Buscar:rp

2025 Repress

Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

Yellow Vinyl

'70s Disco Music wan’t just Abba or Studio 54. In the same way that punk or glam rock were evolving at the same time, the "disco" phenomenon generated a plethora of obscure and bizarre studio projects which remained unknown for decades, despite often being more inspired and creative than the few ones that reached stardom and sold millions of copies. 45 rpm singles that remained unsold, sitting in junkshops all over the world for decades hide forgotten gems, revealing genius and avant-garde only guilty of not being at the right place at the right time. Whether it's Moroder-oriented proto synth-wave, groovy space-disco or acid afro funk, volume 1 of the Cosmic Discotheque series is all about rediscovering those forgotten treasures while setting your dancefloor on fire!

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

Produced by Dandy Livingstone.
7inch black vinyl 45 RPM - Black paper cover with round cut-outs on both sides.

Both tracks were produced by Dandy Livingstone (also known as Brother Dan) in 1969 on the Downtown Records on two separate singles.
This reissue brings these two rare gems together for the first time on a 7” single. Both tracks are quite rare and very much in demand with
“SKINHEADS A MESSAGE TO YOU” being an anthem for early reggae enthusiasts!

b A2 Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo


[b] A2 Let's Try = Let's Try!; Written-By [Original Score Written By] – Koji Kondo
[c] A3 お花畑にて = In The Flower Garden; Written-By [Original Score Written By] – Koji Kondo

[e] A5 対クッパ戦 = Battling Bowser; Written-By [Original Score Written By] – Koji Kondo

[g] A7 Super Pipe House = Super Mario House; Written-By [Original Score Written By] – Koji Kondo








[p] B7 ごきげんスター = Irrepressible Star; Written-By [Original Score Written By] – Koji Kondo









[z] C5 ねぇねぇジーノごっこしようよ = Play "Save The World" With Me!; Written-By [Original Score Written By] – Koji Kondo



[xd] D1 土管からコンニチハ = Greetings From The Pipes; Written-By [Original Score Written By] – Koji Kondo






[xk] E1 Long Long Ago… = Long, Long Ago...; Written-By [Original Score Written By] – Koji Kondo
[xl] E2 ちょっとドキドキ = A Little Anxious; Written-By [Original Score Written By] – Koji Kondo







[xt] F2 対 クリスタラー戦 = Battling Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xu] F3 クリスタラー戦での勝利 = Victory Over Culex; Written-By [Original Score Written By] – Nobuo Uematsu
[xv] F4 クリスタラーの会話 = Conversation With Culex; Written-By [Original Score Written By] – Nobuo Uematsu





[yb] G5 オノレンジャー参上 = The Axem Rangers Bust In; Written-By [Original Score Written By] – Koji Kondo
[yc] G6 クッパ城（其ノ弐） = Bowser's Keep (Second Visit); Written-By [Original Score Written By] – Koji Kondo





[yi] H5 お・し・ま・い・! = The End!; Written-By [Original Score Written By] – Koji Kondo

Somewhere inbetween hardcore and hardfloor tribe... A masterpiece repressed 2021 !

Bad Company's Burnin' Sky, released in March 1977, continued to showcase the band's bluesy rock roots, with Paul Rodgers' soulful and powerful vocals leading the way. The album's musical style is characterized by its gritty, guitar-driven sound and blues-infused melodies.

The 12 songs were recorded in France at studio Château d Hérouville, where David Bowie would record Low later that same year. The album's hit single and title track "Burnin' Sky" reached No. 78 on the U.S. Billboard pop singles chart. The album peaked at No. 15 on the Billboard 200 chart.

This 180-gram 45 RPM 2LP of Burnin' Sky is the definitive reissue of this chart-making classic.

Dr. John's Gumbo is the fifth album by New Orleans singer and pianist Dr. John, a tribute to the music of his native city. The album is a collection of covers of New Orleans classics, played by a major figure in the city's music.

Dr John's Gumbo was released in 1972 and is in many ways a tribute by Dr. John, aka the Night Tripper, to his hometown of New Orleans. It features excellent interpretations of New Orleans traditionals ("Iko Iko", "Tipitina", "Junko Partner" and "Stack-O-Lee") and contemporary R&B written or played by the likes of Huey Piano Smith ("Blow Wind Blow" and "Huey Smith Medley") and Earl King ("Big Chief" and "Those Lonely Lonely Nights").

Dr. John delivers a strong set of infectious songs drenched in good vibes and spiced with a pinch of voodoo. His eccentric (stage) appearance adds unique color to his stature as master of the ivories and as an entertainer.

We expect this definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of Dr. John's Gumbo to be a cherished addition to the music collections of all fans of New Orleans classics.

Mastered by Matthew Lutthans at The Mastering Lab from flat copies of the original U.K. and U.S. analogue master tapes Third studio album featured advanced studio recording techniques Featuring original U.S. tracklisting with bonus track "Alive And Well And Living In" from U.K. release Plated and pressed at Quality Record Pressings Gatefold old-style tip-on jacket by Stoughton Printing Jethro Tull's 1970 classic Benefit was their third studio album in as many years, following the successes of This Was (1968) and Stand Up (1969). For Benefit, Ian Anderson (flute, guitars, vocals), Martin Barre (guitars), Glenn Cornick (bass), and Clive Bunker (drums) were joined by John Evan on piano and organ.

Evan would go on to play on all of Jethro Tull's albums throughout the '70s. It was also the last to include Cornick, who was fired from the band upon completion of touring for the album. Recorded at Morgan Studios, where the band recorded Stand Up, the album featured more advanced studio techniques, such as a backward-recorded flute on "With You There To Help Me" and a sped-up guitar on "Play In Time." Frontman Ian Anderson said Evan had changed the band's style: "John has added a new dimension musically and I can write more freely now.

In fact anything is possible with him at the keyboard." Compared to Stand Up, although containing a similar mix of bluesy hard-rockers and melodic acoustic numbers, Benefit had, as Ian Anderson put it, a "harder, slightly darker feel" compared to previous material. The eclectic fusion of folk, rock, and progressive elements creates a sonic tapestry unlike any other. Anderson's virtuosic flute playing intertwines with Barre's electrifying guitar work, weaving intricate melodies that transport listeners to a world of introspection and imagination. From the hauntingly beautiful "With You There to Help Me" to the whimsical energy of "To Cry You a Song," each track invites exploration of both the inner self and the world beyond.

This Analogue Productions 45 RPM release, plated and pressed at Quality Record Pressings, gives this historic album the rich sonic presentation it deserves. 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. Benefit stands as a testament to Jethro Tull's pioneering spirit, pushing the boundaries of musical expression and leaving an indelible mark on the landscape of rock music. This reissue is clean, balanced and richly detailed, the way an Analogue Productions reissue should sound.

Finally available following strong support from Antal and Hunee, including soundtracking the closing of Rainbow Disco Club Festival in Japan: Cabo Verde Show's 1984 showstopper “Bem Danca” revisited in its original form alongside a perfectly stripped-back, synth-focused edit by The Square Sun. Now on a 12” pressed loud at 45 RPM, with the edit on the A-side and the original version on the flip!

“Bem Danca” was a B-side cut from a 1983 release, featuring lead vocals from Luis Da Silva. The original is a party-ready Funaná jam with intricate horn and guitar work. The Square Sun’s edit takes the track deeper, extending some instrumental parts to build tension before the culmination of synths and horns that truly sparkle in this version. An essential for your bag as we begin to enjoy those open-air dancefloors once again!

Not much is known about De Frank Kakra - let alone his birth name or where he is today. A few liner notes scattered across his records give a glimpse of his career as a backing vocalist and percussionist on the Ghanaian highlife scene of the 1970s, notably with Vis-A-Vis, K. Frimpong's band (Cubano Fiestas). He later formed his own bands, The Professionals and The Diggit Ways, alongside Sammy Copper, recording throughout West Africa. His recordings have now been unearthed, remastered and compiled in a triple LP anthology of his musical works. Although much remains unknown, RastaPastaRecords' goal is to ascertain several discoveries made about his life during the production of this record and to continue the research. "Call Me Frank" is a funky take on 1970s highlife set to a vintage Afro - rock fusion that evokes a time when West African dance floors vibrated with raw energy and relentless groove. "Psychedelic Man" is a full dive into the De Frank Kakra sound. With its hypnotic guitar riffs, cosmic organs and head- nodding drum rhythms, this infectious anthem will plunge you into a state of nostalgic psychedelia.

"I loved Julia Sabra’s Natural History Museum—it was released at the end of the year and is quietly devastating. Her lyricism and sensitivity in timbre and harmony is akin for me to the great Linda Perhacs. The songs are intimate and infinite feeling at the same time—I love the raw and soft poetic settings of love and death." Julia Holter (Best album 2024- Fader)

“This album is a collection of songs written between 2020 and 2024 in Beirut. I wanted to capture them the way they were written by keeping the rawness and fragility intact, like the late-night voice memos I send to my bandmates as soon as I have a first draft of a song. Fadi and I decided to record them live on tape, with no overdubs, barely any effect - with all the imperfections. Most of the tracks were done in one take only. Some were recorded in the studio, and some in the church I grew up going to every summer in Dhour Shweir.

This is a collection of songs that slipped through the cracks, and some of the most personal ones I ever wrote. Songs about the port explosion, its aftermath, picking up the pieces and trying to move on, coming to terms with the past, regret and nostalgia for a childhood that lives only in memory, the uncertain future, learning to love, getting married, watching a genocide unfold on my phone screen, having it fill my every waking moment, imagining a better send off for all the dead, processing the violence and terror, and finding solace in community.
These songs would’ve probably stayed in my “songs in limbo” folder on my laptop had it not been for Pascal and Fadi, who pushed me to release them. And for this I’m eternally grateful.”









[h] 8.Dis, quand reviendras-tu? [Barbara cover]

A legendary EP repressed with its orginal sleeve by the original visual maker from Industrial Strength with a little FDB edit :)

From "It Will Stand" till "Something Special", you will get the nowaday fat sound thanks to the mastering from Stefan ZMK and the cut from Simon Davey at The Exchange.

3 fat Insane Teknology remixes from classic Teknambul tunes !
Pumpin dancefloor refresh !

Three LPs packed in a trifold jacket. Pressed on Deep Ocean Pearl, Gold & Dark Green Vinyl. Take up your sword, channel your magic or board your Mech. Chained Echoes is a 16-bit style RPG set in a fantasy world where dragons are as common as piloted mechanical suits. The game is set on the continent of Valandis during the time of a multi-generational war between three kingdoms, Taryn, Gravos and Escanya. After a great catastrophe caused by Grand Grimoire shakes the continent, the kingdoms agree to sign a peace treaty. One year later, an unknown force strives to begin a new war. A group of unlikely heroes joins forces and eventually becomes the clan of Crimson Wings in order to stop it. The outstanding soundtrack for Chained Echoes was passionately composed, arranged and recorded over four years by Eddie Marianukroh as well as many other musicians who worked under his direction. It includes 50 tracks at two hours in length. Even the game has been out for a while, Marianukroh's admiration and enthusiasm for the game and his addition to it remain undiminished: "It has been over two years now since the release of Chained Echoes, which is rather difficult for me to believe. Time really flies, and it's honestly a bit frightening when I think about it. But, despite that, when I listen to the music I've written for this game, I still very much remain proud of what I composed. I really did give my all for this soundtrack. I will forever be grateful to Matthias for trusting me with the music for his game. I can vividly remember how I felt when I first came across his project, and how I nervously reached out to him about the composer position. I truly, truly cannot thank him enough for giving me this memorable experience that I will always hold dear. Thank you, my friend."

"Amazing! Like stumbling on a treasure-trove of unheard Charlie Patton and Blind Willie McTell 78s, but imbued with the spirit of Mahlathini and Ladysmith." Joe Boyd

'But for this compilation of rescued songs masterfully restored from rare 78 rpm shellacs, few could imagine the diversely beautiful roots of Zulu Guitar Music emerging during the period 1950 – 1965. Story-tellers and master musicians appropriate outlaw personae, re-purpose country and western, Hawaiian and other styles, to stretch and challenge our notion of “the Zulu guitar”.

Twenty-five songs (18 on vinyl) plunge us into the depths of the migrant experience. Translations in the liner notes offer us glimpses of pugnacity, melancholy and heartache, all coloured by the paternalism that circumscribed the singers’ apartheid-dominated lives.

The early *mbaqanga* undertow in many of the songs subverts the wanderlust of Country and Western music into a fugitivity burdened by nostalgia. Something irretrievable has been lost, prompting a blending of ideas and cultures to make sense through thankless acts of musical divination. Inadvertently they have been thrust into the role of the antihero, where outwitting competition for lovers is as important as evading the Black Jacks (apartheid’s municipal cops) and their informants.

Considering the politically repressive period that this music emerges from, we can surmise that the specificity in the storytelling went a long way towards evading censure. But even when words are absent, there is a narrative arc suggested by the musical expression.

With most of the master tapes wilfully destroyed or lost, modern transcription and restoration techniques from the original shellac discs present the original sound most likely more clearly than ever heard before.'

Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music and Siemon Allen at Flatinternational.
Artwork design by Siemon Allen.
Liner note and translations by Kwanele Sosibo.
Audio restoration and lacquers by Frank Merritt at The Carvery and pressed at Pallas, Germany.
Original 78rpm recordings sourced from the collections of Chris Albertyn at Matsuli Music, and Siemon Allen at the Flatinternational Archive.

Five Five is the second studio album from the Miami-born underground rap pioneer, Pouya. Marking a slight transition into a more mature sound, Five Five showcases Pouya’s evolution as an artist while maintaining the raw authenticity that has endeared him to his fans. With tracks like "Suicidal Thoughts in the Back of the Cadillac Pt. 2" and "Handshakes," Pouya delves into themes of struggle, resilience, and personal growth, offering listeners a glimpse into his journey. In what became truly a solo effort, Five Five is limited to one feature in Night Lovell, with production primarily handled by Mikey The Magician (Track 4 produced by Chevali). The album draws from elements of Bone Thugs-N-Harmony, yet remains uniquely rooted in Pouya’s own style. Over the years, Pouya has developed a long lasting core fanbase, first bubbling up in Miami alongside artists such as Denzel Curry, and then becoming a nationally celebrated artist. Back in print for the first time since originally released in 2018. Pressed on Wire Wheel Picture Disc Vinyl and cut at 45 RPM.