Search:red 7

The scottish musician, born in 1953 in Port Glasgow, is one of the most eclectic artist of the so-called minimal wave scene. Alongside german singer Claudia Brücken (vocalist of the hit-makers Propaganda) he formed Act a short-lived synthpop group signed to ZTT Records in the late eighties. Licensed by Cherry Red in 1982, the double album ‘Contradictions’ is the third effort in Leer high and rising career. After the seminal debut on Industrial Records with Robert Rental – The Bridge (1979) – Leer ventured on a solo career with the brave synth wave of ‘Letter From America’ and his personal masterpiece ‘Contradictions’. The latter is such an enigmatic piece of work, with alien melodies as in the case of the ‘Soul Gypsy’ infectious white funk. The whole album was recorded in his living room at home onto 4-track using borrowed equipment ( Korg synth, Ult-sound drum computer & guitars ) from his friend Morgan Fisher. Featuring Leer’s haunting, uncertain vocal – recorded quietly, so as not to wake his girlfriend in their bedsit! – crooning over a minimal bass pulse and discreet whines and washes of primitive Wasp synthesiser, it retains its peculiar lo-fi magic four decades on.

Dirty Dynamite is the seventeenth studio album from Swiss melodic hard rock/heavy metal band Krokus. The album was well received by critics, partly due to the surprising element of their Beatles cover of “Help”. The band origins from the seventies, and have since sold over 15 million records, toured the world and received gold and platinum discs in the US and Canada. The legendary English journalist Malcolm Dome quite rightly said: “If you look at the long-term output of this band, Krokus is clearly one of the best hard rock bands of the last 40 years”.

Dirty Dynamite is available as a limited edition of 1500 individually numbered copies on transparent red vinyl. The records are housed in a gatefold sleeve with lyrics.”

Blue Vinyl

Due to a mistake at the pressing plant, 100 extra copies of this record were pressed and are now available on a first come first served basis to a handful of retail outlets.

4 new classic Electro cuts from the Finnish duo, Morphology. The sound of the future, neatly processed and packaged on a storming 4 track 12" with original sleeve artwork from Ilpo Väisänen from legendary electronic music project Pan Sonic.

Blink and you'll miss these!

Red Vinyl

Kamarads Records is finally back
and presents its second release made with four European producers from France & Italy,
Jef K, icon of the Parisian house has collaborated on a track with Ilyes from the new generation of electronic producers based in France and you will also find Reda Dare who you already know, an important component of the new landscape of French house.
For Italians: Nicola Brusegan, ambassador and prolific producer of a fresh and romantic vintage deep house, made of analog synths and Mpc grooves and textures from Venice, and Laurent Ci who produced more of a minimalist house tinted with Romanian atmosphere and atmospheres.
The second Kamarads reference will be a Vinyl Only.

Draconian Steps brings together Jeremy Rodriguez and Ron Morelli for the first of 2 - 12''s under the name ''Circus of Death''. The tracks were recorded at Devon Analogue Studio in the UK.

Wrangled in from a weekend of long studio jams. Bleak over driven analogue business from start to finish. 3 - 909 cuts crunched out and pushed way into the red. Limited edition!

Killer tracks by Draconian Steps. A project by Jeremy Rodriguez and Ron Morelli for the first of 2 - 12''s under the name ''Circus of Death''. The tracks were recorded at Devon Analogue Studio in the UK. Wrangled in from a weekend of long studio jams. Bleak overdriven analogue business from start to finish. 3 - 909 cuts crunched out and pushed way into the red. Limited edition, so don't sleep on these!!

Two worlds collide to offer a brand new project. The lo-fi rock from Emilie Zoé and Nicolas Pittet blends perfectly with the sounds of the machines and samples of the leader of The Young Gods, Franz Treichler. The sound triangulates and takes the shape of an /A\. Zoé is an artist who converts the ghosts of everyday life into electric fulgurations on the extreme fringes of pop and rock; Pittet is her drummer, but above all he’s an all-round musician, as comfortable backing Lee ‘Scratch’ Perry’s primal dub as he is

fiddling with electronics (e.g. his project Kera); and of course, Treichler is the well-known leader of The Young Gods, and band that’s been setting the bar since 1986 when it comes to transforming rock by infiltrating its genome into machines.

This diversity of backgrounds, tastes and experiences might at first sight have appeared as a reason to stay apart from each other, but instead it’s proved to be a vector of mutual attraction. What /A\ offers contains no foreign matter: Treichler, Pittet and Zoé’s aesthetics are intertwined through subterranean links that strike by their clarity, like the pieces of a puzzle that is both unexpected and surprising.

It’s through this profound entanglement that the pieces, one after the other, succeed in materialising hitherto unseen faces. They create something new: Hotel Stellar delivers an otherworldly blues, a slow snake that oscillates between the abyss and redemption; We Travel the Light, with its guitars measured in megatons, invents the notion of a steamroller possessed by insane joy; Count to Ten is a wash of restrained melancholy infused with almost Birkin-like touches, which, as the minutes go by, bristles with scratches and sandy echoes, like synthetic dub; The Leaves is yet another strange beast which could be considered as the evolution of a trip hop theme that would have been left to mature for a few decades in the noblest of drums. “It’s red, it’s hot” says Zoé when asked to analyse the record. “You can feel like there’re waves coming at you, but you never really know when.”

Mondo and Madison Gate are proud to present the premiere vinyl release of Leo Birenberg and Zach Robinson's incredible score to the Netflix streaming phenomenon COBRA KAI. This 3-disc vinyl set features music from the first 3 seasons of the hit series, curated by the composers into themed collections.

This exclusive retail version comes pressed on red, white, and blue marble discs. Also featuring all new artwork from the incredible Matt Ryan Tobin and liner notes from composers Leo Birenberg, Zach Robinson, star Ralph Macchio, and showrunners Josh Heald, Jon Hurwitz, and Hayden Schlossberg.

Music from the first 3 seasons of the series curated into three collections of music:
Disc 1: COBRA KAI - a curated mix of music scoring the most badass dojo in the Vallely
Disc 2: MIYAGI-DO - curated selections from the music scoring Laruso Family, and its ties to the Miyagi legacy.
Disc 3: FINAL FIGHTS - the music from all three of the explosive season finale episodes.

All of the music has been hand selected, and in many cases expanded from their original form for the most definitive Cobra Kai listening experience available.

The edition that marks the start of the brand-new Comets Coming could not be more suitable: it is that Rodrigo Brandão, like his grandfather Herman Poole Blount, dust of stars that the world knows as Sun Ra, may have his feet on the Earth, but he has definitely a sidereal head.

Brandão arrived recently to Portugal, but already left a strong mark in the most adventurous Lisbon scene, having performed several concerts in which his language has been wrapped in the exploratory sounds of musicians such as Rodrigo Amado, João Valinho, and Hernâni Faustino. The agitator, poet and spoken word artist, brought a vast experience that over the years saw him collaborate with artists as distinct as the members of Metá Metá or Prince Paul (that one!) on BROOKZILL!.

This work, however, came in his luggage, across the ocean, on the rediscovery trip that brought him from Brazil to Lisbon. OUTROS ESPAÇO was recorded in São Paulo in late 2019 with a luxury crew: Tulipa Ruiz and Juçara Marçal added to the microphone, Thiago França played flute and alto & tenor saxophones, Guilherme Granado dealt with the synthesizers and effects, Marcos Gerez measured the overall pulse with his electric bass, Thomas Rohrer played soprano and 'rabeca' (fiddle), and Paulo Santos dealt with the percussion. In addition to the base band, OUTROS ESPAÇO also features some members of Sun Ra Arkestra's current incarnation. Respectively: Danny Thompson (RIP) on baritone and bongo, Elson Nascimento on 'surdo' (tom drum), Knoel Scott on tenor and soprano, with the giant Marshall Allen in a prominent role leading the collective towards the unknown, while playing the alto sax and synthesizer.

In OUTROS ESPAÇO, Brandão reaches for words from different origins, from contrasting times and cultures, all with magnetic resonance imaging: what is not from his furrow comes to him from Candomblé (“Quando Os Orixás Desfilam Sobre A Cracolândia”), from his readings of Sun Ra (“Eu Sou 1 Instrumento” is an adaptation of the poem I Am An Instrument), or from the school's playgrounds (“Jamais Nos Esqueceremos”). And in these words there are teeth and nails ingrained in injustice (“Quantos Coltrane...?, “Todo o Dia Tem +”) and kaleidoscopic delusions that result from the speed of light (“Sol da Meia Noite”).

The crew that travels through these OUTROS ESPAÇO (PT for "Other Spaces") has freedom as the main fuel, jazz as a measure of their reach, and all swings in the world as maps, so they can lose themselves at the end of the cosmos. There is urgency and reflection, craziness and precision, surprise and well-known ancestral raw material, that makes us vibrate inwardly with the same trembling as the comets that are coming.

The visionary and veteran Scotty Hard was responsible for making everything sound like the music of the spheres, dealing with the mixing from his INGUASONIC SOUND studio in Brooklyn, NY.

And lastly, in January, Rob Mazurek, another frequent ally of Brandão, another notorious space traveler, offered a poem that frames this project. Among other things, he writes:

Make this place sing

Make this place thunder

Make this place shake

It couldn't be in any other way.

Ella Fitzgerald made her mark in the worlds of jazz and scat, and
during the Big Band era was collaborating with the likes of Louis
Jordan, Count Basie and Louis Armstrong. But it was in the
1950's that she really made her mark, with a series of 'Songbook'
albums spotlighting all the great songwriters of the day. It’s been
said that Ella's unique interpretations delivered with a voice so
rich it was like cream in your coffee. Small wonder then that
she'd take a ground-breaking approach when it came to
recording an album of Christmas songs. Ella's Christmas album
was revolutionary in that it wasn't about Christmas in the
traditional sense and would go on to influence pretty much every
Christmas album since, for two reasons: It's really joyful, and it
really swings.

MIEKO SHIMIZU is a London based Japanese singer, songwriter, composer
and producer. She first erupted onto the scene as Apache 61, fusing layers
of cross-woven breaks and battling shards of sub-bass within stateless
melodies drawn from the fringes of the avant-garde.
Mieko has produced scores for contemporary dance company Phoenix Dance
Theatre as well as the Ballet ‘The Red Balloon’ at the Royal Opera House’s
Linbury Theatre. She was made an ‘Emerging Artist in Residence’ at London’s
Southbank Centre where she collaborated with the London Philharmonic Orchestra on her own compositions.
ROAD OF SHELLS was originally released back in 1990 and now being released
for the very first time on vinyl. Recored at Wold Studios in London, the record
features an array of talented musicians from Claude Deppa on trumpet and
guitar from Dominique Brethes. ‘Blue Dancer’ and ‘In The Garden’ features
Mieko’s brother Yasuaki Shimizu on saxophone.
20 years on from Road Of Shells original release date the record has now has
be released for the very first time on Vinyl in Japan and available in the UK
and worldwide.
Mieko has worked with David Cunningham from The Flying Lizards, Robert
Lippok of To Rococo Rot and re-mixed the likes of Coldcut. Haruomi Hosono
of the cult electro-pop act ‘Yellow Magic Orchestra’, signed Mieko to his label
‘Daisy World’.
Mieko has performed at Sonar, alongside Kraftwerk and supported Massive
Attack at their Melt Down Festival.

First time on LP: Praised by NPR for their “upbeat, poppy vibe; energetic,
driving rhythms; and virtuosic solos,” Twisted Pine released their
second full- length Right Now on August 14, 2020 (Signature Sounds).
Exploring a sound they call Americana funk, Twisted Pine takes traditional music in exhilarating directions. Bassist Chris Sartori writes, “This album is easier
to feel than describe. We’re rooted in bluegrass, continually inspired by explorers like Bela Fleck, Jerry Douglas, and Sierra Hull. Right Now takes this heritage into a new dimension. Our bluegrass is jazzy, our indie folk is poppy, our
grooves are funky.”
Twisted Pine (Kathleen Parks, fiddle; Dan Bui, mandolin; Chris Sartori, bass; Anh
Phung, flute) grooves with fearless improvisation and intricate arrangements.
“They were once bluegrass,” wrote The Boston Globe, “but ... this Boston band
has become something else, a wider version of stringband, boundary jumpers
akin to outfits like Punch Brothers and Nickel Creek.”

Incl. Tim Reaper Remix

Chrystabell’s smooth as silk vocals transcend the aether as she reinvents classic Cure songs in Strange As Angels.
Post-Punk, New Wave, Goth - for over four decades The Cure created alternative music so powerful that it redefined the mainstream. They didn’t just master genres, they transcended them. Throughout these varied styles the group maintained an aesthetic continuity, creating a world so vast and mysterious that there’s room for other artists to explore it.
And explore it he does on Strange as Angels, Marc Collin’s new collection of reinvented Cure songs, sung by the ethereal Chrystabell. Produced, arranged and conceived by Nouvelle Vague co-founder Marc Collin, he has again woven repertoire, performance, and his uniquely forged arranging aesthetic into something authentically new.

David Morales’ legendary track ‘Needin U’ is a landmark in house music culture all the way from its release in 1998 and remains a seminal classic in dance music history. In celebration of the tracks 23rd Anniversary, French artist/producer Dimitri From Paris has created yet another thrilling remix of The Face vs. Mark Brown's previous version of ‘Needin U’, released in 2009 via Cr2, via this limited red vinyl pressing and picture sleeve release.

With plenty of calibre under his belt, including disco remixes of Chic and Sister Sledge, Dimitri From Paris’ take on this all-time house classic is not only marked by his acclaimed signature sound - live instrumentation, booming four to floor beat, dynamic rhythms and energising bass lines, but the fabric of David Morales’ legendary track is evident throughout. Whether for the casual dance music fan, household DJ or an enthusiast for the all-time classics, this remix is a must listen.

When his mother brought Stanley Turrentine’s Salt Song LP back from a trip to Canada, Julien Lourau, then a teenager, was impressed by the scope of the sound and the groove of the saxophone. He was also charmed by the lush arrangements and funky sound of the record, typical of releases on the CTI label. Created by producer Creed Taylor, CTI left an imprint in the minds of 70s jazz fans much like Blue Note did in the 60s, and it even ended up releasing work by artists who started out on this mythical label such as Stanley Turrentine and Freddie Hubbard. The two even shared the same sound engineer, the great Rudy van Gelder.
Yet CTI, though highly prolific during its 15 years of activity, has not benefitted from the same aura as its predecessor. “To breathe life into this album, I listened to a wealth of CTI releases and discovered some I had never heard before. I noticed, oddly, that many of today’s musicians know very little about CTI - a label unfairly considered as minor.”

The choice of tracks was determined by Julien’s personal tastes, always keeping in mind a desire to help people discover them yet focusing on the joy of actually playing them too.

"The album is made up of 9 pieces. Mathieu Débordes got everything down to the nearest note before we even attempted to play them. CTI didn’t hold back in fuelling their compositions with brass and violins, but I erased this aspect and pared things down to a bass, drums and two keyboards."
English drummer Jim Hart, someone Julien worked with during his London years, propels the group - from hard-bop polyrhythms with “drum & bass” inflections to a reworking of classic Red Clay.

Sylvain Daniel on the bass and Arnaud Roulin on the analogue keys are two musicians close to the saxophonist, and that he met when they were students in 1999 while organising a master class at the Conservatoire de Nantes. Since then, they have become his esteemed companions.

The collaboration with young pianist Léo Jassef began on this recording, where he also plays the Prophet 5. The dynamic and overlap of the many keyboards played by Arnaud and Léo bring the record a richness of timbre and harmony that the strings and brass provided on the CTI recordings.
For the final track on the record, Julien called upon his friend of 30 years, guitarist Bojan Z, for a fresh, Gospel take on Love and Peace, a track recorded by Quincy Jones in 1969, which here, is dedicated to Bojan’s recently departed brother.

“When it comes down to it, this album really is as I had imagined it, with, luckily, a few unexpected turns. I created a playlist I then claimed as my own. But in the end, I must admit that I would have loved to have composed some of these tracks.”

Paint A Picture are incredibly pleased to announce news of their first release: a fully
remastered, licensed reissue of rediscovered British 7” Funny Situation recorded by Reflex - a
band put together by drummer David Humphrey (Public Image Ltd., Sparks, Mike Oldfield) and
privately released on his Star Records back in 1981. With the original record now changing hands
for in excess of £200 and just in time for a 40th anniversary release the reissue - remastered and
cut by Frank Merritt at The Carvery - will include updated original artwork whilst also containing an
insert providing further details and context on the release.
Recorded a few months after seminal Britfunk tune "Southern Freeez" at the very same Vine
Yard Studios and with the same engineer Simon Sullivan - the release unfortunately suffered from
a lack of marketing and proper distribution but almost forty years later the record is now receiving
the attention it deserves and with a price tag to match.
The A side presents a beautiful mesh of funk and soul styles with influence from other Britfunk
bands of the time but with a more overt jazz and rock feel fusing a tight rhythm section with smooth
vocals and climaxing in a guitar and saxophone duel.
The instrumental Version Two provides a fresh approach with the addition of dub FX and
Indian percussion with the use of a tabla added to the mix.

"The Witness" markiert eine gewitzte, unkonventionelle Linkskurve und zeigt Suuns in ihrer angenehmsten, offensten Form. Selbst aufgenommen und selbst produziert über den Großteil des Jahres 2020, ein Jahr voller Streit, Einsamkeit und Reflexion, zeigt "The Witness" die Band mit einer Lupe über ihren eigenen Standardzustand des Spielens und Auftretens. Es ist eine rasche Abkehr vom Vorgänger-Album "Felt" und erfreut sich daran, zufällige Ideen in ihren embryonalen Demo-Versionen zu ernten, als ob man ein glorreiches Feuerwerk in den Himmel entlässt. Mit dem Ausstieg von Max Henry als Vollzeitmitglied im Jahr 2018 und dem Wohnort-Wechsel von Ben Shemie, der jetzt einen Ozean entfernt in Paris lebt, manifestierte sich eine neue Herausforderung für das Trio, sich wieder zu finden, sowohl sozial als auch kreativ. Mehr als jede andere Suuns-Platte verwendet "The Witness" eine Jazz-Mentalität, die einen kontinuierlichen Vibe über die Vorstellung von separaten Kapiteln stellt. Es gibt eine Ebene der Entspannung, des Akzeptierens der Urinstinkte der Band und einen konzentrierten Versuch, diese Instinkte zu maximieren und zu überarbeiten. Für eine Band, die für ihre kryptische Anziehungskraft bekannt ist, markiert "The Witness" das bisher großzügigste, reduzierteste und berührendste Werk von Suuns.

"The Witness" markiert eine gewitzte, unkonventionelle Linkskurve und zeigt Suuns in ihrer angenehmsten, offensten Form. Selbst aufgenommen und selbst produziert über den Großteil des Jahres 2020, ein Jahr voller Streit, Einsamkeit und Reflexion, zeigt "The Witness" die Band mit einer Lupe über ihren eigenen Standardzustand des Spielens und Auftretens. Es ist eine rasche Abkehr vom Vorgänger-Album "Felt" und erfreut sich daran, zufällige Ideen in ihren embryonalen Demo-Versionen zu ernten, als ob man ein glorreiches Feuerwerk in den Himmel entlässt. Mit dem Ausstieg von Max Henry als Vollzeitmitglied im Jahr 2018 und dem Wohnort-Wechsel von Ben Shemie, der jetzt einen Ozean entfernt in Paris lebt, manifestierte sich eine neue Herausforderung für das Trio, sich wieder zu finden, sowohl sozial als auch kreativ. Mehr als jede andere Suuns-Platte verwendet "The Witness" eine Jazz-Mentalität, die einen kontinuierlichen Vibe über die Vorstellung von separaten Kapiteln stellt. Es gibt eine Ebene der Entspannung, des Akzeptierens der Urinstinkte der Band und einen konzentrierten Versuch, diese Instinkte zu maximieren und zu überarbeiten. Für eine Band, die für ihre kryptische Anziehungskraft bekannt ist, markiert "The Witness" das bisher großzügigste, reduzierteste und berührendste Werk von Suuns.