Suche:red on

Timeless atmospheres, hypnotic sonorities, minimal arrangements. And a composer gifted with a never ending passion for music, experimenter in his genetic code, innovator by vocation, at ease with various instruments in order to forge avant-garde themes. Piero Umiliani was already forward in building completely new sounds in the late Seventies. “Tra Scienza E Fantascienza” finds his alter ego Moggi experimenting with alternative grooves, electronic music, jazz tunes and soundtrack motifs. One of the most interesting music libraries in the Italian composer's discography, reissued with a new remastering by Musica Per Immagini, is in full harmony with its title.

Science fiction has opened up our eyes to a variety of scenarios, possible or impossible, sometimes with a happy ending, sometimes apocalyptic, at times familiarly near, more often disarmingly far away, and always capable of inspiring our imagination. For the histrionic artist it took, perhaps, less of a cosmic leap to create this masterpiece. Centred on the cover, a strange creature with only one eye, its hands on a beaker containing a mysterious red liquid. To its right, a symbolic circle is imprinted on a sandy surface, and three bizarre constructions, similar to the volumetric flasks found in a laboratory, of differing heights and shapes. There is a strange blue planet in the distance.

Sparta is the powerful fifth studio album from the El Paso, TX band, following their 2020 comeback Trust The River and Jim Ward’s 2021 solo record, the blistering Daggers (both also available on Dine Alone Records). The band will be direct support for an Aug/Sept North American tour with The Get Up Kids. All drums on the record performed by Tucker Rule (Thursday/Frank Iero). Other guest spots include performances by Geoff Rickly (Thursday), Kayleigh Goldsworthy, Angelica Garcia and more.

“Booze for Blues! No time to think, time to drink!”
That’s the motto of the Spanish heavy fuzz rock
and psychedelic power blues trio Blues Weiser.
They stay true to their motto on album number
three – ‘Obey The Booze’.
‘Obey The Booze’ is now available on red vinyl.
Blues Weiser unleash a vibrant blend of Fu
Manchu / Nebula fuzzy stoner blues jams, 70s Jimi
Hendrix-infused wah-wah solos, thunderous 90s
rock riffs and big grooves.
Sometimes crystal clear and laid-back and
sometimes exploding in a face melting distortion,
Blues Weiser do know how to shake grounds with
their sound; “It’s been a wild ride since we started
recording it, while trying to settle on making a
fuzzy, bluesy, psychedelic, feelgood, but at times
yet dark but honest record. Let’s have some good
time!”
For fans of Fu Manchu, Monster Magnet, Karma
To Burn, Nebula, Snail, Brant Bjork.

On June 30, 1986, the same day that Diamanda Galás"s The Divine Punishment was released, the Supreme Court upheld the constitutionality of Georgia"s so-called sodomy law in Bowers v. Hardwick, criminalizing consensual sex between men. At the time, about 15,000 people were known to have died of AIDS in the U.S. alone, with little government acknowledgement besides suggestions to quarantine homosexuals on island colonies. By the end of 2021, the number of AIDS deaths globally would exceed 36 million. The first album in her Masque of the Red Death trilogy, The Divine Punishment is one of the most jarring works of art produced in response to the AIDS epidemic, and a milestone in Diamanda Galás"s artistry and activism. Galás uses her famous voice both as an orational instrument and as well as a physical representation of AIDS and those it afflicts.

WITH THE MEN & WOMEN COLLECTION, FIND THE GREATEST FEMALE AND MALE ARTISTS OF FUNK, SOUL, JAZZ AND BLUES IN A DOUBLE VINYL AND BLUES IN A COLLECTION OF DOUBLE VINYLS

Speedy J and Steve Rachmad join forces as Speedy & Steve for a four-track techno EP on Luke Slater's Mote-Evolver this February.

Dutch artists Speedy J and Steve Rachmad have long been defining the techno underground with seminal tunes on a range of influential labels. For their new release, the duo jammed in Speedy's studio for their new release, working the live results into four fresh and powerful new tracks, kicking off a new series of live collaborations on Luke Slater's Mote-Evolver.

The intense and textural 'Reddo' kicks off with industrial synth lines designed for maximum warehouse impact before 'Dabler Nine' brings its deep rolling drums and mind-melting synth lines late into the night. 'Right Well and Clean' has fresh, airy kick drums rolling beneath harsh and icy hi-hats before 'Rotor' closes the release in cosmic fashion with spiralling pads and intensely layered synths and drums.

This new series will see artists collaborating in person, with each EP capturing the creative moment as it happens, with results aimed squarely at the dance floor. Each release in the series has artwork in a specific style that combines one item from each artist, which means something to them, into one new image.

If your new EP has already been getting dropped by top dogs like Upsammy, Batu, Call Super, Ben Ufo and Bruce, you know it's a winner. And that's exactly what Lurka's first release on his brand new Make Your On Meaning label is - four tracks of red hot and brilliantly weird minimal. 'Powers' is razor-sharp hi-hats cutting up a scintillatingly smooth and militant tech house groove. 'Re Speak' has jumbled percussion and more wonky rhythms while 'String' layers up toms, tin pot hits, clattering sound effects and an undulating liquid baseline into something super seductive. The closer 'Mystick Crystal' is the busiest of the lot with its densely layered sound fx and samples underpinned by minimal funk.

Glasgow’s Seated Records return with more archival Scottish New Wave material; this time, in the form of Pop Wallpaper’s disco-not-disco interpretation of the Shuggie Otis classic, “Strawberry Letter 23”. And interpretation is the right word, guitarist Evan Henderson confesses that the lyrics sang by Audrey Redpath on the record were, “err inaccurate due to pre-internet home recording translation”.

The Edinburgh band first released “Strawberry Letter 23” in 1986 as a double A side 12” alongside original song, “Nothing Can Call Me Back". The 1986 record’s sleeve states that the original - “Strawberry Letter 23" has been “re-modelled for special pleasures, namely on the dance floor”. Here the re-model has been re-modelled once more. The track is recontextualised for 2022 playing on a four track 12” that includes an unreleased instrumental demo version of the track, as well as mixes from label founder Pigeon Steve and close friend of the label, Useful Tom.

Wallpaper’s first EP “Over Your Shoulder” was released in 1984. The release received a considerable amount of radio support, not least from Radio 1’s John Peel and Janice Long, which culminated with a live session for Long’s show at the BBC’s studios in London. Released a couple of years later, Strawberry Letter received similar levels of radio play. Despite (much to the band’s confusion) being tracked by Motown UK at one point, Pop Wallpaper did not go on to receive commercial success and eventually went their separate ways.

“Strawberry Letter 23” sits in the singular historical, cultural context of mid-80s Britain. Following the explosion of punk at the end of the 1970s, in the 1980s many British bands began experimenting with new styles and instruments - always keeping an eye firmly on their punk roots. The loose percussion and synthesiser melodies have an almost new-age, balearic mood, while the falsetto vocals of singer Audrey Redpath are an unmistakable embodiment the Post-punk style of the time. The prominent bass-line suggests a reggae or disco inspiration, and bass player Myles Raymond admits that he obsessed over a Sly & Robbie Taxi records compilation around the time the band put the tune together.

This reissue includes an unreleased, unheard instrumental demo-version of the cover, “SL23”. The band recorded the demo during an nighter at Wilf’s Planet studios in Edinburgh, just after Wet Wet Wet had just finished up their own demo for “Wishing I Was Lucky” (Pop Wallpaper all insist they thought it would never be a hit). In this version, we hear the band messing around with drum machines and synths which, in a similar style to Kevin Low and Fiona Carlin on Seated 001, creates a stripped back dance floor work-out that bares almost no resemblance to any version of “Strawberry Letter 23”. In an attempt to emulate the Trevor Horne production style of the time, the band’s drummer Les Cook recalls pushing for more and more reverb on the drums during the session to a reluctant producer Chic Medley, who “eventually obliged, but needed a lot of persuading”. Much to Cook’s disappointment “the reverb was toned down when we got to the final release”.

On the B side, label boss Pigeon Steve delivers a dubbed-out and acid drenched, cosmic rendition of the track with “SL24”, before Useful Tom (son of Pop Wallpaper bass player Myles Raymond) brings the EP to an end with spacey de-construction of fractured vocals and gliding synths on the B2 with “SL25”.

Few acts have better captured angst and the agony of young love other than The Everly Brothers. As well as those inimitable harmonies, fantastic songs and Chet Atkins' superb production, the Everlys' success owed much to the fact that Don and Phil were barely out of their teens, and so filled every song with real feeling. Their first recordings led to a series of hits that would come to define the harmonious Rock & Roll of the period; Bye Bye Love, Wake Up Little Susie, All I Have To Do Is Dream, Claudette (penned by Roy Orbison), Bird Dog, Devoted To You, Let It Be Me, When Will I Be Loved, So Sad (To Watch Good Love Go Bad), Walk Right Back, Ebony Eyes and Crying In The Rain. For their influence on The Beatles alone, the Everly Brothers are owed a huge debt of gratitude. The collection of songs found here span Country, Folk, Rock & Roll and Pop, and demonstrate just how influential Don and Phil were on popular music, beginning with those very first sessions in front of their parent's microphone.

Enter The Decagon assembles friends of the label - near and far - for further excursions into the abyss of industrial, folk, jazz and ambient music.

From Copenhagen hails Kristi Brud (Bride of Christ) extending us with a shimmering violin contemplation initially made for the short art film piece "The Abduction of Europa", absorbing a modal ambiance of harmonics rooted in central European renaissance. Recorded in Svalöv in rural Skåne comes a hillbilly folk jazz piece constructed by Joel and Ivar on equal parts violin, flute, upright bass and percussion, recorded somewhere in the misty era of of 2012-2015. Then, an interlude follows, reconstructed from the very early live sets of the label's own Inre Kretsen Grupp, laden with tuned metallic percussions and synthesized bow sounds. Following up, the idiosyncratic local talent Fai Ling offers a piece of Basinski/Hassel-esque horn repetitions in full deterioration. Concluding the A-side of the compilation is the band that never was - the only released material of Prins Emanuel and Golden Ivy's Börringe Kloster project - encapsulating their minimal maximal approach of low quality sound samples turned in to a wall of sound of rhythm of sorts.

The B-side picks up on different musings in the form of ambient cadence and carefully sculpted soundscapes signed Phillipp Otterbach, who gives us an unraveling journey into kalimba-hampered harmonies carried through a bed of industrial, synthesized sounds. Moonilena follows up with an eerie yet beautiful minimal composition of radio disturbances and repetitive, ear catching melodies.
Breaking the barrier of stillness, local producer and Catholic chant music fiend Digge Shim performs a rhytmical, tongue-in-cheek number that pulls widely from both the hymnal traditions of medieval Europe as well as the zonked out ambient trance sounds you'd meet in a mid nineties Goa chill-out room.
Near the tip of the decagon, we find the Cypriot producer, singer and lyricist Spivak presenting us with a feeling of the-familiar-but-never-heard in the form of an ambient pop breakbeat number with carefully crafted choirs oscillating on top - hauntingly beautiful and equally danceable.
Ending in the best of styles, well-mannered umarel and purveyor of drum-smitten metallic sounds shows us what Moisture is really about - the mental image of finding your true self dancing in purgatory in a never-released Kenneth Anger film set, encumbered with red lights and occult paraphernalia.

Lady in Satin was released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is legendary singer Billie Holiday's penultimate album completed by the singer and released in her lifetime (her final album, Billie Holiday, being recorded in March 1959 and released just after her death).

AllMusic says: "The feeling and tension she manages to put into almost every track set this album as one of her finest achievements. 'You've Changed' and 'I Get Along Without You Very Well' are high art performances from the singer who saw life from the bottom up."

The song material for Lady in Satin derived from the usual sources for Holiday in her three-decade career, that of the Great American Songbook of classic pop. Unlike the bulk of Holiday's recordings, rather than in the setting of a jazz combo Holiday returns to the backdrop of full orchestral arrangements as done during her Decca years, this time in the contemporary vein of Frank Sinatra or Ella Fitzgerald on her Song Books series. The album consists of songs Holiday had never recorded before.

Bandleader Ray Ellis used a 40-piece orchestra, complete with horns, strings, reeds and even a three-piece choir. It would turn out to be Holiday's most expensive music production. Soloists on the album included Mel Davis, Urbie Green, and bebop trombone pioneer J. J. Johnson.

Now with our 45 RPM release, mastered from the original analogue tape by Bernie Grundman, and pressed by our own Quality Record Pressings, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Original album produced by Irving Townsend, and engineered by Fred Plaut.

Following his discharge from Army Service in 1960, Elvis Presley and his Manager Colonel Tom Parker had eschewed live performance and concentrated instead on Elvis's burgeoning film career. A steady stream of record releases kept Elvis's worldwide audience of fans happy, and June 1962 saw the release of this non-soundtrack LP. Pot Luck reached No.1 in the U.K and No. 4 in the U.S.A due to the compositions Kiss Me Quick, Suspicion (which went on to become one of his outstanding songs of the period), I'm Yours and That's
Someone You Never Forget (co-written by Elvis with Red West). By the end of 1962, Elvis was set to remain at the top of the tree. But this was the year which saw The Beatles and Bob Dylan make their recording debuts. The times were, indeed, a-changin'!

Cypress Hill is widely respected and considered to be amongst the main progenitors of West Coast rap and Hip Hop in the early 1990s. With mega-hits like "Insane in the Brain", "I Wanna Get High" or "Tequila Sunrise" they crossed-over to mainstream breaking all records for a rap band up until that time. Cypress Hill were the first Latino-American hiphop group to have RIAA Certified platinum and multi-platinum albums. As musicians they became famous for the crazy sounds produced by DJ Muggs and Bobo and the stoner sympathetic lyrics of B-Real and Sen Dog. They redefined and shattered the boundaries of hip-hop, crafting gutter-dirty tracks that fused deep bass lines with blissful, stoned-out melodies and aggressive hard rock riffs, creating a unique imprint. This is an esential and powerful weapon for all the Hip Hop creators and djs.

Riviera Records presents XTC002: The Atlantic Connection with non-stop flights to X-Coast from Ireland, UK and USA.

The first route offers a very intuitive bass and breakbeat driven ride with a Tama Gucci signature, sensual vocals cutting through the airspace. The second journey is flying over (hard) house territory
with DJ Torture serving the snacks.

The B side we have a UK to X-Coast red eye flight with a trance edge courtesy of Capt. Ejeca. B2 is the only supersonic flight offered at this time navigated by Tommy Holohan: a shuffled up Reese bass powered techno from Ireland to X-Coast in just 4 minutes and 57 seconds - buckle up.

Attention: BPM changes at short notice!

Remixes by Moodymann, Potatohead People, Moodorama.

Kenny Dixon Jr. acuminates it deep and groovy, well, it’s his holy trademark sound. Potatohead People from Vancouver have been championed by Soulection, Nightmares on Wax, Questlove, Big Boi a.o. and have releases on Jellyfish Recordings, or NY label Bastard Jazz. The duo has worked with artists such as Moka Only, Kaytranada, Pomo, Phife Dawg a.o.

On top Moodorama’s remixes are trippy dubby jams. Moodorama have a long recording history, starting in the 90s on Stereo Deluxe, but even before that Martin Sennebogen was the DJ and co-producer of Knowtoryus, the legendary first hip hop outfit on Compost.

Inkswel & Colonel Red started out writing together more than decade ago & over the time have developed quite a unique sound when recording together,..a chemistry that blends music melody & lyric into every verse chorus & hook. So when Inkswel approached Colonel Red to create the 'Holders of the Sun' album, Redz response was to move his hectic schedule around & start immediately. Inkswel dropped the beats Colonel Red dropped the vocals & some fine musical tuning & 'Holders Of The Sun' Vol1 was born….while they promise a Vol. 2.
The fantastic artwork comes from Our Machine, Netherlands, who designed a lot of sleeves for Kindred Spirit, Tom Trago, Versatile, Build An Arc and m.o.

Colonel Red is a groundbreaking soul singer, musician, producer and performer, often referred to as one of the most powerful voices in the UK soul music community, a champion in equal parts of the original Broken Beat scene, as well as the UK soul scene. Working with and writing for the likes of Teddy Pendergrass, Amp Fiddler, Maurice White, Bugz In The Attic, Tony Allen and countless others. His track 'Belive In Me' was awarded the WORLDWIDE award from Gilles Peterson in 2014.
Colonel Red’s foray into the music industry began when Epic Record company giant Sylvia Rhone signed the then lead singer, Nikki Romillie, of Pride n’ Politix, to Atlantic Records. An accompanying publishing deal with Warner Bros. established the artiste, now known as Colonel Red, as one of the UK’s top cutting edge singer/songwriters.

Inkswel has been heralded as one of the busiest and most prolific beat based producers from Australia, a true master of his craft he has worked with the likes of Talib Kweli, Lee Scratch Perry, Andrew Ashong, Dwight Trible, Amp Fiddler and countless others as well as putting out timeless musical projects on labels such as BBE, Sonar Kollekiv, Rush Hour, Warner Music, Boogie Angst and others. He hovers evenly between Hip Hop and Club sensibilities, blending new age approaches with nostalgic leans. 'Holders of The Sun' is the audio melting pot of two musical aliens, future directive soul music drenched in the nostalgia of what once was.

Nimrod, Green Day’s fifth studio album, was originally released on October 14 1997. The Billboard Top10 LP declared “Green Days best!” by Kerrang was driven by the hit singles “Hitchin’ A Ride”, “Redundant”, “Nice Guys Finish Last” and “Good Riddance (Time of Your Life)” the latter of which has sold 5 million copies in the US alone. The song was written as a spiteful ballad and has evolved into the soundtrack of everyone’s seminal life moments; even being featured in the Seinfeld series finale. The album has sold over 3 million copies in the US (triple platinum) and has been certified multi-platinum, platinum, or gold in several other countries, including the UK, Japan, Canada, Australia and Spain.

This 25th Anniversary Edition includes the original album, one disc of previously unreleased Nimrod demos, and a live set from Philadelphia recorded one month after Nimrod was released. The 14 track demos disc includes two unreleased Green Day tracks (“You Irritate Me” and “Tre Polka”), plus a cover of the classic Elvis Costello song “Allison” (previously unreleased). The live album was recorded at The Electric Factory in Philadelphia on November 14 1997. The 20-songset includes several songs from Nimrod, plus fan favourites from their previous albums and singles.

2023 Black Vinyl Repress
We are extremely happy to welcome another talented artist in the Moonshine Recordings family. EchoBoy previously known as Riddim Tuffa is a Czech based producer that is about to mashup the todays reggae dubstep scene in the upcoming months. His first moonshine release will drop on May the 6th on beautiful marbled hazy red vinyl.

High Roller Records, reissue 2023, bone/ red bi-color vinyl, ltd 200, 425gsm heavy cardboard cover, lyric sheet, poster (2 sided), fully restored original artwork, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal US Metal classic

This 1965 collection from The King of Soul™ is as fresh and urgent now as ever. Featuring “That’s How Strong My Love Is” and “Mr Pitiful” among this beautifully curated collections of soul ballads, this is a foundational record in any collection.

Konnichiwa! The Courettes go to the land of the rising sun – and they sing in Japanese! The “hardest working band in showbiz” took another step closer to world domination traveling around the globe and landing in Japan in October for a successful tour full of packed concerts, sushi and Japanese rock ‘n’ roll! Their new upcoming 7” single is an outstanding version in Japanese of ‘Daydream’. The English version, from their latest album Back in Mono B-sides & Outtakes, is also included on the flipside. On beautiful white vinyl with red labels (just like the Japanese flag) the record is due out on January 27th on Damaged Goods Records, shipping from the UK to all corners of the western world and beyond. The original release on Japanese label Target Earth / Naris Records sold out by the third day of the Japanese tour. The mix is of course by Japanese Spector aficionado Seiki Sato, who was responsible for the Back in Mono album’s Wall of Sound extravaganza. So, ladies and gentlemen, get ready for one more spit ‘n’ snarl wall-of-sound garage gem with Martin blending class and wildness on the drums and Flavia bursting out on top - in Japanese! Kampai!