Buscar:rema

This is a very limited 10" press of these amazing original remixes...in blue smoked vinyl with a special edition sleeve! And I have to add, these remasters sound incredible!

In the summer of 2021, Brighton-based, Scottish-Thai songwriter Helen Ganya's grandmother passed away

The grief hit the artist hard, not only because it marked the loss of her last remaining grandparent, but also because it felt like her links to being half- Thai were disintegrating, roots quaking and shifting in uncharted territories. Ganya grew up in Singapore, but spent her summers in the northeast of Thailand where her mum's side of the family is from, visiting her grandmother. Where would all those memories go now that the person at the centre of them was gone? What was her relationship to this place without that glue? And so, in an attempt to process it all, Ganya began to write. "I got my diary and wrote every single memory of my time as a child in Thailand, spending time with her, my grandad, my aunts and cousins and everything," she explains, "I had these snapshots of memories that I just wrote down because I just suddenly panicked: it was like, who am I, then?" It was for this reason that, while Helen Ganya was waiting for her acclaimed 2022 album, polish the machine, to come out, she was already working on what would become her arresting new record, Share Your Care. Ganya has been releasing music since 2015 (formerly under the moniker Dog in the Snow). In the records she's put out over the years, she's shown a proclivity towards dark and artful rock and off- kilter sounds, garnering praise from the likes of the Sunday Times, Uncut, Clash, Loud & Quiet and more. But Share Your Caremarks a new era, building on Ganya's past sonic worlds and interspersing them with traditional Thai instrumentation, resulting in a plush, luminous, psych-tinged affair that is full of feeling. The result is a triumphant, abundant record, teeming with heart and cinematic warmth.

The capstone of Miles Davis’ electric period, Agharta reigns as a funk-rock fireball — a blazing comet streaked energy and elan, a fearless organism feasting on adventure and freedom, a seven-headed Godzilla stomping its way through Osaka, Japan. Recorded on February 1, 1975 at Osaka Festival Hall at the first of a two-show stand, the double album offers an endless abundance of surprises and shifts — as well as a road-proven ensemble whose chemistry and abilities equal that of any of Davis’ celebrated bands. If the true measure of jazz is the capacity to adapt to the moment and challenge perception, Agharta is consummate.

Sourced from the original master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set of this epic live release presents it in audiophile sound on a domestic pressing for the first time. Offering greater degrees of separation, detail, and richness than the compressed CD editions and more clarity, openness, and presence than older vinyl copies, this version of the 1975 release helps bring the concert stage to your home. Just make sure your turntable and speakers are up to the challenge of Davis and Co.’s explosive performances — and producing the decibels they demand.

Teeming with vibrant colors, tones, and pace, Mobile Fidelity’s reissue captures the hear-it-to-believe-it flow, sweep, and moodiness of the music. Though the group honors looseness and freedom with religious verve, the specificity and scale rendered by this remaster allows you to detect methods behind the alleged madness that are often otherwise harder to discern. This insight extends to the understated changes in volume, harmonics, and phrasings. In many ways, you can listen as Davis himself did that early February evening as he helped coordinate the overall direction and decided on whether to blow his wah-wah-wired trumpet or take a turn on the organ.

Tellingly, Agharta would likely never have been made if not for Davis’ ventures overseas and, specifically, to the Land of the Rising Sun. Having for years faced a backlash on his native soil for his choices to experiment and blow past all known borders, Davis was welcomed with open arms in Japan. The concert documented on Agharta — as well as the day’s later show, captured on the equally exciting Pangea — stemmed from a sold-out three-week tour that would ultimately mark Davis’ final public appearances for years, as he soon settled into semi-retirement and nursed the wounds connected to an unprecedented stretch of restless and relentless output.

For all the band-fueled merit of Agharta — and there’s plenty, given the cast of saxophonist Sonny Fortune, bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, and guitarists Reggie Lucas and Pete Cosey seemingly blasts off to outer space and travels distant galaxies by the time this minimally edited record runs its course — Davis’ own playing often remains overlooked. As critics Richard Cook and Brian Morton observed, it is “often fantastically subtle, creating surges and ebbs in a harmonically static line, allowing him to build huge melismatic variations on a single note.” He attacks like a man on a mission, out to prove naysayers wrong and bent on trailblazing another new path forward. Convention and skeptics be damned.

Noisy and furious, dark and discordant, abstract and off-balance, radical and intense, abrasive and atmospheric, strangely beautiful and hypnotically eccentric: Agharta evades simple description, and refuses to be pinned down in any established category — rock, jazz, punk, ambient, prog, avante-garde, or otherwise. Shot through with trench-deep grooves, screaming riffs, scalding solos, and free-improv leads, its cosmic thrust comes on as the equivalent of an animated pointillist painting comprised of millions of textured dots, dashes, and dabs that hold your attention so raptly you want to revisit the ideas again and again.

Always steps ahead of everyone else, Davis knew what he was doing even when Agharta debuted in Japan before later hitting U.S. markets. Though “Maiysha” and “Theme from Jack Johnson” are identified in the track listing, the record contains a number of uncredited references to other Davis works, including a nod to “So What.” This decision to bypass labels only adds to the art of the reveal — the rare black magic in which Agharta expertly deals.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! Rolling Stone list of 500 Greatest Albums 265/500 for 2012 180-gram 45 RPM double LP Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing The Genius of Ray Charles, his sixth studio album, released in 1959 by Atlantic Records, eschewed the the soul sound of his 1950s recordings, which fused jazz, gospel, and blues, for swinging pop with big band arrangements.

Charles is joined bymany ringers from the Count Basie and Duke Ellington bands for the first half of this program, featuring Charles belting out six songs arranged by Quincy Jones. "Let the Good Times Roll" and "Deed I Do" are highlights, and there are solos by tenorman David "Fathead" Newman, trumpeter Marcus Belgrave, and (on "Two Years of Torture") tenor Paul Gonsalves. The remaining six numbers are ballads, with Charles backed by a string orchestra arranged by Ralph Burns (including "Come Rain or Come Shine" and "Don't Let the Sun Catch You Cryin'"). Charles' voice is heard throughout in peak form, giving soul to even the veteran standards. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Made in 1994/5 by DJ Zinc at the Green Room, East London.

'Beyond Reality' was originally released under another Zinc alias 'Tyranny' (KR005) and 'Ophelia' was on KR001

Remastered by Beau, sounding better than ever!

Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio’s chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP’s prowess was obvious from the start. The band’s self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.

Mastered at MoFi’s California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180g 33RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.

Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects — textures, nuances, effects, melodies, tempo changes — that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first version, you’ll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.

Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn’t prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad “Lucky Man,” whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.

Comprised of genre-defying originals and hybrid arrangements of two classical pieces, the album Rolling Stone originally and rightly said is “best heard as a whole” matches outrageous ambition with the otherworldly skills of three musicians who remain among the finest to ever pick up their respective instruments. While Emerson soon drew the lion’s share of headlines for his ability on keys — clavinet, Moog, piano, Hammond organ, and pipe organ included — Greg Lake’s aptitude on guitar and bass, along with well as Carl Palmer’s monster talents behind the kit, created a three-headed hydra that devoured everything in front of it.

That extends to the radical reinterpretation of Bela Bartok’s “The Barbarian” that begins the LP, a performance that in less than four-and-a-half minutes runs the gamut from distorted to churchy to angular and blustery. More classical flourishes, keyboard wizardry, hard-rock heaviness, and gothic signatures emerge throughout “Knife-Edge,” which reimagines music by Leos Janacek and J.S. Bach — and ultimately invites you to explore a cathedral of sound teeming with separate bursts of keys and percussion.

And did someone say “drumming”? Check out Palmer’s monster salvo on “Tank,” a rhythmic showcase that marches out with knee-bent notes and mirror-reflected passages. Or dive into the mythological suite “The Three Fates.” Replete with three parts and Emerson playing the pipe organ at Royal Festival Hall, it shoots off sonic fireworks via sophisticated arpeggios, jazz improvisations, dancing counter-meters, sizzling chords, and a few explosions. Please don’t hold anyone at MoFi responsible if your system cannot handle it; this is heady stuff.

Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.

The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street," "Push Comes to Shove," "One Foot Out the Door," and more indicate the mood the band channels on its double-platinum 1981 record — the nastiest, darkest, and fiercest album of the group's storied career. For the fourth time in four years, Van Halen throws down the gauntlet to all challengers and emerges victorious.


Sourced from the original analog tapes, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set plays with unfettered clarity, dynamics, and immediacy. Benefitting from superb groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and involving presence.

Taking a more controlled approach in the studio and still completing everything in less than two weeks, Van Halen and producer Ted Templeman relied on studio amplifiers to direct the sound. Further diverging from the live-on-the-floor approach of its earlier albums, the ensemble also employed overdubs to great effect. The result: Dense, stacked architecture that underlines the hard-hitting tenor of the songs — and which comes alive like never before on this reference edition that looks as good as it sounds.

The premium packaging and gorgeous presentation befit the reissue's select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, it is made for listeners who want to immerse themselves in everything involved with the album, including the iconic cover art adopted from William Kurelek's haunting painting, "The Maze."

Isolated frames from Kurelek's childhood-inspired work — including a man bashing his head into a brick wall, a guy pinning down an adversary as he delivers bare-fist blows to his face and others watch with apparent glee, a boy tied down on a conveyer belt and being sent through the equivalent of a meat saw — adorn the front and back covers. The sunnier visual disposition of Van Halen's prior efforts gives way to something sinister and tortured, traits reflective of the music within. The band members, too, are visually depicted not in glamorous shots but in a serious black-and-white portrait in which the quartet is clad in black leather jackets.

Tough, aggressive, stark: Fair Warning comes on like a series of bare-knuckled punches to the solar plexus and boasts lyrical narratives to match. Though not a concept record, the concise album revolves around themes of roughing it on the streets and struggling to survive amid dim prospects. Singer David Lee Roth reportedly penned many of the initial lyrics after traveling to Haiti and observing extreme poverty. The characters and situations populating Fair Warning reflect hardscrabble existence, last-chance desperation, and underlying danger.

Witness the crazies, poor folks, and hunters of “Mean Street”; the former prom queen turned pornographic actress on “Dirty Movies”; the menace and vice of “Sinners Swing!”; the streetwise hustle of “Unchained”; the isolation and alienation of “Push Comes to Shove”; the desire for escape on “One Foot Out the Door”: A carefree California beach party Fair Warning is not.

Having said he felt angry and frustrated during the sessions, guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and a hyped-up Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. The virtuoso was increasingly butting heads with Templeton and seeking a freedom in the studio he believed denied him.

No wonder he plays like a bat out of hell. Listen to the rapid-fire manner in which he slaps the high and low E strings on the 12th fret of his instrument on “Mean Street,” instilling the tune with funk flair and metal-spiked sharpness. For the pouty strut of “Dirty Movies,” Eddie Van Halen contributes slide guitar magic made possible after he sawed off the lower portion of a Gibson SG so he could reach further down the fretboard.

Related intensity, urgency, and daredevil momentum punctuate the surging “Sinner’s Swing!” A heavily flanged, delicately melodic introduction frames the attitudinal “Hear About It Later,” among the most creative arrangements of Van Halen’s career. And do riffs come any bigger or magnetic than those on the high-wire kick of “Unchained”? As for the out-of-left-field “Sunday in the Park,” an instrumental composed on an Electro-Harmonix micro-synthesizer: Who but Eddie Van Halen to supply creep factor in such an ingenious way?

Despite selling fewer quantities than Van Halen’s prior efforts, Fair Warning remains for many diehards the record that epitomizes all of the band’s immense strengths —Roth’s manic energy and tongue-wagging humor, Alex Van Halen’s rhythmic heartbeat-in-your-chest bombast, and Michael Anthony’s lucid bass lines included. Arriving when the New Wave of British Heavy Metal and new-wave movements were taking flight, it signaled a shot across the bow from a band determined to stay a step ahead and provide proof nobody could touch what it delivered.

More than four decades later, Fair Warning still sounds that alarm.

'Fully licensed, all tracks restored & remastered for the 1st time!
'Lots of Loving was the third album, originally released in 1980 by Freedom Sound Record, by legendary and controversial Jamaican deejay and singer Ranking Dread.
'Recorded at Channel One studio, with Barnabas as engineer and produced by Sugar Minott the album featured musicians from the Black Roots Players, Sly & Robbie, Steeely (Steely & Clevie) and many others... Voiced and mixed at King Tubby's Studio!
'One of the most dangerous rub-a-dub deejay lp’s!'

James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy: Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.

Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.

Just how lifelike does this reissue sound? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes: “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history.”

Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn,” the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.

As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.

Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group — as well as two different drummers — laid down a nearly 11-minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.” A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn,” each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.

Complicated? Somewhat. Unusual? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.

“Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II),” one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose,” which provides jolts on the order of sticking your finger into a socket.

Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World.”

And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn.” Mercy.

Ain’t it funky? Sure ‘nuff.

Celebrating its 10th anniversary in 2025, Emi Okamoto's debut mini-album "Strike!" is being released on vinyl LP with a newly remastered "10th Anniversary
Edition"!

Singer-songwriter Emi Okamoto is a multifaceted artist, active not only as the lead vocalist of the band Friends, but also in dramas, writing songs, and supporting
and guesting at RIP SLYME's live shows. Her fourth album, "Ten City," commemorating the band Friends' 10th anniversary, will be released in September 2025
and is generating rave reviews. Also celebrating its 10th anniversary in 2025, her debut solo album will be released on vinyl LP with a newly remastered"
10th Anniversary Edition"! Written and composed by herself, this album showcases her unique style, spanning everything from cheesy electro-pop to
Idol-esque tracks, '90s R&B, exotic pop, and emotional rock ballads. Also included as a bonus track is the remix "Hit Number - Evisbeats and Punch Rmx"
by Evisbeats and Michel☆Punch. The single-LP release of "Strike!" sold out immediately, skyrocketing in price even on the used market and making it
difficult to find, so this vinyl release is a welcome surprise! Guest appearances include Kouki Okamoto (Gt./Okamoto's) and Keisuke Okamoto (Dr./Kuroneko
Chelsea).

E-style single jacket / Japan pressing / 33 RPM / Lyrics included

The second release in French beatmaker Medline's 7" cover series of soul, jazz-funk, and rare groove classics!

Much like Leon Michels of El Michels Affair, Medline plays all the instruments himself?this release features two stunning tracks, including a newly recorded cover.

Side A presents a brilliant rendition of "Wind Parade," Donald Byrd's immortal 1975 masterpiece that has been widely sampled in hip hop. The iconic bassline remains intact, while Roni Alkekengi's transparent vocals and a bold substitution of flute in place of trumpet create a uniquely groovy interpretation.

Side B is a refined cover of the 1972 soul classic "People Make the World Go Round" by The Stylistics, which has also been heavily sampled and covered. Medline retains the charm of the original while adding his own polished touch.



[a] 01: Wind Parade (45 Edit) [feat. Roni Alkekengi]

Classic Latin Tunes Became Sals Hits! Pablo Yglesias -aka DJ Bongohead- compiles Grosso Recordings an amazing serie with classics tunes from Caribbean music that became great successes of "Salsa". Some tracks have been remastered and restored, others are presented on vinyl again after many many years. "This is the four volume in our series on the Roots of Salsa...The main criterion was to pick tracks that sounded adequate for today's DJs to play at a gig or were sufficiently interesting (or enough of a surprise to fans of the later version) to merit inclusion. The other measuring stick was that they needed to come from the old-school, before the more modern era (from 1962 on) and all of its recording innovations and marketing strategies...for now, listen to these dozen gems and then go back to their more familiar cousins from recent times and compare and contrast, and we're sure you'll be enlightened and entertained." Liner notes by Pablo "Bongohead" Yglesias. Format and selection designed for DJs, collectors and general public.

Mokum Records proudly presents a fresh slab of hardcore:
Remixed by:
Dysistor
RETRO
The Outside Agency
Faniac
Plus: the original track included on the record!
A must-have vinyl for collectors and hardcore heads — raw, dark, and uncompromising.

For the first time, Endrik Schroeder and The Hacker have joined forces. Their unique sounds and styles have combined seamlessly to produce a 12” that draws on their own musical histories. The title track pulls the listener into a darkened sweaty basement, a space where neon lights leer and quivering speakers vibrate. Melting elements of new beat and rave revelry, the track is bawdy and bold. Robotic samples cut through siren blasts, clean snare rolls skidding in thick basslines and creamy breaks.

Two remixes follow, both care of fellow French producer: Back From The Wave. First up is the “Breaky Remix”. Adhering to the club origins of the source material, this remake sends melodies ever higher as drums lift elated lines to the stern refrain of “Emergency”. The “Indie Remix” closes. The glowsticks are sheathed in this version, instead it is the soaring keys that are given the limelight with beats bolstered for extra bite. Three tracks set to delight and ignite dancefloors.

Mit Hits wie „Hurra, hurra, die Schule brennt“, „Flieger, grüß mir die Sonne“, „Polizisten“ oder „Duo Infernal (feat. Marianne Rosenberg)“ haben Extrabreit ab Ende der 1970er Jahre die deutschsprachige Musikwelt
aufgemischt. Eine Formation, die mit ihrem anarchistischen Mix aus Deutschpunk, Rock und NDW sowie
oftmals provokanten Texten bis heute auf einem extrabreiten Grat zwischen poppiger Eingängigkeit und
bissiger Gesellschaftskritik reitet. Viereinhalb Dekaden nach der Veröffentlichung ihres bahnbrechenden
Debütalbums erscheint nun mit der umfangreichen 3LP/ 5CD-Box „Pralinen & Granaten (1979-1982 Remastered)“ ein Rückblick auf die frühen Anfänge der Kultband!
„Pralinen & Granaten (1979-1982 Remastered)“ enthält Extrabreits ersten drei Studioalben „Ihre größten
Erfolge“ (1980), „Welch ein Land! Was für Männer:“ (1981) und „Die Rückkehr der phantastischen
5!“ (1982) als remasterte Vinylausgaben sowie als großzügig erweiterte Bonustrack-CDs mit bisher unveröffentlichten Songs und gesuchten Raritäten. Komplettiert wird die insgesamt 131 Tracks umfassende
3LP/ 5CD-Box von zwei CDs mit ebenfalls unveröffentlichten Demo-Versionen aus 1979 sowie ungehörten
Livemitschnitten aus den Jahren 1981 und 1982. Sämtliche Bonustracks wurden von einem langjährigen
Extrabreit-Fan der ersten Stunde archiviert und kuratiert; für das Remastering der Original-Tapes zeichnet niemand Geringeres als Eroc (Grobschnitt, Amon Düül II, Doro, Phillip Boa And The Voodoo Club)
verantwortlich.

Remastered Pink Vinyl 2LP

Jane Removers Debütalbum "Frailty" (2021) entstand mitten im fegefeuerhaften Sommer nach ihrem Highschool-Abschluss, kurz vor ihrem 18. Geburtstag im September. Der Text ist das eigensinnige Coming-of-Age-Tagebuch einer LGBT+-Teenagerin, die in den Vororten eines verwirrenden, gesellschaftspolitisch turbulenten Amerikas festsitzt. Die LP wurde begeistert aufgenommen: Platzierungen auf der Album-des-Jahres-Liste von Pitchfork und TheNeedleDrop, begeisterte Kritiken von Paste, Insider und FADER und breite Resonanz bei einem jungen Publikum, das das Album als kathartisch und nachvollziehbar empfindet. Doppel-LP auf Pink Vinyl, remastered.

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.” To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as one will get to truly experience the moment heavy metal music morphed into existence. However, at last Riding Easy have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist / vocalist Holden and drummer / keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal.

Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow. In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. “I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The six-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”

Essential repress of the perennial DJ favorite now available on wax again for the first time since the original press in 2021!

The music is compiled from two rare 12" releases dating back to the early 90s produced by Jason Adkins (who we sadly lost in 2024), and co-produced by Tony Boninsegna (whose work the labels covered extensively in the 4xLP anthology Notes From Underground), and finally remastered by Thomas P. Heckmann.

The production team shared many musical inspirations, most notably Detroit techno, jacking Chicago house, EBM, the industrial funk of Cabaret Voltaire and the pioneering bleep sounds of Warp Records' earliest releases. As a result, the tracks they made brilliantly blurred the boundaries between contemporaneous electronic music styles while also adding layers of technical polish so often missing from British club tracks of the period.

The completed, released version of 'Tone Float' remains an overlooked UK classic – a gorgeous mixture of squelchy acid bass, sharp TB-303 lines, ethereal chords and whispered spoken word snippets – while the accompanying remix, which is also featured on Garden of Eden, brilliantly re-imagines the cut as a funk-fuelled, deep electro beast.

To celebrate the twentieth anniversary of their debut album ‘Employment’ (usually commemorated with the gift of china), Kaiser Chiefs are making three new expanded ‘China Anniversary’ formats available. The 1LP edition is pressed on white vinyl, and includes ‘bonus’ track ‘Take My Temperature’. Remastered at Abbey Road Studios.


Originally released in March 2005, ‘Employment’ peaked on the UK album chart at No. 2, and has since spent more than 17 months on the Top 40, selling more than 2.1 million copies in the process, and being certified 7 x Platinum status by the British Phonographic Industry. Similarly successful across Europe, the album’s longevity was aided by the hits singles ‘Oh My God’, ‘I Predict A Riot’, ‘Everyday I Love You Less And Less’ and ‘Modern Way’, and a series of triumphant performances that established Kaiser Chiefs as a ‘must see’ live act, building a loyal fanbase that stays with them today.