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While this may be the first release on Sheffield's Central Processing Unit from Global Goon, the one known to friends and family as Johnny Hawk brings a whole heap of experience to the Nanoclusters mini-LP.

Hawk started dropping Global Goon records on the legendary Rephlex Records back in the 1990s. The project's subsequent releases have taken in imprints as esteemed as WéMè and Balkan. Factor in a whole host of other aliases which have delivered missives via the likes of Planet Mu, and you know even before you press play on this witty, wily record that you're dealing with a master at work here.

The confidence with which Global Goon approaches Nanoclusters shines through in Hawk taking much of the mini-album at midtempo. Cuts like 'Khroxic Mould', 'Metallik' and 'Syntheseers' sound like Bochum Welt heading down a dark alleyway. The former in particular is a seasick lope, the tuned synths lurching around like sailors on deck in a storm as bass ebbs and flows underneath the mix.

The influence of Kraftwerk comes through prominently at times here, particularly in the way 'Calcula' and 'Digit Six' play pensive, slightly sombre synth chords off some simple but effective forward motion in the drum programming. That is not to say that Nanoclusters is not full of invention, though. None of the productions are overly flash, but this approach allows the little details to shine through more clearly, from cleverly panned hi-hats to hissing synth counter-melodies which flit in and out of the mix. Enthralling and packed full of ear candy, they're further evidence that Nanoclusters is the work of an expert craftsman.

While the pulse of Nanoclusters remains relatively steady throughout, it's still a rather lively record. Plenty of these tracks will get the dancefloor moving if deployed correctly - though whether they're heard at home or in the dance, it's the attention to detail which makes them stand out.

'Snapterisk' is as perfect an example of machine-funk as you're likely to find - the drum programming is razor-sharp but rubbery with bongos, the bass a lithe burble, and those wobbly stabs of keys that put a bit of wiggle in the beat? Delightful stuff. Elsewhere the ever-looping arpeggio of 'Metro Esc' has hints of Frankie Knuckles' house classic 'Your Love', though an array of interesting sonic nuggets - snippets of vocal, radar-like bloops, a gently insistent low-end pulse - soften the track's clubbier elements with a pillowy sheen. And Hawk throws us a curveball right at the end of Nanoclusters, tapping back into that old Rephlex sound for the fizzy, braindancing 'Metal Glass'.

Global Goon doesn't need to show off on Nanoclusters - from brilliantly slick machine-funk to Kraftwerkian reveries, the CPU debutant lets the music do the talking here. It makes for a confident and vivacious mini-LP, one which wears its expertise lightly.

RIYL: Cardopusher, Bochum Welt, Cygnus, D'Arcangelo

Very limited vinyl pressing of the second edition, 500 copies, full colour single outer sleeve, newly designed full colour printed lyric inner sleeve. Transparent red vinyl with white splatter effect. Download included. CD in a 4-panel digipack with a 12-page lyric booklet. When the self-titled debut album from female Ukrainian punk trio Death Pill, came out on the 24th of February (a year to the day that Putin invaded Ukraine) the reaction was unanimous. ‘Death Pill have made one of the best crossover albums of the modern era’ - Metal Hammer // 'Death Pill are intensely furious. There is nothing on the Ukrainian trio's debut that isn't seething with anger or delivered with boiling vitriol.’ – Kerrang // 'A tirade of metalcore, thrash and hardcore, it’s a face-toasting listen’ - The Guardian // ‘This eponymous album is a real masterstroke and a sign not only that DEATH PILL are here to stay but that they are going to take a few scalps with them’ - Distorted Sound // Those lucky enough to witness Death Pill live on their recent Euro tour, would have also clocked something a bit special. Mariana Navrotska, vocals/guitar, Anastasiia Khomenko, drums and Natalya Syeryakova, bass are without doubt a ‘force majeure’. Thunderous thrash infused hardcore coupled with fantastic musicianship and attitude in spades. A truly thrilling live embodiment of their self-titled debut. So, with the vinyl and cd sold out, a repress of said debut was warranted. But this is not just a repress. This is that cracking debut … with a difference. The band explain …. “In the original first pressing of the Death Pill album, there were 2 Russian-language lyrics songs, which the band recorded before the full-scale invasion of Russia into the territory of Ukraine, and the band didn't have the opportunity to change these lyrics before the release of the album in 2023. From February 2022, the band performs its program only in English: - "We deleted from the story those lines that were written in Russian, and we no longer want to have them in our work. We wanted to change this even before the first release, but it was impossible due to a huge number of factors. During the Euro/UK tour in 2023, the girls had the opportunity to re-record the vocals for these 2 tracks in English. That is why in the second press of the first album we automatically have the release of two tracks.” So, not a repress, but a 2nd edition, with all the fire and vitriol still intact, now the official version of the album from this point on

Oceanvs Orientalis teams up with Italian artist Tooker and joins the Crosstown Rebels roster with ‘II Lupo’, including a remix from Acid Pauli.

Hailing from Istanbul, Safak Oz Kutle, also known as Oceanvs Orientalis, is a true maestro at crafting hypnotic, evolving sounds while blending a diverse mix of Turkish, Kurdish, Arabic and Armenian influences. Unfolding after a busy year of performances at venues across the globe, including a notable appearance at Crosstown Rebels’ Rebel Rave at Club Space Miami, he now combines his signature downtempo sound with the talents of Italian native Tooker, a partnership two years in the making. With their joint creation teased across their sets, both artists now unveil their first collaboration on the label with the soul-stirring, ‘II Lupo’ including a remix from Damian Lazarus’ longstanding friend Acid Pauli.

‘II Lupo’ weaves a haunting atmosphere through ethereal synth-lines, echoing wolf howls and low rumbling drum hits, transporting you to a realm of intrigue and allure. Infusing his unique touch, Acid Pauli adds an extra layer of sonic flare to the release by layering cosmic stabs and shimmering chimes, enriching the melodic experience.

Following on from recent works for 12k, The Trilogy Tapes, and Important, Far More Decentralized is a new collection of subtle, enchanting pieces from Tokyo-based sound and visual artist Akhira Sano. Working with electronic, instrumental, and concrete sounds, he crafts immersive assemblages of long overlapping tones and blurred resonance, cut through with textural crunch and hiss. The resonant bell-like tones of opener ‘Kouai’ invite the listener in, calling up the warm sound palette of ambient classics like Hiroshi Yoshimura’s Music for Nine Postcards, but leaving any sense of compositional anchor behind for a free-floating harmonic drift. Woven through this seductive tonal cloud is a wavering stream of white noise and tactile pops, its textural grit threatening to derail the calmly reflective pool of pitched sounds, but never quite doing so. Each of these seven pieces occupies a similarly ruminative harmonic space while possessing its own identity. On ‘Neow’, lush tonal swells form around fragmented samples, touching on the techniques of early 2000s glitch artists like Ekkehard Ehlers. ‘Orbv’ is particularly subtle in its combination of rippling back-masked tonal wash, almost subliminal suggestions of field recordings, and distant traces of raw electronic interference, as if a Toshimaru Nakamura recording is playing through an open window across the road. ‘Margin’ weaves together a skein of wistful slow-motion melodies while untraceable, resonant clinks and ambiguous static washes rise gradually to the surface. In comparison to his recent Phase Contrast for Recollection on 12k, recognisable instrumental sounds are a rarity here, yet a hand-played feeling is present throughout. On ‘Teens’, filtered electric guitar tones reminiscent of the melancholic miniatures of Andrew Chalk float over aqueous burbles, bringing the album to a magisterial close. In the crowded field of contemporary electronic music tending toward ambience, Sano is a distinctive voice. Like his elegant abstract paintings, here seemingly static surfaces of unhurried calm reveal rich interior worlds of subtle activity and gentle chaos. Where much contemporary ambient music aims for an almost stifling cleanliness of tone, Sano breathes life into Far More Decentralized through the acceptance of imperfection, accident, and rough edges. As the artist himself says, ‘In a world where everything can be made perfectly, I think it’s a beautiful and primal act to touch the fragile and imperfect’

Marjaa: The Battle of the Hotels” is a concept album born of the idea of merging singer & songwriter Mayssa Jallad’s two vocations: music and urban research/architectural history. Written in collaboration with producer Fadi Tabbal, the music builds upon Tabbal’s spatial approach to sound and Jallad’s research on Beirut’s Hotel District. The album is a reference to Jallad’s Historic Preservation master's thesis, in which she detailed the history of the “Battle of the Hotels”, a 5-months battle that took place in Beirut at the beginning of the Lebanese Civil War, from October 22nd, 1975 to March 29th, 1976. Jallad saw architecture as a main protagonist of the battle, as she discovered it was the first high rise urban battle in the world. The close of the battle resulted in the 15-year Green Line, an urban rift which split Beirut into “East and West”, restricting movement and communication and creating a violent divide that still resonates today. The album comprises two parts. Part A: Dahaliz, is a stroll in the city, where Jallad tries (and fails) to follow an old map. Musician Youmna Saba is a companion in this journey of remembering the once winding corridors (“Dahaliz”) of the city, destroyed by new developments since the 1960s. Empty skyscrapers propel her onto a past filled with the violence of snipers, and a present filled with the glamorous injustice of empty luxury real estate endorsed by powerful warlords-turned-politicians. In Part B: Maaraka, Jallad inhabits the building of the Battle of the Hotels, as its events unfold. She calls the fighting militias the Blues and Reds, respectively the Lebanese Front (Christian Nationalists) and the Lebanese National Movement (Pro-Palestinian leftists), leveling the playing field, and drawing a map of the battle through songwriting. Sary Moussa produces the conclusion of the battle in “Holiday Inn (March 21 to 29)”, which ends with the ultimate severance of the city of Beirut. The music caters to post-war youth who have never been taught this difficult history. Once we consider the “Battle of the Hotels” as our common heritage, it provides an opportunity to teach the value of civil peace. It is also a call to protest for the renewal, rather than the recycling of the political class that has once destroyed the country and holds us, to this day, hostage of its violence. Limited edition of 300 copies. 140gsm vinyl pressed at Microforum (Canada).

‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

Since 1983, Justin K. Broadrick (Godflesh, Jesu, Council Estate Electronics, The Sidewinder, etc.) has been producing largely solo, but sometimes collaborative, work under the Final moniker. Beginning as a more obviously power electronics-inspired project it has during the past two decades or so evolved into one which still retains that sonic intensity but has a more expansive sound. I Am the Dirt Under Your Fingernails is the latest album, closely following It Comes to Us All on Alter in July 2022 and the now mostly o/p CD version already released in October 2022. Comprising nine tracks each named and numbered after the album’s title, IATDUYF violently pushes us through a murky world of suffocating textures, crepuscular guitars, serrated noise and what appear to be random bursts of sawmill grind which together create the perfect backdrop to today’s newscape. This is a relentless sound that’s absolutely unforgiving as it hammers home anger and despair with little respite, illustrating very clearly that JK Broadrick has been one of the very few to contort the uncompromising approach of early power electronics into wholly new and contemporary forms rife with greater possibilities.

André Roligheten is known for his strong presence in a number of collaborations with everything from Gard Nilssen's Acoustic Unity, Team Hegdal, Friends & Neighbors, Trondheim Jazz Orchestra, Susanne Sundfør, to his own release "Roligheten - Homegrown" from 2017.With his new adventurous ensemble, he is now releasing brand new music on the album "Marbles" (Odin, 03.11.23). The album contains a collection of compositions that facilitate bold interaction. The compositions are conceived as parallel universes with their own, improvised musical forms. Imagine that Sonny Rollins and Egberto Gismonti met on the beach at a yoga retreat in Hawaii and decided to make an album together! Roligheten brings out a highly personal expression in his warm tenor saxophone together with a star team of Scandinavian musicians. Each and every one of them adds a unique depth and substance to the musical universe; Strøm's rigorous double bass, Ståhl's bold vibraphone, Nilssen's elastic drums and Lindström's gripping pedal steel. This merges into a unique sound that carries Roligheten's compositions on a golden stool. The gallery of people in this ensemble has prestigious names, and they have worked with artists and bands such as Tonbruket, Bushman's Revenge, Ane Brun, Paal Nilssen-Love, Bobo Stenson, Supersonic Orchestra and Georg Riedel.

How does one express the bone-chilling loneliness of having lost the love of his or her mate, even as the relationship continues in the present tense? We would venture to say that “Element Of Love”, the inaugural 45 on S’plat Records, and the record debut of vocalist Gervis Myles, pretty well answers the question. The song and the performances elevate this record well beyond many efforts which seem to get lost in the mannerisms of soul, but ultimately miss the point. Gervis Myles tears into the song, which has the feeling of a scorching King Records hard soul lament from, say, 1960. He moans, shouts, unleashes falsetto outbursts, and hits ever more impossibly high non-falsetto notes as the song goes on. Bootsy Collins commented: “Y’all takin’ me back while moving forward. I love the way you funkin’ with me!” The band, which we call “Suite Crude Revue”, consists in this instance of Andrew Spadofora on saxophone, whose solo work on the record contributes considerably to its searing intensity, John Paul Simons (upright bass), Bryan Rogers (piano), Dave Schoepke (drums) and Daniel Zelonky on guitar. The B side, “I’m Thirsty,” is a rhythm and blues stomp about drinking away “woman problems.” Standout piano work from Rogers and a blistering solo by Spadafora, in addition to the raw vocal performance, make one want to …. drink! Written, arranged, and produced by Daniel Zelonky (aka Low Res).

The Kotiomkin band was born from a great passion for 60s-70s-80s Italian genre cinema, a series of movies characterized by aesthetically innovative approach, in complete opposition to the mainstream and to more or less politicized intellectual cinema of the time The duo are devoted to the creation of instrumental soundtracks for non-existent movies, with invented plots featured in the liner notes, having as a reference the classic soundtracks of the time but revisiting them with the violence of the most modern stoner, pushing the boundaries of doom. It is the rediscovery of a never really finished cinematic world that is also celebrated in terms of its extraordinary soundtracks by musicians such as the masters Ennio Morricone, Nico Fidenco, Fabio Frizzi, Franco Micalizzi, Berto Pisano, Lallo Gori, up to bands such as Goblin, Osanna, Libra, Marc 4 and many others. Kotiomkin not only look at horror movies but also at those more niche genres, ranging from erotic, to "giallo", to "poliziottesco" and more extreme subgenres such as cannibal movies, "mondo" movies or sexploitation, all with a violence of sounds unknown to Italian B-movies.

The Kotiomkin band was born from a great passion for 60s-70s-80s Italian genre cinema, a series of movies characterized by aesthetically innovative approach, in complete opposition to the mainstream and to more or less politicized intellectual cinema of the time The duo are devoted to the creation of instrumental soundtracks for non-existent movies, with invented plots featured in the liner notes, having as a reference the classic soundtracks of the time but revisiting them with the violence of the most modern stoner, pushing the boundaries of doom. It is the rediscovery of a never really finished cinematic world that is also celebrated in terms of its extraordinary soundtracks by musicians such as the masters Ennio Morricone, Nico Fidenco, Fabio Frizzi, Franco Micalizzi, Berto Pisano, Lallo Gori, up to bands such as Goblin, Osanna, Libra, Marc 4 and many others. Kotiomkin not only look at horror movies but also at those more niche genres, ranging from erotic, to "giallo", to "poliziottesco" and more extreme subgenres such as cannibal movies, "mondo" movies or sexploitation, all with a violence of sounds unknown to Italian B-movies.

On their debut EP, Sam De Nef and Camille Camille delve into some of their most personal and introspective songwriting yet. These songs showcase their individual talents but also highlight the powerful synergy that arises when two gifted artists and unique vocalists join forces to create something truly special.

Sam and Camille are two unique and talented artists hailing from Belgium who share a gift for writing compelling contemporary folk and singer-songwriter songs. They both released acclaimed debut albums in recent years and have been crossing paths on numerous occasions. Camille appeared in duets on Sam's debut EP and his first album, Sam featured in Camille's live band, each time expressing a profound musical chemistry.
This collab EP seemed the logical next step, uniting their talents to craft an EP embodying heartfelt, warm, and uncomplicated songs.

"In the collaborative journey of crafting the songs on Waving, our different creative approaches brought about a unique synergy. We feel the result transcends our individual styles. Each song resonates with our individual aspirations, which makes playing them very refreshing and challenging."

Stripped to their core, these compositions on their debut EP are defined by the gentle interplay of acoustic guitars and harmonious vocals. Only subtle percussion and the occasional cello add subtle layers to the sonic tapestry. The two recorded the six songs on their debut EP by themselves in the intimate atmosphere of Sam's home studio, opting for a DIY and back-to-basics approach. Their primary focus was on capturing spontaneity and the essence of live performance. Musical sparring partner PJ Decraene added the final touches and mixed the EP.

International ensemble Classico Latino are proud to present their new album 'Salsa Classics' featuring salsa legend Julio Ernesto Estrada aka 'Fruko and virtuoso violinist Omar Puente. Drawing on the familiar Bolero and Tango, as well as lesser-known rhythms such as the Pasillo and Joropo, Classico Latino's new album displays the amazingly varied stories and emotions of Latin America.

'Salsa Classics' features collaborations with Colombian multi-instrumentalist and salsa legend Julio Ernesto Estrada aka 'Fruko,' a behemoth of the international salsa scene and an awe inspiring musician, who adds much creativity and authenticity to the project. The recording also features Cuban born violinist Omar Puente, a highly skilled virtuoso with a plethora of achievements, including being first violin with the Cuban National Symphony Orchestra, touring with Buena Vista's Ruben Gonzales and performing with high profile figures across a truly diverse range of genres, including John Williams, Jools Holland, and Wynton Marsalis, to name just a few.

Nach 'Another Night' (2011), 'You Are Here' (2014), 'Motivator' (2016) und 'Hard To Stop' (2020) legen High Spirits aus Chicago in Form von 'Safe On The Other Side' endlich ihr lang ersehntes fünftes Studioalbum vor.
Es könnte wohl keine passendere Platte geben, um das 20-jährige Jubiläum von High Roller Records zu feiern. 'Safe On The Other Side' trägt die Katalognummer HRR1000. Ein Umstand, der Chris "The Professor" Black, Multi-Instrumentalist, Sänger und Gründer von High Spirits, mit großem Stolz erfüllt.
Die Band spielt Hardrock mit Einflüssen aus diversen Rock- und Metal-Genres der 1970er- und 1980er-Jahre. Hervorheben muss man die gekonnt eingebetteten Thin-Lizzy-Double-Lead-Attacken, sowie die Kompaktheit und Eingängigkeit der Songs. Die Songs auf 'Another Night' wurden z.B. mit melodischen Bands der NWOBHM wie Tygers Of Pan Tang, Praying Mantis oder den frühen Iron Maiden verglichen.

Nach 'Another Night' (2011), 'You Are Here' (2014), 'Motivator' (2016) und 'Hard To Stop' (2020) legen High Spirits aus Chicago in Form von 'Safe On The Other Side' endlich ihr lang ersehntes fünftes Studioalbum vor.
Es könnte wohl keine passendere Platte geben, um das 20-jährige Jubiläum von High Roller Records zu feiern. 'Safe On The Other Side' trägt die Katalognummer HRR1000. Ein Umstand, der Chris "The Professor" Black, Multi-Instrumentalist, Sänger und Gründer von High Spirits, mit großem Stolz erfüllt.
Die Band spielt Hardrock mit Einflüssen aus diversen Rock- und Metal-Genres der 1970er- und 1980er-Jahre. Hervorheben muss man die gekonnt eingebetteten Thin-Lizzy-Double-Lead-Attacken, sowie die Kompaktheit und Eingängigkeit der Songs. Die Songs auf 'Another Night' wurden z.B. mit melodischen Bands der NWOBHM wie Tygers Of Pan Tang, Praying Mantis oder den frühen Iron Maiden verglichen.

Lucky Pepper is a spicy french old school rock"n"roll band led by Geoffrey Lucky Pepper. Add some mississippi/swamp bluesflavor, a spontaneous big energy and a vintage SciFi comicsaesthetic to the meal and there it is! After the release of his EP "Rock"n"RollAttack!" in 2019, Lucky Pepper releasesits new album "Easier Said Than Done"in 2023. 12 original tracks with raw energy,mixing swamp blues and rock"n"roll.

1963 album from the Cuban conguero Mongo Santamaria. Featuring his brilliant cover version of Herbie Hancock's classic title track, along with numerous compositions of his own, this is one of Mongo Santamaria's most famous and coveted albums. From the iconic cover to the brilliant grooves contained within, this album has the whole package. Excellent latin jazz and latin-soul groovers from a Cuban hero, and one of the most famous performers, full stop, of the middle 20th Century.

2LP with poster + iron-on print, gatefold sleeve. On their 2015 self titled debut EP, Hällas lay the foundation of the saga bearing the same name as the protagonist crusader as well as the band themselves, which later grew into a trilogy composed of the two last songs on the aforementioned EP and the two following albums Excerpts from a Future Past and Conundrum. To celebrate the completion of the trilogy the band decided to do a one-off show in front of a seated audience at Cirkus, a classic venue in Stockholm. Due to worldwide restrictions the show had to be replanned and postponed several times until it finally happened on April 10th 2022. After more than two years on hiatus and with the exception of a minor festival gig the year before, this was the band's first performance during that whole period, and it was by far the longest set to date in the band's entire career. All first three releases of the band were to be performed from back to back divided into two acts. Act I consisted of Hällas and Excerpts from a Future Past while Conundrum and two songs from their newly released album Isle of Wisdom were performed in Act II. For the first time people were able to experience these new songs live. Some of the older songs such as Insomnia and Tale of a Tyrant had not been performed for several years. Strider and Blinded by the Emerald Mist had never even been played live before. So Hällas fans from all over the world attending the show were in for an unforgettable evening. With this record you get a slice of that pie in the comfort of your own living room. So please have a seat and enjoy this time capsule, as it is a very good representation of how this band sounded live back then.

2LP with poster + iron-on print, gatefold sleeve. On their 2015 self titled debut EP, Hällas lay the foundation of the saga bearing the same name as the protagonist crusader as well as the band themselves, which later grew into a trilogy composed of the two last songs on the aforementioned EP and the two following albums Excerpts from a Future Past and Conundrum. To celebrate the completion of the trilogy the band decided to do a one-off show in front of a seated audience at Cirkus, a classic venue in Stockholm. Due to worldwide restrictions the show had to be replanned and postponed several times until it finally happened on April 10th 2022. After more than two years on hiatus and with the exception of a minor festival gig the year before, this was the band's first performance during that whole period, and it was by far the longest set to date in the band's entire career. All first three releases of the band were to be performed from back to back divided into two acts. Act I consisted of Hällas and Excerpts from a Future Past while Conundrum and two songs from their newly released album Isle of Wisdom were performed in Act II. For the first time people were able to experience these new songs live. Some of the older songs such as Insomnia and Tale of a Tyrant had not been performed for several years. Strider and Blinded by the Emerald Mist had never even been played live before. So Hällas fans from all over the world attending the show were in for an unforgettable evening. With this record you get a slice of that pie in the comfort of your own living room. So please have a seat and enjoy this time capsule, as it is a very good representation of how this band sounded live back then.

Fully remastered edition of the classic rarities collection from The Obsessed, plus new tracks and new liner notes! A historic document of the stoner/doom godfather's original and best-known band. This new version is Black.Blues Swirl Vinyl! 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the worldwide stoner/doom scene. Led by Scott "Wino" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, with Wino himself playing and performing with members of Sleep, Neurosis, Foo Fighters, Judas Priest, Black Sabbath and more. Since their earliest days, The Obsessed accumulated dozens of demos, b-sides, covers and alternate recordings, many of which were issued in various limited releases and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and extensive new liner notes with Wino himself telling stories behind each long-lost gem. Fully remastered, new tracks, new artwork, new photos, new liner notes! Press Quotes: 'The career of Wino is a rich and fabled one, and his tentacles of influence weave throughout the arenas of rock, punk and metal.' _Alternative Press 'Wino, what a fucking guitar player, and one of my favorite singers, nothing to prove, just soul-felt vocals.' _Phil Anselmo (Down, Pantera) 'Wino's music has always been so serious, that's the only thing he knows, and he's gonna do it whether or not he makes a million dollars or ten bucks... he means it.' _Pepper Keenan (Corrosion of Conformity) 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the stoner/doom scene worldwide for nearly 40 years. Led by Scott ""Wino"" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, as well as Wino himself playing and performing in bands with members of Sleep, Neurosis, Judas Priest, Black Sabbath and more. Since The Obsessed's earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

Fully remastered edition of the classic rarities collection from The Obsessed, plus new tracks and new liner notes! A historic document of the stoner/doom godfather's original and best-known band. This new version is Black.Blues Swirl Vinyl! 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the worldwide stoner/doom scene. Led by Scott "Wino" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, with Wino himself playing and performing with members of Sleep, Neurosis, Foo Fighters, Judas Priest, Black Sabbath and more. Since their earliest days, The Obsessed accumulated dozens of demos, b-sides, covers and alternate recordings, many of which were issued in various limited releases and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and extensive new liner notes with Wino himself telling stories behind each long-lost gem. Fully remastered, new tracks, new artwork, new photos, new liner notes! Press Quotes: 'The career of Wino is a rich and fabled one, and his tentacles of influence weave throughout the arenas of rock, punk and metal.' _Alternative Press 'Wino, what a fucking guitar player, and one of my favorite singers, nothing to prove, just soul-felt vocals.' _Phil Anselmo (Down, Pantera) 'Wino's music has always been so serious, that's the only thing he knows, and he's gonna do it whether or not he makes a million dollars or ten bucks... he means it.' _Pepper Keenan (Corrosion of Conformity) 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the stoner/doom scene worldwide for nearly 40 years. Led by Scott ""Wino"" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, as well as Wino himself playing and performing in bands with members of Sleep, Neurosis, Judas Priest, Black Sabbath and more. Since The Obsessed's earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

Following on from the psychoacoustic concrète of Outside Ludlow / Desert Disco LP (BT075), Sam Dunscombe returns to Black Truffle with Two Forests / Oceanic. Dunscombe has been active in recent years on multiple fronts, including as a key member of the Berlin community of Just Intonation researchers and practitioners; working with composers like Taku Sugimoto, Mary Jane Leach, and Anthony Pateras; and the release of Horatiu Radulescu - Plasmatic Music vol. 1 (the result of many years performance research into the thought and music of this seminal Romanian spectralist). In parallel with these activities, Dunscombe has been deeply involved in research on the role of music in psychedelic-assisted psychotherapy, prompting these two side long pieces, composed using field recordings and digital synthesis. As Dunscombe explains in the accompanying liner notes, music plays a key role in psychedelic-assisted therapy, yet it is often restricted to stock forms of New Age, ambient and electronica. Taking seriously the potential for spatio-environmental sonic experiences to add to the therapeutic process, these two pieces are intended to suggest how ‘a music-as-environment approach may help to add options to the therapist’s toolbox’. ‘Two Forests’ begins in a central Californian sequoia grove. Bird songs and buzzing insect life are treated with a variety of time-based processing methods (slicing and recombination, primitive granular synthesis, delay, and so on), which strip the field recordings of their linear, documentary character, reframing them in an enchanted web of traces and echoes. Analysing the pitches found in the original recordings, Dunscombe used them to generate a large Just Intonation pitch set. These tones are woven slowly into the field recordings, gradually building in density and complexity until the forest has been transformed into an unreal space of infinite proportions. Emerging from this cosmic expanse in the final minutes of the piece, we find ourselves in the Amazon rainforest outside Manaus, Brazil. As Dunscombe writes, the piece creates ‘a sense of place-gone-strange, of space and time simultaneously expanding and contracting across octaves, miles, and minutes’. On ‘Oceanic’, several recordings of different beaches fade in and out to create a texture both homogenous and constantly shifting in both the rhythm of the waves and each recording's sense of depth and distance. Tones relating in simple ratios to the average rhythm of each beach float over each other, colouring the white noise texture of the field recordings with shifting hues. In both pieces, Dunscombe forgoes the easy consonance that bogs down much contemporary ambient music for a richer harmonic array informed by extended tuning practices and spectralism. The end results suggest a hitherto undreamt-of meeting of Radulescu’s undulating sonic masses and the discreetly processed location recordings of Irv Teibel’s ‘psychologically ultimate’ Environments. Looking beyond the insularity that can afflict experimental music culture, Dunscombe’s work is a moving argument for the healing power of expanded approaches to sound and music. Even outside of a psychedelics-assisted therapy, frequent immersion in Two Forests / Oceanic is almost guaranteed to produce beneficial psychological results.

Street/OI-Punkrocker LOIKAEMIE kehren auf die Bühnen und in die Ohren unserer Zeit zurück! Und sie haben immer noch und auch wieder was zu sagen! Nachdem die Band 2014 ihr 20-jähriges Bestehen feierte, legte sie eine Pause ein, kehrte aber bereits 2019 erstmals live zurück und ist mit den diesjährigen Gigs enorm erfolgreich und gefeiert. Nun mit der brandneuen Single "Lumpenmann" am Start, welches der erste neue Song seit 2007 ist, aber nicht der letzte sein wird. Versprochen! Denn ab dem 16.09.2022 gibt's den Song als Single Digital und zugleich geht diese Doppel-A-Seite-7"-Vinyl-Single mit dem weiteren neuen Stück "Tief Im Herzen" (ebenfalls Single Digital am 04.11.2022) in den Vorverkauf! Und danach geht's in 2023 mit noch mehr neuen Stücken und in der zweiten Jahreshälfte mit Album Nummer 5 weiter... Der LUMPENMANN ist Feuerwehr und Müllabfuhr zugleich. Man braucht ihn vielleicht, aber man mag ihn nicht in der Nähe haben, und wenn er kommt, soll er baldmöglichst wieder verschwinden. In dem Song steht der Lumpensammler für all jene Mitmenschen, die ihre Meinung nicht sagen können oder wollen, wo es zweifelsohne angebracht und notwendig wäre. Wenn alles schief gelaufen ist, alles gegen die Wand gefahren ist, dann kommt der Lumpenmann und muss mit brachialer Gewalt Erfolg erzwingen und die Geschichte wieder in Ordnung bringen. Der Song spiegelt zum Teil persönliche Erfahrungen der Band wider und soll die Notwendigkeit ausdrücken, sich selbst treu zu bleiben, um nicht zu einem reinem Lumpen zu werden. Denn wenn man das nicht tut, wird der Weg durchs Leben Aufgenommen und produziert von KURT EBELHÄUSER mit MICHEL WERN in den OFF THE ROAD STUDIOS /Leipzig , September 2021.- Abgemischt von KURT EBELHÄUSER im TONSTUDIO 45/Koblenz- Gemastert von ANDY "DOG YOUNG" JUNG im KENNER MASTERING STUDIO Berlin. Produzent Kurt Ebelhäuser ist Gitarrist/Sänger von SCUMBUCKET und BLACKMAIL sowie Produzent von u.a. DONOTS, PASCOW, KMPFSPRT, ACHT EIMER HÜHNERHERZER und ADAM ANGST. Schwarze Doppel-A-Seiten-Single mit zweiseitigem Poster und Beilage (limitiert auf 700 Stück weltweit)!

Santaka is truly the sound of a culture. The name means “confluence” in Lithuanian, and the project has been exactly that from the moment DJ/producer Manfredas and drummer/producer Marijus Aleksa resolved to work together in the early days of 2020.

Not only does it bring together the talents that Manfredas and Marijus have individually honed over their own illustrious international careers in the club underground and young jazz worlds – but their recordings have drawn on talents from across styles and generations within Lithuania, creating a fusion of experimental sounds that represents the living nation. The highest common factors of post rock, jazz, dancefloor and abstract electronics, classical and more all flow together. Now, they are deepening this further, by reworking recordings by composer Rytis Mažulis and the avant-garde choir Melos Collective.

Over two tracks, they create haunting but hopeful, weird but truly wonderful atmospheres that look back to the deep history of their home nation’s music and culture but also forward to sonic science fictions of their own. In “Autoportretas”, disembodied voices emerge from the air around Marijus’s percussion subtly at first but becoming more and more corporeal as the ritual takes shape.

The eight-minute “Ramybė” is less linear, more dreamlike, with orchestral drones, free jazz fluttering and retro electronics joining the voices and drums. But for all their eeriness and oddness, both are built on the pleasure principle too: this exploratory music joining past and future is thrilling and sustaining in the moment.

»Tropic of Capricorn« is the second album by Lawrence English and Werner Dafeldecker. Based on field recordings made by the prolific Room40 owner that were subtly but decisively altered with electroacoustic techniques through the German improv legend, these two long-form pieces blur the lines between acoustic ecology and aesthetic interventions, concrete local sound worlds and boundary-defying art. They put a focus on our relationship with nature as listeners as much as they call into question where nature ends and human perception begins. They are deeply confusing, disorienting perhaps, in the most beautiful ways.

English recorded the material that form the basis of the duo’s Hallow Ground debut on two different field trips. One led him from the Western coast to the Pilbara region in the North of the country called Australia, the other to the central desert into the lands of the Arrernte people. »These are vast spaces, and in some respects they shun contemporary ideas of civilisation which seek not to listen to the country,« says English. When recording the soundscapes, the artist put a focus on the residues of failed colonial aspirations. »The buildings and objects that remain from the failed cattle pastures and other endeavours create uneasy sound worlds of their own,« he says of the regions that are also places of extraction, especially the heavily mined Pilbara. »There is a distant drone of industry in even the most remote of places; an unsettled sense of heavy breath on the land.« He brought home a document of natural reclamation in time.

The rich source material was then given to Dafeldecker. Spatialising the recordings with transducers applied to different surfaces such as wood, stretched animal skin, glass, or metal surfaces and also re-recording parts of the recordings, he created discrete events that were inserted into, or rather enmeshed with English’s recordings. You’ll hear plenty of birdsong, insect noises and the sound of rain during these 39 minutes; the sounds of a life you can tap into if you tune into your environment. But there are also other things, things that are impossible to categorise even after repeated listens and that call into question whether or not those were really birds, insects, or the sound of rain in the first place. What »Tropic of Capricorn« invites its listeners to listen beyond the preconceived notions of how nature is supposed to be represented in sound and to instead embrace the immediacy of the sensation.

• 180 GRAM AUDIOPHILE VINYL
• SOUNDTRACK FROM THE BRAND NEW NETFLIX
ORIGINAL THRILLER MINI TV-SERIES LIEBES KIND (DEAR CHILD)
• SCORE BY THE OSCAR-WINNING COMPOSER
GUSTAVO SANTAOLALLA (BABEL, THE LAST OF US) & JUAN LUQUI (THE LAST OF US, FINCH)
• LIMITED EDITION ON CRYSTAL CLEAR VINYL



Liebes Kind is the 2023 Netflix psycho-thriller series, based on the novel of the same title by Romy Hausmann. The story follows a mysterious woman’s escape from her harrowing captivity, which points investigators toward the dark truth behind an unsolved disappearance

13 years earlier. Liebes Kind starts where traditional thrillers end with redemption, but the true extent of this nightmare is revealed with the arrival of Lena’s parents at the hospital the same night.



The series is accompanied by a captivating score by the critically acclaimed duo Gustavo Santaolalla and Juan Luqui. The two released their Original Soundtrack this September with the help of Robert Messinger and Sergio Chiappetta. The globally renowned multi- instrumentalist, composer, and producer Santaolalla is also known for his Academy Award-winning scores for Babel and Brokeback Mountain, as well as the legacy score of The Last Of Us.

Despite all the dark elements of the series, the two composers were able to also capture the fragility of the characters. The Original Soundtrack for Liebes Kind is available as a limited edition on crystal clear vinyl.

Im November 2013 veröffentlichte Adel Tawil sein fortan gefeiertes Solo-Debut-Album "Lieder". Anlässlich des 10-jährigen Jubiläums erscheint das Album nun in einer limitierten Neu-Auflage mit exklusivem Album-Cover und als zweifarbige Doppel-LP mit vier Bonustracks, die es bisher nicht auf Vinyl gab.


Die Edition präsentiert sich in einem Gatefold-Design, ist persönlich von Adel Tawil signiert und auf 1.000 Exemplare limitiert und durchnummeriert.

Seine Single „Lieder“, die wie ein chronologischer Soundtrack seines Lebens geschrieben ist, ist zur Pop-Hymne ganzer Generationen in Deutschland geworden und ist mit über einer Millionen verkauften Units einer der erfolgreichsten deutschen Songs in diesem Jahrtausend. Insgesamt kann Adel auf eine über 25 Jahre umspannende Karriere mit Band- und Solo-Projekten zurückblicken.


Nur für seine Solo-Karriere wurde er dabei mit 13 Platin- und 12 Gold-Awards im gesamten deutschsprachigen Raum geehrt. Das Album “Lieder” alleine hat mit mehr als 500.000 verkauften Einheiten einen fünffachen Goldstatus.

Als besonderes Highlight enthält diese Edition erstmals auf Vinyl die vier Bonus-Tracks: "Paradies", "Vergiss mich", "Kater am Meer" und "Niemals Niemand".

It has become clear that Matthew Shipp is the most interesting and important jazz pianist of his generation, the most continually evolving and pushing forward. (We could also say “best,” even have been known to declare that, but it’s such a loaded term.) Now that he’s in his sixties and something of an elder statesman of the art form, he’s overdue for a retrospective look at his catalog, and to help make that happen, ESP-Disk’ will be reissuing some of his great early work that’s gone out of print:
• The 1990 trio recording Circular Temple (originally self-released on Quinton, then reissued in 1994 by Henry Rollins on his Infinite Zero label) will come out this September;
• His 1994 duo album with William Parker, Zo (originally on Rise, reissued in '97 on Rollins’s 2.13.61 label), will reappear in Spring 2024.

These will both be reissued not only on CD, the format on which they first appeared, but on vinyl as well, since many jazz fans prefer that medium. Additionally, his solo piano album Zero, released by ESP-Disk’ in 2018, will be put out on vinyl for the first time, also in 2024.

Circular Temple has marked many firsts for Matthew Shipp: his first CD release, first piano trio album, first of many times on record with Parker and Dickey, first album to be reissued, and on ESP-Disk’s reissue of it, first CD-only album to finally appear on vinyl and first album to be released by three different labels. And, more trivially, the first Shipp album that current ESP head/reissue producer Steve Holtje acquired, back when the only choices were that and a 1988 LP-only duo by Shipp and saxophonist Rob Brown on the Cadence label.

Smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on side B in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Snap up the mid-century college party in a box that is PP006 — and hope your tables don’t get too scuffed up from people dancing on them. The fun that The Teacher Haters had in making these tracks is all here and available to you — whether you want to go on a nostalgic trip through a 60s coed party, or host your own shindig where dancing is mandatory. Get your hands on this disc before the regents show up.

'Elephantasia' is a glorious folk opus from 1972, long lost and attaining a legendary reputation for its candour and creativity, from the late Bangor-born singer/songwriter Dave Evans. Finally, the LP sees the light of day again via Earth Recordings, it is a true gem from the vaults of British folk history. For fans of Nick Drake, Bill Fay and Davy Graham - with a touch of Michael Chapman, Bert Jansch and Fahey for good measure. Dave Evans' story is like a Pinter play; he sailed the seas in the merchant navy, was taught guitar in a brief interlude by the "mythical" Morocco John, wound up sharing a room with Steve Tilston in 1963 when they attended Loughborough Art College and ran the local folk club, while learning to make stringed instruments, the art of wine making and ceramics. Over the next year, Dave got a domestic 2-track reel-to-reel tape recorder and experimented with its two speeds to produce the tracks 'Elephantasia' and 'Lady Portia'. He pulled in members of local prog band Squidd, including latter day Hawkwind member Steve Swindells on keyboards, John Merritt on bass and Rodney Matthews on drums, who also designed the 'Elephantasia' album cover, and went on to become a renowned fantasy artist. 'Elephantasia' the album was originally released in 1972, fully exposing Dave's finger picking style, lilting vocal and his dalliance with the tape manipulation. It sold around 2000 copies and over the years became a talked about rarity, deemed too progressive for folk, too folk for the new prog heads. In best plot-thickening style, Dave tried two more releases and then disappeared. The scant sleeve notes recounted the songs' creation, featuring tales of experimentation in sound inspired by elephants, old memories recounted with all of the unpleasant bits edited out, storylines for escapists, the residents of St Agnes Park, broken beauty queens and a fat feline. It's an eclectic but beautifully fluent narrative from a finger picking maestro with a warm and engaging vocal style that wowed Peel and Whispering Bob back in the day. Dave Evans sadly died in April 2021. Earth Recordings is proud to reissue 'Elephantasia' for the first time in over 50 years, in collaboration with his estate and original Village Thing producer Ian A. Anderson. "Cult status guaranteed." Uncut. Classic Black Vinyl, DL card. CD Digisleeve.

Deer Tick’s debut album, ‘War Elephant’, is back (even though it never went anywhere). It is the same stellar album released in 2007 and then reissued by Partisan in 2008. This version of the album finds us returning to the original 2007 illustrated cover. This cover will become the new standard version of the album across all formats. The music and track listing remains the same.

John McCauley III wrote, arranged, played, and recorded the album at the tender age of 21. The album is full of songs wiser and more nuanced than John should have been able to produce according to natural law. The words are deliberate and heartfelt and follow the lead of singer / songwriter heroes of John’s like Townes van Zandt, Neil Young and Richie Valens.

The album concludes with a cover of the 1962 GRAMMY-winning Song Of The Year, ‘What Kind of Fool Am I’, made famous by Sammy Davis, Jr.

It can safely be said that this debut album is a genre defying classic; it’s a hook filled bar room rock album that is as connected to 90’s Seattle catchy gloom as it is to left-of-the-dial late 80’s Minneapolis and 70’s Austin honky tonk.

140g Heavy Metal Grey (gun metal grey) coloured double LP with an etching on side D, housed in a single sleeve jacket with printed insert.

Original release press included reviews from Pitchfork and The Line of Best Fit plus support from Billboard, Brooklyn Vegan, All Music and American Songwriter.

Limited to 500 copies ww. Independent heavyweights Spearmint return this year to follow-up 2021's highly acclaimed 'Holland Park', with the superb new album 'This Candle Is For You'. Spearmint have been making great records for a couple of decades now: this will be their tenth album proper. Still the same line-up: Shirley Lee (singing, guitar), Simon Calnan (singing, keyboards), James Parsons (guitar, bass) and Ronan Larvor (drums). This album will be the 60th release on their own hitBACK label. Missed out so far? The new album provides the perfect place to start! The dizzying multiverse of an album covers a wide array of themes, including the search for a missing sister, the ways we remember lost loved ones, Prince's encounters with Joni Mitchell, the story of John Gavin, the James Bond star who never got to make a film, late-night drinking in Soho, the joys of B-movies & video nasties, changing attitudes to mental health, the plight and wonder of older cats, the reaction to the death of Sarah Everard, and the afterlife. Re-united with producer Rhodri Marsden (Scritti Politti), the band feel that this record is their best yet. Singer Shirley explains "We started off just wanting to make an album that would stand alongside our last one 'Holland Park', but it ended up surprising us - we love it!"

2023 Repress

Here after a long time the first EP release on Best Record containing new unreleased music. Afrodesia project born from a close collaboration between Periodica Records and Best Italy featuring Mystic Jungle & Whodamanny.
Afrodesia took inspiration from the italian afro-movement that lasted for few years during mid-eighties expecially from those songs produced at the legendary Les Folies Studios in Milan. Afrodesia sounds balearic boogie afro and cosmic with heavy use of original past synths and drum machines programmed and played by Dario Di Pace, Raffaele Arcella and real acoustic instruments thanks to the musicians : Giulio Neri (Tenor Saxophone and vocals), Andrea Farias (Guitar), Davide Di Sauro (Bass) and the late George Aghedo (Percussion).

"Reptile Brain Music" - Imperial State Electric's third studio album was originally released in 2013.
Clocking in at a little over 33 minutes RBM boasts a dozen tracks of their particular and peculiar rock'n'roll.
The album is bookended by two high-energy live favorites, "Emptiness into the Void" and "Down in the Bunker" in a classic Andersson style. However, the less obvious songs within also reveal some unexpected treats. The heavy Blackmoresque "Faustian Bargains" showcases some unexpected time signatures. "Dead Things" feels like Beatles meets horror movie soundtrack (Fred Estby contributes lyrics). While the frantic "Born Again" is far from pieous, delivering a blistering blow to religion.

RBM also shows the further development from solo project into a full-fledged band with multiple songwriters and different lead vocalists. Tobias Egge opens new doors with his contribution "Stay the Night" and Rudolf de Borst screams lead vocals for the wonderfully primitive title track - "Reptile Brain".

Recorded at Gutterview Recorders, mixed by Fred Estby & Nicke Andersson & produced by Nicke Andersson.
Originally released on Warner Music and promptly "Out of Print" fans have been clamoring for a reissue.
From the press release 2013 "Imperial State Electric is entering phase 3 in its ongoing battle against mediocrity.
An endless quest to make the rock roll".

In the late 1960s, vibraphonist Roy Ayers was among the top young talents in jazz, thriving during a remarkable era for the genre. While Ayers would later become a jazz-funk pioneer and delve heavily into R&B fusions, his third album Stoned Soul Picnic is a masterful showcase of soul-jazz grooves. Produced by Herbie Mann, Stoned Soul Picnic features a memorable Laura Nyro-penned title track, along with an exceptional lineup of musicians, including Gary Bartz, Hubert Laws, Ron Carter, Herbie Hancock, and Grady Tate. Originally released in 1968.

Released in 1996, Le Onde "The Waves" was the first solo piano album released by Ludovico Einaudi. The incredible work featured the following quote from the man himself. "If it were a story it would be set on the seafront of a long beach. A beach without beginning and without end. The story of a man who walks along this shore and perhaps never meets anyone. His gaze lingers occasionally to look at some object or fragment brought from the sea. The footprints of a crab or a solitary seagull. I always take the sand, the sky, some clouds, the sea. Only the waves change, always the same and different, smaller. larger. Shorter. Longer." Now released on Blue Vinyl for the very first time.

Mit der Kombination der klassischen Jazz-Crooner-Eleganz von Frank Sinatra und Nat 'King' Cole mit der erdigen Raffinesse der Soul-Legenden Stevie Wonder und Donny Hathaway setzt 'Merry Christmas from José James' die Messlatte für ein modernes Weihnachtsalbum höher. Auf 10 Songs, darunter zwei Eigenkompositionen, haucht James beliebten Weihnachtsklassikern wie 'The Christmas Song', 'White Christmas' und 'Let It Snow' neues Leben ein. Darüber hinaus erkundet der '50 Shades Darker'-Sänger auch seine Jazz-Seite mit einer fröhlichen Interpretation von John Coltranes 'My Favorite Things'. Begleitet von Grammy-Preisträgern/Nominierten wie Ben Williams (bass), Aaron Parks (piano), Marcus Strickland (sax) und dem aufstrebenden Jharis Yokely (drums) ist das Album ein Festtagserlebnis der Weltklasse mit einer der grössten lebenden Stimmen des Jazz auf schwarzem 180g Vinyl.

For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

• Following on from the highly successful first two editions
of Dance Masters featuring the classics mixes from
maestros Shep Pettibone and Arthur Baker the spotlight
turns to another remix legend, John Luongo.
• Boston born, John is one of the truly legendary DJ's and
remixers of the Disco era. John got his break at Epic by
overdubbing percussion from salt shakers and spoons
onto a promo and then passing them back the tape. This
resulted in him being flown to New York, and put in a
studio (of his choice) to mix and produce Melba Moore`s
“You Stepped Into My Life”. From this point everything he
touched was a hit. He went onto remix Disco classics by
Jackie Moore – “This Time Baby”, Dan Hartman “Vertigo
/ Relight My Fire” and Patti Labelle “Music Is My Way Of
Life”.

• John, however was not afraid of remixing artists that
didn’t fit into the disco genre and this attitude is borne out
by the tracklisting of this compilation on which Gladys
Knight and The Pips rub shoulders with ZZ Top and Billy
Idol, and Baltimora appears alongside Bill Nelson and ILevel.
• “…if you played this whole thing, just put it on and
didn’t tell anyone it was me, they’d say ‘boy, what a great
group of songs this is!’” - John Luongo
• The collection is housed in a beautiful lift-off-lid box, with
a 16 page booklet featuring foreword by Arthur Baker, an
in-depth essay written by Alexis Petridis (Rock and Pop
reviewer for The Guardian) and complete with rare photos
from John’s personal collection plus a limited signed insert.

• All tracks remastered by Nick Robbins at Sound
Mastering.
• A 43-track 4CD edition is also available, along with a 2LP
vinyl edition featuring 16 highlights.