Buscar:secon

The onus of proof regarding deepness is a rather peculiar one. Even if one presses all the right buttons, quotes the correct sources and applies the textbook techniques, often something seems to be amiss. The elusive producer Mute never had that problem. Blessed with a a sound of his own, that seems to stem from within and can be called deep house without the genre’s strait-laced demeanor, his aesthetic includes a distinct feel for boogie and disco tropes. Case in point: Lost. Placed as a B2 it is the secret start of Direct Cuts II and more
prominent on this new edition of a classic Running Back record. Molded into an extended disco version by Gerd Janson with unused parts of the original recording session, it something like a curveball deep house disco song, according to the motto: you and me, we can be like a whole universe! Hard to resist and even harder not to like if you have the slightest interest in Prelude records, Diana Ross songs or Tee Scott mix techniques. Basics, Vibes and Driver’s License push further into the world and musical mindset of Mute.
Originally released in 2006 as the the fourth outing of the label and the second (and his last one to date) of the elusive artist, it is still as remarkable as on its first release. Carefully rescued from the original DAT tapes, all re-edited by Gerd Janson and remastered by Lopazz, it’s available again in a clear and present portraiture of its original intent. Early adopters like Danny Krivit and the Idjut Boys can’t be wrong.

LP - 180 Gram Vinyl / Limited to 500 Units 12 festive songs recorded by The King in 1957 - a few even with the famous vocal quartet The Jordanaires. This LP full of Rock`n`Roll christmas hits takes you back into another time.

Red marble LP - 180 Gram Vinyl / Limited to 500 Units 12 festive songs recorded by The King in 1957 - a few even with the famous vocal quartet The Jordanaires. This LP full of Rock`n`Roll christmas hits takes you back into another time.

Tuk Smith is the kind of rock'n'roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. The result is Rogue To Redemption, Tuk's second album with solo project The Restless Hearts. The sonic lovechild of Thin Lizzy, 90s power pop and melody-driven punk, it shows an artistic peak born from adversity. The sound of a man bottling a lifetime of experiences, stories and characters from working class America. Produced by Tuk and mixed by Chris Dugan (Green Day, Iggy Pop, U2), Rogue To Redemption was written over the last three years but recorded down to the wire - right up to the summer of 2024. Joined by long-term Restless Hearts compadres, drummer Nigel Dupree and bassist Matthew 'Ponyboy' Curtis, he cut the bulk of it at home. So if any of this resonates with you - if you crave rock'n'roll with substance, an edge, 21st century eyes and an old soul's heart - you've come to the right place.

“I want it to feel like you’re right there in the room with us.” And in 10 songs and 40 minutes, Wunderhorse capture the raw power and energy that has set them apart as one of the most formidable live acts of recent years. With rugged hooks, unfiltered noise, and fierce melodic sensitivity, Midas rips up the script of traditional second albums and establishes the band as an endlessly addictive and rousing generational talent.
In late 2022, the release of their debut album Cub saw singles ‘Purple’ and ‘Leader of the Pack’ dominate radio airwaves. Landmark performances filling Glastonbury’s Woodsies Tent (FKA John Peel Stage) and selling out London’s Kentish Town Forum months in advance followed tours with Pixies and Fontaines D.C. and stadium appearances with Sam Fender, signalling the band’s arrival as one of the most prominent and exciting new guitar acts in the UK.
With Grammy Award-winning producer Craig Silvey (The Rolling Stones, The National, Florence + The Machine) on board for their sophomore record, the band looked to do something different. Their goal – in the very same studio that Nirvana put In Utero to tape and PJ Harvey recorded the Mercury Prize-nominated Rid of Me – was to push themselves outside of their comfort zones.
“There’s absolutely no faking on this record,” ends Slater, “it's not supposed to be perfect; it’s supposed to be a snapshot, even if it is a bit of an ugly portrait. That's how it was then, and that's how you're gonna see it.” And it sounds like you’re right there in the room with them.

Rockpile were a British rock and roll group of the late 1970s and early
1980s, noted for their strong pub rock, rockabilly and power pop
influences, and as a foundational influence on new wave
The band consisted of Dave Edmunds (vocals, guitar), Nick Lowe (vocals, bass
guitar), Billy Bremner (vocals, guitar) and Terry Williams (drums). Rockpile
recorded four studio albums, though only one (Seconds of Pleasure) was
released under the Rockpile banner. Two other albums (Tracks on Wax 4 and
Repeat When Necessary) were released as Dave Edmunds solo albums, and one
more (Labour of Lust) was released as a Nick Lowe solo album.

The second album of Viennese jazz violinist and composer Rudi Berger, released in 1999.

The second release to come out of Sound Metaphors’ collaboration with the Italian electronic music Don, Gianpiero Pacetti aka JP Energy. “I Have A Pessimistic Outlook Of Life E.P.” showcases a considerably more mature and polished sound relative to the previous release as the artist moves into the end of the 90’s and seems to shed the naive playfulness one could still hear in “Strano E.P.” with it's Italo-disco influences. Here things get more serious and even more “industrial” with a darker and perhaps more cynical tone, not unlike the title of the EP. A 3 track record, very much oriented towards the dance floor, “Fantastic Machine” comes in at over 130BPM with a very metallurgical flavour, something one could imagine hearing at a moving assembly line for car engine parts in a factory somewhere in Brescia, yet with an overlaying eerie nuance. “Automatic Sun” comes in with a very driving beat, the secret weapon of the release by all means, very effective employment of electronic percussive elements. And finishing the EP, Gianpiero’s Requiem to the format, a once record store owner who by 1999 might have already been feeling the tides of change brought in with the early CDJs (one could imagine) “The End Of Vynil” goes into full on electro territory with the beat and very much in tune with the title expresses a funerary darkness with the melodic elements. All in

Crystal clear vinyl, limited to 200 copies. HEBI KATANA's 3rd full album, known as "Tokyo Samurai Doom"! The classic doom riff and mellow and dark melody reminiscent of THE OBSESSED and TROUBLE have become a hot topic mainly overseas. Both works have been released on CD/LP/cassette by domestic and international labels. Their dark yet melodious doom sound attracted attention, especially among doom/stoner enthusiasts around the world. This work, which is the third album, maintains the classic doom/hard rock sound that has been created up to now, but it also has a strong jam feeling honed through expeditions including overseas tours, and the band ensemble is truly impressive. It is a work of art. Coupled with member changes, the content gives a sense of significant growth and progress. In addition, the songs created through collaboration with seasoned live acts have a more vivid finish. Through songwriting that involves everyone's participation, each band's colors and characters are strongly reflected, and it can be said that the band is exploring a unique sound based on the doom/stoner sound. "Hallelujah Anyway" is a straightforward attack with a classic heavy riff and mellow chorus, "Depressed Blues" is a combination of a mid-tempo heavy riff and dark vocals In the second half, "Darkest Priest" develops into a more doomy shuffle boogie, and "Lost" drifts from a dark arpeggio-driven melody to a heavy and sinking development, and the songs included are rich and fulfilling. The yellowtail is something to behold. The rapid advance of "Tokyo Samurai Doom" begins now!

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.

Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.

With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.

This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.

This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.

Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.

With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.

This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.

Thoughtforms: BLUE marks the second installment of this new project by Z@p. The A-side kicks off with "E-Blue," a powerful, immersive journey of almost 9 minutes filled with acid techno sounds and epic vibes. The B-side ventures deeper with "Phantom," showcasing an introspective vibe driven by a massive bassline. Closing the EP, "Stomper" unleashes strong, dark electro energy, with its relentless beats and haunting melodies creating an intense and captivating atmosphere.

For Fans Of... Ralfi Pagan, Kent Gomez, Joe Bataan, Boogaloo Assassins. Pressed on limited edition clear with black swirl vinyl (indies only). Second Dewey Kenmore 45 to be released under Cosa Records. Produced by Joey Reina. Features West Coast legends, The Boogaloo Assassins. Crack open the fire hydrants and break out the popsicles, as Dewey Kenmore hits us with another bonafide block-party staple! "It's Never Too Late" is the highly anticipated sophomore 7" single, a sun-drenched, Latin-soul sure shot that is arriving just in time to burn off that winter gloom. Also joining Dewey & co. this time around are the West Coast legends, The Boogaloo Assassins, on background vocal duties, adding a little sweetness under Dewey's raw vocal stylings.

Your summer anthem has arrived!

Legend is the second posthumous album from revered Dallas rapper, singer & songwriter, MO3, and follow up to the 2021 posthumous release, Shottaz 4Eva, which peaked at #36 on the Billboard 200. Dropping on what would have been his 32nd birthday, Legend features previously unheard music from MO3 himself, and sees appearances by Tye Harris, BigXthaPlug, That Mexican OT, Money Man, Fredo Bang, Ralo, NoCap & Tory Lanez. The 14 track album includes the previously released singles “AR (Feat. BigXthaPlug & That Mexican OT),” “Blood Money (Feat. Finesse2Tymes),” “Tidal Wave,” & “They Don't Know (Feat. Tory Lanez).” While the loss of MO3 is still being felt, fans continue to celebrate his life and honor his legacy by keeping his music alive. MO3 will forever be a Legend.

We are excited to announce the first release of the revamped Italo Deviance Music: "Arredo" (alias of Marcello Giordani). This record includes two outstanding tracks, each with its own unique character. The first track, "Fear Fighter," stands out for its hypnotic Afro/House direction, enriched with synthesizer sounds that capture the imagination and transport the listener to an evocative sonic dimension. The remix of "Fear Fighter" is entrusted to the ren owned Danish artist Kasper Björke, who offers an elegant and refined version, perfectly in line with his distinctive style. The second track, "Blue Spotlight," evokes the classic mid - 80s Dance Library sound, presented in an extended version with Italo nua nces. The remix of this track is curated by Cosmo Dance, transforming it into an extraordinary electronic track inspired by early 80s Italian Disco productions. "Arredo " represents a perfect fusion of nostalgia and modernity, celebrating the past while innovating the present. With sophisticated remixes by Kasper Björke and Cosmo Dance, this release promises to captivate both veterans of the genre and new electronic music enthusiasts. Don't miss the chance to immerse yourself in this unique musical journey.

With the 10th anniversary of the Pi project this year, Pi Electronics proudly presents the second Remixes 12" of the label's various artists series, featuring remixed tracks from the "Divide and Rule" compilation.

Following the first record of this compilation remixes concept, "Variable Remixes" in 2021, we now bring you the second instalment: "Divide and Rule Remixes" (PEVA04).

Original tracks by Stave, Lycurgus, Kondaktor, and Elements of Joy are remixed by label favourites Samuel Kerridge, Templeyard Studios, Monrella, and Sawf.

From the IDM-leaning industrial/noise touch of British artist Samuel Kerridge and the dreamy/slow industrial sounds of Athens' Templeyard Studios on the A side, to the noise techno chaos of Birmingham's Monrella (Mick Harris) and the sonic treatment of Greek techno pioneer Sawf on the B side, this release showcases four tracks for enthusiasts of different tastes, crafted by legends in their own right.

Live In Europe 1967 – The Bootleg Series Vol. 2 was voted ‘Historical Album Of The Year’ in the Down Beat Readers and Critics Poll. This second volume of The Bootleg Series skips two years ahead to record Davis with his ‘Third Great Quintet’, also known as ‘The Lost Band’ (1969-1970). This line-up consists of Miles Davis, Wayne Shorter, Chick Corea, Dave Holland and Jack DeJohnette at their peak, though they were never recorded in studio. Live In Europe 1967 – The Bootleg Series Vol. 2 was voted ‘Historical Album Of The Year’ in the Down Beat Readers and Critics Poll. This second volume of The Bootleg Series skips two years ahead to record Davis with his ‘Third Great Quintet’, also known as ‘The Lost Band’ (1969-1970). This line-up consists of Miles Davis, Wayne Shorter, Chick Corea, Dave Holland and Jack DeJohnette at their peak, though they were never recorded in studio. Their European tours of 1969
are some of the only existing recordings of the group; the first legitimately released audio recordings by this stellar lineup.

Live In Europe 1969 - The Bootleg Series Vol. 2 captures the short-lived quintet in three separate concert settings across four LPs, containing selections from two nights at Festival Mondial Du Jazz D’Antibes in France and one night in Stockholm, Sweden. Special recordings include a pre-studio recording version of “Bitches Brew” which would be recorded in the studio for the infamous record by the same name a few months later.

Live In Europe 1969 - The Bootleg Series Vol. 2 is available as a deluxe 4LP boxset, housed in a lift-off box. The set includes printed inner sleeves and an insert with extensive liner notes.

"Music On Vinyl proudly presents the first installment of the acclaimed Miles Davis Bootleg series on pristine 180 gram vinyl!
The explosive transformation of Miles Davis' 'second great Quintet' with Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) is laid bare on Live In Europe 1967: The Bootleg Series Vol. 1.

Culled from original state-owned television and radio sources in Belgium, Denmark, and France, this 5 LP box set spans three northern European festival performances over the course of nine days in October-November 1967. The audio shows consist entirely of previously unreleased or previously only bootlegged material. Miles' Quintet lineup of 1965 to '68 is acknowledged as one of the high reference points in 20th century jazz, and its influence continues to reverberate in small group jazz today, and it was the quintet's live performances, as they evolved into Miles' ideal of a ""leaderless"" jamming ensemble, that truly immortalized them.

Live In Europe 1967: The Bootleg Series Vol. 1 is the best historical album of 2012, according to the Downbeat Critics Poll 2012. "

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

Originally released in 1996 as a limited fan-club pressing for Rockathon, Guided By Voices’ Tonics And Twisted Chasers has always existed as an anomaly in Robert Pollard’s vast discography. In many ways, the album serves as the tail of a creative comet that in just two years included the “classic line-up” trilogy of Bee Thousand, Alien Lanes, Under the Bushes, Under the Stars and countless singles that crammed endless hooks in their grooves. In the intervening space, Tonics And Twisted Chasers has taken on a mythic status. It’s arguably Pollard’s strangest, gnarliest, most enlightened record and also the fans first chance to see the stitches that bind his galaxy of songs. It’s like peering at the caliber inside a watch, responsible for making the whole enterprise tick. This nineteen-song collaboration with guitarist Tobin Sprout could be interpreted as spontaneous sketches, late-night improvisations, ideas that blossomed later in the timeline (“Knock ’Em Flyin’” and “Key Losers”), but as with anything in Pollard’s orbit, its intention is clear when heard as a cohesive whole. The Pollard tenet that “less is more” is on full display here. The songs rarely creep past ninety seconds and coalesce much like Pollard’s collage-styled visual art. Arena anthems in miniature (“158 Years Of Beautiful Sex”) bash up against eerie piano laments (“Universal Nurse Finger”) without any time to breathe, acoustic lullabies that sound like a Midwestern summer’s twilight (“Look It’s Baseball”) segue into monochromatic post-rock (“Maxwell Jump”). The euphoric joy and obtuse melancholy in Pollard’s voice is so palpable on the album’s standout, “Dayton, Ohio 19 Something & 5” (which has since become a live staple), that it’s impossible to find a more autobiographical yarn in his catalog. The album’s closest analog is 1993’s Vampire On Titus, as it contains that album’s prickly, dark and shimmering obfuscation that only reveals its beauty after repeated listens. Tonics And Twisted Chasers maintains the lore because the melodies are so strong. Using a primitive drum machine, Radio Shack effects, minimal instrumentation and the DIY spirit that guided them in the first place, Pollard and Sprout constructed a masterpiece of pop that could only come from a basement in north Dayton, Ohio. Anyone in that hallowed era who happened upon it, kept it as a secret.

Mute veröffentlichen am 23. August das Album 'The Third Mind Movements' der britischen Avantgarde-Helden Throbbing Gristle erstmals offiziell auf CD und LP.

Die 1975 gegründete Band Throbbing Gristle, bestehend aus Chris Carter, Peter 'Sleazy' Christopherson (1955-2010), Cosey Fanni Tutti und Genesis Breyer P-Orridge (1950-2020), löste das gescheiterte Versprechen des Punk ein, extreme Kultur als Mittel zur Sabotage von Kontrollsystemen zu erforschen. Ihr Einfluss auf Musik, Kultur und Kunst ist unermesslich und bis heute spürbar.

'The Third Mind Movements' von Throbbing Gristle erschien zunächst als exklusive Veröffentlichung, die nur auf der letzten Amerikatournee der Band im Jahr 2009 erhältlich war, bevor sich die Band 2010 wieder trennte. Das Album ist eine Reise durch manipulierte, zeitlich gestreckte und verzerrte Samples, mit rhythmischen Breakbeats und hypnotischen Elektronikschwingungen.

In 2004, California-based indie band Golden Shoulders followed up their highly acclaimed debut with their second album, Friendship Is Deep. Now, on the twentieth anniversary of its release, the album most requested by their fans for a vinyl release is finally set for one on Unspun Heroes. Described as “one of the great semi-lost albums of the 21st Century”, the album showcases singer, songwriter, and band mainstay, Adam Kline’s knack for lyrical hooks and penchant for catchy melodies. But, like friendship, this is deeper than its pop sensibilities might suggest.
 
From the moment the opening track I Will Light You On Fire opens with its simple piano refrain and vocal harmonies you know you’re listening to something worthy of further exploration. From this building of tension between its temporary aural chaos and the beauty that ultimately emerges, you’ll be hooked. Yet, scratch beneath the surface and you’ll find this is an album that carries with it a political, pro-peace, and pro-humanity message, albeit somewhat more satirical than you might expect of a band hailing from America’s West Coast. This is particularly notable on tracks such as Golden Soldiers and the Committee, where Kline’s turn of phrase and wit shines through, cleverly weaving words so they create detailed poetic mosaics. 

Golden Shoulders is a loose and ever-changing lineup of international talent, with Kline as the kingpin and sole songwriter. Given the pedigree of those whose talents grace the album – among them, Todd Roper and Greg Brown (Cake), Josh Klinghoffer (PJ Harvey, RHCP, Pearl Jam), Neal Morgan (Joanna Newsom, Fleet Foxes), and Dan Elkan (Broken Bells) – it’s no surprise the compositions and attention to detail present in each and every one of the 14 songs is top notch. It’s this pleasing mix of accomplished individuals, and their mishmash of influences, which lend a pinball effect to the set of stylistically diverse songs on Friendship Is Deep. Collectively though, the music you’ll hear has a focus, one that channels late 90’s Brendan Benson, the poppier side of 80’s Violent Femmes, and even the mid-60’s flair of the Beatles’ Rubber Soul. 

Kamai Music is excited to announce a long anticipated Ep from latin producer duo PAAX Tulum which will be available on Vinyl and digital. Based between Mexico and Spain, PAAX crafted a deep and dancefloor oriented Ep. The main title "All i Want" is a guitar driven organic track with a groovey Baseline.
The second track "Deep into the Mountain" comes with a more warm and welcoming clubby vibe, smooth arpeggios and a trippy soundscape. The third original called "Just wait" has a meditative character and is the perfect track to close the circle of the ep. Jacob Groening delivers a stripped down club oriented remix.

An Independent Chart topper when first released in the summer of 1982. Also reached No.17 in the UK National Chart.

Includes the No.50 National Charting hit single ‘Attack’ plus ‘Disorder’ which was later covered by Slayer and Ice T. The title track was a cover of a track from The Vibrators’ second album.

Now available as a gatefold vinyl LP complete with inner bag.

American English is the second studio album by British new wave band Wax, which consisted of Andrew Gold and 10cc band member Graham Gouldman. The two got together after 10cc split up in 1983 and released a total of three studio albums, including the 1987 American English. The album grew into their most successful effort, largely due to the hit single “Bridge To Your Heart”, which charted in the top 10 in many European countries and remains their biggest hit to-date. The album spawned two more singles; “American English” and “In Some Other World”. The album’s front cover was designed by Storm Thorgerson, who is best known for closely working with Pink Floyd, in addition to Led Zeppelin, Black Sabbath, and Def Leppard among others. American English is available as a limited edition of 1500 individually numbered copies on pink & purple marbled vinyl and includes an insert.

Reject 2 is Conway the Machine’s second solo mixtape on Griselda Records and is a sequel to his first mixtape The Devil's Reject.

The mixtape is produced entirely by Buffalo producer Daringer and boasts features from Westside Gunn, Benny The Butcher, Mach Hommy, Nes, Roc Marciano and Skyzoo.

Living Deathrock Legend of Manila, EAZYHEAD, is coming out of its Personal Echo Chamber. Recorded in a week in 2020, at the start of the universe’s second Black Plague. Similar to our now digital age of net prophetry, No phones are allowed entry. A sleep deprivation tank won’t have room for a journey like this one. EAZYHEAD will blow your mind, touch your soul, and massage your head, in an explosive lobotomy, as he tries to do the same, to himself. Like the trendy poser EAZYHEAD is, the prolific artist has decided to hide this 45 minute LP until it is conjured by the universe, to finally be heard by anyone who wants to enter the chamber. It has now been summoned by Oliver Ackermann of A Place To Bury Strangers/Death By Audio’s new label, Dedstrange. The entire 45 minute Ectoplasmic Fuzzy Washy Mind Halo Debut LP that will circle all your senses, Personal Echo Chamber is coming out soon and will be bouncing around everywhere, on vinyl stores near you and only on, Dedstrange.

The Norwegian underground black metal band Kirkebrann has ventured from the early days of 2004 to now with increasingly more aggressive, misanthropic and epic themes of real-world tragedy as they unfold before our very eyes. Their frosty, rough and harsh black metal is equal to the classic early Norwegian black metal of the early ‘90s. The second full length has been in the making for almost a decade with some of those songs performed live for the same amount of time through blasphemy, blood and existential dread; featuring multiple guests on vocals of madness and triumph.

This album marks the beginning of a new era in Kirkebrann's twenty years of existence with its unrestrained force - full of blastbeats - in conveying dreadful, atmospheric and melancholic harmonies and sound of inspiration from the dark forces that are enclosing upon humanity's imminent downfall. “Mot Trellenes Forfal” was recorded by Kirkebrann with Draug on vocals, Hrafn on lead guitar, jK on guitar, Januz Skroemt Kvirinus Bifronsson on bass and Nødset on drums. The album also features guest vocals by Dødsherre (Djevelkult), Nasreten (Carpathian Forest), Cornu (Svikt), Lianne Krossburner (Edenkaiser) and Skrotmunn Blåskrott (Likfunn). It's time to release this curse upon humanity and release us from its limbo!

Music On Vinyl proudly presents the second installment of the acclaimed Miles Davis Bootleg series on pristine 180 gram vinyl! Part 1 (Live in Europe 1967, MOVLP421) was voted Historical Album Of The Year in the Down Beat Readers and Critics Poll. Bootleg 2: Live In Europe 1969 skips two years ahead to record Davis with his ‘third great quintet’ also known as ‘the lost band’ of 1969-’70. This line-up consists of Miles Davis, Wayne Shorter, Chick Corea, Dave Holland and Jack De Johnette at their peak – they were never recorded in studio. Their European tours of 1969 are some of the only existing recordings of the group; the first legitimately released audio recordings by this stellar lineup. Bootleg 2: Live In Europe 1969 captures the short-lived quintet in three separate concert settings across 4 LPs, containing selections from two nights at Festival Mondial Du Jazz D'Antibes in France and one night in Stockholm, Sweden. Special recordings include a pre-studio recording version of “Bitches Brew” which would be recorded in the studio for the infamous record by the same name a few months later. The audio sources of Live In Europe 1969 have been remastered from the highest quality masters available, secured from the European broadcast centres where the material was originally documented.

Papa Nugs & Suckerpunch return with the second iteration of
the Nug Nation series; Nug Nation Vol. II. A break-neck four
track exploration of club friendly sonics Nug Nation Vol. II
picks off where it’s predecessor left off, borrowing from the
fundamentals of golden era house and progressive through
a modern lens. All composed in the past 6 months, the EP is
an illustration of the current sound of Papa Nugs with the Aside focusing on groove heavy tracks punctuated by diva
and hip house vocals respectively, while the §ip highlights
the more playful, energetic elements of his production aimed
for the peak hours.

Live In Europe 1967 - The Bootleg Series Vol. 1 showcases the ex- plosive transformation of Miles Davis’ “second great quintet” with Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums). Miles’ Quintet lineup during that time is acknowledged as one of the high reference points in 20th century jazz, and its influence continues to reverberate in small group jazz today. It was the quintet’s live performances, as they evolved into Miles’ ideal of a “leaderless” jamming ensemble, that truly immortalized them.

Culled from original state-owned television and radio sources in Belgium, Denmark, and France, this set contains three northern European performances over the course of nine days in October and November 1967. Live In Europe 1967 - The Bootleg Series Vol. 1 is the best historical album of 2012, according to the Downbeat Critics Poll 2012.

Live In Europe 1967 – The Bootleg Series Vol. 1 is available as a deluxe 5LP boxset, housed in a lift-off box. The set includes printed inner sleeves and a 16-page booklet with exclusive photos and liner notes by jazz-historian Ashley Kahn.

The 8-LP box set Miles At Newport 1955-1975 - The Bootleg Series Vol. 4 features of live performances by Miles’ stellar band lineups from 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in New-
port, Rhode Island, New York City, Berlin, and Switzerland. From Miles’ debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan), to his final public performance of the ‘70s in 1975, the box set traces the ascen- dance of Miles’ music as the jazz superstar he has become known to be.

The full-length concert performances alone of Miles’ famed “Kind Of Blue” Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in ‘66 and ‘67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

Miles At Newport 1955-1975 - The Bootleg Series Vol. 4 is available as a deluxe 8LP box set, housed in a lift-off box. The set includes print- ed innersleeves, a mini poster of Miles, and a 12-page booklet with extensive liner notes and rare photos.

Assistert Sjølmord (translation - Assisted Suicide) release their debut 7 track 7” EP, after an outstanding demo in 2021. Thirty seconds in to 'Klimabombe' and we reach maximum velocity and there's no let up. The intensity and feral nature of their sound is laid bare with a sharp production and guitar tone that is both clean and harsh at the same time. The vocals rage and are totally ferocious and are in a similar vein to Chitose from The Comes. It looks, sounds and feels like a classic Norwegian hardcore single from the 80’s and released on X-Port Plater (home of Svart Framtid, Stengte Dører, Bannlyst etc) mixed with the classic UK82 push and shove proto hardcore sound of The Mau Mau’s

Zero One Zero is a no nonsense American Hard Rock Band. There comes a time when enough is enough and you want to take your music back! Rock music has turned into a bland cookie cutter version of its former self. Zero One Zero is going against the norm and providing a valuable service. Delivering a kick ass, grade A, American made product! No phony over produced, auto tuned garbage. This is Retro-Aggressive Hard Rock for the people! The Band is Rob ‘Boots‘ Zawisza – Vocals, James Ferrentino – Guitars, Mark Ahles – Drums, Marc Russell – Bass. The band’s latest release Traces Of Yesterday was produced by Grammy Award winner Paul Nelson (Johnny Winter). As the band explains, “We were approached by Paul in December of 2020 as he wanted to produce a record with us. After hearing our second studio album Full On. We were honoured to have a Grammy Award-winning Producer and talented musician find interest in us. We all met at his studio, The Music Room in February of 2021 and worked out the details of what would become our third studio album, Traces Of Yesterday.” Unfortunately, Paul passed away suddenly in March of 2024 but not without leaving his mark on Traces Of Yesterday. With standout tracks like the first single “You Knock Me Out” and follow up “I Am Calling”. Zero One Zero is now about to take their spot in Hard Rock as a force to be reckoned with.

"Symphony for the Lost" is a live album by British gothic metal band Paradise Lost, released in 2015. It was recorded at the Plovdiv Theater in Bulgaria, accompanied by the Plovdiv Philharmonic Orchestra. This album features an epic performance of the band's hits, fusing dark metal with the majesty of a symphony orchestra. The unique atmosphere and powerful performance make "Symphony for the Lost" a memorable listening experience for fans of metal and classical music. It's a fantastic LP Gatefold Picture Disc edition limited to 475 copies!!

The French-Mauritanian conductor, pianist and composer Leila Olivesi presents her sixth album ASTRAL - a brilliant opus with the best musicians on the French jazz scene. The albumis also her second with a large ensemble, the first being the acclaimed Suite Andamane,which received a coveted "Coup de Coeur" from the Academie Charles Cros.

A gifted composer, Leila was inspired by the great jazz masters, including Duke Ellington, and Mary Lou Williams. 'ASTRAL'demonstrates their influence and her talent for creating harmonic and melodious original music, full of modernity.

"Leila's music has compositional and conceptual integrity - recurring themes intertwine and morph through the title track 'ASTRAL', the trippy interlude 'Interstellaire' and the song 'Au Feu Des Reves'. There are surprises waiting around every corner, and she deftly avoids any hint of that tired old "head insolo-solo-solo-head out" formula. Odd meters dance effortlessly, and she's not afraid to swing! While her original music is the focus of this album, Leila's fresh arrangement of Mary Lou Williams' classic 'Scorpio' is a lovely bonus. This is fully contemporary acoustic jazz on a high level, with brilliant musicians that interpret and breathe her musical visions to life." - Geoffrey Keezer

A familiar favorite, Deft, steps up with his second EP on Hooversound, featuring a VIP remix of one of his original songs taken from his 2020 ‘Burna’ EP.

Defts ‘Burna’ EP back in 2020 set the tone perfectly for Hooversound, it being the second release on the imprint following Hyroglific and Sinistarr’s almighty ‘BS6’. Deft’s hybrid artistic style of production sat perfectly within the launch of Hooversound as he went on to rise steadily within the underground electronic scene. Fast forward four years, Deft returns to Hooversound with an equally impressive follow up, entitled ‘Two Years’.
Yip Wong aka Deft has been producing music for nearly a decade. Within that time he has crafted a signature style using elements of dance, cinematic sound design, hip hop, jungle, footwork and 140. This enigmatic style of production has led him to release on 20/20 LDN, Exit, 1985 Music, Critical Music and more. His release schedule alongside his ever evolving sound has gained the attention of not only London and UK listeners, but fans worldwide.

Defts new ‘Two Years’ EP on Hooversound once again sees the talented producer drawing elements from 140, footwork and jungle, all laced with his ability to create immersive atmospheres and intricate percussion. It’s been teased across SHERELLE and NAINAs DJ sets for months, with it finally dropping to the masses this summer on Hooversound.

Repress!

Today – Friday 9th July – artist, producer, DJ and club culture icon Peggy Gou releases the second of a pair of summer singles. Released via Gou’s own Gudu Records, “I Go” is an incredible piece of club-focused electronic music and showcases a very different sound to previous single “Nabi”.

Described by The FADER as “the kind of dazzlement you get from light dancing off of ocean water on a hot day: pure dopamine activating bliss” and Resident Advisor as “a refreshingly low-key jam”, “Nabi” was an evocative piece of slow-burning, 98bpm electronic pop, inspired by 80s synth classics, the piano pieces of renowned composer Erik Satie and the 80s and 90s Korean songs Gou's mother used to play at home during her childhood.

“I Go” takes inspiration from a similar era but this time the energy comes from Gou’s love of 90’s dance anthems, many of which she revisited during lockdown and an enforced break from touring. Both retain the hallmarks of Peggy Gou’s unique take on electronic music; at once both nostalgic and totally modern. But on “I Go”, the tempo, 808s and 909s are dialled right up for a self-motivating anthem that is set to soundtrack a summer when we can all hopefully dance together in our thousands again.

Talking about “I Go”, Peggy says:

“When I was a teenager in Korea, we didn’t have rave culture like there was in the UK. “I Go” is a tribute to that era, my own reimagination of the sounds I grew up loving. The lyrics are inspired by a note I wrote on my phone in 2019, staring at myself in the mirror of an airport toilet – I looked so exhausted but there was no way I wasn’t going to keep going! “I Go” is basically me motivating myself, finding courage and returning to a feeling of innocence. I hope people feel the same sense of positivity when they hear it”

Meanwhile, Peggy Gou is set to make a handful of DJ appearances in Europe over the summer. These include a huge sold out London event in August in the form of The Pleasure Gardens; an outdoor party in Finsbury Park created and curated by Gou herself and featuring a stellar supporting line up including DJ Harvey, Anz and Spencer.

Track List:

Prepare for take-off as your favourite multidimensional sound supplier, Unglued, unveils his long-awaited second album, "What on Earth". Set to launch you into the stratosphere with 14 fresh meteoric cuts, the Brighton-based producer continues to prove himself as one of the most innovative in the game. Expect a killer line-up of collaborations alongside Pola & Bryson, Lens, SOLAH, Urbandawn, Sweetie Irie, Waeys, Duskee, Paige Eliza and heaps more.Get ready to embark on an auditory adventure like no other - "What on Earth" by Unglued is set to be his biggest release to date, and it's guaranteed to be out of this world.


Since his unforgettable entrance onto the drum & bass circuit with his infamous remix of High Contrast's "If We Ever", Unglued has quickly become known for having one of the most distinct and versatile production styles in modern dance music. His debut album "Interplanetary Radio" was home to anthems such as "South By West", "Total XTC" and "Way Back When (feat. Esther Durin)", and since then Unglued has unleashed a slew of radioactive rumblers such as "If You Like That" with Whiney, Lens & Doktor, "Show Me The Light (feat. Kathy Brown)", and "Warning" alongside Pola & Bryson. Championed by leading industry tastemakers such as Gilles Peterson, Charlie Tee, Sherelle, Annie Mac, and more, Unglued's flawless musical output has led to him lighting up stages at some of the biggest shows and festivals across the globe, including Glastonbury, Boomtown, Hospitality On The Beach, Rampage, and Let It Roll to name a few. Not to mention sell-out tours across USA, Australia and New Zealand! "What On Earth" will be available in digital and vinyl formats from your nearest planet on 26th July

Second EP from Wishy, the new band from celebrated Indiana songwriters Kevin Krauter and Nina Pitchkites. "Mana" follows and continues their debut, "Paradise", which put on full display the songwriters' musical fluency while tastefully blending shoegaze, dreampop, and alt-rock into a heavenly haze and delivered a strong introduction that was dense with melodic earworms and stirring sentiment.

This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.
Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.

With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.

This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.

This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.
Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.

With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.

This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.

Guadeloupe’s Manix is a self taught musician drawing inspiration from traditional Caribbean Folk and Beguine, to Salsa, Reggae and beyond. In 1980 Manix met the group ‘Tamtam 2000’ in Mulhouse, France. Embarking on many worldwide tours, Manix cemented his place in the group with 'Ti Cherie’ becoming a global hit beloved throughout the Antilles, Cape Verde, and La Réunion. Describing his singular philosophy of inciting joy ”At this moment I realised quickly that the simple act of playing wasn't just about one’s own satisfaction, but rather the need to create and share music”.

Browsing the French Football Federation's website, Dijon’s ‘Under Radaar’ was able to track down Manix as he was once the match report coordinator for his club ‘Red Star Richwiller’. It’s now our pleasure to share his music once again.

Words from Manix:
"Now in my 70s, what a joy it is to discover my songs now being loved in new parts of the world that I could never have imagined them spreading to in the mad 80s. A reissue is like a renaissance, a second wind that reaffirms my believe that both music and love will never die”

We are so excited to share our debut release which has already received support from Antal, Hunee and Palms Trax.

"Following the resonating success of their initial collaboration, the TLF Trio—comprising Danish cellist Cæcilie Trier (CTM), pianist Jakob Littauer, and guitarist Mads Kristian Frøslev—reunites on Latency with electronic music legend Moritz von Oswald for the follow-up to their debut album, 'Sweet Harmony.'

TLF Trio, along with Moritz von Oswald, once again delves into the realm of chamber music, this time with two new songs further exploring the intricate acoustic dynamics of their instruments with electronics. As the second instalment in this musical journey, 'New Songs & Variations' builds upon the minimalistic, sculptural, and narrative qualities of its predecessor, weaving a tapestry of expressive and plural voices.

Moritz von Oswald, a central figure in the electronic music scene since the early '90s, brings his wealth of experience to the project, reinterpreting two of TLF Trio's previous works. From his early days as a classical percussionist to groundbreaking collaborations in the techno sphere, von Oswald's influence has left an indelible mark. His role in co-founding Basic Channel/Rhythm & Sound and contributions to the Berlin-Detroit-Chicago axis have defined various strains of modern music.

'New Songs & Variations' not only captures the rich history and influence of Moritz von Oswald but also showcases his ongoing exploration into classical, experimental, and improvisational contexts. From recomposing Ravel and Mussorgsky’s music for Deutsche Grammophon to acclaimed collaborations with jazz trumpeter Nils Petter Molvær, composer Laurel Halo, or Afrobeat pioneer Tony Allen, von Oswald's versatility continues to evolve.

TLF Trio and Moritz von Oswald invite listeners to embark on a sonic journey that bridges the past and the present, mirroring the transformative essence of Louise Lawler's distorted image, which graces its cover—a testament to the delicate fluidity and shape-shifting nature of the music contained within.

Compossed by Moritz von Oswald, Cæcilie Trier, Claus Haxholm (beat on Chrome), Jakob Littauer and Mads Kristian Frøslev.
Mastered by Kassian Troyer at Dubplates & Mastering.
Artwork by Louise Lawler. Formica (adjusted to fit, distorted for the times, slippery slope 2), 2011/2012/2015/2017. Courtesy the artist and Sprüth Magers. As adjusted for Latency.

Salétile return to the Keroxen tenfold with their second long play of 60’s inspired psychedelia and neo shoegaze tunes.

With its members hailing from a particular area of northern Tenerife with its ever present “panza de burro” —a layer of insistent low clouds overcasting the region—, the tone and feel of Salétile’s music had to be naturally clouded and sombre. A periphery sound from the periphery then, a local approach of a popular sound with a calm and serene atti-tude.

While their first album, Humanoides del abismo (Humanoids of the Abyss), evoked an underwater journey, for their second outing Salétile emerge swiftly into the surface to continue their peculiar sound explorations of their precious surroundings, adding different layers of pressurisation.

A more pronounced melodic intention is present but without abandoning the care for textures and atmospheres that defined their debut, as well as the use of contemporary techniques such as looping and real-time processing, encom-passing influences as diverse and timeless as classical music, 1950s R&B, 1960s pop, hip-hop, dub, 1990s English shoegaze, concrete music, slowcore or math rock.
A loopy pot of sources from a hermetic band that is not afraid of pushing their many influences to the foreground. Emerge!
Salétile are Daniel García, Elsa Mateu and Ruymán García
Mastered by Daniel García
Artwork by Gustavo García

Vinyl pressed in Spain

The Family is the second studio album by Seattle based band Satchel, which was formed by vocalist Shawn Smith and drummer Regan Hagar after their previous band Brad (which also featured Pearl Jam guitarist Stone Gossard) went on hiatus. In total, the band released four studio albums, of which their 1996 second album The Family is considered as their best. It was co-produced by Stone Gossard. The Family is available on black vinyl and includes a 12-page booklet.

2024 Repress


Mysterious UK Garage imprint Time Is Now returns for its second outing, this time equipped with four club weapons from rising talent Interplanetary Criminal.

Idle Race is the second studio album by British rock band Idle Race, released in 1969. This album follows their 1968 debut, The Birthday Party. Fronted by Jeff Lynne, who later became famous with Electric Light Orchestra (ELO), the album features a whimsical pop-rock style with psychedelic influences. Key tracks like ""Come With Me"" and ""Please No More Sad Songs"" showcase Lynne's melodic songwriting and playful lyrics. Despite critical acclaim, Lynn left shortly after the album release to join The Move. However, Idle Race is a cult classic, celebrated for its inventive arrangements and quirky charm. This album is a hidden gem in the late 1960s British rock scene, highlighting the band's unique blend of catchy tunes and imaginative storytelling. Idle Race is available as a limited edition of 750 individually numbered copies on crystal clear.

Not everybody has not one, not two, but twelve producers attached to her debut release. Not everybody has her one and only album pranked by British artist Banksy (who substituted a topless photo for the cover). Nope, not everybody is Paris Hilton, who has lived in the public eye since, well, forever. She first announced plans to make an album in 2003, during her run on the reality TV series The Simple Life. Originally entitled Screwed, and then Paris Is Burning, the record—finally simply entitled Paris—came out in 2006. And it was…uh… good? Yeah, for real. This record goes expensively pedicured cuticle to cuticle with anything Britney Spears, Jessica Simpson or any other pop culture chanteuse of the like ever put out, and the Paris the heiress displays some real savvy both in her taste of material and the Madonna-like manipulation of her sex symbol image. And her voice? Definitely respectable despite what the haters said. Indeed, the single “Stars Are Blind” went top 20, and the album itself went all the way up to #6, selling over 600,000 copies worldwide. Since Paris has finally answered the pleas of her fans and made a second album, we thought the time was right for a revival of Paris, so we’ve taken the fetching photos from the CD package and given them plenty of acreage to show their stuff, with a gatefold jacket and 4-color printed inner sleeve. And for this release, we’re pressing Paris’ album in her favorite color, pink…and of course it’s hot! A pop culture keepsake from an enduring pop culture icon!

"Lust auf eine Dosis Glücksgefühle to go? Galantis war für uns in der Apotheke und hat einen musikalischen Mix mitgebracht, der garantiert glücklich macht. „Rx“ heißt das neue Studioalbum mit insgesamt 14 Tracks, darunter die neue Single „One Cry“ mit Rosa Linn sowie bereits veröffentlichte Hits wie „Lighter"" mit David Guetta & 5 Seconds of Summer und mehr. „Rx"" ist das vierte Studioalbum
des schwedischen Dance-Music-Projekts, folgt auf „Church“ vor vier Jahren und ist ab sofort über Big Beat Records überall erhältlich.
"

"Justin Townes Earle released Kids In The Street, his first record on New West Records, in May of 2017. The album received critical acclaim and further cemented Justin’s legacy as one of the best active songwriters in music. Songs like, “Champagne Corolla” showcased his wry sense of humor as well as his deft ability to build upon the music that came before him while at the same time creating something unique and new. Familiar, inventive, creative, and clever.

Justin would release his second album with New West Records in May of 2019. The Saint of Lost Causes was hailed as one of the best albums of 2019 by Rolling Stone Magazine with “half a dozen or so career classics.” “I was trying to look through the eyes of America,” Earle says. “Because I believe in the idea of America - that everybody’s welcome here and has a right to be here.” Earle tells these American stories in detail and without judgement. While some songs cite historic events like “Flint City Shake It,” and “Don’t Drink The Water,"" other tracks present fictionalized narratives that are no less harrowing, or true-to-life , as heard in ""Appalachian Nightmare,” “The Saint Of Lost Causes,” and “Over Alameda.""

Justin Townes Earle was always a champion of the underdog and All In features in depth looks at the hopeful, and the hopeless. Fueled by empathy, baked in the blues, Justin was never without something poignant or humorous to say. Sadly, Justin passed away in 2020 at the age of 38. ALL IN: Unreleased & Rarities (The New West Years) is a fitting tribute to Justin’s legacy. The collection features many never heard before songs, demos, and cover tunes, spanning his time as a New West Records recording artist."

The second part in Shan’s warehouse series delivers more of the same – but that’s definitely a great thing, if the dish has a great taste. Like it’s successful predecessor, the tracks don’t re-invent the wheel, but cater to all the nameless spaces and places that made raving in defiant and derelict places fun. There is house that sounds like techno (Elevate) and vice versa. Seasoned with break beats (89 Swing or the Future Sound of London-esque Euphony) or breaks for love (Uplift My Spirit) and even dub sirens, it is almost impossible not to find something to suit the customer’s environment. The main focus of attention might be the jack of all trades called Phantazia. Wouldn’t have sounded out of place at the entertainment series of the same name, it melts proto hardcore harmonics with Soul II Soul type of strings and immediate call for „the action“. And as we all know, that always speaks louder than words.

But now it's official: this was no flash in the pan! Voodoo Kiss are back to stay. And their furious second album "Feel The Curse" is even more fun than their debut. With verve, vigor, punky grit and their typical sense of melodic heaviness, Voodoo Kiss blast, fabulate and groove their way through eight powerful examples of how this music of the eighties can be made exciting, original and rousing in the 21st century. Of course, the list of ingredients on "Feel The Curse" also reads like something straight out of the textbook of electric guitar music: the opening title track is a galloping banger with razor-sharp riffs and Pretty Maids flair, "Spellbound By Her Eyes" offers black romanticism and early Maiden vibes, "Dr. Evil" is the semi-acoustic intermezzo with Spanish guitars and eruptive thrash outbursts, "Lords Of Darkness" is a gripping semi-ballad with just the right amount of pathos and the closing "Dead Without A Grave" fires from all cylinders like Motörhead in their prime. Everything in, everything on.

Poet's Tooth - the band's second album for Kill Rock Stars - steers the duo's whimsical western- tinted quality into fascinating new directions: cinematic- pop balladry on the autoharp- tinged opener "Young & Free," gently clip- clopping Americana-folk on "Hard Hearted Way," and bass-driven funk on the wry "Eggs In One Basket." With help from producer Danny Reisch, Tele Novella have crafted their most genre-rich, poetic, and sincere album yet.

After the success of her breakout EP, 'Water-Based Lullabies', a playful, Zodiac-inspired odyssey through life and love, Mancunian fan favourite Abbie Ozard is back with a bang. The last release hinted at an evolution in sound, and in the soon-to-drop album 'Everything Still Worries Me', we see all that potential realised as Ozard's musical and personal growth is laid bare.

Growing pains and the overwhelm of those first steps into adulthood of stand out as overarching themes in this more serious, introspective body of work, in which Ozard explores beyond her bedroom-pop origins and lays bare the vulnerabilities that will resonate with so many young women becoming adults in a complex, confusing and ever-changing world. Even without the transcendent vocals that could belong to no one else, Ozard is present in every second of this album - from musical performances from close friends to samples of old family videos, she is enshrined in this spellbinding debut that could not be more authentic to its creator.

The second LP by Tokyo ambient conceptualists UNKNOWN ME began as a commission for historic Japanese cosmetic conglomerate Shiseido, conjuring audio approximations of seasons and scents, but soon flowered into its own refracted and rarefied environment: Bitokagaku. Translated as “beauty and science,” the album is the foursome’s first composed solely with software, reflecting the collection’s utopian, laboratorial muse. 
From levitational electronica (“A Rainbow in Meditative Air”) and vaporous downtempo (“Dancing Leaves”) to planetarium reverie (“Kitsune No Yomeiri”) and AI IDM (“Retreat Beats”), the music moves like weather patterns in a bio-dome: dazzling, microcosmic, and delicately calibrated. Percolating synths crossfade with field recordings from Shiseido’s research division; the sound of streams and distant birds blur into a processed haze; clinical voices read lists of precious stones. It’s a vision of new age as soft robotics, of serenity streamlined by sentient systems.
UM’s team of engineers (Yakenohara, P-RUFF, H. Takahashi, and Osawa Yudai) cite an eclectic swath of inspirations behind Bitokagaku – molecules, stars, Kenji Miyazawa, Akira Kurosawa, even “the sparkle of rainbows” – but their guiding artistic principle is as ancient as it is eternal: “beauty.”

Biomes are little worlds of organic relationships, full of struggles, symbiosis, and sheer obsolete noise. In "De Silenti Natura," Henrique Vaz is meticulously crafting synthetic auditory biomes, sprouting from their own fuzzy logic. Unfolding across two distinct acts, the Brazilian artist interprets and replicates the complex, often ambiguous sounds of (un)natural environments, creating imaginary systems to inhabit over two sides of tape. The soundscape of the first side and title track is entirely algorithmically synthesized, with no samples used, leveraging Supercollider for real-time sound generation. The environment thus built is a flourishing one, seemingly unable to escape its own grandeur as insect-like buzzing and crackles expands into mountain ranges and forests of erupting sonorous drama. The second side introduces 'hydrophone' water synthesizers, submerged in a goldfish bowl to interface with the unfurling waves of electronic chords, creating a unique blend of damp and unwieldy sloshing movements, prismatically scattered into a luscious soundscape, and resembling everything from the bridge of a starship to the echoed drip-drip of stalactites.

Both sides of the album slowly unwrap and uncrinkle, revealing layers of hisses, distant digital choirs, warm enveloping chords, and juddering bleeps. Despite their unwieldy and strange nature, myriad elements convey a familiar sense of environment, flitting between the blossoming of new (manmade) life and the doom and destruction of the (real) world.

As the ringing of bells (fully synthetic; no samples were used) hove into view during the closing movement of side one, a simulacrum cacophony of voices is ushered in. It’s a reminder of the holy nature of sound itself, beamed into our heads intangibly. The flipside’s water ritual, frantically dunking ‘water synthesizers’ to birth swooping melodies and yawning tones, is jabbing at sleeping giants. It’s pushing and pulling the stars in the night sky into place. It’s both a simple act of beautiful creation, and a storm in a teacup.

Anah proudly presents her second EP under Cymatix, her label co-owned with Lumiere. This four-track collection seamlessly blends influences of electro house, deep house, and techno, culminating in a captivating downtempo remix.

Drawing from her past experiences, Anah infuses her music with raw emotion, expressed through her distinctive vocals.

Despite being only her second release, Anah's unique sound is becoming unmistakable, each track showcasing her evolving musical identity.

Reheat returns with a second instalment, featuring two close friends from the North of the UK; one name known to many on the scene as DMC, the other a name on the rise under Luke XL. A duo that prides their sound on stepping out from the crowd, and not to conform to normality. Infectious creativity and tireless hours spent within the studio has crafted a style truly labeled as their own.

High riding synth work, stand out percussion and low driving basslines for pre, peak and afters; its infectious, journey telling music for all hours.

Back in 1993... Early acid Techno from the U.S. … Golden age of the Electronic Music... When Trance, techno and Breakbeat were one and only scene called Rave ! 25 years later, here comes a reisuue of these praised records, remastered by Isotop, cut by Simon The Exchange... The second vinyl brings 3 remixes : one from Biri & The Geezer for a bloody Hackney Acid style ! Another oldschool acid story for a familly meltdown... Then comes a Magy remake more than a remix, re-playing all instruments and all melodies entirely... Sampless tune ! For the last track we have this Big-Beat/Breakbeat version from Monstafunkaz... The remix EP coming with the album is the result from a little challenge remix done on social medias last year... Visual is from Artcoton.

When we were offered the most welcome opportunity of choosing another “virgin” (as in never released on vinyl before) volume from the Dick’s Picks catalog, we did our Dead diligence, combing through the many chat rooms online to see which one the fans really wanted to see come out on LP. It will come as no surprise that opinions were varied and vehement…but a consensus emerged that Dick’s Picks Vol. 12—Providence Civic Center 6/26/74 & Boston Garden 6/28/74 was the one. Which is interesting, because that Pick is a little different, combining the second sets of two different nights instead of offering a single show. But it’s the exception that proves the rule—the playing is so extraordinary, and the repertoire so unusual, that one can understand why Dick Latvala played more curator than archivist here. Side A picks up the second set from Providence three songs in, featuring a short jam that leads into what many have labeled the most extraordinary live version of “China Cat Sunflower” ever recorded, complete with a sublime transition (“Mud Love Buddy Jam” a.k.a. “Mind Left Body Jam”) into “I Know You Rider.” The revelatory moments continue throughout the Providence set, highlighted by a dazzling, 15-minute “Spanish Jam.” But the second set of the Boston show—which appears here complete, after a superb encore performance of “Eyes of the World” from Providence—is the one that has passed into legend among Dead fans (a performance of Phil Lesh and Ned Lagin’s electronic music piece “Seastones” provides an appropriately adventurous interlude). The set boasts one of the most renowned live jams of the band’s career, a flawless, 14-minute “Weather Report Suite: Prelude/Pt. 1/Pt. 2-Let It Grow” leading into a 27-minute “Jam” that is simply one of the most far- ranging, telepathic improvisations ever played by, well, anybody. That this set also includes a separation of the “Sunshine Daydream” section from “Sugar Magnolia” for only the second time ever is just gravy. This is, of course, a “Wall of Sound” concert, so we’re working with something of a special audio source to begin with. So, we enlisted Jeffrey Norman to master the release for vinyl from the original tapes (pictured on the enclosed insert), and enlisted Clint Holley and Dave Polster over at Well Made Music to cut the lacquers. Gotta Groove Records, our manufacturer of choice, has pressed the 6 LPs on to 180-gram black vinyl housed inside a two-piece hardshell box, and we have a little stencil surprise for ya on Side L. Limited edition of 3000 hand- numbered copies!

Nach dem triumphalen Erfolg ihres 50-jährigen Jubiläums bereiten sich BLUE ÖYSTER CULT auf die Veröffentlichung der mit Spannung erwarteten "50th Anniversary Live - Second Night" vor.

Dieser elektrisierende Auftritt, bei dem das zweite Album der Band "Tyranny and Mutation" aufgeführt wird, verspricht eine spektakuläre Fortsetzung des historischen Drei-Nächte-Auftrittes der Band in der Sony Hall in NYC zu werden. Im September 2022 begeisterten BLUE ÖYSTER CULT ihre Fans mit einer einzigartigen Trilogie von ausverkauften Shows, die jeweils einem ihrer ersten drei Alben gewidmet waren.

Gründungsmitglied Albert Bouchard hatte an allen drei Abenden einen besonderen Auftritt und verlieh dem historischen Meilenstein eine
nostalgische Note.Fast drei Stunden lang lieferte die Band an jedem Abend ein fesselndes Set, das sich durch die gesamte klassische erste Albumtrilogie zog und die Fans mit einer Mischung aus Fan-Favoriten, Deep Cuts und klassischen Hits verwöhnte. Die Atmosphäre war elektrisierend, und das Label Frontiers hat die Magie eingefangen und wird jeden Abend als individuelles Package veröffentlichen.

Miles Davis' 20-year association as an artist at impresario George Wein's renowned Newport Jazz Festival is a thriving tradition that is celebrated with the release of Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4.

The 8-LP box set, comprised of live performances by Miles' stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland.

The 4th entry in the critically-acclaimed Miles Davis Bootleg Series, contains hours of previously unreleased material. From Miles' debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter's Columbia signing), to his final public performance of the '70s in 1975, the box set traces the ascendance of Miles' music as the Jazz superstar he has become known to be.

The full-length concert performances alone of Miles' famed ""Kind Of Blue"" Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in '66 and '67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

Born and raised in Richmond, Virginia, keyboard player Lonnie Liston Smith moved to New York in 1963 playing with the likes of Dakota Staton, Al Hibbler, Max Roach and Abbey Lincoln and Roland Kirk. He made his first recordings with Kirk and in 1968 entered into a mutually rewarding and instructive partnership with Pharoah Sanders and Leon Thomas. In 1971-2 he toured Europe with saxophonist Gato Barbieri appearing on his 1973 albums “Under Fire” and “Bolivia”. His growing reputation was also burnished by playing Fender Rhodes with Miles Davis electric band.

The second of these Barbieri LPs was released on Bob Thiele’s Flying Dutchman label. Thiele was quick to sign Smith and release Smith’s first album under his own name, “Astral Traveling”. Backed by his Cosmic Echoes band, Smith served up a beautiful spiritual and funky stew on tracks like ‘Let Us Go Into The House Of The Lord’, ‘Rejuvenation’, ‘I Mani (Faith)’ and ‘In Search Of Truth’.

Smith went on to record “Expansions” one of the greatest funky jazz albums of all time in 1975 but this debut really paved the way towards that musical milestone.

Ace are delighted to reissue “Astral Traveling” in a gatefold sleeve that, like the original pressing, has liner notes by legendary jazz critic Nat Hentoff.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

The Ohio born player had made his name at Riverside where his 1965 album "The Village Caller" made him a star. When Riverside ceased trading, owner Orrin Keepnews collaborated with Lytle on two albums which came out on the Detroit label, Tuba

Ace reissued the first album “The Loop” last year (HIQLP 115). We are delighted to now put out the second, “New And Groovy”. The line-up features Milt Harris (organ) Wynton Kelly (piano), George Duvivier (bass) “Peppy” Hinnant or Jimmy Cobb (drums) Montego Joe (congas) and Lytle on vibes. The band power through a selection of original material such as ‘The Snapper’, ‘The Pulpit’ and ‘Screamin’ Loud’. The album also contains Lytle’s radical reworking of Miles Davis' 'Miles' which Lytle retitles 'Selim'. With poor distribution, “New And Groovy” barely made it to the shops back in 1967 and was ignored for twenty years until DJs such as Bob Jones and Gilles Peterson started playing it in the 80s making it a sought-after LP.

The popularity of “New And Groovy” has remained, and this is first time it has been legally reissued on vinyl. “Snapper one up…!”

Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).

On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.

The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.

Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.

Not everybody has not one, not two, but twelve producers attached to her debut release. Not everybody has her one and only album pranked by British artist Banksy (who substituted a topless photo for the cover). Nope, not everybody is Paris Hilton, who has lived in the public eye since, well, forever. She first announced plans to make an album in 2003, during her run on the reality TV series The Simple Life.

Originally entitled Screwed, and then Paris Is Burning, the record—finally simply entitled Paris—came out in 2006. And it was…uh… good? Yeah, for real. This record goes expensively pedicured cuticle to cuticle with anything Britney Spears, Jessica Simpson or any other pop culture chanteuse of the like ever put out, and the Paris the heiress displays some real savvy both in her taste of material and the Madonna-like manipulation of her sex symbol image. And her voice? Definitely respectable despite what the haters said. Indeed, the single “Stars Are Blind” went top 20, and the album itself went all the way up to #6, selling over 600,000 copies worldwide.

Since Paris has finally answered the pleas of her fans and made a second album, we thought the time was right for a revival of Paris, so we’ve taken the fetching photos from the CD package and given them plenty of acreage to show their stuff, with a gatefold jacket and 4-color printed inner sleeve. And for this release, we’re pressing Paris’ album in her favorite color, pink…and of course it’s hot! A pop culture keepsake from an enduring pop culture icon!

At the muddy miracle that was Woodstock, the most miraculous performance just might have been Jefferson Airplane’s. The band had been one of the first to sign on for the festival, their imprimatur prompting many other acts to hop on board, and their stature had landed them a coveted headlining slot closing Saturday night’s schedule. But, as the torrential downpours and the unexpected crush of half a million people kept on delaying their set, the chances of putting on anything approaching a quality performance seemed to diminish.

According to Paul Kantner, “We were supposed to go on at 10:30 at night and we’d been up and down about four or five times on acid that night, getting ready to go on, and then everything was delayed for whatever reasons. So, we didn’t get on until like 7:00 the next morning and everybody was pretty much burned out.” Kantner’s protestations to the contrary, the Airplane (with guest pianist Nicky Hopkins in tow) played a scorching two-hour set that defied the elements and the circumstances. Grace Slick led the charge as the band plunged into a frenetic version of Fred Neil’s “The Other Side of This Life”: “Alright, friends, you have seen the heavy groups. Now you will see morning maniac music. Believe me, yeah. It’s a new dawn!” What followed was an adventuresome (and surprisingly tight) set that not only featured the band’s big hits like “White Rabbit” and “Somebody to Love” but also premiered songs from the Volunteers album that was still three months away from being released, including a 21-minute version of “Wooden Ships!” Indeed, about the only members of the crew who weren’t up to snuff were the ones filming the concert documentary, which explains why the Airplane is not one of the acts that commonly come to mind when thinking about Woodstock; they didn’t appear in the film due to subpar footage, and only one of their songs (“Volunteers”) was included the chart-topping 3-LP Woodstock release.

Now, Real Gone Music is proud to present Jefferson Airplane’s complete Woodstock performance. The 3-LP set comes inside a gorgeous, double-gatefold jacket sporting photos of the band at Woodstock, most of them taken by the legendary Henry Diltz; liner notes by folk-rock guru Richie Unterberger complete the package. Pressed in iridescent, “clouds breaking” blue for its 55th anniversary, this release makes a convincing claim that Jefferson Airplane’s Woodstock performance ranks right up there with those of Jimi, Sly, and Santana as a festival highlight. Limited to 1000 copies!

Second album from the Lightning Seeds, originally released in 1992. Produced by Ian Broudie and Simon Rodgers, the album features hits 'Sense', co-written with long time writing partner Terry Hall and 'Flaming Sword', co-written with Paul Simpson. The album also features 'Life of Riley', which was used as the Goal of the Month music on Match of the Day. A x10 trk album, pressed on standard Black & Blue Vinyl versions.

This is the second part of Susobrino's album. A chapter dedicated to Cumbia. Legendary rapper La Gallo 3:20 from Monterrey, Nuevo Leon, Mexico sets the tone of "SO" with the song "El Destino".

Lullaby for the Debris is the second album from Moses Brown of Institute’s solo project Peace de Résistance. Those of us who loved Peace de Résistance’s 2022 debut, Bits and Pieces, will be pleased to hear that much of what made that album so memorable—the glam-infused art rock sound, the gritty yet richly textured production, and Moses’s bluntly class-conscious lyrics—carries over into Lullaby for the Debris. Yet Lullaby for the Debris also sounds more refined, more timeless than its predecessor, with “40 Times the Rent,” “Coddle the Rich,” and “Ain’t What It Used to Be,” all built around chooglin’ Lou Reed-style riffs beamed in from the great rock and roll beyond. Elsewhere on the record, Moses’s arty side shines through, with “The Funny Man” and “Pay Us More” full of uncanny sounds that invite the listener to bathe in their rich sonic textures. “I Am” and “You Are Absurd” move into a new territory Brown calls “despondent funk,” their rubbery bass sounds and eerily progressive soundscapes evoking Station to Station-era Bowie, while the title track closes the album on a pensive note, landing somewhere between 70s minimalist composition and the mellower moments from Eno’s solo albums. The real strength of this record, though, is Brown’s ever-developing songwriting skills, which meld wry social observation and Crass-style confrontational politics to melodies you’ll sing along with for the rest of your life

Smooth as a dry martini and equally intoxicating, Chantal Chamberland's "Dripping Indigo" cements her role as one of the best interpreters of classic song book favorites Two factors set Chamberland's music apart from the pack. First, the
arrangements are slow and sexy relying on a small jazz ensemble for backing (piano, sax, bass light rhythm). Secondly is her luscious voice, which caresses the listener with a breathy purr throughout the album. With a repertoire that features "Smoke Gets In Your Eyes", "Bewitched, Bothered & Bewildered" and "How Deep Is Your Love", the album slowly seduces with its corner jazz club ambiance and torch singer grace. This is re-release is a part of the evosound 20th Anniversary special collection. The album will be available on vinyl for the first time, as a 180g double transparent purple LP.

When imbued with real emotive powers, they have the capacity to elevate and transport. We become lost in romance or reverie. This second orchestral collaboration between iconic Swiss trumpeter Franco Ambrosetti and two- time, Grammy-winning arranger Alan Broadbent takes us there. The album title is an apt description of Franco's approach to each golden note he plays on flugelhorn. Backed by an all- star group of pianist Broadbent, guitarist
John Scofield, bassist Scott Colley and drummer Peter Erskine, along with a 29- piece orchestra arranged and conducted by Broadbent, Ambrosetti pulls heartstrings on a program of four originals and four well-chosen covers

THE PINEAPPLE THIEF'S SOPHOMORE ALBUM 'ONE THREE SEVEN' -
NEWLY REMIXED & REMASTERED LP EDITION FOR 2024
'One Three Seven' was the second album to be released from The Pineapple Thief
back in 2001. An excellent entry point into the band's early career, 'One Three
Seven' sees songwriter Bruce Soord deftly balancing accessibility & the heavier
sound for which The Pineapple Thief have become widely celebrated in the years
since.
The Pineapple Thief released their latest album in February 2024, the critically
acclaimed 'It Leads To This'.
This edition of the record is remixed by Bruce Soord & remastered by Steve Kitch,
presented on black vinyl LP

For the very first time on vinyl: the legendary show in its entirety!Live
music is fleeting
You can't touch it, hold it, smell it or taste it, and what you see and hear one
second is gone the next. Live albums, however, are forever. For those in
attendance, they allow the ability to relive an aural moment in time, and for the
rest of us, it's the ultimate souvenir, a time-stamped milestone that captures an
artist/band as they were. In Savatage's case, "Japan Live '94" captures a crucially
mportant and significant tour for a band that, after experiencing gut-wrenching
tragedy and massive personnel changes, was on undeniably shaky ground but
stood tall, nonetheless. It was the first stop on a trip that ultimately forge onward
to Sarajevo and Siberia - a journey that, 30 years later, has no end in sight.
This double LP marks the first time in audio form that the show is available in its
entirety with all 16 songs.
All songs newly mastered for vinyl. With brand new liner notes and enhanced
artwork including rare memorabilia. 2LP 180g Black vinyl

The elegant City Pop album released in 1979, which shines with Junko Ohashi's unchanging overwhelming singing and the sophisticated
performance of the second generation
Minoya Central Station, which added new members, is available exclusively on milky pink vinyl. Re-release!

B2 Recordings is back with a second release that is every bit as good as the first. This one comes from Reece Johnson and is a joyous mix of uplifting disco sounds with a timeless edge. 'Comin' In Hot' is a lose-limbed opener with percussive edgy and low-slung drums topped off with dazzling chords. 'Glass Heart' then brings the funk with more expert looseness and this time some hooky and soulful vocals. 'Sup America' keeps the party rolling with instrumental disco brilliance and a Spanish vocal to add real heat while 'Feelin' The Beat' and 'Got To Be Free' close out with higher tempos but no less class.

Co-Accused return for their second release of 2024 with a hand picked V/A sharing sounds from some of the label’s favourite electro and techno producers. Underground legends and fearsome up-and-comers come on board to the Glasgow based label with Luke’s Anger, SOD-90, Steve Allman, Mal_Hombre andParand delivering tracks. CR006 VA is selected for the dancefloor, tried and tested in Co- accused's own DJ sets.

Luke’s Anger launches the EP with some up for it wonky business in ‘Choplifter’. From one of the masters of the wonky techno sound Luke’s Anger continues in full form with his tight yet askew playful
beats. SOD-90 comes in next with ‘Saving Up For Botox’ with his fearless punk take on the electro sound - his own brand of high intensity atmospherics mixed with distorted synth lines, vocals and kicking breaks. Cultivated Electronics’ Steve Allman leads the B Side with ‘This Is Not A Dream’ calling on driving hoover bass and haunting synths in classic UK electro style. For the B2 Mal_Hombre takes the EP down a deeper and more spatial path with ‘Triangulation’ with delicately detailed and propulsive techno, a long time friend of the label whose debut album Andromeda Outpost released on Jeff Mill’s iconic Axis Records. Topping the whole thing off Berlin based producer and Avoidant alumni Parand delivers the final hit with Bloc - a powerful, pitch black, driving heads down moment.

Pure Philly magic from Gloria Gaynor, the definitive 2 minute 43 second version of “This Love Affair” only on 7”, and becoming rare/sought after it’s original release in 1978.

2024 Repress

Dauw welcomes Berlin based musician Midori Hirano to the label with her new album Soniscope. Award winning composer Robot Koch provided a rework of the track Patterns under his recently announced new ambient project Foam and Sand.

With releases on acclaimed labels such as Longform Editions, Sonic Pieces and Alien Transistor, Midori Hirano is no stranger within the field of electro-acoustic piano music. While she is more known for her studio-work, it is often forgotten that she also has a long tradition of writing for films and theatre productions. This forms an important part in her work and a constant inspiration for her autonomous work. Soniscope is no exception in that regard. While working on the film Mizuko (Kira Dane, Katelyn Rebelo, 2019), a still of many little Jizo statutes got her attention and came to be the first steps of her new album.

“I was fascinated by the combination of the image and sound which well emphasized the stillness with a slight of emotion.” (Midori Hirano)

With the Jizo statutes on her mind, Midori Hirano wanted to make an album and started envisioning several personal narratives. Soniscope can be considered as the soundtrack of her own personal stories related to these statues of which Mizuko Jizo was the starting point. With Soniscope, Hirano continues in the same vein as her previous albums in which piano and electronic arrangements hold a central place. However, on this record she specifically explored new possibilities in terms of techniques and instruments.

Midori Hirano is a Japanese musician, composer and producer, born in Kyoto and living in Berlin since 2008. She started learning the piano as a child, and this triggered what was to later see her study classical piano at university. Therefore her productions are based on the use of acoustic instruments such as the piano, strings or guitars, but yet experimental and an eclectic mixture of modern digital sounds with subtle electronic processing and field recordings.

Her first two albums were released on noble records, and her second, “klo:yuri”(2008), saw her further develop of her sound, garnering critical acclaim from various media including TIME magazine , BBC radio and FACT Magazine. Over the following years Midori has performed in venues and festivals as diverse as Club Transmediale, Heroines of Sound Festival, Erased Tapes Sound Gallery, L.E.V. Festival, Boiler Room Berlin, and Wonderfruit Festival.

The nine solo albums and numerous single track releases to date include the works of her other moniker MimiCof, in which she explores the realm of experimental music and detailed rhythmic patterns, combined with an idea of drawing melodic shapes and harmonies. Her recent works have been released by labels such as Sonic Pieces, Daisart, Alien Transistor, raster-media, 7k! Music and Longform Editions.

Besides producing her own works, she composes music for films, video installations and dance performances. The films that have commissioned works by Midori have been screened at Berlin International Film Festival, SXSW Film Festival, International Documentary Film Festival Amsterdam and among others.

To experience Justin R. Cruz Gallego's pulverizing Sub Pop debut is to get burned down to ashes and burst forth, born anew. Grim Iconic...(Sadistic Mantra), the Tacoma-based artist's second album, is driven by opposing forces: noisy abstractions and tightly structured beats, anguish and dissolution at the outside world and empowerment within, apathy and catharsis. Grim Iconic...(Sadistic Mantra) weds scouring electronics to hooky songs and Gallego's powerful drumming in a way that feels visceral and new. It's his most personal statement to date, at once playful and intent, driven and combustible, total fucking chaos mixed into glints of broken-glass beauty. Born in Tucson, Arizona, Gallego experienced culture shock as a child after relocating to the frigid climes of the Pacific Northwest. He found solace in the Seattle punk scene centered around Iron Lung Records and has since remained a fixture in the underground community. "I see this record as first and foremost a musical statement," Gallego says. "I grew up in punk and DIY subcultures, but before that I had Latin music playing in the background through my childhood and every phase of adolescence. It was surprisingly natural to incorporate. I realized I wanted to go deeper into these rhythms. I wanted to make a record that felt as experimental as much as it felt from the perspective of a Latino. When I got a glimmer of that possibility, it felt exciting." Lead single "Dogear" is a face-melting party starter that sounds like someone forced Talking Heads and Rudimentary Peni to share a practice space. "I wanted a song that felt playful in the way it attempted to be dissonant without taking itself too seriously," Gallego says. "Cholla Beat" is even more ambitious, an anthemic mix of WAR and Wire led by unruly synthesizers spiraling down a labyrinth of production. Gallego's influences for the album are vast, ranging from British documentary filmmaker Adam Curtis to electric Miles Davis to audio miscreants like Demdike Stare and Oneohtrix Point Never. But it's Gallego's assured sonic vision that resounds the loudest. And, while J.R.C.G. is a solo project, conceived and executed primarily in Gallego's home studio, he found strength in opening the project to others, starting with Seth Manchester as co-producer. Manchester's penchant for bone-rattling frequencies, as seen in his production work with The Body, Battles, and Mdou Moctar, made him a natural fit for Gallego. Together, they retained the intimacy of Gallego's home recordings while taking advantage of the hi-fi stylings of his Machines With Magnets Studio in Rhode Island. The closing song, "World i," offers a glimpse into the live experience of Grim Iconic...(Sadistic Mantra), with upwards of seven band members blasting off. The album features a fascinating mix of supporting players, many of whom cycle through J.R.C.G.'s live lineup: Morgan Henderson (The Blood Brothers, Fleet Foxes), Jason Clackley (Dreamdecay, The Exquisites), Jon Scheid (Dreamdecay, U Sco), Erica Miller (Casual Hex, Big Bite), Veronica Dye (Terminator) Phil Cleary (U Sco), and Alex Gaziano (Dreamdecay, Kidcrash, Science Amplification). Taken as a whole, G.I.S.M. is a whirlwind of sound, pummeling, and cleansing. It's a sweaty, thrilling aural adventure and, like a great basement show, it'll leave you breathless, exhausted, and wanting to repeat it all over again. As any good mantra should.

Heaven Born and Ever Bright is the third studio album by British rock band Cardiacs. It was produced by Tim Smith, engineered by David Murder and mixed by both Available on CD Digifile and Single Sleeve Violet coloured vinyl (pressed from the 1991 master) Cardiacs are an English rock band formed in Kingston upon Thames by Tim Smith (guitar and lead vocals) and his brother Jim (bass, backing vocals) in 1977 under the name Cardiac Arrest. One of Britain's leading cult rock bands, Cardiacs' sound folded in genres including art rock, progressive rock, art punk, post-punk, jazz, psychedelia and heavy metal (as well as elements of circus, baroque pop, medieval music, nursery rhymes and sea shanties), all of which was topped by Smith's anarchic vocals and impressionistic lyrics. Their bizarre sound and image made them unpopular with the press, but they amassed a devoted following Tim Smith was the primary lyricist, noted for his complex and innovative compositional style. He and his brother were the only constant members in the band's regularly changing lineup. The band created their own indie label, the Alphabet Business Concern, in 1984 and found mainstream exposure with the single "Is This the Life?" from their debut album A Little Man and a House and the Whole World Window (1988). Their second album, On Land and in the Sea (1989), was followed by Heaven Born and Ever Bright (1992), which displayed a harder edged, metal-leaning sound retained in the subsequent albums Sing to God (1996) and Guns (1999). Tim Smith was hospitalised with dystonia resulting from a cardiac arrest in 2008, which brought increased and belated critical recognition to Cardiacs, with several music outlets calling Sing to God a masterpiece. His death in 2020 saw a raft of tributes on social media