Search:re light

repress !

Eighteen years ago, Oppenheimer Analysis made its indelible mark with the iconic track ‘The Devil’s Dancers,’ heralding the birth of the Minimal Wave label. Founded with a singular mission, the label set out to share this musical gem with the world. The inaugural release was the self-titled Oppenheimer Analysis EP, meticulously pressed onto high-quality 180-gram black vinyl, accompanied by a striking 18” x 24” poster adorned with captivating photos and lyrics. This historic release graced the world on December 6th, 2005. Remarkably, this EP has been elusive for a decade now.

In an exciting development, the fifth edition of the Oppenheimer Analysis self-titled EP is set to debut in December 2023, featuring the original remastered version of ‘The Devil’s Dancers.’ This EP is presented as a loving tribute to Martin Lloyd (1950-2013 R.I.P.), one half of Oppenheimer Analysis. The EP showcases select tracks from the 1982 Oppenheimer Analysis cassette titled “New Mexico,” along with two previously unreleased gems. The story behind Oppenheimer Analysis began when Andy Oppenheimer, a nuclear weapons consultant, and Martin Lloyd, also known for his work with the Survival Label and the project “Analysis,” crossed paths at a Science Fiction Convention in London in 1979. They shared the stage with notable bands like Hawkwind and Spizz Energi and garnered attention in the pages of Melody Maker.

This fifth edition release consists of 999 meticulously hand-numbered 180-gram black vinyl copies, each accompanied by the first edition poster insert. Notably, the spot color on the sleeve distinguishes each edition: green for the first, deep blue-green for the second, light powder blue for the third, mint green for the fourth, and a brighter aqua mint for this current fifth edition.

The history of Black, Brown & Beige began on June 23, 1943, when Duke Ellington premiered this extended work at Carnegie Hall. It wasn't Ellington's first attempt to create an extended work, which was longer than a typical jazz song and more related to the classical forms than to popular music.
While the soundtrack he made for the short 1929 movie Black & Tan Fantasy included works from a number of previously recorded songs, it was presented in a kind of suite form, with the themes from these songs coming and going and presenting a dialogue with the images on screen. His 1931 Creole Rhapsody' was a composition that went beyond the usual three-and -a-half-minute duration of a standard 78 r.p.m disc, and thus had to be divided onto two sides. A few years later, in 1935, his Reminiscing in Tempo' would occupy four sides and had to be divided onto two discs.
However, those were never his best selling records, and the reception of his 1943 suite Black, Brown & Beige was cold at best. This is due to the fact that apart from being an ambitious extended composition, it was thematically related to racial issues regarding the history of Afro-American people. Most critics could not accept the idea of Ellington composing long musical works
and preferred to confine him to simple jazz songs (even though Ellington's songs were never simple).

Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beach-front Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.

Limited to 12,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.

The premium packaging and gorgeous presentation of the UD1S Van Halen pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.

Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption"? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretence, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol – a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.

As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24-track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere – Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage – humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.

Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" – announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming – and continues through the conclusion of the white-hot "On Fire," goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.

Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky: There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man." Like the man says, on Van Halen, all the flavours are guaranteed to satisfy.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior


Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Soul To Burn features highly inventive and memorable avant-rock songs by trio of celebrated musicians, Reciprocate. The germ of the notion that would flower into Soul To Burn came when Reciprocate’s vocalist/guitarist Stef Kett reflected on the idea of funk rock. It ought, he thought to himself, be the best of genres but so often in practice it ends up being the poorest. True enough. Kett decided to approach the problem from a fresh angle, multiple fresh angles, grinding angles, creating an “alt-soul” in which the soul gets to stretch and burn, applied with the power of a rock’n’roll trio but dynamism and agility, rather than cumbersome bulkiness. Reciprocate is a super-group made up of highly celebrated musicians from the UK DIY music scene – their singular, searing-hot power conjured by Stef Kett (Shield Your Eyes) in tandem with drummer Henri Grimes (Shield Your Eyes, Big Lad) and Marion Andrau (The Wharves, Underground Railroad) on bass. The result is the excellent Soul To Burn, which proceeds at a cadence all of its own, halting and blasting, ducking and weaving, zooming away from its distant cousins: Taste era Rory Gallagher or Mr Zoot Horn Rollo of Captain Beefheart’s Magic Band. That’s particularly evident on “Self Regarding Floor Sweepings”, with echoes of “When Big Joan Sets Up” from Beefheart’s Trout Mask Replica, especially with Kett’s added harmonica as the trio hit the winding dirt track, slaloming and swerving. Here is an album of full throttle soul, an avant-rock made up of ear worms so intoxicating they borrow from deep in the mind down deeper into the heart – it’s the cool, weighty groove of Tony Joe White leathering it at full throttle, fuelled by virtuosic back beats that remind of somewhere between the rolling rock of Mitch Mitchell and the fractured noisebeat of Lightning Bolt’s Brian Chippendale: immediate, innovative, virtuosic, exhilarating. Key to the impact of Soul To Burn is Grimes’ drumming, a force unto itself, which sometimes feels like it’s engaged in a creative and playful tussle with Kett’s virtuosic vibrato guitar. Take “Rhodia”, which sounds initially like a radical reworking, an anagram of Free’s “All Right Now”, on which Grimes doesn’t so much hit the groove as hammer it into the ground. Reciprocate tend to be averse to mere repetition, too full as they are of ideas, possibilities. But they know how to hit a riff, as on “Pissed Hymn”. Kett’s vocals are unconventionally impassioned - no vibrato or performative hollering. Rather they climb, up and and again up from the pit of the soul. There’s a sense throughout that this music is hard wrought, squeezed through small apertures, produced against the odds, born to trouble as the sparks fly upwards. There are quieter moments, however, such as the exquisitely beautiful “Ressypressocate”, which affirm the ultimately tender place from where this album proceeds, notes plucked like black flowers, twisted and cherished. Reciprocate demonstrate an astonishing virtuosity, nuance and musical sensitivity manifested through their deep mutual understanding and synergetic interactions. There are moments of sync and camaraderie that remind of the very late Beatles, those rare moments during the Let It Be Era when they loosened up, reassumed their old understanding. But then Kett’s lets fly with a long, looming note and suddenly we’re somewhere else again. With Soul To Burn, Reciprocate set out their stall of intoxicating, super catchy good-time, big heart music – a human album delivering a human message of love and love lost. By the album’s end, you’ll feel pushed and pulled through the mill, wiped out, blissfully exhausted, strangely serene

The entity known as ALTERNATIVE TENTACLES, would like to express its excitement to be working with the Seattle, WA based BAND Sandrider, and enjoyed the previous relationship of Damm and Weisnewski in their former entity known as AKIMBO. ALTERNATIVE TENTACLES is very much a fan of previous work from the BAND on Satanik Royalty Records and highly recommend new listeners investigate the discography further. The upcoming 2-song single by BAND, hereafter referred to as AVIARY/BALEEN has a limited-edition initial pressing on blue and white splatter vinyl pressing of 300 copies, and successive runs will not be as colorful. Immediate orders are encouraged. This cheeky duality of Sandrider is also captured perfectly in the subject matter of the EP’s two tracks: The explosive first track, “Aviary,” portrays the modern hellscape of social media as sinister, soulless mama bird, willfully vomiting disinformation into the eager mouths of enthusiastically consenting participants. “PLEASE MOTHER, FEED THEM YOUR BILE. DOUSE THE BABES WITH YOUR WHOLESOME RETCH,” vocalist/guitarist Jon Weisnewski wails over massive, frenetic riffs, rounded out by bassist Jesse Roberts’ warm low end and drummer Nat Damm’s ultra-hard, punch-like beats. The song concludes in a frenzy of danceable beats, with Weisnewski doing his best Painkiller-era Halford screams as he commands you to flood the whole damn thing – drown those who wish to destroy us. As pissed off as the song is, you’ll feel triumphant by the end anyway. Side B’s “Baleen” on the other hand (while ironically the angrier-sounding song of the two), is about a lighter thought that keeps Weisnewski up at night: Do you ever think about how fucking weird whales are? They’re enormous floating creatures that can't handle gravity, and they hang out in the deepest oceans. Yet they can’t breathe underwater, so they have to stay near the top and come up for air all the time. Seems inconvenient. And you’d think that the biggest mammal that ever lived would be a brutal carnivore, right? But no. They eat the tiniest creatures, through a bunch of hair in their mouths. What the fuck? Anyway, ponder on that while you bang your head along with Sandrider’s signature primal, hypnotizingly heavy riffs.

Parisian quintet En Attendant Ana's third album "Principia" is without a doubt their best yet. Bandleader Margaux Bouchaudon's voice anchors many of the songs on "Principia". The songs were composed from a place of confusion about the state of the world and their place in it, looking outward and inward for answers. Guitarist Max Tomasso - newly joined just before the recording of "Juillet" - feels more "moved-in", his guitar-work gliding effortlessly through. New member Vincent Hivert's bass-work is rubbery & flexible, urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone add a new layer of sophistication to the group's debonair indie pop. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". "Principia" is a great step forward without sacrificing the things that make the band unique, and absolutely feel like the next great phase of an already great band.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

After a long and forced break, In The Dark Again returns to record stores!

The label has been sitting for so long on it's 12th release, and is super excited to finally bring it out.

On »In The Dark Again 12«, Aaron J. Cunningham, Gestalt, Night Caller and Lectromagnetique deliver five mesmeric tunes between tough Electro and bitter sweet Electronica.

This record is limited to 100 copies. So better go grab it before it's gone.

2023 Repress

New York, early 90's, the haydays of the New York and Jersey clubhouse! With labels such as NuGroove, Nervous, Freeze, Strictly Rhythm, Henry Street Music taking all the spot light, there is Jovonn working on a small but sensational catalogue of music that somehow gets overshadowed by the popular releases on the mentioned labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) were taking things into a more musical, more spiritual way, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of House music Jovonn always was a name to watch, a producer of some of their favorite NY house tracks, tracks that have a raw edge combined with a sincere human touch and pure underground house vibes. People such as Rex resident Dj Deep was a huge fan, and also collaborated on couple later productions with Jovonn. Slowly he started getting recognition from europe which resulted in a handfull of records on European labels such as Distance, Coco Soul and Estereo. Now after almost 25 years since his first release the man's small discography on his own Goldtone label and Emotive records stand out with his unique musical personality. More then 20 years after their original release dates these tunes are still very relevant and stand for many things we love about house music! We are happy to offer this selection of his hard to find early works remastered by Alden Tyrell and pressed on fresh clean high quality vinyl.

Das Überraschungs-Mixtape "Trip Tape" des deutschen Alternative-Superstar-Duos Milky Chance aus dem Jahr 2021 ist jetzt auf Vinyl als limitierte Blue Splatter LP erhältlich. Auf dem Mixtape performt die Band in ihrem eigenen, unverwechselbaren Stil Hits von The Weekend, Dua Lipa, Soft Cell und Rosalia sowie einen umwerfenden Gast-Remix des Produzenten Icarus aus Bristol. Als ob das noch nicht genug wäre, enthält das Trip Tape" auch noch ein paar Originale, einige davon als Demoversionen, die sicherstellen, dass alle Arten von Fans ihrer Musik mehr als zufrieden sind. „Trip Tape" erlaubt es Milky Chance, ihren unverwechselbaren Stil mit einer eklektischen Songauswahl frei zu erkunden.

The long out-of-print sophomore album by the pioneering, creatively restless troupe, Cerberus Shoal, highlights the earliest phase of their transition from experimental hardcore band to transcendent exploratory collective. Originally released in 1996, _And Farewell To Hightide combined the group's unique command of patient anticipation with a significantly expanded musical palette and a refined musicianship. Shedding virtually all obvious references to the frenetic post-hardcore of their eponymous debut album, Hightide saw Cerberus Shoal incorporating elements of Talk Talk, Tortoise, and the early Windham Hill catalog into a sound that was incomparable at the time. Now, more than 20 years later, it's proven astonishingly prescient and truly timeless. Beautifully remastered and finally made available digitally for the first time ever, this expanded deluxe edition includes the Lighthouse In Athens EP recorded during the same era as _And Farewell To Hightide. Finally available on vinyl for the first time ever, _And Farewell To Hightide - Deluxe Expanded Edition is packaged in restored artwork with newly uncovered photos and extensive new liner notes written by the band. The record has been newly mastered for vinyl by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl.

Airto Moreira and Flora Purim, the legendary King and Queen of Brazilian Jazz, have captivated audiences for over six decades with their vibrant albums and exhilarating live performances. With a dedicated global fan base including the UK's jazz funk and jazz dance scene to Japan's concert halls, the power couple continues to make waves in the industry – Flora's 'If You Will' (2022) album was even nominated for a Grammy! The duo met and came together musically in Sambalanço and the Sambrasa Trio. The mixture of Airto's rural Brazilian background and percussion talents and Flora's classical training and involvement in the underground Bossa Nova movement, created a unique blend of sounds that resonates across generations. They have not only collaborated with music legends like Miles Davis and Chick Corea but have also produced ground-breaking music alongside the likes of Hermeto Pascoal. Despite facing numerous challenges, including Flora's arrest and incarceration in 1974, the duo's close connection with friends-musicians like Thelonius Monk and Cannonball Adderley, their persistence and absolute passion for music have propelled them to the pinnacle of success. They worked with renowned musicians like Wayne Shorter, Jaco Pastorius, Herbie Hancock, Joe Henderson, McCoy Tyner, George Duke and producers such as Orin Keepnews and Creed Taylor. Having been a part of numerous prestigious ensembles, including Dizzy Gillespie's United Nations ensemble, Airto and Flora's journey is a testament to their innovation and devotion to their craft. This collection offers a glimpse of that incredible journey, showcasing their extraordinary talent and unique sound and it’s also the first comp scanning their 60 year careers Compiled by Straight No Chaser editor/publisher Paul Bradshaw & Totally Wired Radio presenter Roberta Cutolo. Àṣẹ.

Gaucho — Steely Dan's Grammy-winning seventh studio album now on UHQR!
Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl!
45 RPM LP release limited to 20,000 numbered copies
Mastered by Bernie Grundman from a 1980 analogue tape copy originally EQ'd by Bob Ludwig
Pressed at Quality Record Pressings using 200-gram Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing


Gaucho — the iconic seventh studio album by Steely Dan, released in November 1980 — and Grammy-winner for Best Engineered Non-Classical Recording, was also Grammy-nominated for Album of the Year and Best Pop Performance by a Duo or Group with Vocals. The album represents the band's musical evolution towards a more polished and sleek sound, featuring a collection of meticulously crafted songs that blend jazz, rock, and pop music, while exploring themes of decadence, longing, and disillusionment.

Gaucho opens with the title track, a jazzy instrumental piece that sets the tone for the rest of the album. The standout tracks on the album include "Hey Nineteen," a catchy and upbeat tune that features a memorable saxophone riff and lyrics about an older man's attraction to a young woman, and "Babylon Sisters," a funky and groovy track that showcases the band's impeccable sense of rhythm and melody.

The sessions for Gaucho represented the band's typical penchant for studio perfectionism and obsessive recording technique. To record the album, the band used at least 42 different musicians, spent more than a year in the studio, and far exceeded the original monetary advance given by the record label. Still, the album features multiple layers of instrumentation, carefully crafted arrangements, and the use of top-notch session musicians to create a lush and sophisticated sound that is uniquely Steely Dan.

Despite its critical and commercial success, Gaucho was a challenging album to make. During the two-year span in which the album was recorded, the band was plagued by a number of creative, personal and professional problems. MCA, Warner Bros. and Steely Dan had a three-way legal battle over the rights to release the album. After it was released, jazz musician Keith Jarrett was given a co-writing credit on the title track after threatening legal action over plagiarism of Jarrett's song "'Long As You Know You're Living Yours."

Gaucho marked a significant stylistic change for the band, introducing a more minimal, groove- and atmosphere-based format. The harmonically complex chord changes that were a distinctive mark of earlier Steely Dan songs are less prominent on Gaucho, with the record's songs tending to revolve around a single rhythm or mood, although complex chord progressions were still present particularly in "Babylon Sisters" and "Glamour Profession." Gaucho proved to be Steely Dan's final studio album that Donald Fagen and Walter Becker would make together until the year 2000.

Gaucho reached No. 9 on the U.S. album chart and was certified platinum-selling. "Hey Nineteen" reached No. 10 on the U.S. Singles Chart and went to No. 1 in Canada. Pitchfork, in its review, describes the almost "pathologically overdetermined production" as elegant, arid and a little forbidding. "Every last tinkling chime sounds like it took 12 days to mix, because chances are, it did." The New York Times deemed Gaucho the best album of 1980, beating out Talking Heads' Remain in Light and Joy Division's Closer.

Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations.

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Gaucho remains a testament to Steely Dan's enduring musical legacy and their ability to create timeless music that transcends genre and style.

2 x 180gr Vinyl inklusive DLC im Klappcover mit Artwork von Ana da Silva, CD-Edition mit Bonustrack "Let's Eat Pasta". "Island" ist das neue gemeinsame Album von Ana da Silva, Gründungsmitglied und Songwriterin der wegweisenden Post-Punk-Band The Raincoats, und der legendären japanischen Musikerin Phew. Eine belebende Odyssee im industriellen Lärm, ist ,Island" voll von absorbierenden Texturen, taktilen Beats und einem meisterhaft dynamischen Kompositionsstil. Jede höhlenartige Spur fühlt sich an wie ein Gespräch, und aus der ominösen Dunkelheit kommt eine generative Hoffnung. Ana und Phew tragen Wortstücke in ihren Muttersprachen Portugiesisch und Japanisch bei und reflektieren über Isolation, Freundschaft und Natur. Der Alltag ist tiefgründig. Eine fesselnde Stimmung wird durch den gemeinsamen Stoizismus und die subtile Verspieltheit der beiden Kult-Punk-Ikonen erzeugt. Jeder Song wurde gemeinsam von Ana und Phew komponiert, die Dateien per E-Mail ausgetauscht haben. Manchmal erinnert ,Island" an das düstere Pochen von Phews aktuellem ,Light Sleep"-Album (das wiederum an Suicide erinnert). Die Logik von ,Island" ist eine des weisen Minimalismus. Es gibt ein Gefühl der Entdeckung, das den Raincoats-Fans vertraut sein wird - ein Gefühl von Poesie und Neugier, von Intuition und Erfindung, von neuen Sprachen, die Gestalt annehmen.

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

Introducing yet another sonic tale by Moving Pictures coming from the overseas. Our forthcoming record marks label's 10th vinyl release and welcomes Philadelphia based artist Alex Burkat to the roster.

The EP features two original tracks by Alex Burkat and Hungarian musician Kin Teal, including slow-burning remix from Los Angeles based artist Dean Grenier. Last but not least, label's in-house power duo Aerial join in on remix duties and deliver a hypnotic closing track.

Repress!

On 22nd October, the Nottingham-raised and highly-praised musician/DJ/producer Matt Cutler, AKA Lone, presents his 8th album – and first in 5 years – ‘Always Inside Your Head’. It marks two major changes, with both a new label and new approach – featuring vocalists for the first time.

This deeply textural and ethereal artwork is situated high above the clouds, amidst the heavens, occupying a stratospheric state where swathes of synthesized vapour and azure rays sound like a literal breath of fresh air.

A varied selection of music influenced the record, but two main influences were Cocteau Twins and My Bloody Valentine. “I wanted to approach a range of different styles, but attack them from their angle in a way, so for example on 'Inlove2' I tried to imagine what a Balearic / acid house tune might sound like if it were produced by Kevin Shields”, comments Lone.

Another key example of Cutler’s strange but successful combination of elements is the halcyon bliss of ‘Echo Paths’, where his trademark fat drums and love for hip hop meet double-time pan pipes, dub effects and dream pop, mixed into a wonderfully lysergic concoction.

This rarefied auditory stratus was previously evident in tracks like ‘Alpha Wheel 4 (Ambient Mix)’ from ‘DJ Kicks’, ‘Under Cherry Blossoms (Minds Eye Reprise)’ from ‘Ambivert Tools, Vol. 2’, ‘Pulsar’ (from ‘Ambivert 4’), and ‘How Can You Tell’ (from ‘Abraxas’), but is now more fully-fledged, broader in scope and even more celestial.

In addition to the above, the LP exists somewhere between trip hop on Mo' Wax, 90s Warp, intelligent drum & bass and ambient house. There are heavier forays too, like ‘Mouth Of God’, where darker clouds emerge, but are pierced like acid lightning with fierce, tearing tech-step bass.

Although still firmly rooted in club culture – here Lone shows a definite leaning towards a song-based sound, with several tracks edging towards the same crossover space as the nineties hits which also inspired him – particularly William Orbit’s production on Madonna's 'Frozen', and Olive's 'You're Not Alone'. This is especially evident on the bright, spacious brilliance of 'Hidden By Horizons', where vocals and synths swirl around one another, with crisp breakbeats and reggae rolls pushing purposefully through the ether.

Despite initially seeming almost entirely sunny of disposition, upon deeper immersion there’s lot more beneath the album’s surface, both in its deep pools of immiscible layered elements, and also thematically. When recording Cutler kept in mind a loose narrative based on birth, death, and our existence in-between.

He then extended this idea to reach what may happen after death, which is reflected in the sequencing: By penultimate track ‘Undaunted’ the life reflected in this longplayer has come to an end, which is then followed by 'Coming In To Being And Passing Away' – an afterlife epilogue, which evokes a transition from this world to the next.

Die Gründung von 49North markiert eine neue Ära für Duncan Forbes, neben Charlie May eine Hälfte des legendären 1990er Progressive House-Duos Spooky und Remixer für Schwergewichte wie Depeche Mode, M83, Sasha, William Orbit und Apparat. Auf dem finalen Teil seiner '49North – Phase 1: Distilled & Amplified' Trilogie verwandelt der nicht minder legendäre UK-Produzentenkollege Mr. G zwei Tunes in Killertracks, während Forbes' selbst einen pulsierenden, breit angelegten, 10-minütigen Motor-City-meets-The-White-Isle-Trip mit Reminiszenzen an glorreiche Progressive-House-Zeiten bringt.

The Metropolitan Soul Museum helmed Kulture Galerie returns with Volume 2 of its various artist focused release series. This new 5 tracks compilation showcases some of the finest Dutch and American sound, all brought together by London's own MSM.

Amongst the collection there is an original composition from lauded American artist and Delsin regular John Beltran (+ a special ambient version of said track available exclusively on Bandcamo), and more from Böhm (030303), US' best kept secret Tramic, De Lighting's' own Nathan Kofi & RDS and of course the label bosses Metropolitan Soul Museum themselves.

The fragility and balancing act of creativity is an immeasurable factor in the life of any artist, serving as a commanding force in the choices they make over their careers. If the connection and meaning in creativity becomes devoid, there's a transformation process that either channels an ascension or departure. An internal and external battle that can chase and haunt individuals in every part of their life if one falls into the latter position. In the case of Los Angeles based electronic producer Huxley Anne, ascension was achieved during one of these tests of creative endurance and preservation, entering a phase of her life where the process of feeling art on meaningful levels had subsided for a lengthy period and the eventual reprisal of these natural gifts returned. This led to the creation of her debut album and an expansion in creativity that marks an important beginning for her path as an artist. This work is known as Ilium, representing a moment in Huxley Anne's life that's been one of her most testing yet rewarding mountains to climb. Ilium is Huxley Anne's debut album with Los Angeles indie imprint and Alpha Pup Records affiliate, Dome of Doom. Sonically, Ilium is an orchestrated field of unique beauty, drawing together eight tracks of exotic electronic music that calls upon the darkest and most light-driven of emotions. Exploratory textures take on vortexes of shape through cinematic sound designs, fluidly traversing between amorphous undertones, intricate composition mapping and pulsing rhythms. From the submersion of euphoria to the illumination of power, Ilium draws upon as many influences in the realm of mystical antiquity as it does the landscape of experimental music leading us into the future. A sonic portrait of her ascension through creative turmoil, the struggle of sustained determination and a rebirth into timeless artistry. Huxley Anne has created a boldness in sound that was made with the most vulnerable and giving of sides and simply put, Ilium is the continuation of meaningful life

Yellow/Green Marbled Vinyl

* From Karma Recordings comes their fourteenth EP. I can hardly believe it myself as I type this but yes, Karma Recordings is up to 014. On remix duties this time around is the very talented Dope Ammo. Fusing the jungle and drum n bass styles together seemlessly we feel we have another classic in the making with this release. Taking the pianos of DJ KOS’ original Horizons Lost and overlaying some haunting vocals and then slamming into the dnb, this track is not to be missed. Then rolling right on to the second remix on the A side we just had to release on to vinyl the brilliant Sync Dynamix remix. With a style all of his own Sync Dynamix has really done the track justice with rolling breakbeats and a heavy bassline. I was originally going to title this the light and dark EP and then completely forgot while doing the artwork. However, that’s where we went with the double A side. Psycho Boy by DJ Ande is a grimy menacing track sampling the laughter of Tyler Durden from Fight Club and just gets more and more troubled all the way through. Sinister, scary and chopped, the perfect track for Halloween. Then we have been delighted to bring back the hardware talents of Dertie Bassett, always a bit dark but absolutely superb. All four tracks will take you on a journey from light to dark.

Southern Exposure is proud to present the debut solo EP from Mike Midnight. Angel Hours was originally self-released digitally but has been lovingly pressed on heavyweight vinyl for the first time with design from Jeffrey Annert.

Angel Hours current rise felt like it was imminent from the first listen, with contributions from Noa (Voice Actor/Stroom) and 3NDLES5 (Low Life). Mike’s production across the release feels akin to 90’s artists like I:Cube, Thievery Corporation or certain Weatherall moments. The heavenly references are well deserved with multiple moments on the release feeling truly divine, whilst others take a low-lit and alluring feel. Mike Midnight feels singular in the Australian music landscape, like a mix between the best parts of Paul Mac, Single Gun Theory and Ian Eccles-Smith.

Angel Hours continues the lineage of Australian music breaking through to international recognition with the release becoming a mainstay on NTS Radio, breakfast show host Flo Dill dubbing it “music that when listened to at night makes you feel unstoppable.” Remastered by Corey Kikos (Sleep D/Butter Sessions), the balance of each track of downtempo bliss feels like you’re not only unstoppable but weightless.

Big thank you to Theodore, Mitch, Jeff, Mon, Noa, my friends, family and all the collaborators for their continued patience and support.

Das letzte Werk von Kevin Coyne, eingespielt zwischen April und Oktober 2004 im MUSICATION Studio Nürnberg. Leider verstarb der Künstler, der nie ein Star sein wollte, im Dezember 2004 und konnte die Veröffentlichung seines Werkes nicht mehr miterleben. Begleitet wurde er bei der Aufnahme von Andreas Blüml und Michael Lipton (Akustik- und E-Gitarre), Harry Hirschmann (Bass) und letztendlich Werner Steinhauser am Schlagzeug, der maßgeblich an der Produktion beteiligt war. Dass dieses Album das letzte von über 50 Vorgängern sein sollte, konnte zu dem Zeitpunkt niemand ahnen. Umso mehr verdiente es den Preis der Deutschen Schallplattenkritik, der ihm posthum 2006 verliehen wurde. Nach zahllosen Tourneen und Auftritten, vornehmlich in seiner Wahlheimat Deutschland, wohin es ihn in den Achtzigern verschlagen hatte, hinterlässt er eine treue Fangemeinde, die den rebellischen, manchmal kauzigen, aber immer authentischen Musiker, Lyriker, Maler und Buchautor aus UK, niemals vergessen wird. Aus einem seiner letzten Interviews vor seinem Tod: "Lieder zu schreiben ist ein bisschen eine technische Übung, vor allem aber eine Form der Selbsttherapie. Auch wenn ich nicht in die Liga der Stars vordringen wollte, so war es mir doch wichtig, mir einen Namen zu machen."

Eels präsentiert Vol. 2 von EELS So Good – eine Best of/Essential-Compilation mit 20 Titeln aus den Jahren 2007–2020. Fünf Songs geben hier ihr Vinyl-Debüt, von denen drei bisher unveröffentlicht waren, darunter „Christmas, Why You Gotta Do Me Like This“. Mark Oliver Everett fügt hinzu: “Everyone should have at least three Christmas songs in their catalogue. I’m sorry it took me so long.”

The documentary series GAÏALAND (Arte) tells the true story of a community of environmental idealists whose dream of saving the planet took them to extremes, from the light of utopia to the darkness of control. Yuksek's original music reflects these utopias and this disenchantment, in the spirit of his album released on Lumière Noire (Destiino) this soundtrack with its soft psychedelic electronic sound features songs taken from VHS recordings made by members of the community.

ESKIMO CALLBOY are ready for the next explosion of awesome and new hordes of fawning fans once “The Scene” sees light of day. From their humble beginnings as teenage regulars at the local youth club in their hometown of Castrop Rauxel to touring the world—they've played and partied in Russia, the States, Japan, China, and South Africa—ESKIMO CALLBOY worked tirelessly for their journey to notoriety.

Giovanni Di Domenico has now achieved a personal and unmistakable style within contemporary minimalism. His music always expresses a state of concentration, of recollection and contemplation toward a focal node. Repetition is experienced as alchemical state, as truth contained in the small nuances of change, in a crescendo that never reaches a climax. The atmosphere is intuition and is made up of a few compositional touches. To compose is to make synthesis, to unearth purity, simplicity and exactness. This new work for solo piano is almost an imaginary novel…the notes seem to tell of deserted streets, lonely walks in the night or runs down stairs. In this sense the musician is the writer of silence and the fleeting moment. And so, amid slow chords like Chopin or Satie, moods oscillate between brio and allegro, evoking the lightness of love, greater sadness and melancholy, as well as more restless and agitated ostinatos, the product of a more cathartic worldview.

Ltd. clear-purple splattered Vinyl

ESKIMO CALLBOY are ready for the next explosion of awesome and new hordes of fawning fans once “The Scene” sees light of day. From their humble beginnings as teenage regulars at the local youth club in their hometown of Castrop Rauxel to touring the world—they've played and partied in Russia, the States, Japan, China, and South Africa—ESKIMO CALLBOY worked tirelessly for their journey to notoriety.

Today, the electrifying Copenhagen-based DJ and producer, Anastasia Kristensen, has announced a new EP “Cordyceps Disco” out on 14th November 2023. This will be the first release on her new label absorb emit, marking a bold new chapter for Kristensen.

This new EP marks the next chapter in Kristensen's artistic development, stepping away from the close and personal nature of her previous work, instead reflecting a broader sentiment of the post-pandemic climate. “Cordyceps Disco” is set in a romanticised future, allowing listeners to come to the dancefloor and let go of their fears for the millennium to come; of climate anxiety and hypercapitalism. Lightly inspired by the sci-fi futures in Ray Bradbury and Isaac Asimov novels, and taking its name after the brain-eating fungi in the recent series The Last of Us, “Cordyceps Disco” imagines a future dancefloor where listeners can forget about reality and be completely immersed in a beautifully dark yet uplifting atmosphere.

Helsinki-based artist Öjskog delivers his stunning debut album on Naarm’s Southern Lights. Featuring a chain reaction of effervescent sonics, radioactive undertones and drone-infused currents, Öjskog transports the listener on a journey through a dark and paranormal sonic soundscape.

Atomçk are back! Expanded to a quartet, here is more of their uniquely eccentric and offbeat brand of grindcore for thee end-tymes. Another head crusher of cacophonous chaos, all furiously catchy riffs and inhumanly shrill, stuck-ape vocals with pinpoint drums that border on the chaotic. "Newly expanded to a quartet, Towering Failures is undoubtedly the band’s heaviest and most sonically flattening release to date, boasting a gigantic tone that sounds downright apocalyptic on slower numbers. For the most part though, this album races past at lightspeed, but manages to convey a host of different moods and textures in amongst its frantic delivery. Atomçk have been getting better and better with each subsequent album, but this is surely their most powerful and definitive record to date, and one of the most inventive and memorable grindcore records of the year thus far." - The Quietus "Like a budgie with a whistle" – Ninehertz

Limited Edition of 3,000 on Opaque Blue vinyl. - Includes 4 Bonus Tracks from the "Commitment" sessions. - Includes 12 Page Booklet with Liner Notes by Critically Acclaimed Writer, Michael Krugman. // Bobby Darin was, by any definition, a superstar - a chart-topping, multimillion-selling, Grammy Award-winning singer-songwriter, a Golden Globe-winning actor, visionary entrepreneur, and committed political activist. Restless and daring, his refusal to be constrained by genre, resulting in an endless string of top 10 hits, including "Splish Splash," "Queen of the Hop," "Dream Lover," "Beyond the Sea," and "If I Were a Carpenter." While his public persona was all bright lights and glamour, Darin was driven and inspired by the generational shifts and social upheaval of the 1960s. Despite his weakened health, Darin devoted nearly all of his free time towards multiple causes, tirelessly campaigning for his friend Robert F. Kennedy until his assassination in June 1968, after which Darin withdrew from the spotlight and embarked on an unlikely personal journey. He swapped his crooner's tuxedo for folk singer denim, his toupee for an outlaw mustache, a Beverly Hills mansion for a secluded trailer at Pfeiffer Beach in Big Sur. Commitment is grittier and more audacious than Darin's previous work. From the counterculture anthem "Me and My Hohner" (with its ironic reference to "The Star-Spangled Banner") and the soul-searching "Sausalito" to the wryly autobiographical "Distractions (Part 1)" and the tense funk of "Light Blue," the album's experimentation and free-wheeling songcraft affirm Darin as a generational talent uniquely capable of crossing the borders of age and politics.

"Richard Edwards is in the pocket. He’s been there for several albums now: 2017’s Lemon Cotton Candy Sunset, 2020’s The Soft Ache & the Moon, and 2022’s Ghost Electricity/Vampire Draw. Just as the Margot records defined his twenties, this “Beach Bum” era, as he calls it, may well define his thirties. That era is expanded in Two Sad Little Islands Drift Together, Two Lonely Little Monkeys Find A Tree: Rare and Unreleased 2015-2023.

Beginning with Lemon Cotton Candy Sunset, Richard has been steering his ongoing body of work toward capturing a feeling of being at sea. Life can find us at sea in any number of ways–in a marriage or partnership, or in longing for one; in parenting, and its ceaseless wonders and worries; in bodies and minds that confound understanding (whether just our own, or also that of professionals); in our rotting world, which we’ve fucked up beyond all repair.

“What does that sound like, though?” you may ask. Like Mike Bloom’s cascading fingerpicking in “Lil Dead Eye-d (b.),” or the tranquilizing combination of Dave Palmer’s piano and Perla Batalla’s multi-tracked vocals on “Love (b.)” Like the L.A. based Section Quartet on “True Love Waits,” or the triumphantly stoned Velvet Ocean jam-session that is “Jane Greer With A Gun.” Like Richard’s use of melody and imagery on “Pink Lightning (b.)” and lead single “Benzedrine,” where he is masterfully accompanied by Erin Rae (on the former) and Maria Taylor (on the latter).

Unlike Richard’s past archival releases which have often featured home demo recordings, everything on Two Sad Little Islands has been produced in-studio. With this 3-LP vinyl set, Richard presents just over two hours of material that once again makes his case as one of the “most underrated songwriters of our time” (LA Review of Books)."

Red Vinyl

For the first time in their diverse second act, they allow themselves to be a rock band, freed of adornment and embellishment. As much as Carlson’s guitar has always been the focal point of EARTH’s music, it’s been surrounded by consistently diverse instrumentation. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Perhaps the largest left turn on Primitive And Deadly, though, is the prominence of guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows) who transform the traditionally free ranging meditations of EARTH into something approaching traditional pop structures.
On “Rooks Across the Gates,” a song stylistically the closest to the folk inspired modality of Angels Of Darkness, Carlson stretches out into some of his most lyrical playing to date, creating an almost symbiotic relationship between his performance and the vocals of old friend Mark Lanegan. “From the Zodiacal Light,” meanwhile, takes the late 60s San Franciscan/freaked-out jazz-rock transcendence of The Bees Made Honey In The Lion’s Skull and quickly re-appropriates that sound into a musky torch song for the witching hour.
This contradictive tension between a band pushing itself ever-forward whilst surveying their history is reflected in the albums twin recording locales. The foundation of the record was laid in the mystic desert highlands of Joshua Tree, California where EARTH recorded hour after hour of meditations on each track's central theme at Rancho de la Luna. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (who was previously at the helm for the Hex, The Bees Made Honey In The Lion's Skull and Hibernaculum sessions).

Die wegweisende feministische Punkband FRIGHTWIG ist mit ihrem neuesten Album 'We Need to Talk...' (Label 51 Recordings) zurück, inklusive einer besonderen Bonus-7''-Single, die ihrer verstorbenen, aber immer präsenten Schlagzeugerin Cecilia Kuhn gewidmet ist, die 2017 diese irdische Ebene verlassen hat.

Seit ihrer Gründung in San Francisco im Jahr 1983 verfolgt Frightwig zwei Ziele: Freude verbreiten und das Patriarchat bekämpfen. Seit 40 Jahren haben sie auf beiden Fronten Erfolg, mit einer Mischung aus knalliger Hardcore-Energie und einem furchtlosen Aktivismus. Die Band war eine prägende Einflussgröße auf die Riot Grrrl-Bewegung und darüber hinaus. Sie begrüßt Mitstreiter, Sünder und Ausgestoßene, und die Anhängerschaft von Frightwig ist im Laufe der Zeit nur größer und stärker geworden.

Das Album wurde von Eric Drew Feldman produziert (bekannt für seine Arbeit mit PJ Harvey, Pixies, The Residents, Frank Black, OK Go und Captain Beefheart). Frightwig entführt eine Welt des feministischen Punkrock entführen, der sowohl Energie als auch Aktivismus verkörpert.

5th studio album *Recently released track “Antimatter” on the album is the fastest streaming track in the band’s history. *Just completed full September tour supporting Dayseeker in the US. Recently completed a European tour in March with ERRA and Invent, Animate and played Heart Support Fest in February with Spiritbox, Underoath, Rise Against, Parkway Drive and more

Repress!

Season of Mist is Dead Horse One's second album and the first collaboration with french indie label
Requiem Pour Un Twister (Triptides, Good Morning TV etc.). It's a promising alliance between two of
the best representatives of shoegaze in France. Haling from Valence, the boys managed to impress
Joe Foster of Creation Records who said about their first EP « their music, that spans multiple genres
including Shoegaze and psychedelia, is like an endless extended note, wistful and melancholic....macabre
and beautiful...from which will emerge pop songs ». Mark Gardner of Ride mixed their first effort,
the acclaimed Without Love We Perish and now they're back with Season of Mist produced by the
band helped by John Loring (Fleeting Joys). It's full of catchy hooks, shoegaze and psychedelic anthems
propelled by supersonic guitars that sound like a massive wall of joyful noise. Close your eyes and let
all theses great songs flow in your mind, from season of mist will emerge light.