Search:som

Repress!

The label has a simple mantra; no frills club cuts designed for the dancefloor. For their second outing, Demi Riquísimo has enlisted Kiosk Radio and Fuse Brussels resident DC Salas to fulfill the brief, via the ‘Tio’ EP.

A DJ noted for his versatility with his sets effortlessly melding a plethora of styles from house, techno and trance to disco & new beat. This broad range of influences is on full display on the buttons as DC Salas shows his range as a producer right across the ‘Tio’ EP.

The EP kicks off with the emotive title track ‘Tio’. DC explains the context:

“It features the voice of my godfather (my dad’s uncle, who was like a brother to him) who passed away unexpectedly some months ago. We found a video of him (he hated being filmed) one week after he passed away, with a wonderful talk he did on his birthday last year. The vocal is an extract of this video.”

Up next is 'Fearless Is More', a track where DC’s production dexterity comes to the fore. The track combines elements of 90’s trance, with a jackin’ bass line and vocal samples that evoke images of the early Amnesia Ibiza golden era.

The B-side opens with 'Never Ending Story', another track which speaks to Salas’ vast array of influences with a synth topline sounding like it was straight out of the Ancienne Belgique. 'A Departure' chugs along menacingly with an acid house flourish in its second stanza, for some peak time perfection. The EP is completed with 'Slowtospeed', which juxtaposes melancholic pads with progressive synths and a driving to bass to make for an extremely well rounded first outing for DC Salas on the burgeoning imprint.


DJ Feedback:

Job Jobse - Great release!!!

Make A Dance - this is wicked, Never Ending Story is the track for me.

Kiara Scuro - Absolutely love this! Definitely will be playing.

Dave Harvey - This is great.

Tech Support / Asa Tate - DC is king!

Timo Deeprhythms / Echocentric Records - Stupid good release!

REES - Love this one!

Martyn Bootyspoon - Absolutely send these over!!

Sara Miller / Public Possession - Really really like this record. Totally my vibe :) All are excellent tracks but Fearless is More is my fave. But really digging Never Ending Story and Tio too!

Aletha / Rinse FM - Sounding perfect for my sets at dimensions

Aiden Francis - Wooooah, love these. Such a varied release!

Ciel - I love the A1 on this! Tio is gorgeous.

Holly Lester - Great release, Tio is biggg!

The early Reggae sound that came out of Jamaica between the years 1968 and 1971 became the soundtrack to the skinhead movement in the UK. Not only was the music embraced but also the dress style of the Jamaican Rude Boys.

The skinhead style started around 1968 and by the following year 1969, had become the style and fashion of the British teenagers. The uniform of the skinheads consisted of boots, braces, button down shirts and jeans and the upbeat reggae sounds seemed to match the style perfectly. The tempo of the music in Jamaica had previously slowed down from the more up tempo beat of Ska to the calmer pace of beat called Rock Steady. Some say this was to match the extreme heat wave that was hitting the island between 1966 and 1968. But that period had now passed and the evolution of the Reggae beat had again found a new pulse to hang its songs by. A more up tempo beat that all Jamaicans, British youths and various pockets of people around the world could groove to.

We have selected a cross section of tunes from those heady times, so sit back and enjoy some of the tunes the youths were listening to when the Skinhead Shuffle was all the rage. Hope you enjoy the set….

FFO: Melvins, Big Business, Torche, Karp, Lightning Bolt, Red Fang. Super limited vinyl, first press is transparent-y orange. Based in Sheffield, POHL is a stunning and brutal noise rock duo, featuring former Hey Colossus axeman Will Pearce on guitar/vocals, and drummer Dr Linda Westman of Toronto-based death metal two-piece, Old Hope. This July the band releases their debut album Mysteries; a sonic tome which draws as much from MF Doom as it does doom metal. It’s a swirling, cosmic onslaught of heavy motorik riffs and offhand musings about everything and nothing in equal measure. New single ‘The Whale’ summons the glorious thunder pop of Torche, the pithy lyricism of Karp and the DIY derring-do ethos of Guided by Voices. As guitarist/vocalist Will Pearce explains: “I suppose you could say that Mysteries is an album about grief. How we live with grief, and how we overcome it. When you’re trapped in the belly of the beast, and all seems lost - how do you come back from that? All I can say is that sometimes you eat the whale, and sometimes the whale eats you." Pearce, who played with Hey Colossus on their 2019 album Four Bibles and 2020’s Dances/Curses is thrilled to be teaming up once more with former bandmates Joe Thompson and Chris Summerlin and their Wrong Speed Records imprint. Recorded at the band’s own Cool World studio and mixed by serial collaborator and producer Wayne Adams, Mysteries is many things, often all at the same time. Veering from biblical allusions to fragmented Burroughsian cut-ups, it is at once mystical, profane, sacred, and scatological. Profoundly stupid, perhaps? Or just stupidly profound… either way, Mysteries demands your attention

Als im Sommer 2008 Philipp Poisels erste Single "Wo Fängt Dein Himmel An" erschien, der das gleichnamige Debütalbum im Herbst folgen sollte, wusste man zwar, wo 'sein' Himmel anfängt, aber kaum einer konnte ahnen, bis wohin sich dieser erstrecken würde. Heute zählt Philipp Poisel zur ersten Liga der neuen deutschen Pop-Poeten mit zahlreichen Gold- und Platinauszeichnungen. Sein Name steht für Qualität, Authenzität und eine umwerfende Poesie, oder wie es Rea Garvey ausdrückt: "Philipp Poisels Lieder sind eine Waffe." Neuauflage der Debüt-LP im Doppel-Gatefold.

2024 Repress

180 Gram, Tip On Sleeve RSD version of this classic. One of the rarer records of the mythical Strata East albums is finally reissued for the first time on Heavenly Sweetness!
The recording of Earth Blossom, the John Betsch Societys one and only album, seems something of an enigma nowadays. For even though Nashville is clearly one of the towns in the US with the highest number of recording studios, who would have thought that the capital of country music would give birth to one of the forgotten masterpieces of 1970s spiritual jazz. The path leading to the album starts in 1963 when John Betsch, originally from Jacksonville in Florida, arrives in Nashville to study at Frisk University. He is a young drummer and joins Bob Holmes trio. Holmes is one of the towns major jazz organists and pianists; he becomes Betschs mentor and, over the space of two years, John will play alternately with him and with the trumpeter Louis Smiths group. However, in 1965, John leaves town to go to the prestigious Berkeley University in Boston and do a two-year course along with his fellow debutants with names like John Abercrombie, Ernie Watts and Alan Broadbent. Two years later, he is invited by a pianist friend, Billy Chilf, to join the legendary singer/songwriter Tim Hardins group. Just after Woodstock, John Betsch and Tim record a psychedelic album Columbia will never release together with the members of the future group Oregon: Colin Walcott, Glen Moore, Paul McCandles and his friend Billy Chilf. But he soon leaves this group to return to Nashville where he hooks up again with his friend Bob Holmes. Two years later, he is accepted on Archie Shepp and Max Roachs famous course at the University of Massachusetts Amherst (UMASS) and for the next four years he participates in this collective of intellectuals and musicians under the aegis of the two masters.
During this period he returns to Nashville to form his Society whose music is obviously influenced by the Afrocentric ideas of the UMASS student and political movement. However, the album, recorded in one day and in one take, also bears the hallmark of their generations psychedelic experiences, and in the themes and playing of the musicians we can hear a less violent form of music than the radical free jazz of New York or Chicago. Nature and environmental themes are the inspiration behind tracks touched by the spirit of Coltrane but also of Flower Power.

After Amherst, John Betsch joins Marion Browns group in 1976, leaves Tennessee for good and makes his home in New York over the next ten years or so. He plays and records with Dollar Brand, Kalaparusha Maurice McIntyre and many others, before heading off to France. He has lived in Paris for the last twenty years and played in Steve Lacy, Mal Waldron and Archie Shepp bands, as well as forming groups of his own. He now lives in Paris and plays with many musicians/bands.

2024 Reissue

Released on the famed tax scam label Tiger Lily in 1976, Sounds Of
The City Experience's self-titled debut album is a rare groove treat with original pressings often reaching astronomical figures on the second-hand market. Its quality carries over into the sound with its richness of character pushing beyond what must have been a very limited recording budget. The members, whose anonymity today stands in stark contrast to the instant fame they generate on the record, go from strength to strength across these ten tracks, and craft some of the most catchy and enticing soul and funk of the 70s. P-VINE is excited to be reissuing the album for a limited edition LP package with an iconic Japanese obi strip attached.

“Todavía No”, La Paloma’s debut album, consolidates the young band from Madrid as one of the realities of the current scene. Undoubtedly, it’s definitely a bold step forward in all senses: compositional, interpretative, and artistic. Noise-rock to combat all the noise out there.

In “Una idea, pero es triste”, their celebrated debut EP, La Paloma expounded something very serious, but they explained it only once. Five songs that instantly connected with an audience eager for new references. In “Todavía no” there is more depth; here practically each cut shows a different shade of being La Paloma. “Tiré una piedra al aire” is far from “Algo ha cambiado”, but both are unequivocally La Paloma. Surely, this is something that can be attributed to the baggage acquired during this time lapse, but it certainly speaks very well of the artistic ambition of a band to which now seems to have no ceiling.
We are not, therefore, facing a mere extension of their 2021 EP, although musically they pick it up from where they left off. “Todavía no” is an accessible and contagious work, equal qualities shared with “Una idea, pero es triste”. It’s a work that conveys discontent and liberation, ambition and boredom. In large part, it’s due to the accredited ability of its composers Nico Yubero and Lucas Sierra to observe the world with the right dose of skepticism and disappointment, avoiding tormented gesticulation.
The presentation tour that followed the publication of the EP was extensive and led La Paloma to defend their songs throughout the Spanish geography, as well as visits to Portugal, Mexico and the United States. That state of grace was transferred to the studio, where they tried to reflect their live sound and proposal. With an elegant production and without undue frills, the mission of preserving the sharp fang shown in concert halls was achieved, ensuring, in turn, that the elements, arrangements and the proposal of each instrument were heard crystal clear.
Right from the start, we notice in the sequence many of the virtues that make La Paloma one of the most advantaged groups of the current scene: gushing guitars, the solidity of its rhythm section with Rubén Almonacid on bass and Juan Rojo on drums and the color tone provided by the voices of Nico and Lucas, who share the vocal tasks on alternate tracks.
But there’s more: songs that destroy the most generic canon of noise-rock to take it to little-explored territories, frantic guitar games and a cascade of imaginative arrangements. It combines popular song constructions with unpredictable structures that prevent you from anticipating what twist is to come next, making listening experience exhilarating and addictive.
“Todavía no” is a tightly cohesive album, a remarkable fact considering the two creative inputs from which the band draws from and the artistic ambition with which they faced the building of this work. Because we are talking about a complete work, conceived as such. The first chords of “Sigo aquí” sound and the disorganization of reality… is still disorganized, but somehow it makes sense now.

For its next outing, the Nebraska label has curated a mini best-of EP that serves up a quartet of tunes that have been digital only until now. Side A opens with 'Senza Parole,' featuring a weird and wonderful vocal sound and some loose hand claps under Italo-infused disco-funk drums. 'Let Me Be The One' is a nice tripped pout and slow motion 90s downtempo jam and 'Funkbraska' is an homage to French Touch with filtered synth loops fizzing with sugar goodness over a characterful bassline, and last of all is 'Love + Hate', another low slung hose groove that oozes cool and has a fantastic bassline propping it up.

Found on some misplaced old warped cassette tapes from the 90s, ‘The One’ was recreated using the original TriForm studio equipment. ‘Within’ is a more recent TriForm track, recorded in a late night studio session. ‘Day Break’ was developed from a live jam track performed at a Seekers party in Berlin’s Hoppetosse

The Fossils label has been unearthing more musical treasure for its fifth outing, and this one takes you directly to the Middle East for some twisted disco-funk with red hot grooves courtesy of Fava Luva & Dr. Professor. The source of the tunes is obscure and unknown but the pair bring plenty of their own goodness with additional layers of live instrumentation really bring them to life. 'Lahatz' is steamy and full of sensuous vocal magic and cosmic synth work that will get the floor into action, while 'Kerem' is even more topical and exotic with its rich array of strong melodies and downtempo beats making for a woozy and wonderful trip.

Crack Cloud has always been something beyond a rock band: both profound and grand, vaporous and elusive. The first iteration of Crack Cloud was formed nearly a decade ago as a proxy-rehab outlet on the fringes of Calgary. Over time, two EPs and accompanying visual pieces were produced out of the residence known as Red Mile. By 2017, several members had relocated to Vancouver, working out of harm reduction centers and low-barrier shelters. Sobriety, self-reformation and the idealism of their work further formed an ethos for Crack Cloud. It was during these years that the band produced their astounding 2020 album Pain Olympics. At once, their vision became expansive, cinematic. Now, Red Mile is a bit of a homecoming. Members have returned to Calgary. But Calgary/home has become a liminal space, a place of flux. After a decade of personal and collective growth, what does home even mean? Red Mile is, for them, something like samsara: a return and a rebirth. Red Mile's sound breathes expansive energy into the circuitous, street bound sonics of Crack Cloud's prior material. Fizzling synths intertwine with chiming pianos. Songs layer like Russian nesting dolls; one may find a Ramones chorus set within a desolate Western prog soundtrack only to watch it erupt into a joyous anthem. Real-ass guitars _ alternately lilting, scuzzy and soaring _ ring out across wide sun-bleached spaces. In 2024, the cumulative effect is (in rock instrumentation terms) naturalistic. Any whiff of embalmed nostalgia is absent. Even the close of the album - a winding, almost Jerry Garcia guitar noodle that leads us out of Red Mile - is delivered without sentimentality. Principal songwriter Zach Choy's lyrics are cutting but merciful, with a sharp self-awareness that never slides into self-satisfaction. Crack Cloud as artists are critical _ and ultimately as forgiving _ of themselves as they are the melting world around them. The songs balance an easy charm and cathartic power: affirming life without denying death. Recorded predominantly between the outskirts of Joshua Tree California, and Calgary, Alberta, this record is informed by a bittersweet mélange of old and new. The sprawling, novelistic structures of their previous albums are condensed and sharpened, while maintaining their refusal to delve into superficiality. Through playful melodies and elliptical guitar soliloquy, they deliver a final product of exceptional depth and distinctly unprecious warmth. Crack Cloud have produced a mature, vital work that interrogates the platitudes of the rock-n-roll lifestyle, but ultimately exalts its sacredness. Red Mile's de facto thesis statement "The Medium" is itself a rock song meditation: an ode to the form and its practitioners. This genre that _ typical, repeatable, corporatized as it can be _ somehow still has the power to help us live through life. We see the dusty sentiment of "I love rock and roll" exhumed, taken apart, and stitched back together. It's a song guided by faith _ if the medium helps us proclaim our love today, it's worth protecting from derision tomorrow. We live in an era where music seems to love hitting its head against the wall. Crack Cloud's Red Mile is the sound _ the feeling! _ of the bricks giving way.

Crack Cloud has always been something beyond a rock band: both profound and grand, vaporous and elusive. The first iteration of Crack Cloud was formed nearly a decade ago as a proxy-rehab outlet on the fringes of Calgary. Over time, two EPs and accompanying visual pieces were produced out of the residence known as Red Mile. By 2017, several members had relocated to Vancouver, working out of harm reduction centers and low-barrier shelters. Sobriety, self-reformation and the idealism of their work further formed an ethos for Crack Cloud. It was during these years that the band produced their astounding 2020 album Pain Olympics. At once, their vision became expansive, cinematic. Now, Red Mile is a bit of a homecoming. Members have returned to Calgary. But Calgary/home has become a liminal space, a place of flux. After a decade of personal and collective growth, what does home even mean? Red Mile is, for them, something like samsara: a return and a rebirth. Red Mile's sound breathes expansive energy into the circuitous, street bound sonics of Crack Cloud's prior material. Fizzling synths intertwine with chiming pianos. Songs layer like Russian nesting dolls; one may find a Ramones chorus set within a desolate Western prog soundtrack only to watch it erupt into a joyous anthem. Real-ass guitars _ alternately lilting, scuzzy and soaring _ ring out across wide sun-bleached spaces. In 2024, the cumulative effect is (in rock instrumentation terms) naturalistic. Any whiff of embalmed nostalgia is absent. Even the close of the album - a winding, almost Jerry Garcia guitar noodle that leads us out of Red Mile - is delivered without sentimentality. Principal songwriter Zach Choy's lyrics are cutting but merciful, with a sharp self-awareness that never slides into self-satisfaction. Crack Cloud as artists are critical _ and ultimately as forgiving _ of themselves as they are the melting world around them. The songs balance an easy charm and cathartic power: affirming life without denying death. Recorded predominantly between the outskirts of Joshua Tree California, and Calgary, Alberta, this record is informed by a bittersweet mélange of old and new. The sprawling, novelistic structures of their previous albums are condensed and sharpened, while maintaining their refusal to delve into superficiality. Through playful melodies and elliptical guitar soliloquy, they deliver a final product of exceptional depth and distinctly unprecious warmth. Crack Cloud have produced a mature, vital work that interrogates the platitudes of the rock-n-roll lifestyle, but ultimately exalts its sacredness. Red Mile's de facto thesis statement "The Medium" is itself a rock song meditation: an ode to the form and its practitioners. This genre that _ typical, repeatable, corporatized as it can be _ somehow still has the power to help us live through life. We see the dusty sentiment of "I love rock and roll" exhumed, taken apart, and stitched back together. It's a song guided by faith _ if the medium helps us proclaim our love today, it's worth protecting from derision tomorrow. We live in an era where music seems to love hitting its head against the wall. Crack Cloud's Red Mile is the sound _ the feeling! _ of the bricks giving way.

‘Road Less Travelled vol.2’ once again brings together the imprints far-reaching community of artists spanning London, Los Angeles, Montreal, Budapest, Copenhagen, Barcelona & beyond. The compilation floats between shoegaze, moody electronics, and shimmering synths; featuring new and original music from the likes of Nourished By Time, Mark William Lewis, and Untitled (Halo). Road Less Travelled Vol.2 sees the label continue to amplify the voices of these singular artists who continue to sculpt their respective sounds. It’s a follow-up to 2022’s ‘Road Less Travelled vol.1’ which was celebrated by Resident Advisor, CRACK, The Wire, Dazed, Clash, NTS, Tom Ravenscroft, and Jamz Supernova.

Scenic Route continues to reaffirm its position as some of London’s premier tastemakers; building a grassroots following via their sell-out live shows featuring the likes of Chanel Beads, James Messiah, Mark William Lewis, Delilah Holiday, and more. Paired with ground-breaking releases including Nourished by Time’s debut album ‘Erotic Probiotic 2’ garnering the coveted Pitchfork’s 'Best New Music' and was widely regarded as one of the ‘Best Albums of 2023’ with features on Gorilla vs Bear (#1), Pitchfork (#5), The Guardian, The Fader, Paste and more. Most recently releasing Vanessa Bedoret’s (Astrid Sonne band mate) debut album ‘Eyes’ in the words of Boomkat ‘a timeless bouquet of raptures and ballads iced with shearing strings and shatterproof electronics’ having additional support from Vinyl Factory, Resident Advisor, Bleep, Nina, The Fader and more.

Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another V/A from all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta. Tap in and make some space in your record bag


mid short >>>
Following up on Ohm Hourani’s infectious single “Barbara” which included a remix from Ricardo Villalobos and Amir Javasoul, We R The Aliens is happy to present its fifth release this June with another all-star cast: Boronas & Snad, Bärtaub, Mountain People and Nesta.

Boronas & Snad set the tone with ‘Affliction,’ laden with haunting synth work, rolling MPC percussion, meticulous backspins and mind bending delays. Fresh off an outing for Yoyaku’s main label, Istanbul duo Bärtaub give a strong nod to the 90s and the cult E- MU rompler with ‘Orbit The Dance Planet.’ Their track fuses bumpy breaks and robotic voices with ghastly chords, a snaking bass groove and of course, one-shots from the Orbit.

Mountain People kicks off the flip side with ‘I Am The Void,’ characterized by shuffled drum grooves and soft chord sequences intertwined with murky, dubbed out stabs. Beirut’s Nesta rounds out the release with ‘Tarte Citron,’ a late 90's tech house reminiscent track with crisp percussion, airy synth flutters, swelling sub bass tones and a catchy vocal hook.

Snoop Dogg’s fourth studio album, No Limit Top Dogg, debuted on May 11, 1999, under No Limit Records and Priority Records. Working alongside renowned producers like Dr. Dre, Dj Quik, G-One, Jelly Roll, Bud’da, and Meech Wells, they created the signature West Coast G-Funk sound that is synonymous with Snoop Dogg. The album reached the #1 spot on the US Top R&B/Hip-Hop Albums chart and peaked at number 2 on the Billboard 200. Featuring hit singles ‘Buck’em’ (featuring Sticky Fingaz), ‘Down 4 My N’s’ (featuring C-Murder and Magic), and ‘Bitch Please’ (featuring Xzibit).

a a1 Dolomite Intro (Voice Uncredited – Dolomite)



e a5 Dolomite (Voice Uncredited – Dolomite)

a a1 Dolomite Intro (Voice [Uncredited] – Dolomite)



[e] a5 Dolomite (Voice [Uncredited] – Dolomite)

"#1's" ist eine Zusammenstellung von Mariah Careys ersten dreizehn Chart-Singles. Erstmals 1998 herausgegeben, umfasst dieses Greatest-Hits-Album Klassiker wie "Always Be My Baby", "Fantasy" und "One Sweet Day", sowie vier Bonustracks, die bereits auf der ursprünglichen Vinylausgabe enthalten waren. Verfügbar als Doppel-LP auf Metallic-Silver und Black-Swirl Vinyl

Vessel Recordings Group is a new label from the United States and kicks off with Natural Rhythm aka the duo of Thomas White and Pete Williams. They have been working since the 90s on their own brand of house and as this EP shows it is stylish, rooted in tradition but full of contemporary designs. 'Jillybean' is raw, stripped back and perfect for backrooms. 'The Chase' is a slamming cut that pushes on with classic vocal samples twisted into something new, and great swing. 'Son Of Orange' is another lo-fi, high-class house sound with real weight and machine soul and 'Pocket Ops' closes out with dubby techno energy. A fantastic, no-frills EP to get this label underway.

After ""Down Two Then Left"" and ""Silk Degrees"", Boz Scaggs again worked with the members of Toto to create Middle Man; another amazing mix of soul, harder rock, slow ballads and catchy songs. The two singles Breakdown Dead Ahead and JoJo were two of his most successful, both reaching the Billboard Hot 100. The album itself reached the US album top 10 and went Platinum. Middle Man is available as a limited edition on crystal clear vinyl and includes an insert.

Vigil is a (heavy & avantgarde) doom/death metal band from the Unites States, with an aggressive sound - yet emotional and obscure, but also beautiful and emotional. A dark doomy road of sorrow and anger. With two bass players and some influences of post-rock, thrash and progressive metal, Vigil is a showpiece of the apocalypse filtered through ears, hands and emotions. The songs range from old-school European styled doom, with an aggressive death touch, like My Dying Bride, Paradise Lost and Katatonia, all the way to current atmospheric post-rock/metal acts as The Ocean, Isis and Intronaut. There are slow tempos to drag you through the emotional pain, and there are blast beats and thrashy grooves occasionally to spice things up

Shop Assistants formed in Edinburgh in 1984 and quickly gained a cult following, playing with kindred spirits the Pastels and the Jesus & Mary Chain and gaining positive coverage in fanzines and the music press. Their Shopping Parade EP and Safety Net single both hit the top of the indie charts and charmed listeners with their unique melodic blend of punk rock and 60s pop. The band signed to Geoff Travis' new Chrysalis Records imprint, Blue Guitar, in 1986 for the release of their debut album 'Will Anything Happen'. The album has since become a cult classic and is an essential listen for fans of indie, dream-pop, and shoe gaze. Stand-out songs include the lead single 'I Don't Wanna Be Friends With You', 'All Day Long', and 'Somewhere In China'. This newly expanded edition has been remastered from the original master tapes and compiled in collaboration with David Keegan and Laura McPhail from the band. CD 1 features the newly remastered version of 'Will Anything Happen' accompanied by B-sides from the era, plus previously unreleased instrumental demos from 1986. CD 2 contains a further 18 previously unreleased tracks including recently unearthed alternate versions and rough mixes from the making of the album, live recordings from London and Deinze, and a John Peel session featuring a cover version of Motorhead's 'Ace Of Spades'. The discs are housed in a 6-panel digisleeve with a 12-page booklet featuring lyrics and photographs.