks later the band came back with a friend producing, and recorded the three final tracks featured on this album which have a more rounded slightly less raw sound. All three were completed in an afternoon. Almost two years later they re-recorded some of these songs, and along with a handful of new songs from the pen of Buckmaster and Swan, recorded their ‘Blow Up’ debut album at Rendezvous Studios in Sydenham, South East London, released on Whaam! Records in August 1984.
So what you have here are the roots of some of these great songs. A few didn’t make it to the first album those that did, as you will hear, stayed reasonably faithful to the original arrangements.
The Broadway Recording Sessions take you right back to where it all started!

Breaks 'N' Pieces returns with another cut of bass driven dance music from rising producer DJ Sunroof.

Australian DJ // producer DJ Sunroof has had a killer year with notable dance discs on imprints such as Nerang, 3 Feet Deep and contributing to the recent Breaks 'N' Pieces Vol.3 various artists release to top. His debut full vinyl EP via rising UK label Breaks 'N' Pieces hits the stop, weighty breaks meet chest rattling bass on this 2-step laden cut.

For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early songwriting practices, and revisiting the studio where they first recorded together.

In a way not previously captured, this album expertly combines the group’s pummeling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

Another throwback was Baldi’s return to constant songwriting à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his songwriting stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy “Nothing Without You” includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts.

The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

Lyrically, Baldi delivers an aching exploration of tortured existence, punishing self-doubt, and the familiar pangs of oppressive mystery. “Am I something?” Baldi screams on the song of the same name. “Does anybody living out there really need me?” It’s a heartbreaking admission of existential confusion, delivered hoarsely, with an instantly relatable melody.

“Is this the end/ of the life I've known?” he asks on lead single and album opener “Oslo.” “Am I older now/ or am I just another age?” Despite the questioning lyrics, the band plays with more assurance and joy than ever before. The Shadow I Remember announces Cloud Nothings’ second decade and it sounds like a new beginning.

Repress

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Mord.
Morderstwo.
Rotterdam.
Herdersmat.
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The term 'tourbillon' has two meanings - it is the French word for "whirlwind" and also a device used in watchmaking to improve the accuracy of a timepiece. Both definitions feel apt when listening to Tourbillon, the latest release on Central Processing Unit from Australian producer Tim Koch. Following on from Koch's CPU debut Spinifex back in 2018 - an album that initially emerged via minidisc - Tourbillon is a four-track EP which dazzles with its perpetual-motion post-IDM productions.

These tracks draw you into their webs by forming dense interlocking sonic patterns over the course of several minutes. While the rhythmic programming and lattice of alien percussion tones can appear discombobulating at first, Koch also bewitches the listener with the slyly melodic synth work that he laces throughout Tourbillon.

Opening track 'Estranger' is a fine example of this combination. The first section here is a blend of blown-out drum sounds which comes off like an industrial electro tune run through a meat grinder. However, the track soon blossoms with the introduction of some amazingly atmospheric synth pads, and the two contrasting elements come together for a strange and rather beautiful whole.

'Estranger' finds a mirror-image in Tourbillon's final cut 'Hankert', a track in which more of those gurgling percussive tones play off the rich chord progressions that chirrup away in the background. Between 'Estranger' and 'Hankert' we get two propulsive grooves in the form of 'Disfugue' and 'Dreitark'.

How, then, to contextualize such unique material? Calum Gunn's recent outing for CPU is a good point of comparison, and the electronics here bang and whirr in a manner which nods to the post-IDM innovations of artists like μ-Ziq. One can also see Tourbillon as descended from acts like Cabaret Voltaire, the industrial electronics innovators from CPU's home city of Sheffield. However, Tourbillon is ultimately an EP which exists in its own lane, an open-minded and open-hearted set which runs with the futurist spirit of CPU and Koch's previous home of Merck Records.

Australian producer Tim Koch returns to Sheffield's Central Processing Unit with Tourbillon, an EP of otherworldly post-IDM productions.

RIYL: μ-Ziq, Calum Gunn, Proswell, Modeselektor

Generally speaking, albums are created over the course of a few weeks, months, or years. However when it comes to Airplane Mode, not only has it spanned the latter, but its DNA was formed across two continents, a multitude of significant life changes, and an overall renaming of the projects title.

What started as a collaboration effort morphed in to a sonic space that Tall Black Guy used to highlight questions many of us frequently ask, but struggle to answer; Why am I here? Am I enough? What makes me happy? How do I move forward? What does real love feel like? Although the answers may be different for us all, Airplane Mode sets the path that the listeners use to reach their own conclusion.

In closing, rarely does 40 minutes capture the essence of so many different facades of an artist’s process, and personal transition. As intimate as the album may be, Tall Black Guy leaves room for people to shape their own interpretation by what they bring to the listening experience. Airplane Mode demands your complete consideration, and is intended to be consumed without skips, or interruptions. In other words, sit back, relax, and put your mind in….Airplane Mode!

Architects are back with their ninth studio album "For Those That Wish To Exist". The self-produced record is the follow-up to the band's critically acclaimed 2018 release Holy Hell, which took a look at the pain and despair that lay at the heart of losing a brother, band mate and best friend in Tom Searle, the group's founding guitarist. The band have confirmed their ascent to the very upper echelons of British heavy music. Few bands, of this modern era or any other, can match the quintet's ability to blend uncompromising heaviness with razor-sharp melodic musicianship. A versatile metal group based out of Brighton, England, Architects employ a lethal combination of breakdown-heavy guitars, melodic vocals and symphonic-ambient post-metal. That sonic delivery is conducted from a platform built on veganism and environmental activism.

DRP (Dom & Roland Productions) was started in 2006 for Dom to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work.

Mando is one of Doms closest friends. He has been writing music for over 25 years. A gardener by day, he shuns the limelight and has always maintained writing music is his secret hobby! He had a studio in the room next to No-U-Turn in the 90s which was eventually taken over by Optical and Edrush.
Until fairly recently he never released anything! He has an amazing ability to create sick grooves, his style is raw and refreshing and not over produced like a lot of modern music. If i had to pigeonhole his style I would say 90s neurofunk.

Both these tracks play to his strengths. This is his first release on vinyl, so will become collectable!

DJ PLAY: What? In their bedrooms? These people regularly play DRP tracks… Rene Lavice, Laurent Garnier, Giles Peterson, Jerome Hill, Digital, DJ Bailey, DJ Lee, Bryan G, Fabio, Grooverider, Loxi, Andy C, Break, Kasra, Doc Scott, Dbridge, Goldie, Ant TC1, Gridlok, Ulterior Motive, Noisia + More.

Bristol's Jurango kicks off 2021 in fine style with the 'Retreat Ites' EP for the Livity Sound Reverse series.

From the paranoid echo of the title track to the dark mutant dancehall of 'Theeves', Jurango crafts heavyweight ice cold drum and bass rhythms exploring the outer reaches of soundsystem music in true school Bristol fashion, placing him amongst peers such as Laksa, Batu and Lurka.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.

Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time.
The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music.
Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

Ultra rare 1979 KBD-style punk rock from Piteå – a small town situated in the very north of Sweden. Rock Set are buzzing of small town boredom and fuck authority attitude. The name Rock Set was inspired by UK pubrockers Dr Feelgood’s Roxette -a few years before Per Gessle took the Roxette moniker to the top of the Billboard chart. “Piteå Kommun” never reached the Billboard chart but over time it has generated a cult following amongst punk rock aficionados all over the world. Original copies are nowadays changing hands for hundreds of dollars. A fact easily understood when hearing Rock Set’s perfect mixture of punk-, mod- and garage-rock.
In the late fall of 2020 OTD traveled to Piteå in order to find the members of Rock Set. A license deal was made and in true OTD fashion the sound recordings were remastered and carefully restored. Many photos from the band members’ private photo albums are seen on the printed inner sleeve. Liner notes by Peter Kagerland. Turquoise vinyl.
File under: ”beyond essential to any serious rock’n’roll fan”.

Country music has chased piety, poetry, and much else, but The Social World is unapologetic hardcore, beer-sodden country music reduced to its core values. No faking. No pretension.
Spare, unornamented, and straight from the heart, the songs on the “Social World” of Rodger Wilhoit are all that’s holy and true in beerhall country music. The instrumentation is only as full as it needs to be. The singing is careworn and deeply sincere. There’s nothing tentative or lukewarm in Wilhoit’s music. It isn’t going to meet you halfway.
It seems that there’s always more to discover. Most copies of Social World and Rodger’s singles were probably sold off the bandstand 40 or 50 years ago. They were among the thousands of records by local artists on local labels sold off local bandstands all across the country. Most ended up in garage sales, thrift shops, or landfill. But every so often, an artist will be resurrected, and find a new audience. Rodger Wilhoit is one such singer. At a time when most mainstream Nashville country music sounds so contrived and empty, it takes an artist like Rodger Wilhoit to remind us what it’s really all about.

Vampa were just kids, 13-14 years old, when they recorded and released their raw and very Iron Maidenesque 45 back in 1982. DIY all by themselves… The lyrics (sung in Swedish) is the ultimate hate for school-anthem. The boredom and frustration of (barely) teenage kids totally sick of school and its teachers has rarely been captured in a better and more enjoyable way. Even though the lyrics are in Swedish the language that grabs the listener as the needle is dropped into the groove is universal. Original 45 is near impossible to find. On The Dole Records found the members, got loads of rare photos that fills up the printed inner sleeve.
Comes with new original artwork by Swedish artist Oscar Nordblom, the guy behind the notorious Jobcentre Rejects-drawings
File under: ”beyond essential to any serious rock’n’roll fan”.

We are proud to release one of the great, acclaimed double-sider 45s of soul music in our Repro series.

The Exits recorded these classic songs in Los Angeles and found success in releasing them on Pittsburgh’s Gemini label, charting at #34 R&B in 1967. The number of copies pressed has not prevented the price of originals rising way past the £100 barrier due to its excellence and the fact it is collected on several vintage music scenes.

The hit side was ‘Under The Street Lamp’, a beautiful paean to the street corner vocal groups of the 50s, where many Exits members first sang. The atmospheric flip, ‘You Got To Have Money’, was celebrated later on the rare and Northern Soul dance scene and is now a guaranteed floor-filler.

After 4 succesful EPs for Lobster Theremin and Sneaker Social Club, Chavinski releases his first 12" on Myor, fusing '92 style rave ethics with early noughties garage vibes.

-LTD. MAGENTA VINYL-

What is the utility of pain? Can it do anything but fester? In Ferneaux explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. An encounter with a prophetic figure on the streets of San Francisco presented the question of "how to handle the misery on the way to the blessing." This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest - without movement, without the consumerist agenda of "new experiences." The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that "Hell is other people," but perhaps this is the Inferno of the present: the space of sitting with the self. A blessing is often thought of as a future reward, above and beyond the material plane. With In Ferneaux, Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

As Plankton Wat, Dewey Mahood uses his considerable
guitar prowess to deliver an album that encompasses
both the wild, seeking energy of free-improvisation and
the deliberate arrangements of more traditional
composition.
With his deft and stylistically varied playing, Plankton
Wat’s ‘Future Times’ escapes psychedelic tropes and
chemical fuelled alterations and instead celebrates an
escape into the natural world.
‘Future Times’ taps into psychedelia’s counter-cultural
heritage as music for protest, liberation and imagining
new ways of being in this world.
“Pastoral drones and swirling psychedelia” - Pitchfork
Known for his guitar prowess in modern psychedelic
music, specifically with Eternal Tapestry as well as
Edibles, Elephant Factory Galaxy Research and Gärden
Söund among others.
‘Future Times’ was recorded at Mahood’s home studio
Solar Commune, with additions from Dustin Dybvig
(Horse Feathers & Edibles) and Victor Nash (Flash Hawk
Parlor Ensemble). Features Ash Dybvig on flute.
LP comes on red or black vinyl packaged with download
code and insert.
“Mahood’s lonesome universe is definitely a psych-folk
monster on the sly… Mahood’s gone far into the burrow
of psychedelia for an album that’s caustic and tender,
bittersweet and effervescent.” - Raven Sings the Blues

As Plankton Wat, Dewey Mahood uses his considerable
guitar prowess to deliver an album that encompasses
both the wild, seeking energy of free-improvisation and
the deliberate arrangements of more traditional
composition.
With his deft and stylistically varied playing, Plankton
Wat’s ‘Future Times’ escapes psychedelic tropes and
chemical fuelled alterations and instead celebrates an
escape into the natural world.
‘Future Times’ taps into psychedelia’s counter-cultural
heritage as music for protest, liberation and imagining
new ways of being in this world.
“Pastoral drones and swirling psychedelia” - Pitchfork
Known for his guitar prowess in modern psychedelic
music, specifically with Eternal Tapestry as well as
Edibles, Elephant Factory Galaxy Research and Gärden
Söund among others.
‘Future Times’ was recorded at Mahood’s home studio
Solar Commune, with additions from Dustin Dybvig
(Horse Feathers & Edibles) and Victor Nash (Flash Hawk
Parlor Ensemble). Features Ash Dybvig on flute.
LP comes on red or black vinyl packaged with download
code and insert.
“Mahood’s lonesome universe is definitely a psych-folk
monster on the sly… Mahood’s gone far into the burrow
of psychedelia for an album that’s caustic and tender,
bittersweet and effervescent.” - Raven Sings the Blues

Jon Hester returns to Radio Slave’s Rekids label with the second instalment of his ‘Converge’ LP, ‘Converge - Part II’.

The second part of 2020’s ‘Converge - Part I’, a body of music which saw enthusiastic responses from the likes of Surgeon, Lauren Flax, DJ Bone, Anthony Parasole and Jus-Ed to name just a few, sees the Berlin-based DJ/Producer and dancer generously expand on and refine his slick vision of techno on one of electronic music’s key labels.

By encompassing warm and soulful textures within club focussed grooves, Hester continues to explore the far reaches of both the musical cues picked up from his years as a dancer and formative time spent in the Midwest US, connecting influences from Chicago, Minneapolis, and Detroit.
Stretched across a double LP, the album opens with the spacious and icy ‘Stealth’ followed by the machine communications of ‘Artificial Intelligence’. The B-side sees a whirlwind of the synthetic in ‘Instant’ before ‘Contact’ swiftly picks up the pace with it’s warbling pads and slippery percussion.

On the second disc, ‘Circadian Slip’, custom-built for dancefloor pandemonium, continues with off-kilter leads and vocal snippets before ‘Shadows’ brings eerie syncopation to the proceedings. In the final stretch, ‘Silver’ maintains steady energy into the twilight hours, and the gorgeous ‘Wonder’ closes out the LP beautifully, providing a soft landing to an exceptional journey through Hester’s sound.

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

Mats Gustafsson - Flute, baritone sax, live electronics, Johan Berthling - Electric bass, Andreas Werliin - Drums with Goran Kajfes - Quartertone trumpet, Mats Aleklint - Trombone, sousaphone, horn arrangements. Fire! tracking new paths and reaching new levels of excellence, still honoring their 12 year old vow of presenting a fresh approach to improvised music. Their debut album, You Liked Me Five Minutes Ago, was released in 2009 to wide international acclaim. "The basic strategy of pairing the expressive energy of free jazz with a sturdy sense of groove has yielded something potent and self-contained" (New York Times). Between this and Defeat there's been five albums, including collaborations with Jim O'Rourke (Unreleased?, 2011) and Oren Ambarchi (In The Mouth A Hand, 2012). No two Fire! records sound the same, but with Defeat they have taken their biggest leap so far, with Gustafsson giving the flute a prominent place in the sound image, a surprising and most successful move, his both expressive and ornamental approach given ample room to breathe, especially on the two long tracks bookending the album. In places more subdued than on previous efforts, but with the distinctive bass figures and hypnotic mood fully intact. There are some lively stretches with guests Goran Kajfes and Mats Aleklint, bringing to mind their big band offshoot Fire! Orchestra, albeit on a smaller scale. For over 20 years we have made a habit of releasing music that is beyond easy classification, in later years typified by Hedvig Mollestad, Elephant9 and Krokofant, but cemented by Fire! and their exploratory curiosity and deep love of music in general. We, and many others, have tried to compare the trio to other groups, but listening to Defeat we realize how futile this is. Given the above there's no doubt there are many influences at play, but the resulting brew is in a class by itself.

Wyvern Lingo are ready to reveal another taste of their highly-anticipated second album ‘Awake You Lie’, in the shape of record opener ‘Only Love, Only Light’. “This album is so much about us comforting each other. It’s about being in your late-twenties, when all the pieces are starting to settle into place and you worry whether or not you’ve made the right moves” - Wyvern Lingo, October 2020. ‘Awake You Lie’ will be released on Friday 26th February. Recorded in JRS studios in Berlin pre-COVID, with the final tweaks managed in lockdown Ireland, ‘Awake You Lie’ comes almost two years to the day after their widely acclaimed, Choice Music Prize-nominated, debut album. The tracks released thus far, accompanied by videos filmed in both Berlin and Bray, show a band brimming with confidence in their sound, relaxed in their environment, but still ready to ask hard questions about their place in the world. To describe Wyvern Lingo as ‘tight-knit’ wouldn’t even cover it - they have long debunked the myth that you can’t choose your family. After all, the band was formed in Bray in a teenage world of self-discovery, soundtracked by the 60's/70's music of their parents, and the 90's/00's R'n'B of their childhood. If anything, the band - Caoimhe Barry, Karen Cowley and Saoirse Duane - are closer than ever two years on from their first album, a steely, us-against-the-world determination that has its roots in their origin story. If the self-titled first album caught the band on the cusp of transitioning from folky songstresses to R’n’B/alt-pop influenced players, then ‘Awake You Lie’ sees Wyvern Lingo fully immersed in who they are as a band - superb musicians and supernatural harmonisers with a gimlet eye to spear the ever shifting mores of modern relationships, both intimate and platonic. The album title - ‘Awake You Lie’ - is taken from a line in the new song ‘Aurora’, the phones-aloft, showstopper that closes side 1 of the record. The band add: “A recurring image during this album writing process was light, the lack thereof, and wanting to see things more clearly, for ourselves and others. We called the album "Awake You Lie" because it evokes an image of night-time when someone should be sleeping but can’t, due to restlessness or worry..

This is KORPSE, a quartet of death metal destruction from The Netherlands. Insufferable Violence marks KORPSE’s third full-length album, set for release via the indomitable Unique Leader Records on 26th February. By far the most brutal and dark album KORPSE has produced yet, the band deliver eleven tracks of jaw dropping Death Metal carnage. During Insufferable Violence’s forty-two minutes of chaotic punishment and depravity the band seem on a mission to turn their listener to dust beneath a ceaseless torrent of immensely heavy slam breakdowns, inhuman vocals, grinding speed and aggression. KORPSE once again bring their no-nonsense approach to the slamming death genre with no compromise or false overstatements in one of this year’s heaviest releases. The result is a deeply uncomfortable listen. Comments KORPSE: “We are very proud to present to you our third album called Insufferable Violence. The title is an obvious metaphor for what to expect from the new tracks; relentless brutal death metal in our signature style of the genre. Obviously, the songs are fast, brutal, aggressive, slow and groovy, but we didn't shy away from trying new things. We've incorporated a lot of death metal's neighbouring genres to spice up the mix, varying from beatdown to black metal, and from goregrind to tech death. We feel this is the absolute best album we are able to deliver at this point in our career and we sincerely hope you will become as excited about it as we are!” Founded by drummer Marten van Kruijssen in 2013 together with vocalist Sven van Dijk, guitarist Floor van Kuijk and bassist Robin van Rijswijk, KORPSE are widely regarded for their savage and uncompromising live shows. Previous albums the self-titled Korpse debut (2014) and Unethical (2016) grabbed the immediate attention of fans and press worldwide whilst allowing the band to tour throughout Europe and the USA playing many Summer festivals including Deathfeast, Neurotic Deathfest, Obscene Extreme, Stonehenge, Berlin Deathfest, Nice To Eat You Deathfest, UK Slamfest, Slamming Brutality, Fall in the Brawl, Chicago Domination Fest, New York Deathfest, Heidelberg Deathfest and touring with bands such as Scordatura, and Extermination Dismemberment. If by the end you’re not mauled to pieces, congratulations, you’ve just become one of the survivors of KORPSE’s aural battering ram.

One of Britain's most consistent and enduring death metal bands, Birmingham's Bolt Thrower has weathered the best and worst of times in the extreme genre's history without ever giving in to commercial temptations, or hardly even altering its sound. The fact that they were unusually blessed with a steady lineup throughout much of their career no doubt contributed to this stability, and though they were rarely bestowed wild praise for their efforts, with most of their competitors or contemporaries either adopting other styles or long retired, Bolt Thrower has gradually established itself as one of the best death metal bands ever to emerge from England. - Ed Rivadavia (All Music Guide)

With North Star, Viking Metal pioneers EINHERJER release their eighth studio album on February 26, 2021, proving their status as the pioneers of blending Nordic Black Metal and Folk Metal genres once again. The album marks the band’s return to Napalm Records after 25 years, and their release of the legendary Dragons Of The North album (1996). The Norwegian metal outfit remains musically true to themselves and reinforces their exceptional position. North Star was recorded in the wake of the Covid-19 pandemic at the in-house Studio Borealis, owned by founding member and mastermind Frode Glesnes. The raw production ties in seamlessly with its predecessor Norrøne Spor and makes North Star probably the most powerful EINHERJER album to date! North Star is EINHERJER's musical mission towards something bigger - the search for guidance by the North Star in a constantly changing world that is searching for stability. The album’s opener, "The Blood And The Iron", peppered with uncompromising double-bass thunderstorms, pulls the listener in from the very first second, while "Stars" stomps through atmospheric soundscapes with dark chords. "West Coast Groove" underlines EINHERJER's technical songwriting sophistication with finest guitar solos. North Star will be available in black, blue/white inkspot and limited gold vinyl editions (gold limited to 300 copies). Founded in Norway in 1993, the band has significantly influenced the way of Viking Metal in the following years with Dragons Of The North - 25 years later, EINHERJER are stronger than ever and are bursting with energy on North Star! 1. SINGLE - EN Stomping drums and gloomy guitar chords, paired with ice-cold vocals by singer and guitarist Frode Glesnes - "Stars" draws the listener into the icy, dark world of EINHERJER! 2. SINGLE - EN With powerful double bass grooves, a catchy chorus and technically skilled guitar solos, EINHERJER are more uncompromising and harder than ever on "The Blood And The Iron"! 3. SINGLE - EN Old school vibes meet dark Viking Metal atmosphere in "West Coast Groove" - EINHERJER are in top form and still prove their status as genre pioneers after more than 25 years!

The self-titled, full-length debut from Bones Owens is a selection of songs both gloriously gritty and undeniably euphoric. In a bold departure from the moody Americana of his acclaimed EPs Hurt No One and Make Me No King, the Missouri-bred musician’s first release with Thirty Tigers delivers a powerful sound deeply inspired by ’60s garage-rock, Hill Country blues, and the swampy roots-rock of bands like Creedence Clearwater Revival (“the first record I remember stealing from my dad when I was ten and just starting to play guitar,” according to Owens). A potent showcase for his formidable guitar work—a talent he’s displayed in performing with artists as eclectic as Yelawolf and Mikky Ekko— Bones Owens arrives as a full-tilt expression of Owens’ wildest impulses, all swinging rhythms, and swaggering riffs. Featuring heavily playlisted hits like “White Lines” and “Keep It Close,” Bones Owens came to life at The Smoakstack in Owens’ adopted hometown of Nashville. With production from studio owner Paul Moak—a five-time Grammy Award nominee who’s also worked with Joy Williams, Marc Broussard, and The Blind Boys of Alabama. “This album really came from opening for some good people over the last few years, from feeding off that energy from the crowd and wanting to write more songs that would feel exciting to play live,” says Owens, who’s recently toured with Reignwolf and Whiskey Myers. “It felt like the right approach to keep the production simple and record everything to tape - I think it creates a good type of nervousness that brings out the best in everyone. Nobody wants to be the one to mess up the take. Besides, all my favorite records were made that way. You can’t fake that sound.”

On his first full length effort, singer / songwriter Mav Karlo, otherwise known as Menno Versteeg, offers up a much more elaborately realized, yet no less intensely intimate body of work. With its gracefully sparse arrangements, the album centres on Versteeg’s lyrical storytelling, revealing a narrative voice deeply attuned to the beauty in the ordinary and routinely overlooked. Strangers Like Us closely documents an especially tough period in Versteeg’s life but the album ultimately showcases an undeniable courage in its commitment to truth-telling and unsparing self- examination. He is supported by spirited guest performances from Katy Goodman of Vivian Girls (on vocals), Charlie Spencer of Dizzy (keys, drums) and Versteeg’s Hollerado bandmate Nixon Boyd (guitar, bass). Album produced by Chris Coady (Yeah Yeah Yeahs, Amen Dunes, Beach House) and recorded at Sunset Sound and Sonic Ranch. Menno Versteeg is the owner of Royal Mountain Records and a former member of both Hollerado and Anyway Gang.

The Martha’s Vineyard Ferries - ‘Suns Out Guns Out’ Over the course of two prior releases — 2010’s ‘In The Pond’ (Sickroom) and 2013’s ‘Mass Grave’ (Kiam) — The Martha’s Vineyard Ferries quietly carved out a high-IQ corner of the U.S. rock underground reserved for taut, deathly catchy songs that showcased deft (if get-to-the-point) instrumentation. That the band have been kinda/sorta under the collective radar has more to do with their being otherwise occupied (more on that in a minute) than a lack of artistic ambition; they’ve slayed before and after a long break, they’re back to slay again. So you’re wondering, what could possibly take precedence in real life terms over playing in a band this awesome? Much as I hate to compare and contrast, part of the dilemma is that the principals of The Martha’s Vineyard Ferries — commonly referred to by their fans as “the Fuckin’ Ferries”, “The Martha’s Vineyard Ferries” by everyone else --- are in too many awesome bands already. Guitarist/vocalist Elisha Wiesner has previously set the world on fire with the Massachusetts sextet Kahoots and earlier this year released a 63 song (!) digital masterclass in songwriting under the John Pancake nom de plume. Drummer/vocalist Chris Brokaw has previously pounded on things for heavyweights including but not limited to Codeine, The New Year and Obnox, though there’s a fair chance you’ve also heard his guitar/vocal performances, both solo and with Come (as well as an impossibly long list of contributions to the likes of The Lemonheads, Dirtmusic, Thurston Moore, Consonant and more). Bassist/vocalist Bob Weston is internationally renowned for his sternum-crushing work on behalf of Shellac, Volcano Suns and sound manipulation tactics for Mission Of Burma (I’ve not heard any of the above, but I’m told they’re all “ok, if you’re into that sort of thing”) Add to this workload the tiny matter of the 3 players having spent most of the last 7 years living in 3 different time zones, it’s nothing short of a miracle the 3rd and finest Martha’s Vineyard Ferries album could pass for the sustained effort of 3 men who’ve been locked up together all this time, writing and recording a powerful statement to rival anything in their collective catalogs (I’m thinking of a scenario kind of like “The Lighthouse”, except there’s 3 men instead of two and there’s more guitars than birds, but maybe the occasional bird, as you tend to get a few of them near the water).

“I was born here” said Alice Cooper, “and so was the sound and spirit of Alice Cooper.” Named for the city that launched the original Alice Cooper group, “Detroit Stories” followslast year’s “Breadcrumbs” EP as a modern-day homage to the toughest and craziest Rock n Roll scene there ever was. Alice Cooper and Bob Ezrin gathered some legendary Detroit musicians (Wayne Kramer, Johnny “Bee” Badanjek, Paul Randolph and many more) in a Detroit studio to record “Detroit Stories”, Alice Cooper’s new album that celebrates that spirit for a new era. Finally, it would not be a proper collection of Detroit tales if it didn’t include a few songs featuring the Original Band members, Mike Bruce, Dennis Dunaway and Neal. Joe Bonamassa also makes an appearance on the intro track “Rock ‘n’ Roll”. If 2019’s “Breadcrumbs” EP laid down the trail to the city, “Detroit Stories” drives like a muscle car right down Woodward Ave. Discover Detroit Stories as they were meant to be told. Available across 5 formats: CD / CD+DVD / 2LP Black, Boxset. Boxset inclues CD, T-shirt, Face Mask, Torch Light, 3 Stickers. Expected reviews across the broadsheets and tabloids. Daily Mail already picked this album as one of their 2021 albums to look out for! Current single playlisted at BCR2.

"On March 2, 1991 Serge Gainsbourg bowed out and left France orphaned by one of the most important singer-songwriters of French song. Thirty years later, his songs are still with us, proof of their quality. Indeed, beyond the many successes that have marked a career spanning more than thirty years, Gainsbourg's repertoire is abundantly rich. Always at the forefront of innovation, he has been able to adapt his delicate and classical writing with the most modern musical styles: jazz, reggae, funk ... without ever losing his eloquence or his soul. This 2LP Set sends us back and shows how Serge Gainsbourg was an emblematic and major figure.Reviews L’Echo, London Macadam,
ADS - L’Echo, London Macadam"

When I think I refused the first one, what an unconsciousness! "It was in these terms that Serge Gainsbourg expressed, in 1977, his joy at seeing his talents as a composer finally associated with the adventures of Emmanuelle, embodied on screen by the sensual Sylvia Kristel. For a long time, he bit his fingers for declining the offer to compose the soundtrack for the first part of the erotic saga. In France, only one 45 rpm appeared on Philips in 1977, regrouping the song "Goodbye Emmanuelle" and the instrumental "Emmanuelle and the Sea". However, Goodbye Emmanuelle's soundtrack was released in October 1977 as a nine-track LP reserved for the Asian market (Japan and Hong Kong). Enriched with two bonus tracks, this extremely rare LP is finally available in the UK. Reviews in London Macadam, and L’Echo Ads London Macadam and L’Echo

Attention RARE! For the first time in UK, Annie Girardot's vinyl "Vivre pour Vivre“. Released by Polydor in 1967 only in Canada! It is on the occasion of the 10 years of her death that we are releasing this vinyl. This great lady of French cinema who was the most popular actress of her generation and had collaborated in the 1960s for this album with among others the famous author Françoise Dorin. Find the magic of the 60s and all the tenderness and charm of Annie Girardot in this unique album. Reviews in London Macadam, and L’Echo Ads London Macadam and L’Echo

Hailing from Medellin, Colombia, Killabeatmaker is a Global Bass DJ / Producer, audio engineer, singer and songwriter; a multi-faceted artist you'll be hearing a lot about in the near future. Drawing his inspiration from his Afro-Colombian and Indigenous roots, Killabeatmaker efficiently mixes traditional sounds and rhythms with urban beats and raw club music. His EP "Matiela Suto" is an homage to the diversity of Colombia's people and cultures, packed with progressive house buildups, Nigerian club music influences and enchanting female voices.

The “nighters” at Wigan Casino initially ran from 2am-8am every Saturday night/Sunday morning. From midnight onwards, crowds would gather outside and spill over onto the road blocking the local traffic. As attendances grew the crowds became a problem, particularly to the local constabulary, and on the eve of the Casino’s 1st Anniversary – with a genuine threat of closure looming – a momentous decision was made. Gerry Marshall, the Casino’s owner, somewhat reluctantly decided to open the club’s adjoining cabaret lounge, known as “Mr M’s” (named after the man himself).

That night Northern Soul history was made. It was the start of an era, the birth of the “club within a club” and, as it proved to be, a temple to fans of Northern Soul “oldies”. Eventually at 3am the black double doors – which separated Mr M’s from the upstairs balcony of the main ballroom – burst open, and a sea of soulies hit the dancefloor for the very first time to the banging sound of “Hey Sah-Lo-Ney” by Mickey Lee Lane, spun by DJ Alan Cain and featured here in all of its remastered glory (side 1, trk 1).

Such was the incredible response to that first night in Mr M’s in 1974 that a petition did the rounds gaining over a thousand signatures demanding that it should continue every week! What had intended to be an emergency one-off event had unintentionally ended up being the longest, most popular “temporary” oldies venue EVER!

M’s, as it was more affectionately known, soon became the No.1 oldies venue in the 70s. It was unashamedly “100%” oldies and “100mph” dance tunes!!! It was like an engine room churning out vinyl memories week in, week out and the atmosphere and sounds are captured here!

Raggatek and Ragga Jungle pityless sounds !

Fountains of Wayne is one of those rare bands that digs back into what pop music is all about -- good, fun tunes. Their self-titled debut studio album was released in 1996. Recorded when the band was just a duo, Chris Collingwood and the late Adam Schlesinger provided almost all the instrumentation during the recording. Schlesinger and Porter had also been members of The Belltower, and bassist Danny Weinkauf later played with Lincoln before joining They Might Be Giants. Although the songs were written over a period of years (as outlets to make each other laugh through inside jokes and references to suburban New York and New Jersey), the album was recorded in just five days. The songwriting is straightforward and wonderful; nearly every song is a pop gem. The result is an innovative album - very few albums released in the 90’s are this pleasant, charming, and all-round likeable. The record is now available on transparent red coloured vinyl, in a limited edition of 1500 copies.

Set in Mumbai’s underground rap scene, Gully Boy is inspired by the lives of Mumbai rappers Naezy and Divine (a.k.a. Naved Shaikh and Vivian Fernandes respectively). Ever since Indians started protesting or expressing dissent about an existing political system, songs have always been a major weapon, and Gully Boy, lyrically and musically, is a triumph!
The soundtrack features Bollywood superstar Ranveer Singh, who plays the titular Gully Boy, rapping himself, along with a bouquet of writers ( Divine, Naezy, Spitfire, Rishi Rich, Raghu Dixit, Karsh Kale, Midival Punditz, Vivieck Rajagopalan, Dub Sharma, Sez On The Beat, Jasleen Royal, Ankur Tewari, Mikey McCleary, Kaam Bhaari, Ace, Ishq Bector, Prem & Hardeep, Major C), either performed on screen by various artists or playing out in the background.
Gully Boy’s music is the hallmark of change in Bollywood.

Kaleidoscope is the fourth album (and third solo piano album) by French- Georgian concert pianist Khatia Buniatishvili. The album features a unique combination of challenging pieces in which she shows her true virtuosic playing style. Some of the pieces taken on by Buniatishvili on this record are the beloved “Pictures at an Exhibition” by Moderst Mussorgsky on side A, as well as Ravel’s “La Valse” and Stravinsky’s “Petruschka”. Available on vinyl for the very first time. The two LP’s are housed in a heavyweight sleeve with gloss laminate finish. The package includes a 4-page insert. This edition is a feast for both the ears and the eyes.

Jazz Behind the Dikes Vol 2 is the second installment in the Jazz Behind The Dikes series, which highlights some of the greatest Dutch jazzmen under ideal conditions: in their own combo’s and playing the music of their own choice in complete freedom. The result is straightforward modern jazz by renowned Dutch jazz musicians such as Rob Madna Trio, Tony Vos Quartet and Frans Elsen Quartet.

This second volume of the series is available as a limited edition of 500 individually numbered copies on white vinyl. The third and last volume in this series will be released later.

In 2007 bassist Anneleen Boehme was one of the founders of LABtrio, which is considered as one of the most acclaimed Belgian jazz bands of the past decade. Just like her companions Lander Gyselinck and Bram De Looze, she quickly asserted herself in the most diverse contexts. Now Boehme is launching her "dream project": Grand Picture Palace. A jazz quintet and a string quartet that blend different worlds together. Boehme leads and plays bass and has been writing eight compositions that break through genre walls, music both powerful and elegant, showing how jazz and classical music can balance each other without cliches.

All recordings were made in the early summer of 2020 in the studio of mentor and fellow musician Nicolas Rombouts. The self-titled album 'Grand Picture Palace' will be released on February 19th 2021.

mex is a non-profit-organization for intermedia and experimental music projects, located in Dortmund, Germany. Since 1992 more than 650 musicians and media artists from around the world presented their subtle, noisy, improvised or conceptual works. mex’s traditional venue for those projects of concerts in combination with performance, video and intermedia, is the mexKeller at the Künstlerhaus with it’s special acoustic and atmosphere. Jens Brand began inviting artists and later Maija Julius went on until Achim Zepezauer took over in 2015. mex is a member of Medienwerk NRW. Kindly supported by: Department of cultural affairs of the City of Dortmund, Pro Jazz e.V. and Künstlerhaus Dortmund.

The artists featured on this sampler were guests within the curation of Achim Zepezauer and performed live for the mex audience between 2013 & 2019. Due to global pandemic conditions mex was unable to host any concerts in 2020 and therefore decided to release this special compilation in cooperation with the label Ana Ott.

Jamwax Records proudly presents We Sing Gregory. On this album, jamaican producer Bravo used the best roots and culture band, the undomitable Roots Radics, featuring Flabba Holt on bass, Style Scott on drums and Keith Sterling on keyboards, and hired legends Robbie Lynn on keyboards, Cat Coore and Chinna Smith on guitar, Stick on percussion, Dean Fraser on horns, thus ensuring a heavy and flawless riddim foundation and superb arrangements.

The Roots Radics were Gregory Isaacs band in the early 80's, playing on the Night Nurse and Out Deh! albums, touring around the world with the cool ruler. Gregory Isaacs' songwriting is magnificient and the subjects are always treated with humbleness and consideration for others.

• As of 1st October, Sony Music has acquired Third Man Records for the Jack White/Raconteurs/The Dead Weather and The White Stripes catalogue! This is an incredible deal which pulls together the entire catalogue on to one label globally for the first time. The debut release from this deal will be ‘The White Stripes Greatest Hits’
• This is the first-ever official anthology of recordings from Jack and Meg White's iconic indie rock duo.

Daumenbruch kurz vor dem 30. Geburtstag? Für Nils Frahm kein Hindernis, doch noch rechtzeitig neun intime Klavieraufnahmen einzuspielen und sie seinen Fans anlässlich seines Jubeltags online zur Verfügung zu stellen. Dabei gibt es für einen Pianisten wahrlich kaum eine schlechtere Nachricht als ein Daumenbruch. Frahm, der international längst ein Star der modernen Klassik ist und mit Zeitgenossen wie Olafur Arnalds, Peter Broderick und Efterklang kooperiert, ließ sich von dem Missgeschick (Sturz vom Hochbett) nicht beirren. Entgegen des Rats seines Arztes trainierte er die restlichen neun Finger und nahm peu á peu die vorliegenden neun kleinen Lieder auf. Als der Gips ab war, war das Album fertig. Die Musik ist mal wieder "ein Balsam" (BBC Music). Die LP erscheint inklusive eines Album-Download-Codes.

That Japan’s breakthrough record Quiet Life was released in both 1979 and 1980 is uniquely fitting for a band who were about to step out of the glam rock, post punk shadows of the late 70s and deliver an as yet genre-less record that would come to define the 80s.

Quiet Life was the third, final and most successful release on the Hansa Records label. A forerunner for the alternative/new wave sound of the new decade, the album would become one of the great classic British albums.

The record is now the subject of a major new reissue featuring a brand new Abbey Road half-speed remaster of the original album, alt mixes, b-sides, singles, rarities and live material – including the sought after ‘lost’ Live at Budokan show from March 1980 previously only available as the 4 track EP ‘Live in Japan’.

We are working directly with original band members Steve Jansen and Rob Dean, producer John Punter and with consultant advice from band biographer Anthony Reynolds and the Japanese Shinko archive.

The release features newly restored original album artwork, new liner notes with contributions from band members and original producer, rare and unseen photography and memorabilia.

Detroit electro legend DJ Di'jital returns to TRUST with a second volume of raw and banging techno bass jackers. Injected with Juke, breakbeats, and a hefty dose of UR-style electric sweat music, 'ElectroHop II' is an essential weapon in the assault DJ's arsenal.

LP GAZNEVADA: The end of the 1970s was an historical period of great social and cultural tensions and changes, the GAZNEVADA band was formed within this context. Their first recordings are collected in a K7 simply titled GAZNEVADA. Recognized by critics as the first publication of Italian punk rock, this production is a “time window” open to this historical period, it records intact the ingenuity and contradictions, but also expresses its creativity and energy. Released in 1979, the K7 GAZNEVADA, for the first time, is now re-released on vinyl

marbled vinyl

LP GAZNEVADA: The end of the 1970s was an historical period of great social and cultural tensions and changes, the GAZNEVADA band was formed within this context. Their first recordings are collected in a K7 simply titled GAZNEVADA. Recognized by critics as the first publication of Italian punk rock, this production is a “time window” open to this historical period, it records intact the ingenuity and contradictions, but also expresses its creativity and energy. Released in 1979, the K7 GAZNEVADA, for the first time, is now re-released on vinyl

Reissue of this sought after Bastedos double header, serving up two disco objects lovingly versioned by Nad. One side features the vocal talents of a mystery man with low riding balls imploring those gathered to hear him, to 'join his party'.

If you look at his backside, so to speak, you will head off down to sunny rainbow filled Castro for a happy sing along, dancing tune versioned from the vaults of Moby Dick.

Move D has seen a massive career over the years, starting with his early days as a German pioneer of House Music. In 1993 this was one of his first 12“ records on TIME UNLIMITED which was mostly known for Trance and Hard Trance. This surely is a cult record and has become highly sought after over the last ten years. Its unique style of sampling comined with an uplifting, basement style production is still mindbending and timeless. This reissue was remastered by David's long-term friend LOPAZZ for a full range sound experience.

Montreal-based producer & DJ Slick Shoota brings us Function, his debut LP and first solo release on the Teklife imprint. A native of Norway known for his renowned Oslo club night Ball Em Up, he's been a member of the elite crew since 2015, contributing tracks to the label's compilations such as On Life Vol. 2 and VIP Trax. Using a unique palate that combines both traditional footwork drums and eclectic otherworld sonics, this album expands on the signature sound he's been brewing during the course of his career, celebrating his longtime love of the Chicago soundscape, with a healthy helping of UK rave, jungle, and vibes from other fast paced club realms. Slick starts the record off with Hovercraft, a big burly mutant rap beat riding a glowing titanic wave of jungle subbass, with vicious hi-hats stabbing through the mix. Desire Path follows with hysterical horns cruising along a stampede of erratic Chicago percussion. A glitchy, malfunctioning computer meets drumline stomps on See Me Flex, resulting in a psychotic, yet psychedelic sci-fi soundscape. Ultra-distorted hardcore kicks open up Jellyneck, dropping straight into a dungeon of ghostly vocals and headlong toms. Warehouse 2K opens up the B-side with R&B chops and lasers floating on a charming cloud of pulsating pads. Mad doppler sirens loop around your head on Delahaze, as distant clangs and crashes fight an impatient, throbbing bassline. Classic rave atmospheres are met with Slick's elegant sound design on MTL Hardcore, his ode to his adoptive city. The album closes off with Special Tek, channeling the signature quirky drum sounds of the late DJ Rashad over a pounding, fast paced house beat, a wonderful nod to the Windy City and its influential sonic culture. Carving out his own sound from the legacies of Chicago, the UK, and other underground club hotspots, Slick Shoota has found his own recognizable voice within these realms of dance music, and this LP serves as documentation of that solidified voice. Years of studying the masters and immersing himself with their work has clearly paid off, and he's respectfully taking these sounds he loves in exciting new directions. Bridging gaps both historical and geographical, Function marks a pivotal point in his career, and is clear evidence that Slick Shoota is vital member of the legendary Teklife family.

Drumcode LTD gets a relaunch with the first original EP since 2018. Sweden’s Patrick Seich returns following ‘Rivers Will Turn’, his blistering collaboration with Sebastian Mullaert in 2016. This time a debut link up with Sandra Mosh is on the cards, a fellow underground mainstay of the Swedish techno scene, with caps at Berghain and Sonár Reykavik also to her name.

The four-track offering is a colourful trip through a range of techno moods. ‘Relicta’ is a trippy concoction driven by papery drums and ricocheting synths. ‘Terma’ is brimming with bouncy peak-time spirit. ‘Red Flag’ takes a tougher turn, pummelling with 2am intensity. ‘Square Side’ is a delicious head caver, driven by an unrelenting synth lead.

As one of the early pioneers of NYC’s unground dance movement Victor Simonelli channelled that New York house sound via range of labels he oversaw in the ‘90s. One such outlet was Big Big Trax and to provide a little light in these testing times, Victor has provided the keys to some of the label’s most treasured cuts, remastered for a new generation of listeners.

Classic’s from Afrimerican Coalition, Fibre Foundation and Insatiable featuring Mone with mixes from the man himself, all under one, conveniently 12 inch sized roof.

'The Times' is a moving and topical solo acoustic performance, a unique collection of songs, recorded by Neil Young at home during lockdown as part of the raw and personal, 'FIRESIDE SESSIONS' series.

The songs include his updated 'Lookin' For A Leader - 2020,' ‘Alabama’ from the seminal ‘Harvest’ album, the Young penned CSN&Y classic ‘Ohio’, the brilliant ‘Southern Man’ from the ‘After The Gold Rush’ album, and Bob Dylan's 'The Times They Are A-Changin' closing with 'Little Wing' from the latest Reprise release, 'Homegrown'.

After initial release in September 2020 on CD, the EP is now available on vinyl for the first time.

With a little bit of research you'll realize that Ricky 1 actually didn’t come out on Bridge Boots but on thatmanmonkz imprint Shadeleaf back in 2015 and received loved from Matthew Dear and Sam Divine to name a few.

A little over 5 years later and Caserta is back with the sequel! Contrary to popular belief Caserta doesn’t usually 'edit' (with the exception of BB45003 release Diana). But he decided to bust out the ole’ Razor-N-Tape for the 40 year anniversary of this dancefloor classic! While anyone with party rock capabilities can improve on an already classic composition. 'Supa Engineer Caserta' made sure to take his time to take make sure the sonics went for 1981 to 2081.

The flip side delivers more of the tried and true Bridge Boots formula people have come to love with a hard hitting deep house joint sure to light up the dance floor once we start to put Roni-19 behind us!

Ragga tek banger.. .with a cool Hardcore tune for the finish !!!