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Lès Modernos present a psycho-geographic trip to Andalusia, a journey recomposed in a green Corolla. Mechanized and pastoral collages. Miniature songs, luminous yet just a little heavy, from the great theater of life. Car radio samples, recorded from the passenger seat of the Father's vehicle. Al-Mutreb Abul-Loul, Big City Orchestra, Eric Copeland, Bertold Brecht, Sachiko Matsubara, Hopeton ‘Scientist’ Brown, Cabaret Voltaire (Red Mecca), a French singer resolutely of the now (or Jonathan Richman). Fears greater than us, heredity, death, love, oblivion. And this fever which always consumes us.Tracklisting: 1. laques1 2. corolla1 3. soleil pour toi 4. habitat1 5. Grisou 6. la superlegion 7. corolla2 8. au cabanyal 9. laques2

Although 30 years after its birth this fundamental electronic gem called 'Reflections' has achieved cult status, it is worth remembering that it all started in 1993 in a small apartment in Waterloo, London, with the help of a mixer and a bunch of hardware synth and drum machines of hardware, with the mastodontic Oberheim OB-8 synthesizer as the main partner.

While in the UK the vast majority of kids showed a certain rejection of what came from North America in the form of electro, Kirk Degiorgio, under his alias As One, embraced it openly and incorporated it into his productions along with influences from other genres that he had already adored since he was young, such as jazz, soul or funk, thus becoming one of the true early adopters of Detroit techno in the UK.

If we look back, 'Reflections' is a challenge in itself, and even more so considering what the consumption pattern of electronic music was in the early 90s. This timeless album fits into the delicate border between being enough club to work on the dance floor, and still being musical and cerebral enough to be listened to at home. A milestone that, whether premeditated or not, Degiorgio more than achieved.

Three decades later Lapsus Records has been able to access the pre-masters extracted from the original DATs to build a special 30th anniversary edition within its Perennial series. For the occasion, this reissue not only offers the tracks included in the first edition, it also adds the songs 'The Priestess' –never released on vinyl before– and Forgotten Memory –until now unreleased and rediscovered in one of the DATs dating back to 1992 from the 'Reflexions' recording sessions. We are therefore facing the definitive edition of an album that, despite coexisting with the explosion of the rave movement, would pave the path for the UK-Detroit connection.

In his long and successful career Ennio Morricone composed many dance songs as it was in fashion in the late sixties and early seventies.

Themes that were usually not directly connected with the subjects of the soundtrack, but which were played in disco clubs, on jukeboxes,

turntables and on the radio.



This collection contains a selection of very cool pieces such as the brilliant main theme from GRAND SLAM (1967), the shake rock (opening credits) from

Dario Argento’s classic FOUR FLIES ON GREY VELVET (1971), the danceable from the noir film VIOLENT CITY (1970), the beat version of the opening

credits of “Pioggia sul tuo viso” by The Sorrows, from HOW I LEARNED TO LOVE WOMEN (1966), “Per Vittorio (Bossa)” elegant bossa nova with flute and

percussions from THE SUCCESS (1963), the tribal shake from I Cantori Moderni which winks at the Dies Irae from GARDEN OF DELIGHTS (1967),

“Scuola di ballo al sole” a wild surf piece from THE HAWKS AND THE SPARROWS (1966), the supreme bossa nova from ONE NIGHT AT DINNER (1969)

with the super iconic voice of Edda Dell’Orso, the shake music of “Ostinazione al limone” from WHAT HAVE YOU DONE TO SOLANGE? (1972),

“Donnabossa” from FULL HEARTS AND EMPTY POCKETS (1964), a delicate bossa nova with a prominent harpsichord.

CLAUDIO FUIANO

Causa Sui's three volumes of Summer Sessions are back in print! This time on the band's own label, on individual LPs for the first time since they were first released in 2008 and 2009. Re-packaged in El Paraiso's signature style. Originally the Summer Sessions were intended as a side project for the band - a chance to explore their love for other genres such as American free jazz, krautrock, 1970s soundtracks, as well as the psychedelia and detuned stoner-rock that characterized Causa Sui's first two albums. But these three albums came to define the band, and have become modern classics of psychedelia and progressive rock since their initial release ten years ago. In a scene often characterized by loyalty to a specific period, there's something refreshing about Causa Sui's eclectic approach. With several guest appearances by Coltrane-devotee Johan Riedenlow on sax and electronics wiz Rasmus Rasmussen, Causa Sui venture far beyond stoner-rock platitudes. Take the grandiose opening statement for example - the 24 minute "Visions of Summer" taking up the entire A-side: here new and old sounds dissolve in a mindbending excursion that recalls Future Days-era Can, breezy tropicalia or Herbie Hancocks Mwandishi group, as much as it sparks associations to Kyuss or Hendrix. Other tracks, such as the frenetic Rip Tide (vol. 2), heads into straight up free jazz territory with Riedenlow going absolutely bonkers on the sax. But this set also allows plenty of room for atmospheric pieces such as the sun-drenched "Venice by the Sea" (vol. 3) or the Morricone-esque "Cinecitta" (vol. 2).

repressed !

Birthed at the turn of the ‘80s, synth and wave music has remained a constant force over the last four decades, with a recent spike in interest in the sound offering further proof of its’ timeless, out-of-this-world quality. It’s against this backdrop that Dutch DJ Interstellar Funk presents his celebration of the style, “Artificial Dancers – Waves of Synth”.

A bumper compilation bristling with obscure and hard-to-find gems, the set sees the Artificial Dance label founder joining the dots between synthesizer and drum machine-driven tracks in a variety of subtly different styles. It’s the result of hundreds of hours spent digging through dusty old records, tapes, and the Bandcamp accounts of DIY musicians who have been active since the sound’s first boom in the early 1980s.

The 11-track set draws on tracks made and released at different times over the last 40 years, with the earliest cut committed to tape in 1978 and the most recent in 2018. While the tracks date from the ‘80s, ‘90s, noughties and 2010s, the showcased cuts are united by a primitive but futuristic quality that makes dating them difficult. In many cases, it’s hard to tell which tracks were made in the early 1980s and which were conjured up in 21st century studios.

As you’d expect, highlights are plentiful with a number of the most unknown or sought-after cuts appearing on vinyl for the first time. In this category you’ll find the Human League’s odd but inspired early number “4JG”, a near mythical 1982 live version of Liasons Dangereuses’ “Dias Cortas” (previously only available on a VHS video) and Chris and Cosey’s “Hybrid C”, a brilliant mid-’90s cut plucked from their CD-only album “Skimble Skamble”. You’ll also find a rare demo version of Clan of Xymox’s Dutch darkwave classic “Stranger”, which became a club smash across Europe in 1983.

Interstellar Funk has also chosen to showcase tracks by a range of DIY producers and lesser-known artists. These include Californian band Batang Frisco, who self-released a sole private press album in 1986 (their contribution, “Sewing Machine”, is dedicated to founder member Bill DiMichele, who passed away this year), Matthias Schuster’s Im Namen Des Volkes project – which contributes the previously unreleased 2014 track “Alles Ist Gewinn” – and Zahgurim, a short-lived early ‘80s act who reunited in 2018 to record their first new material since 1983.

If that wasn’t enough to set pulses racing, the compilation also showcases a solo track by sadly departed Psyche member Stephen Huss. Nobody is quite sure when Huss recorded “Infinity Sign”, but we can confirm this is the first time that one of his solo productions has ever appeared on vinyl.

After nearly two decades releasing music on prominent Drum n Bass labels such as Creative Source, Soul:R and Paradox Music, Paris based producer Naibu is finally launching his own imprint, Minato Music. Starting things off with this new solo LP entitled ‘Sans Soleil’, Naibu draws inspiration from the very best of 90s Drum n Bass and Anime film scores of that period, to create a modern day soundtrack that is relevant both at home and on the dancefloor.

Featuring a 40-piece strings orchestra, a Japanese women’s choir and the vocal talent of legendary singer Robert Manos, this album masterfully blends the evocative beauty of the human soul with cold synthesized sounds, deep sub basses and original hand-crafted breakbeats. This massive project, which took nearly 5 years to complete, is an emotional journey through time and a future classic.

Buzz Fuzz, a.k.a. Mark Vos, is considered one of the most prominent DJs and producers in the international hardcore scene for over 30 years. He started his deejay career in 1987, mixing hiphop and swingbeat at the Zorba in Amsterdam. In 1991, he became inspired by a live performance of The Prophet and decided to focus solely on hardcore house. Within a few years, Buzz Fuzz became a headliner on festivals like Hellraiser, Thunderdome, Dance Valley and Multigroove.

Together with DJ Dano, The Prophet and DJ Gizmo he formed the infamous “Dreamteam”, and in both 1997 and 1998 he was named
‘Best Hardcore/House Producer.

A selection of his best tunes, including “XTC Love” and “Jealousy Is A MF”, are compiled on the album Hardcore Legends, which is part of the brand-new series by Be Yourself Music, focusing on groundbreaking and essential artists in the Hardcore scene. The album features the brand-new remix of “XTC Love” by Dither, which was presented during Dither’s DJ set at Thunderdome 2022 in Utrecht (NL).

THE CULT 1992 DEBUT OF DOOM-TINGED DEATH METAL SAVAGERY -
PRESENTED ON CD FORMAT WITH ORIGINAL COVER ARTWORK & FULL
LYRICS
Formed in 1989 in Milwaukee, Wisconsin USA & among the group of earlier death
metal acts to grace the label roster, Accidental Suicide released their one, sole
album in 1992, originally through Peaceville's Deaf Records imprint, which was
the initial home of other notable acts such as 'At The Gates' & 'Morta Skuld'. Being
much more than a pure "blast" styled death metal outfit, Accidental Suicide
introduced & utilised a doomier presence also, even recalling other classic
pioneers of the genre such as 'Paradise Lost', to lend a twisted & at times sombre
dynamic to the tracks, with this effective diversity to the compositions through
the tempo variations & deranged melodic passages scattered throughout the
album. The tortured & sinister vocals of Ed Jackson narrate tales of morbid
brutality & murder behind a wall of punishing riffs, for what stands as a prime
example of classic early 90's death metal execution.
'Deceased' was engineered & mixed at Mauer Brothers Recording Studio in
Milwaukee, with production work handled by Eric "Griffy" Greif.
Cover artwork was created by Chris Drew, also responsible for other early
Peaceville artwork on Impaler's 'Charnel Deity' & Baphomet's 'The Dead Shall
Inherit'.
This edition of 'Deceased' marks 30 years since the original release & is
presented officially on CD for the first time since the original 1992 pressing,
including the original artwork & full lyrics.

#40 ON ROLLING STONE'S 500 GREATEST ALBUMS OF ALL TIME: ANTICIPATES LATE 1960S TURBULENCE VIA PROPHETIC SONGS AND DARK THEMES
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Any discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art. Transcending language and convention, its magnitude and magnificence need to be heard again and again. For here is an effort whose mind-boggling acoustic complexities and kaleidoscopic nuances are tailored for high-fidelity playback.

Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. Turn it up as loud as you want; the sole limitation will be your system's potential.

Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from its lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings.

The seemingly opposing combination – ominous, dark reflections situated amidst lush, light melodic beds – affords Forever Changes a distinguished tension of claustrophobia and openness, dourness and ecstasy, ugliness and elegance enjoyed by no other record in the rock canon. Much of the contrast owes to leader Arthur Lee's mental state and pertinent observations. Lee, whose suppressed romanticism often surfaces even amidst the blackest shadows and most cynical moments, believed he would soon die, and hence channeled everything from lasting hopes to acid-addled decay to the chilling testimony of a Vietnam veteran in his narratives.

Alternatively sad and beautiful, the album-opening and flamenco-inspired "Alone Again Or" establishes the mood for what follows. Vocals overlap and soar; tempos rise and fall; surrealism trades places with reality.Forever Changes thrives both because of and in spite of a surfeit of labyrinthine chords and difficult notes that never repeat. Its ambitious construction almost forced the already fractured band to cede responsibilities to session musicians, which appear on two tracks. The quintet's resolve to not only complete the album, but to do so with such poignancy and curiosity, further enhances Forever Changes' standing.

No wonder that, in the twilight of his troubled career, Lee performed the record in its entirely during concerts met with overwhelming critical acclaim. It was, and will always be, a personal manifesto of timeless relevance and appeal.

James Ray kickstarted his career as a teenager in 1959 after he left Washington DC for New York, but debut single ‘Make Her Mine’ flopped. Two years later, songwriter Rudy Clark discovered Ray and got him signed to the Caprice label, the resultant ‘If You Gotta Make A Fool Of Somebody’ a top-30 hit that the Beatles covered in early live sets. Ray’s self-titled debut album had that hit and the equally appealing follow-up, ‘Itty Bitty Pieces,’ as well as ‘I’ve Got My Mind Set On You,’ later successfully covered by George Harrison. An overdose would tragically cut short Ray’s career, this sole LP a testament to his enduring talent.

A real soul gem from 1970 on the James Brown affiliated Deluxe label, the first and only album by this mysterious singer: Marie Queenie Lyons.
It is perhaps apropos that Queenie Marie Lyons’s best known song is titled ‘See And Don’t See.’ For all the acclaim that song has accrued, and all the times it has been compiled, reissued and, yes, bootlegged — for all the times it has been seen — Queenie herself has somehow remained unseen. How did a singer from Ashtabula, Ohio record one of the great female-led soul albums and then simply fall off the map, never to record or perform again? Queenie was a natural performer and a gifted singer. At the age of fifteen, she was doing three shows a week at a local venue. In early 1962, Queenie moved to Queens and was soon playing gigs across the city — an early engagement was with Gene Krupa at the famous Metropole Café in Times Square — as well as touring with established acts like Fats Domino and Ray Charles. The following year, Queenie made her debut recording, for a subsidiary of RCA called Groove, credited to an entirely fictitious “Shelley Shoop and the Shakers.” It remained Queenie’s only presence on wax until early 1968, when a Nashville-based label called Sims gave her her first accurately attributed single, “A Minute Of His Goodtime / Good Soul Lovin’.” Although the 45 is now a highly collectible part of the Northern Soul and Lowrider Oldies pantheons, it made no impact at the time, as Sims was focused on more typical Nashville sounds. A few months later Queenie was back in New York City, performing R&B and pop covers with her band when a man passed her his business card at a performance. The card read James Brown Enterprises. James Brown “was my idol,” she says, and someone whose business acumen and stage presence she strove to emulate. Although Queenie ended up on tour with James Brown for only a month or so, when the group reached Cincinnati in mid-’68 she entered the King Records studio there to record what would become the
album you hold in your hands. The songs were a combination of covers, some of which she’d been doing in her live shows, like ‘Fever’ and ‘Try Me,’ and originals written by producer Henry Glover and pianist Don Pullen, who was the bandleader on the session. The album opener, ‘See And Don’t See,’ was also recorded by the veteran R&B singer Maxine Brown, but Queenie’s version blows hers away. “Soul Fever” is a supremely funky and soulful affair, with Queenie’s powerful and captivating voice magnetically attractive, with an urgency that is impossible to ignore. ‘Your Thing Ain’t No Good Without My Thing,’ ‘Your Key Don’t Fit It Anymore,’ and ‘I Don’t Want Nobody To Have It But You’ are as funky and soulful as the best of Tina Turner and Aretha — a statement not to be made lightly!
The album was critically acclaimed — the October 10, 1970, issue of Billboard listed it as their sole “four star” pick in the Soul category — but perhaps due to the tumult at Starday-King, whose stewardship had turned over several times in only a few years, it never seemed to be able to break through to a larger audience.

Repress!

Synergy in motion, London five-piece Ezra Collective are proving themselves as a harmonious tour de force. Their sound nods respectfully to a classic jazz footprint, celebrating the originators whilst simultaneously carving a path solely their own.

Ezra Collective marry the delicate technicalities of jazz musicianship with afrobeat and hip hop, tied together by a sound that's unmistakably London. Their live show is one of dynamic union; the strength of their partnership shines in performances that are commanding yet sensitive, soulful and pertinently groove-laced.

Following a joyous and stunningly cohesive show in May 2016, Boiler Room rightly labelled the group as 'pioneering the new-wave of U.K. jazz'. As the genre enjoys a new lease of life that is gaining momentum across the country, Ezra Collective are adding their own fresh and imaginative face to a style that continues to be 'as entertaining as it is educational' (Trench).

In a year that saw them sell out legendary London venue Ronnie Scott's not once but twice, 2017 also bought with it the release of their genre-bending second EP, Juan Pablo: The Philosopher.

After Ezra Collective took the EP on a successful tour across the U.K and Europe and completely sold out of the vinyl, Juan Pablo: The Philosopher went on to win the accolade of Best Jazz Album at Gilles Peterson's esteemed Worldwide Awards Jan 2018

Printed Sleeve / Sealed !

On his sole album as a leader, bassist Melvin Jackson - a veteran of the Eddie Harris band (this album includes two Harris originals) - plays with a bow, plucks and plugs his upright bass into a Maestro G-2 filter box, a Boomerang, an Echoplex, and an Ampeg amp. The result is soulful, psychedelic, and of course, funky – at once one of the grooviest and most avant-garde albums you’ll ever hear. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Re-Release von One Foot In The Grave, das Album der deutschen Thrash Metal Legende Tankard, das ursprünglich am 2017 über Nuclear Blast Records veröffentlicht wurde. One Foot In The Grave war das dritte Tankard Album für Nuclear Blast. Das Album wird in limitierter Auflage als Gatefold Black/White/Red Splatter LP veröffentlicht.

muslimgauze vs species of fishes

The story of this unexpected collaboration dates back to the summer and autumn of 1998 when Bryn Jones AKA Muslimgauze, the politically conscious music genius from Manchester, discovered Species Of Fishes' albums through the Dutch label Staalplaat. Jones embarked on a journey of reinventing the Muscovites' tracks, infusing them with hypnotizing noise pulsations that were both harsh and sharp, yet profoundly humane, while evoking ethereal Arab echoes.

The original remixes became the inaugural release on Species Of Fishes' self-titled label in 1999, with a limited circulation of 500 CDs. Another edition was later released in the United States in 2007 by Tourette Records, with a circulation of 1000 CDs. The first edition featured a selection edited from the original DAT cassette, accompanied by minor revisions, while the second one faithfully reproduced the entire studio session, providing insight into the creative process rather than focusing solely on the final result.

In this new reissue, Species Of Fishes have curated the tracks, discarding repetitions, unsuccessful takes, and technical pauses. The result is a more dynamic compilation that retains the core elements of the original work while reducing the total duration by almost half.

'Trip Trap', 'Some Songs of a Dumb World', and 'muslimgauze vs species of fishes' comprise three chapters of Species Of Fishes' album triptych, which unveils the originality of the Russian duo, pioneers of the unparalleled electronic scene who were ahead of their time.




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Some of the earliest works by American composer Phill Niblock, including three never before released pieces: "Index" (1969), "Tenor," and "Boston III" (both from 1972). Until now, it's been impossible to encounter Niblock's compositions from earlier than the 1960s, a reality thankfully rectified by the long overdue publication of this Boston/Tenor/Index LP on Alga Marghen.

"Tenor" (1972) represents the first evolution of Niblock's musical thought towards the aesthetics of microtones, overtones, and drones which the composer would develop in following decades. The piece was recorded by the photographer Martin Bough on tenor saxophone and gradually dubbed back and forth by the composer in his New York studio. "Boston III" (1972) was recorded at the Intermedia Sound studio in Boston with Rhys Chatham (flute, voice), Martin Bough (tenor saxophone), and Gregory Reeve (viola, voice); the composer himself also contributed with his voice. The LP also includes "Index" (1969), an improvised sound performance by the composer himself. Guitar (both its body and strings), fingers and fingering fuse in a vehement action around which barely listenable sounds and resonances vibrate. Considering the extended pulsation as an organic blend of impulse, rhythm, drive, strength, vitality and passion, the end of this sole solo in Niblock's complete oeuvre is not defined by the fixed duration of the piece but as the consequence of the tiredness of the performer. The music changes according to the loudness of playback. The interaction of the upper harmonics changes especially, with much richer overtone patterns being produced at louder levels.

Before he was in Sugar or became the Drive-By Truckers’ producer-of-choice throughout their career,
David Barbe led the Athens, GA trio Mercyland, who made one minor classic with 1989’s No Feet On
the Cowling. The legendary Athens, Ga post-punk band’s sole album originally released in 1989 has
been fully Remixed & Remastered. For this 2023 Reissue, Barbe went back to the master tapes and
was able to remix the album to the robust sound that he intended it to be back in 1989. The "lost
American Underground classic" album now sounds bigger and better than ever. Finding a raw but
tuneful midpoint between British post- punk and American rock & roll, the band never sacrifices
melody for power (or vice versa), adding counterpoint vocals and lyrics that explore the human
experience without falling into obvious clichés.