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Transparent Double LP

Sixteen years on from its deliverance, Killing Joke release the deluxe version of arguably their darkest album to date, "Hosannas From The Basements of Hell". In addition to the nine bludgeoning tracks featured on the original incarnation of "Hosannas..." the deluxe version has three deep cuts - "Afterburner", "Afterburner (alternative version)" and "Universe B" - all regarded as some of the best and most powerful Killing Joke songs ever.

By the close of the Sixties, record retailer and jukebox businessman Karl ‘J.J.’ Johnson was firmly established as one of Jamaica’s leading record producers, having released a string of best-selling rock steady and proto-reggae 45s by such noted local acts as Lee ‘Scratch’ Perry, the Rulers, Carl Dawkins, the Kingstonians and the Ethiopians. Early in 1969, Trojan Records released an album containing a dozen of Johnson’s latest recordings in the new reggae style. Entitled Reggae Power, the LP was dominated by regular hit-makers the Ethiopians.

Reggae Power is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

OVERVIEW: "After receiving regional praise for his 1976 debut Abrabo, Dan Boadi set his sights on leaving Ghana and bringing his highlife sensibilities to an American audience. Recorded at Paul Serrano namesake studio on E. 22rd St. in Chicago, Boadi's U.S. debut showcased the true scope of his musical range weaving in and out of funk, highlife, afrobeat, and reggae. The title track immediately demands the listener' attention with a chugging drum lead by The African International's King Tuch setting the pace for Boadi's colorful orchestration to follow. Money Is The Root of Evi claims t's own space as a musical melting pot and reflects the excitement Boadi waslearningto harness as a musician in his newfound home of Chicago."

Dancefloor clear sounds, rising up and up and up... Neither happy or dark... pure tekno !
4 of them kick at regular 170 BPM.

BIG trippy tunes super cool in the mix... Bass-kicks are clear and pumpin.

Good !

White Vinyl
Dancefloor clear sounds, rising up and up and up... Neither happy or dark... pure tekno !
4 of them kick at regular 170 BPM.

BIG trippy tunes super cool in the mix... Bass-kicks are clear and pumpin.

Good !

Spooner Oldham produced six recordings by Barbara Lynn for Atlantic in mid-1968, but session information had previously been scant. Spooner recently confirmed that these tracks were "recorded at American in Memphis" and when the late Red Kelly (Soul Detective) digitised guitarist Reggie Young's session diaries, his endeavours presented further clarity.

Reggie's 1968 diary indicates two American sessions on June 14th and 15th. Four songs were recorded, with "Unloved, Unwanted Me" being shelved. No songwriting credit was documented, but its sorrowful yearning is perfectly executed by Barbara.

A third session the following month yielded two more songs, including the first known recording of "Soul Deep" (its writer Wayne Carson and The Box Tops each recorded the song in 1969). Reggie's diary documents a fortnight's holiday in July, but the distinct lack of guitar and the audible presence of other American Studio musicians further suggests Barbara Lynn's version was possibly recorded in Memphis too.

Both songs make their 7" vinyl debut here. Enjoy!

A joint release between Discos Nada & Litoral. Alcides Neves’ unique second LP ‚Des (Trambelhar) Ou Não’ is reissued for the first time on vinyl, alongside his first release ‚Tempo de Fratura‘.

Somewhat of a concept album, this LP was conceived as having a predominantly experimental A-side and a more folky B-side, with songs influenced by Alcides’ native Northeastern Brazil. Alcides chose to release his second record independently as well, owing to the risk-averse nature of the labels at the time. Indeed, rather than adapting to the demands of the labels and making more romantic or commercial music, Alcides went in the opposite direction and released the most experimental record of his career.

The result is an album with distinct identities on each side but with an experimental bent throughout. The LP’s sounds are reflected by its striking cover, which collates some of Alcides’ artistic heroes - Frank Zappa, Gilberto Gil, Jimi Hendrix, Arnold Schönberg, Igor Stravinsky (to whom he also dedicated a song on the LP) among others, above an artwork in the style of Northeastern Brazilian folk art.

By blending traditional regional Northeastern elements with an experimental approach and influences from 20th century classical music, Alcides Neves crafted one of the most unique Brazilian records.

Carefully remastered by Paulo Torres with updated original artwork, the record is reissued in a gatefold sleeve including a promotional image from the time of release. This LP furthermore includes an insert with a text written by the journalist and researcher Bento Araujo, editor of the bimonthly publication ‚Poeira Zine‘ and author of the ‚Lindo Sonho Delirante‘ series of books.

Italian The Villains Inc. moves up a gear with its fourth release to date and already the second in less than a year!

Conscious “Time To Go Back EP” introduces the exclusive collaboration between label owner Gab.Gato (Dominance Electricity, Drivecom, SolarOne) and his partner in crime Jack Bags (La Sabbia) from Milan.
Together, they drop an untouchable dancefloor oriented five tracker based upon a terrific concept.
Coming from the year 2106 with a preventive message to save Earth from manhandled destruction, scientist Dr Boomer understands how much it’s too late to prevent the planet from Armageddon.

A side opens with insane “Man Of The Future”: a pure analogical time machine merging whispers a la Egyptian Lover to heading vocoder sequences over a sharp 808 programming.
Luminous and hypnotizing at the same, this oldschool anthem is instantly followed by enthusiastic “No Permission”.

A groovy bassline melt with acidic loops turns the song into a masterpiece enhanced by funny vocal scanding “You Have No Permission To Get Into My Head”.
Top notch! With its fierce rhythm and relentless beats, title track “Time To Go Back” coming next signs an ode to the glorious days of West Coast electro sound.
Vintage sonorities fuse into cutting-edge drums while a funky atmosphere will propel you through time and space. Ace!

The flipside goes deeper into the realm serving up what appears as the climax of the EP. Combining gloomy strings to progressive swirls and ethereal chords, well named “Darkness” delivers a scary yet prophetic message from the future that will spread guilty feelings to any listener: “There Will Be No Light, No Hope…”. You have been warned! Last cut “The Bad Place” concludes the 12” on a soulful note regarding the state of our world controlled by government and technology.
Completed by a fantastic comic style artwork, awaken and despair “Time To Go Back EP” offers an outstanding retrofuturist release from which no one will come out unscathed.

One of the best outings in The Villains Inc. so far, rush on it!

Der Radiohead-Frontmann meldet sich solo zurück Thom Yorke veröffentlicht sein neues Album "ANIMA".
Passend zum Album hat der preisgekrönte Regisseur Paul Thomas Anderson einen Kurzfilm gleichen Namens gedreht, der am 27.06.19. um 21.00 seine Premiere bei Netflix feierte. Der 14-Minüter enthält drei Songs aus Thom Yorkes neuem Album. "ANIMA" wurde von Thom Yorke geschrieben und von Nigel Godrich produziert. Das Album beinhaltet 9 Tracks und auf der Vinly-Version einen exklusiven Bonustrack.

The Don Killuminati: The 7 Day Theory (commonly shortened to Makaveli) is the fifth studio album by Tupac Shakur, his first posthumous record and the last released with his creative input. Recorded in seven days in August 1996, it was released on 5th November, 1996, almost two months after his death, under the stage name of Makaveli, through Death Row Records, Makaveli Records and Interscope Records.

The Don Killuminati: The 7 Day Theory debuted at number one. It is his only album released under the new alternative stage name and features guest appearances from his rap group Outlawz and rapper Bad Azz, as well as R&B singers Aaron Hall, Danny Boy, K-Ci and JoJo, Val Young and Tyrone Wrice, along with uncredited vocal contributions from reggae musician Prince Ital Joe.

Originally intended as an underground release and preceded by the release of “Toss It Up” as the lead single, the album peaked at number one. “To Live & Die in L.A.” and “Hail Mary” were released later as singles and both garnered praise as standout tracks from the album. All singles charted within the top twenty of the UK Singles chart.

Black Truffle is pleased to announce Uri Katzenstein’s Audio Works, produced in collaboration with Holon’s Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein’s absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist’s audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (and in some instances unheard) at the artist’s death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice. Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein’s time living in New York in the 1980s. Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterised the New York scene at this time, many of Katzenstein’s recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world. Katzenstein’s electronic production calls up touchstones of skewed 80s art pop like Laurie Anderson, Ambitious Lovers, and Scritti Politti, but imbued with DIY directness and economy of means. The arrangements of synths, percussion, and noise elements are invigoratingly raw and, at times, almost austerely minimal. On ‘Intermission’, thick distorted chords accompany a wandering portamento melody, inhabiting the wayward carnival space of Roedelius’ most unhinged efforts. Many of the tracks centre on Katzenstein’s multi-tracked vocal performances, often moving between multiple languages, (most commonly English, German, French, and Hebrew). A bewildering range of vocal approaches are present on these pieces, from sweet wordless harmonies to hammed-up growls and monastic recitations. On ‘Skin O. Daayba – Complex Habits no. 3’, improvised resonance singing against a backdrop of echoing electronics and radio snatches. ‘Half Monk Half Herring’ layers multi-lingual syllabic fragments, crossing sound poetry techniques with melodic invention in a way rarely heard outside of Caetano Veloso’s Araçá Azul. On ‘Attempt to Raise Hell’, Katzenstein’s distorted voice spits out streams of alliterative nonsense (‘the hemlock of Henry, he was a hermit…purple pumpkin pulsates to pops’), while on the hilarious ‘Eric’, Katzenstein appears to instruct a small boy simultaneously in basic French and German conversation. On ‘Chicken’, vocal harmonies accompany the pecking and clucking of the titular fowl. Moving from bent, outsider synth pop to snatches of Jo Jones-esque automated instrumental clang and absurdist linguistic experiments, these are far more than footnotes to an artist’s gallery works. Accompanied by extensive, beautifully written liner notes by Roee Rosen and the little information that exists on the individual tracks, Katzenstein’s Audio Works inhabits an outer fringe of DIY pop and sonic experiment reminiscent of Pascal Comelade or Die Welttraumforscher, where accessible forms convey radical interrogations of song, word, and sound.

FORTUNA EHRENFELD sind aus der deutschsprachigen Indie Szene nicht mehr wegzudenken. Martin Bechler hat sich mit seiner eigenwilligen Poesie ein eigenes Genre geschaffen und zieht mit unverbrauchter Gelassenheit einen nach dem anderen Pfeil aus dem Köcher.

Mit 'Solo I.' liefert er sein kleinstes aber auch sein klarstes Album ab.
Für die Freunde der schwebenden Fortuna Klavierballaden ist diese Platte der (zweite) Himmel!
Jetzt endlich auch als Vinyl erhältlich!

yellow marbled vinyl / full colour sleeve / incl. dl code

"Whirlpool-Gedanken" is the next 4 track EP by Schwefelgelb. A dedication to precise, sharp and punchy drums and percussion, embedded in a floating structure of synth sequences. A sound that recalls the explosive expression of Industrial Techno as well as the smooth progression of Detroit Techno at the same time. NPLX004 comes on 140 g colored vinyl including a download code and will be released 11th of November. The digital version contains a bonus remix by Ospiel. Presale starts 7th of October.

Schwefelgelb is a Techno duo from Berlin mostly known for their strikingly energetic live performance, which brought them into clubs and festivals all around the globe. Previous releases on n-PLEX, aufnahme+wiedergabe, Fleisch Records and Minimal Wave Records' imprint Cititrax have been supported by acclaimed DJs (Adam X, Amelie Lens, Ellen Allien, Helena Hauff, Jasss, Jensen Interceptor, Phase Fatale, Randomer, Rebekah, Regis, Samuel Kerridge, Silent Servant, SPFDJ, The Hacker, Tommy Four Seven, Veronica Vasicka, VTSS and more).

Strut present the first ever compilation of Balka Sound, bringing together their influential 1980s recordings, Hailing from Congo-Brazzaville and led by revered vocalist and ngonfi player, Nkibi “Lusialala” Albert, Balka Sound created their own unique musical world, re-imagining traditional Congolese Balka rhythms with electric guitars, electric bass and drums, alongside the traditional 5-string ngonfi.

Nkibi Albert had risen to fame in 1972 with his solo hit ‘Ah Lusialala’ and Balka Sound was created to bring the sound of Balka, a folk style from the Beembe people, to modern life and an international audience. With its roots in slavery and colonialism rumba was dominating the music scene in Congo while the philosophy of Balka Sound was to find its inspiration directly in local country life, to associate the modern and the traditional and to revive folk traditions that were dying. Founder member Henri Nsika Nkaya explains, “it was intended to be an update, a unification and an internationalisation of Congolese cultures.”

In 1979, during a festival organised by the Centre Culturel Français, the band won a recording deal to release their first album: Le 1er son du Balka, Lusialala et ses amis, recorded in just one take. Their success led to a second LP, Tu Kine Balka, recorded in Kinshasa in 1982. A third album in 1984, Afro Musik Creation, featured a more modern studio production sound. Their songs drew from traditional folk tales and parables, life lessons and the damage caused by rural exodus to the cities. By 1985, Balka Sound were working full-time with residencies at Chez Tantine Clara in Brazzaville, a well-known tourist venue, and the Frantel Cosmos Hotel.

In 1991, political tensions were rising in the country; civil disobedience and threats of a military coup were followed by a civil war from 1993 to 1994. The band eventually regrouped and were invited to perform in 1996 at the Palais des Congrès for the Fête National. Unfortunately, on the first day of new fighting in 1997, Balka Sound’s studio was looted and the band were forced to finally disperse.

This first compilation of the band’s music is curated and annotated by Makila Nsika Nkaya in conjunction with Balka Sound and has been fully remastered by The Carvery.

Für Fans von: Absu, Melechesh, Moonspell, Rotting Christ, Nile.
Unheiliger Black Metal aus dem Heiligen Land, durchtränkt von nahöstlichen Klängen und Mystik! Eine Beschwörung der Jahrtausende alten
Finsternis!
Die fünfköpfige Black/Death-Metal-Band Arallu stammt aus der israelischen Siedlung Ma'ale Adummim in Israel und ist seit fünfundzwanzig
Jahren im Metal-Underground unterwegs.
Der Name Arallu stammt aus der mesopotamischen Mythologie und bezeichnet das Reich der Unterwelt, das von der Göttin Ereshkigal und dem
Gott Nergal regiert wird und in dem die Toten gerichtet werden. Die Musik von Arallu dreht sich um die traditionellen, altorientalischen Melodien
der Landsleute Melechesh, die Hochgeschwindigkeits-Wildheit von Bands wie Angelcorpse und Absu, und dem atmosphärischen Gefühl legendärer Acts wie den zuvor erwähnten Melechesh und Absu.
Im Jahr 2019 hat die Band das Album "En Olam" veröffentlicht, und dieses Werk hat Arralus bereits bekanntes Talent in der Underground-Extrem-Metal-Gemeinde gefestigt. "Death Covenant" ist das siebte Full-Length-Studioalbum der Band und bietet dem Hörer eine atemberaubende
Mischung aus okkultem Black Metal und alten sumerischen und nahöstlichen Klängen. Die Riffs, die hier zu finden sind, werden die Hörer mit
ihrer Raserei von melodischen Tremolo-Riffs, die mit einigen unheimlichen Folk-Instrumenten verwoben sind, zufriedenstellen. Die Elemente in
der Gitarrenabteilung, die mit einigen Folkinstrumenten wie einer Saz und einer Darbuka vermischt sind, zeigen, wie die Band den Metal erfolgreich auf seinen Kern reduziert und das verleiht dem Gesamtergebnis von Arallus Musik einen zusätzlichen Punch und eine gewisse Schwere im
unteren Bereich. Er liegt im Grunde genommen gleichmäßig unter den Gitarren und unterstützt sie mit einigen dicken Linien, die den Streichern
ein tieferes Gefühl verleihen und den Tracks eine bedrohliche Atmosphäre verleihen. Auch die Schlagzeugsektion fesselt die Aufmerksamkeit des
Publikums mit einer Vielzahl von zerstörerisch stampfenden Kontrabässen bis hin zu orientalischem Tribal-Drumming, das viel dazu beiträgt, dass
die Atmosphäre intakt zu halten. Die Platte ist voll von hohen, durchdringenden Schreien und Kreischen, die eine dunkle und raue Klanglandschaft schaffen. Diese bösartigen Schreie werden manchmal mit unheimlichen Backing Vocals, die die Brutalität extremer Death- und Black-Metal-Musik mit den alten nahöstlichen Skalen des Materials verbinden. "Death Covenant" zeigt auch die bisher stärkste Produktion der Band in den
fünfundzwanzig Jahren ihres Bestehens.
Mit "Death Covenant" haben Arallu ein bedrohliches und atmosphärisches Biest in diesem Metal-Stil geschaffen. Die Israelis haben ein grausames
Album vorgelegt, das kaum mit seinen Vorgängern vergleichbar ist.

Where the Crawdads Sing (Dt.: Der Gesang der Flusskrebse) ein mit Spannung erwarteter neuer amerikanischer Krimi-Drama-Film, der auf dem gleichnamigen Bestseller von Delia Owens basiert. Regie führt Olivia
Newman nach einem Drehbuch von Lucy Alibar, produziert wird er von Reese Witherspoon. In den Hauptrollen spielen Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer, Jr.
und David Strathairn.
Der Soundtrack, der auch die neue Single ”Carolina” von Taylor Swift enthält, wurde von dem mit
dem Academy Award ausgezeichneten Filmkomponisten Mychael Danna komponiert, der für seine stimmungsvolle Verschmelzung nicht-westlicher Traditionen mit orchestraler und elektronischer Musik bekannt
ist. Er komponierte die transkulturell inspirierte Filmmusik für ”Life of Pi”, die 2013 mit dem Oscar und
dem Golden Globe ausgezeichnet wurde, sowie Filmmusik für Oscar-prämierte und Oscar-nominierte Filme
wie ”Exotica”, ”Moneyball”, ”Capote”, ”Little Miss Sunshine”, ”500 Days of Summer” und viele mehr.

Limited edition 180g audiophile pressing

This release compiles all of Elvis Presley's top 20 Billboard Hits during the years
of 1956-1958, beginning with his first across- the- board chart hit "Heartbreak
Hotel". These small band recordings are widely regarded as the finest work of the
King's career and among the greatest recordings in rock and roll history!

Laila Sakini's new album 'Paloma' arrives via Modern Love and is her most striking and ambiguous to date - a pointed and timely meditation on hope and hierarchies that riffs on Zbigniew Preisner's magical "The Double Life of Veronique" score and enduring outsider music tome "The Langley Schools Music Project". Subtly transcendent, fathoms-deep music.

When Laila Sakini's debut album ‘Vivienne’ arrived in 2020, it felt like the record we were waiting for to map out our tangled reactions to an uninvited reality. Never self-consciously strange, it revealed itself slowly and cautiously, like a shadow in the corner of the eye, or an alchemical symbol in a bowl of alphabet spaghetti. This time around Sakini has worked her unique world-building to an even finer point, forming six tracks around a theme that's so close to our heart it's almost beating in time. Initially inspired by Krzysztof Kieślowski's 1991 arthouse classic "The Double Life of Veronique", the cult Polish director's enduring modern fairytale that serves as a cosmic rumination on identity and choice. Detailing two identical women - both singers, both in love - the film lets one live as the other dies, forcing us to consider the implications of art and endurance in the face of life's myriad challenges.

Sakini takes Polish composer Zbigniew Preisner's influential score for the film and uses it as a jumping-off point for ‘Paloma’, bending the more grandiose moments into baroque awkwardness on opening track 'Fluer D'Oranger' and evoking the mood of scene-setting cues 'Weronika' and 'Véronique' on the recorder-led 'The Light That Flickers In The Mirror'. And while Preisner's score zeroed in on the musical virtuosity of the film's lead characters, Sakini reinterprets that as a metaphor for self-discovery. Playing piano, violin, glockenspiel, timbale, recorder, and occasionally singing, Sakini captures a mood of innocence that immediately transports the listener back to simpler times. Her music isn't self-consciously simplistic, but forcing herself to interface with instruments impulsively rather than studiously, her sounds are all heart, no filigree.

In spirit, it reminds us of cult Canadian album "The Langley Schools Music Project", a collection of 1970s recordings of school kids singing rudimentary renditions of pop songs in a school gymnasium. That album's genius was in the bottling of hope and innocence: the feeling of joy from hearing and wholesomely interacting with music that's known and loved without a sense of hierarchy or desire for cultural clout. Sakini subtly subverts this by evoking the amateur spirit in the most bewitching way; instead of sourcing her ideas from Bowie, Fleetwood Mac and the Beach Boys, her stock is the established art canon, and by reforming those sounds she makes an insightful comment on intellectualism and access. European classical music is all too often trapped behind the frosted glass of respectability and assumed skill - craft replaces spirit, and technique replaces soul. By approaching these gestures from a different angle, Sakini softens the edges sonically and intellectually, finding music that bubbles with emotion, and most strikingly - hope.

Her choice of instruments and the way she interacts with them allows us to feel as if we're not only listening but contributing. It's a bottom-up way of absorbing art that's traditionally been top-down, and a reminder that we're all part of the experience, whether we're humming along to the remnants of a theme as it dribbles out of an ear in the shower, or dreaming of spotlights in a parallel life that may or may not be real. Sakini's music is nostalgic in a sense, but nowhere near the buttered popcorn and high-fructose candy migraine of the Netflix/Spotify algorithm generation of regurgitated churn. She makes sounds that remind us of what time and experience may have stolen from us, and how we might recover it.

In 2016 lutenist Sofie Vanden Eynde put her instrument aside for nine
months in order to recover from a severe burnout
Five years later, she felt the need to look back. Would it be possible, she
wondered, to use the intense, shared concentration between musician and
listener to convey sensations of over- stimulation, contrast, excess, stagnation,
emptiness, beauty and movement? Would it be possible to articulate the inner
reality of a burnout musically: to make a burnout audible, tangible,
understandable and, who knows, avoidable? The result is Vanishing Point /
Verdwijntijd, an autobiographical recital, a musical narrative, a journey:
somewhere between fragile comfort and cautious happiness. Writer Annemarie
Peeters drew on her interviews with Sofie to write a text that reflects the three
phases of a burnout. The run- up, the phase of total stagnation during, and the
cautious way out. Three colours, three seasons, three ways of being. Lurking
beneath Sofie's personal story are experiences that many will recognize: the
craving for efficiency, the sudden faltering, the unfamiliar and at the same time
disconcerting sense of emptiness, and the tentative search for a new balance.
But also the questions Sofie asked herself – about the connection between her
own little story and the big world that surrounds her – evoke wide recognition. Is
burnout a personal failure or a social symptom?
Sofie went in search of pieces from the solo lute repertoire that she intuitively
associated with the various phases of the text. This resulted in a recital with a
surprising palette of colours, styles and atmospheres. At times she chose the
rich, powerful sound of the theorbo. At others she chose the fragile, hushed
sound of the Renaissance lute. The Prelude by the French baroque composer
Robert de Visee combines phrases full of grandeur with breathing pauses filled
with intimate doubt. The music of John Dowland draws on the typically English
penchant for melancholy. In the fantasias and ricercars of Francesco da Milano, it
is not only the bright colours of the Italian Renaissance that resound, but also the
constant search for a new beginning. Luis de Narvaez's Cancion del emperador is
an arrangement for lute of the famous chanson Mille Regretz by Josquin Desprez,
a song that emanates serene regret for everything that is not. And in Robert de
Visee's Chaconne the same chord sequence revolves around its own axis. Hope,
tenderness, revolt and acceptance each step to the fore in turn.
At Sofie's request, Vladimir Gorlinsky created a new composition, one which
reflects the state of mind in the middle of a burnout. Vanishing Point balances on
the edge of total emptiness, a stagnation that at times is hard to bear. Vanishing
Point starts out from this stagnation to explore the different facets of burnout:
resistance and acceptance, fear and hope, stagnation and movement, absolute
solitude and the desire to interact again with the surrounding world. Vanishing
Point / Verdwijntijd can be listened to in different ways: not only as a lute recital,
but also as a radio play with voice, lute and soundscapes. Annemarie Peeters'
text was recorded by actress Katelijne Damen (NL) and voice artist Caroline
Daish (EN). Vladimir Gorlinsky created soundscapes based on the sounds of the
lute, which were magnified as if under a microscope. The soundscapes weave
themselves between the text and the lute music. Jo Thielemans created the
sound design and provided the live electronics.

180gm Clear Vinyl housed in a 3mm wide spine sleeve with printed
inners, Remastered by Alchemy Mastering At AIR from the original
production tapes
The Selecters's second album, Celebrate The Bullet was released in February
1981 as the follow up to the successful 2 Tone debut album Too Much Pressure,
along with the hit singles On My Radio, Three Minute Hero and Missing
Words.Switching labels to Chrysalis Records, the band returned to On My Radio
producer Roger Lomas, moving into a more melodic slower pace, whilst keeping
their lyrical commentary on racial and social issues. Original members Desmond
Brown and Charley Anderson departed before the recording began, with Lomas
and Norman Watt- Ray (Ian Dury) helping on bass before new members James
Mackie and Adam Williams joined to complete the recording.
Due to unfortunate timing, upon release the title of this album was
misunderstood due to the recent murder of John Lennon and an assassination
attempt on U.S. President Ronald Regan meant radio stations didn't support the
single or album and the release was largely ignored.
This forgotten classic from the 2 Tone era is a timely reissue and will give time
for a re- evaluation in the same way the 2021's reissue of too Much Pressure
showed the band as relevant.
Pauline Black, who was recently awarded an OBE in 2022, and the band will be
touring in November 2022 and into 2023 performing the album in full along with
selections of their previous album.

On April 29, MCC Magna Carta Cartel broke the 5 years silence with the
new speaker-breaking single "Silence", the first from their long awaited
second album "The Dying Option" - An album best described as rock
music from the world of dreams
Led by Martin Persner, one of the Nameless Ghouls of Ghost. MCC create
cinematic sounding themes with captivating melodies and poetic lyrics. Their
upcoming album "The Dying Option" offers a ticket into a state of mind seldom
seen or heard in modern music. Here they manage to use classic rock to create
an ambience beyond the regular riffs of today's rock and deliver ten fantastic
songs far beyond what anyone could have expected. "The Dying Option" is
produced by Niels Nielsen (In Flames, Ghost, Dead Soul) together with MCC. The
album artwork is created by the renowned film director Claudio Marino
(Behemoth, Watain, King Dude) and David M. Brinley (Ghost). MCC teamed up
with acclaimed Swedish film director Sebastian Jern for the Silence-video.

Suns of Arqa is a sonic mission created by luminary Michael Wadada, who began in 1979 after receiving higher guidance in Jamaica while working with roots reggae chanter Prince Far-I. It is a prolific traveling music collective that has seen over 200 collaborators, meant to connect people from all cultures and walks of life through a "deeply spiritual vibration that merges cultures, faiths and musical genres". Wadada combines ancient Hindustani raga systems with Piobaireachd and Nyabinghi roots drumming, creating ritualistic world music infused with dub and reggae. The lyrics combine both mystical and sensory elements, often including prayer and referencing a higher power but finding root in experiences common to all people- memory, sight, and physical sensation. Their first album, Revenge of the Mozabites, was a collaboration between Wadada and On-U Sound creator Adrian Sherwood. Following its 1980 release, Peter Gabriel invited them to perform at the first WOMAD festival. Today, the record is regarded by some as a cult classic.

(reissue)

Pluto Shervington's move from his native Jamaica to Miami had a huge influence on the musician, singer, engineer and producer's sound. That is captured in this gloriously fresh take on reggae: it reflects The Magic City's bright lights and shiny metropolitan feel, technological advancements of the time and urban swagger of the people. It was recorded by the former member of the Tomorrow's Children show band at Earthman Studio in late 80's Miami and brings in lashings of funk, soul and disco to the clean digital sounds and fleshy reggae drums. His own mic work adds to a sound that calls 'urban reggae folklore' and makes for a superb listen.

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. The timeless songs of 'Mek A Menshun' amply reward the listener who can penetrate into the mystical musical realms of Rastafari. Longtime fans of Midnite and Akae Beka will note that Vaughn Benjamin's singing on 'Mek a Menshun' reached new heights of melodic delivery and emotional intensity. Coupled with his always poetic and insightful lyrics, these 10 original songs rank among his best recordings to date. The title track 'Mek A Menshun' includes vocals by Protoje Grammy (R)-nominated artist.

Mek A Menshun features the stellar musicianship of the ZIK distinguished in typical fashion by the rock-solid drumming of Lloyd "Junior" Richards. On this album, his playing is complemented by Aston Barrett Jr. ("By Day", "Only Now") and Kirk Bennett ( "Kagm Mystory", "Mek A Menshun"). The signature stylings of the other core ZIK musicians are augmented by horns (Andrew "Drew Keys" Stoch -trombone, Donald "Jahbless" Toney -saxophone), flute- Sheldon "Attiba" Bernard, kette- Andrew "Bassie" Campbell, and the guitar of Chet Samuel. ZIK guitarist Andrew "Moon" Bain contributes a string arrangement on "Only Now". Throughout the album, Laurent "Tippy I" Alfred's spot-on organ shuffle bubbles the rhythm forward. Many of the 'Mek A Menshun' tracks were among the last recordings done by the veteran engineer Gary Woung.

Originally released digitally and on CD, this LP is now being released for the first time on as a 12" vinyl LP courtesy of Before Zero Records.

Einstürzende Neubauten producer Boris Wilsdorf, Karl O’Connor aka Regis and MY DISCO's Liam Andrews assemble as EROS, bottling no-wave/industrial lightning with a tight set of pulverized, widescreen torched-songs that rasp, grate and throb somewhere between This Heat, The Cure, Cabaret Voltaire, Alva Noto x Pan Sonic.

An industrial fantasy of flesh and steel, ‘A Southern Code’ is the stunning continuation of the trio’s work at Wilsdorf’s pivotal Anderesbaustelle studio on Regis’ watershed album, ‘Hidden In This Is The Light That You Miss’. Rejoined by another key muse, Anni Hogan, and Einstürzende Neubauten’s Jochen Arbeit, they effectively galvanised a new band, EROS, during long days and nights in the studio across 2020 and into 2021. The sound they make is fiercely lean, shaped by Wilsdorf’s manacled mixing and anchored in the frankly sexy as f#ck swerve of Regis vocals and his snake-hipped rhythm section.

The first songs issued from those sessions form a lustrous new high point of contemporary industrial and dance music, one porous to Kurdish dabke as much as archetypal goth, pulsing with a metallic bloodlust and spatialized by Wilsdorf’s genre-forming tekkerz in a way that seriously rewards with proper amplification. Judged on its immediate merits, it’s the sort of record that could have feasibly come out at any point between the ‘80s and now, but closer inspection reveals a discreet framework of sculpted subbass and sleekly rolling traction that betrays the modernity of minimalist D&B physics and up-to-the-second sound design that places ‘A Southern Code’ in a timeless echelon.

Registering the venomous drums and over-the-shoulder whispers of its title track, plus the incendiary middle eastern horns of ‘The Crawling Man’ - a real parallel dimension take on The Cure’s ‘The Top’ - to the post-apocalyptic lounge lizard styles of ‘In This Place’, and the unheimlich creep to ‘Nature Unborn (From Sun to Sun)’, the band’s first album plants a vital stake in the ground for industrial musick at the crest of a new decade.

A meeting of the minds between two Israeli DJs and producers. Adam Ten & Mita Gami release a combined two-tracker in September on Crosstown Rebels, dipping into dark and hypnotising waters while maintaining a club-cut aesthetic.

The pair pen a slow-burning chugger on the title track, merging tones of tech house, progressive house and techno. A high-pitched vocal weave’s throughout, in tandem with a distorted synthline and oddball sound FX—one for a wavey dancefloor. On the flip, Night Shift glistens with emotion as tribal-tinged percussion collides with long, drawn-out piano notes. A cosmic creation that blurs the line between melancholia and warmth.

Adam Ten is a Tel Aviv-born producer and resident DJ of institutional club The Block, located in his home city. Ten is a key artist on the Israeli scene, recognised for his all-night sets that blend a myriad of moods in electronic music. He’s played worldwide, spanning stints in Miami, Cape Town and Mykonos, amongst several other regions, and he’s channelled his compelling sound on labels like Diynamic, Multinotes, Disco Halal and Selador. As a co-founder of the event series TERRA, Ten curates some of the finest nature-orientated parties in Israel. Mita Gami hails from Tel Aviv. A multi-instrumentalist from a young age, he goes beyond the trope of entertainer. Instead, Gami invites his audience into immersive and almost trippy journeys during his performances via a hybrid set-up and enticing energy on-stage. Releases on REALM Records and Diynamic display his metaphysical approach. Beyond producing, Gami co-runs the label Blue Shadow Records and the Sunrise Kingdom area in Midburn Festival, based in the Negev Desert in Israel.

F.B.I…Funky Business Incorporated under the direction of Root Jackson, described as the Godfather of Britfunk with his 9-piece band. They caused a sensation on the British Funk scene in the 1970s. Regulars at Ronnie Scott s, the band also supported KOOL & THE GANG and THE TEMPTATIONS and toured with BEN E. KING.
This self-titled debut album was originally released in 1976 on Tony Visconti’s Good Earth label. Root Jackson first reissued the album (in a new sleeve) on his own Kongo Dance label in 1992, Kongo also first releasing “There’s Nothing Like This” by his nephew Omar. It was in 2001 Soul Brother Records reissued the album again (in it’s original sleeve) on both LP and CD.

F.B.I.’s rhythmic, soulful sound has drawn comparisons to the early EARTH, WIND & FIRE and has influenced generations of British R&B artists including INCOGNITO,
BRAND NEW HEAVIES and SOUL II SOUL. Due to demand, the LP is back again on Soul Brother. It contains the rare groove classic “Talkin About Love” a multi paced track that is still very in demand today and a great version of 'Love Love Love' which was made famous by Donny Hathaway.

Fronted by brothers Peter O'Doherty and Reg Mombassa, Dog Trumpet have been playing, writing and recording their
music since the early 90s. Reg and Pete were founding members of iconic Australian band Mental As Anything, who hit
the charts around the world with “Live It Up”. The band made a mark with their left field mix of music, art, video and
humour and leading eventually to ARIA awards and induction into the Hall of Fame in 2009.
• Recorded and produced by Peter at home in his 'South Road' studio, the brothers have created an inventive and original
body of work distinguished by an eccentric and offbeat harmonic warmth and melodic drive propelled by Reg's distinctive
slide guitar and Peter's elegant acoustic guitar and mandolin. Their poetic, yet at times absurdist lyrics are set against a
sonic backdrop that could loosely be described as a meld of rock and roll, psychedelic folk, country and semi-abstract
blues.
• “Shadowland” is the duo’s brand new album, recorded earlier this year, with the guys playing all the instruments
themselves. Amidst a group of songs with all sorts of subject matter (including the sheep of New Zealand, and Nina Simone)
is the very direct “F***ing Idiots”, about the human race and its continuing desire to wage wars.
• The inner sleeve features all the lyrics and wonderful paintings by both Reg and Peter.

Regal Worm release Worm!, the fizzy, dizzy follow up to 2021's The Hideous Goblink. It’s hard to believe that it’s been nearly a decade since Regal Worm first emerged from the mud. And what a long segmented body of work it has been with no less than five albums under its clitellum! (look it up, it’s not a rude word). With a small bag of heavy friends, Varrod Goblink continues to create astonishing music in his very own loft laboratory. Crammed with a growing number of vintage, dusty instruments, clean vintage instruments, computer tech foolery and weird looking banks of machines festooned with twiddly knobs, a visitor might wonder if they’d accidentally wandered into some sort of TARDIS.

Der sich über mehr als drei Jahrzehnte erstreckende musikalische Erfolg von Tiken Jah Fakoly ist auf vier Eckpfeilern begründet, deren Fundament für seinen klaren und kompromisslosen Reggae steht und sich ebenso klar und unmissverständlich in den Texten des beliebten afrikanischen Musikers widerspiegelt. Sei es als Verteidiger der Unterdrückten oder als steter Daumen in der Wunde der von ihm benannten Tyrannen. Schon zu Beginn der 90er Jahre, mit seiner ersten Band 'Djélys" in Odienné, einer Stadt im Nordwesten der Elfenbeinküste, fiel Tiken Jah mit seiner tiefen, eindringlichen Stimme auf. Ein großer Erfolg und der erste der starken Eckpfeiler war jedoch sein in Abidjan entstandenes Debut Album unter seinem Namen, 'Mangercratie" (1999). Es erschütterte sowohl die lokale Reggae-Szene, vor allem aber auch die Machthaber, die dekadente Oberschicht, die "alten Fressäcke", wie er sie betitelte, die die Zeichen der Zeit ignorierten und sich an die Macht klammerten. Den zweiten Grundstein legte er in Paris, dem zentralen Nerv Frankreichs, mit seinem dritten Album 'Françafrique" (2002), einem Begriff, der informell für das - wie Tiken Jah in seinen Texten anprangerte - antiquierte politische System Frankreichs und dessen mafiöse Strukturen steht. Im selben Jahr wurde sein Land, die Elfenbeinküste, von einem Bürgerkrieg zerrissen. Seine Landsleute hatten "den Verstand verloren", wie er es schon zuvor in einem seiner Liedtexte prophezeit hatte. Fakoly suchte Unterschlupf in Bamako, ohne sich jedoch wie ein Flüchtling zu fühlen, denn "Africa is united", Afrika ist vereint, wie er schon immer verkündet hatte. In Bamako legte er mit dem treffend benannten 'L"Africain" (seinem fünften Album, 2007) den dritten Eckpfeiler, gefolgt von dem vierten Eckpfeiler, dem großartigen 'African Revolution" (2010), seinem siebten Album, welches das endgültige Fundament bildete: Ein revolutionärer Schrei, ein direkter politischer Aufruf, der sich in den bloßen, schlichten Reggae-Rhythmen entlädt, unangekündigt und dafür umso schöner und machtvoller. Sein elftes und neuestes Album 'Braquage de pouvoir" (Raub der Macht) setzt diesen Weg fort. Das Album trifft den Nerv auf den Punkt, denn es begnügt sich nicht damit, Tiken Jahs musikalische und politische Errungenschaften zusammenzufassen, sondern offenbart in Gänze das Wesen des fakolianischen Stils - ein Adjektiv, das wir zu erfinden wagen, so wie Tiken Jah Fakoly es wagte, diese starken Pfeiler zu erschaffen.

Like the flower from which he takes his name, which is very rare and only grows once a year in one region of the world, the music of Rose Noir cultivates a form of dark and fascinating elegance. Traces of its genesis can be found in the sampling practice of the golden age of hip hop dear to the musician, but it also manages to retranscribe the total aesthetics of the culture of the 60s and 70s, when the stars aligned to give birth to a music bathed in cinematographic influences in the wake of Marc Moulin, Brian Bennet, Azymuth, Janko Nilovic or David Axelrod. Assembled with the help of instruments, Rose Noir’s music has nonetheless benefited from the hybrid background of its creator, an unrepentant digger with a wide-ranging and curious musical culture.

Rose Noir embodies a new phase in the development of a master craftsman, the sound of the French producer is halfway between beat making and majestic arrangements. Though the tracks of this new project Bloom EP wouldn’t be out of place in the soundtrack of a suspense film from the past, they are the reflection of a man in complete control of his art, guided by the same instinctive and passionate searching that has allowed him to evolve from his first starts, by following a trajectory that belongs to him alone. Rose Noir’s compositions are lush and varied, using as much space as they do sound for dramatic and dynamic effect.

The French musician and producer Rose Noir appears to float across different musical time periods, as if touched by grace. But it’s thanks to his iron will, combined with a highly personal and creative approach to music, that he has managed to define new territories and reinvent himself constantly.

Immer schon war William Fitzsimmons auch ein hervorragender Interpret fremden Materials. Auf seinen Konzerten covert er gerne Songs seiner Helden wie Bob Dylan, Björk oder Kanye West. Einmal auf seine persönliche Musikgeschichte zurückzublicken und einige seiner Lieblingssongs für ein ganzes Album zu interpretieren, war da der nächste logische Schritt. Seine zärtlich hingetupfte, wehmütig-elegische Version des Joy-Division-Klassikers 'Love Will Tears Us Apart‘ schreibt dem eher düsteren Original ein hoffnungsvolles Element ein, 'Annie’s Song' von John Denver wird bei Fitzsimmons zur anmutigen Meditation, Peter Gabriels 'Solsbury Hill' zum intim berückenden Kammerspiel. Bereits an diesen Beispielen lässt sich das beeindruckend breite Spektrum des Albums ablesen, das zudem Songs von Künstler:innen wie Sarah Siskind, Chelsea Cutler, Sufjan Stevens und Iron & Wine enthält. 'Diese Vielstimmigkeit war mir wichtig', sagt Fitzsimmons. 'Ansonsten gab es eigentlich keine Regeln. Das sind alles Songs, die ich liebe. Die Bedeutung der Songs für mich persönlich war mir wichtiger als ihre Popularität. Ich habe allerdings bewusst darauf verzichtet, allzu offensichtliche Heldinnen und Helden wie Joni Mitchell und Bob Dylan zu covern.' Die Songs auf 'Covers, Vol. 1' kommen aus verschiedensten Ländern, Genres, Epochen und haben unterschiedliche Bekanntheitsgrade. Bei Fitzsimmons aber werden sie alle eins, es ist eine Anverwandlung der denkbar wunderbarsten Art. Erfüllt von der Liebe zu den Originalen, aber versehen mit der einmaligen Signatur dieses besonderen Künstlers. Die Geschichten, die William ganz konkret mit diesen Songs verbinden, sind so vielfältig wie die Musik selbst.

‘JUSTIN TIME’ is the first Vinyl LP compilation by Children’s favourite, Justin Fletcher.
Justin Fletcher has starred in the hit CBBC shows Mr. Tumble, Gigglebiz, Justin’s House, Fun Song Factory,
Something Special and the GiggleQuiz comedy observational panel show for the pre-school audience.
Justin is a multiple BAFTA Children's’ Award winner, received an MBE in 2008, regularly tours with a live sell out live
Christmas show, has his own monthly magazine, and is the voice in numerous blockbuster film animations including
the four Shaun The Sheep movies!
This 12” Vinyl LP Picture Disc features his best known songs on Side One, with Side Two is jam-packed with sing-along nursery rhymes.

Sababa 5 finally deliver their long-promised, and self-titled album of original instrumentals, built around the band"s distinct mix of Middle Eastern psych, funk and disco groove. Across these eight songs, the group blends the Afro disco, reggae, jazz, funk and a plethora of Middle Eastern traditions, whilst traveling time and space, drawing a musical, cultural and geographical line from Somalia to Iran, via Ethiopia, Sudan, Egypt and Turkey, from the late 70s & early 80s to today. Thus Sababa 5 create a unique psychedelic groove that builds on the approach that the likes of the Daptones have taken to working independently, writing, producing and recording original music, with their own modern take on 70s soul and funk.

* A classic set from 1989, regarded as one of the dub albums that helped kick-start the UK dub revival along the likes of Sound Iration / Manasseh, Mad Prfoessor, Jah Shaka and Alpha and Omega.
* Produced by Steve M, who would later be known as Jah Warrior
* Originally released on Youth and Alex Paterson’s WAU! Mr Modo label.
* Recorded at an array of London studios, featuring a crop of players who were all prevalent in the dub scene at the time.
* Limited to 500 copies only.

Armed with a disdain for pastiche and a penchant for experimentalism, rRoxymore has spent the last decade pushing the boundaries of what constitutes club music. Across a steady stream of releases, the Berlin-based artist has continually reinvented her sound, shifting from hypnotic leftfield techno to UK bass mutations, genre-eschewing dub oddities and so much more. On Perpetual Now, her sophomore album, she again displays this propensity for pushing the sonic envelope. It's a slow-burning record, and one that blurs the lines between the electronic and the organic. Subverting the traditional album format, Perpetual Now is made up of four extended soundscapes - each taking the listener on a journey through tempo, texture and emotional state. Downtempo opener `At The Crest' gently sets things into motion, allowing the sparse percussion to tentatively find its feet. `Sun In C' is a peculiarly meditative excursion, crafting a rich, intoxicating atmosphere across its nine minutes. `Fragmented Dreams', with its pulsating rhythms and fractured melodies, sees the album fleetingly burst into life, before `Water Stain' winds things down in the most effortless of manners. A daring, unconventional album, Perpetual Now is everything we've come to expect and more from one of electronic music's most unique producers. French-born, Berlin-based DJ, sound artist and producer rRoxymore first emerged on the scene with `Wheel of Fortune', a ten-minute epic released on Planningtorock's Human Level back in 2012. She has since put out music regularly, dropping her debut album Face To Phase in 2019, and more recently "I Wanted More", a four-track EP that veered from downtempo ambience to lush deep house.

Zu Beginn der 1980er-Jahre zählten sie zu den größten Acts des Planeten, und ihre Reunion-Tour füllte 2007 weltweit die Hallen und Stadien: The Police. Wie kaum eine andere Popband profitierte das Trio von Einflüssen afrikanischer und vor allem jamaikanischer Musik. Songs wie "So Lonely" und "My Bed"s Too Big Without You" wären nichts ohne Stings parallel zum Gesang gezimmertes Bass-Fundament, und "Walking On The Moon" ist wahrscheinlich eine der wenigen Reggae-Killer-Basslinien, die außerhalb Jamaikas entstanden sind. Zeit für eine Würdigung der besonderen Art: "DubXanne" ist das wohl erste Dub-Showcase, das komplett auf Police-Riddims basiert. Eingespielt wurde das Album von Okada, der Backing-Band des Reggaekünstlers Zoe, und vielen Gästen wie Earl 16, Rankin Rogers, Eased (Seeed) und dem Dichter Benjamin Zephaniah. Das Ergebnis sind gesättigte Bässe, ein dynamisches, repetitives Gleichmaß, Sound-System-Atmosphäre und vor allem: Synchronicity - eine Rückkoppelung der abstrahierten Reggaeelemente von The Police mit deren jamaikanischen Wurzeln.