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Continuing the ‘first time on vinyl’ purge of the AMT archives. Here’s the band's classic 2006 album finally available on double vinyl for the first time. Housed in full colour gatefold sleeve.
‘Myth of the Love Electrique’ is another scorcher from these ridiculously prolific psych masters. This album is notable for being the debut of their newest band member: Kitagawa Hao. Kitagawa's presence doesn't dominate the recording by any means, but her contributions nicely complement the swirling chaos the group generates. Acid Mothers Temple always manages to find a breath of fresh air at the most opportune times, and this is no exception. While remaining a tight unit, bringing Kitagawa into the fold adds another dimension to their chaotic sprawl without having to sacrifice any of their strengths on this incendiary album.
“Comprised of four lengthy tracks, the album explodes with a start: "The Man from Giacobinid Meteor Comet." Kawabata Makoto's guitar quickly becomes a tangle of screams, a frenzied surge that drags the band along with it. The rhythm section is ferocious. Bassist Tsuyama Atsushi frequently ventures out to the stratosphere, but he also knows when to hold back or to provide a vaguely melodic foundation. Likewise, the amount of energy drummer Shimura Koji dedicates to his performance is a lesson in endurance. Divided into three movements, this track eventually cools down and then glides to a drone landing, alighting the listener breathlessly upon calmer ground.
Kitagawa's voice makes its first appearance on "Five Dimensional Nightmare," floating over a bouzouki arrangement that sounds like singing glass. This one is divided into three sections like the previous track, but starts airy and then goes into a drone as Tsuyama briefly takes over the vocals. From here, strings are tortured like fingernails on a blackboard before a guitar and Higashi Hiroshi’s water drop electronics restore balance.
As much as I loved the two previous tracks, the band forges ahead into something different on "Love Electrique." Kitagawa's presence is most felt on this track. Her voice streaks across the mix as blistering guitars and freaky electronics blast all over the place. Over the course of 20 minutes, it hits several different moods and textures on a truly transcendent journey.

Of the four tracks, only the live staple "Pink Lady Lemonade (May I Drink You Once Again?)" may seem a little redundant. Kitagawa, however, breathes new life into this standard by bringing her vocals to the fore over the entire track, as if restoring an element that previously had been missing. It's hard to call it a definitive version because so many other excellent versions already exist, but it is a great one in its own right. For fans who may be weary of this song after all of its appearances over the years, it is easy enough to stop the disc after gorging on the first hour of music, and it is still a welcome dessert if the mood should strike”

Tapper Zukie after taking a little time out of the musical arena has come back with an album full of great material and has called in an A list of fellow Jamaican artists to add flavour to this great set. As Tapper named the album himself ‘Bunker Buster’ it shows Mr Zukie busting back out of the studio and back in the arena in fine style.

The opening track finds his long-standing working partner Horace Andy adding his distinctive vocal style to ‘Aquarius’. ‘Nuh Fraid A Dem’ features the great Luciano, ‘The Blessings’ the mighty Michael Rose, and Little Roy adds some magical rhymes to ‘Wicked’. The soulful voice of Beres Hammond sweetens the effects of `Stress’. The killer title track `Buster Bunker’ is backed up by the Musical Intimidators and Tapper has reworked his ‘Good Luck My Friend’ track to ‘Lucky Friend’ which features the timeless backing vocals by the legendary Jamaican vocal group The Tamlins. Digging even deeper into his back catalogue he has also pulled up some classic rhythms and more existing vocals to rework over. For example, ‘The Light In Me’ features the greatly missed Ronnie Davis. Junior Rass adds his mighty roar to ‘Humble Lion’ and Junior Reid leads the charge on ‘Warrior’. Half Pint adds a musical layer to Flesh and Blood. All in all a great selection of musical ideas that also features the cream of Jamaica’s musicians, Sly Dunbar and Robbie Shakespeare, Flabba Holt, Chinna Smith to name but a few. Tapper’s son Noel Barnes (AKA Brand New) alongside Pam Hall adds some gloss to the CD edition of this release.

Such is his standing in the reggae community that a call out to Jamaica’s finest set of singers and their eager reply to add their talents has made this an album not to be missed and can sit proudly alongside and find a place in his already prodigious catalogue.

Hope you enjoy the set…….

Shelter Press and INA grm are pleased and moved to present two previously unreleased recordings of Peter Rehberg, two live performances given at the GRM which, each in their own way, vividly illustrate the extent of his sonic palette.

On 22 July 2021, Peter Rehberg passed away, leaving a great emptiness in his wake. Many initiatives have already celebrated or will soon celebrate his memory and the titanic work he put at the service of so many artists - a whole musical community, in fact - through Editions Mego. INA grm, Shelter Press and Stephen O’Malley, who are continuing some of the collaborative Editions Mego sub-labels (Recollection GRM, Portraits GRM and Ideologic Organ), wanted to pay tribute more specifically to the musician Peter Rehberg, and to his immense talent.

Peter Rehberg, as an artist, has collaborated with the GRM on numerous occasions, both with Stephen O’Malley (as KTL) and solo. This release features two concerts given for the GRM, each time as part of the Présences électronique festival. The first concert, given on 15 March 2009 at the Maison de la Radio in Paris, marked the first collaboration between Peter Rehberg and the GRM and the beginning of a long and fruitful friendship. The second concert took place on 6 March 2016. Between these two concerts, 7 years have passed, 7 years in which the ties between Peter Rehberg and the GRM have been strengthened, 7 years in which Peter Rehberg’s music has flourished. What is striking in these two concerts is how Peter Rehberg’s unique musical sensitivity and ‘grammar’ can be heard beyond the instruments. For while the first concert is pure laptop music, the second is extended to the field of modular synthesis. However, in both concerts, the elements that are so personal to Peter Rehberg’s music are present and combine in a layering of sonic abrasions, raw sensations and a sensitivity that is as much about formal awareness as it is about the invocation of overwhelming emotions, even though a little hidden behind a radicality that is always a bit provocative. Peter Rehberg offers us a “portrait music”, a music that gives some clues about the personality of its author and whose absence continues to deepen an inconsolable sadness.

Live performances by Peter Rehberg at le Centquatre-Paris for INA grm’s Présences électronique festival, recorded on March 15, 2009, and March 6, 2016.

Mastered by Giuseppe Ielasi
Cut by Andreas Kauffelt at Schnittstelle, Berlin
Photo by Magdalena Blaszczuk
Sleeve design by Stephen O’Malley

• 180 GRAM AUDIOPHILE VINYL
• DEBUT ALBUM FROM CANADIAN
MELODIC ROCK BAND HAREM SCAREM
• FEATURES THE SINGLES “SLOWLY
SLIPPING AWAY” AND “HONESTLY” A.O.
• LIMITED EDITION OF 1000 INDIVIDUALLY
NUMBERED COPIES ON CRYSTAL CLEAR
& GOLD MARBLED VINYL

Canadian melodic hard rock band Harem Scarem was founded in 1987 and are best known for their hard-hitting guitar riffs, incendiary guitar solos, powerful vocals and huge anthemic choruses. They released a total of 15 studio albums, including their 1991 self-titled debut album, which included two hit tracks: “Slowly Slipping Away” and “Honestly”. The album features guest appearances by Ray Coburn (Honeymoon Suite), Carl Dixon (Coney Hatch) and Paul MacAusland (Haywire). The opening track “Hard To Love” was co-written by songwriter Christopher Ward, who is best known as the co-writer of worldwide hit “Black Velvet” by Alannah Myles.

Harem Scarem is available as a limited edition of 1000 individually numbered copies on crystal clear & gold marbled vinyl.

Perhaps not as well known to the general public, Bethlehem Records earned its place in Jazz history with the release of debut albums from artists like Carmen McRae, Chris Connor, Herbie Mann and Johnny Hartman. Besides that, check those early covers - pure art!

Bethlehem's most famous release is the 1958 debut album by Nina Simone, Little Girl Blue. So when DJ Maestro got the chance to remix this album, he was thrilled. Soon he got the idea to ask some of his favorite producers to collaborate, like Mop Mop, Renegades of Jazz, Gramophonedzie, Fab Samperi, The Reflex and Mees Dierdorp.

One thing they all had in common: excitement to work with the original recordings from this iconic album. The result is 14 remixes, each with a unique approach to the original song, and all with a contemporary feel.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDING INSERT
• FEATURING THE BRODSKY QUARTET
• LIMITED EDITION OF 2500
INDIVIDUALLY NUMBERED COPIES ON PURPLE COLOURED VINYL

The Juliet Letters is the 14th studio album by singer and songwriter Elvis Costello. Originally released in 1993, the critically acclaimed album peaked at No. 18 on the UK album chart. The entire instrumental backing for The Juliet Letters is provided by The Brodsky Quartet. Costello had become interested in classical music around the time of Spike and began attending classical concerts. One of the ensembles he enjoyed most was the Brodsky Quartet. Once Costello and the Quartet got to know each other, they were keen on working together, eventually resulting in a full length album.

Costello described The Juliet Letters as “a song sequence for string quartet and voice and it has a title. It’s a little bit different. It’s not a rock opera. It’s a new thing.”

The album is available as a limited edition of 2500 individually numbered copies on purple coloured vinyl and includes an insert.

I’m Jimmy Reed underlined the very raw nature of the recordings, yet it immediately showed
why his music was embraced so much by others as the songs offered more melody and variety
than other Blues players. Ain't That Lovin' You Baby has fine melodic hooks that could easily
be transcribed into rocking versions, while Boogie In The Dark set the template for so many
groups in the sixties. The slower tracks like You Got Me Crying and Little Rain provided useful
contrasts, while Honest I Do gives added meaning to the phrase 'stripped down'. Jimmy Reed
was easily the most commercially successful Bluesman in America during the 1950s, and as
such his material was readily available to be plundered by artists wanting to enrich their live
repertoire. This reached its height during the UK Beat boom when virtually every working group
included his songs in their sets. The Rolling Stones, The Yardbirds, Them and The Animals all
covered his songs liberally during the first half of the sixties. In his homeland, The Grateful
Dead, The Steve Miller Band, Johnny Winter, Wishbone Ash and, bizarrely, even Bill Cosby
followed suit!

With their 1978 double concert album Waiting for Columbus, Little Feat staked their claim as one of the premier live bands of the 1970s. Recorded over a series of dates in London and Washington, D.C. over the summer of 1977, Waiting for Columbus vividly captures the L.A. sextet at a crossroads between its swampy mid-'70s fusion of blues, country, jazz and New Orleans R&B.

Little Feat originally released Waiting For Columbus LP on February 10, 1978. The platinum-certified double album cemented the band’s reputation as one of the premier live bands of the 1970s. When it was recorded, the group included: Lowell George (vocals, guitar), Paul Barrere (guitar, vocals), Bill Payne (keyboard, vocals), Richie Hayward (drums, vocals), Sam Clayton (percussion, vocals), and Kenny Gradney (bass).

Waiting For Columbus touches on songs from all six of the studio albums Little Feat released between 1971 and 1977. The dynamic performances showcase the sextet’s inimitable fusion of blues, country, jazz, and New Orleans R&B on signature tracks like “Fat Man In The Bathtub,” “Oh Atlanta,” and “Sailin’ Shoes.”

WAITING FOR COLUMBUS: SUPER DELUXE EDITION is the definitive edition of this classic. It includes unreleased live versions of songs that appeared on the original (“Rocket In My Pocket” and “Spanish Moon”), along with several that didn’t, like “Cold, Cold, Cold,” “Rock And Roll Doctor,” “Skin It Back” and a cover of Allen Toussaint’s “On Your Way Down.”

Super Deluxe

In diesem Sommer zelebrieren Little Feat das 45-jährige Jubiläum ihres Live-Album "Waiting For Columbus" nicht nur live, sondern auch mit einer hochwertigen Veröffentlichung.

Die 8CD Super Deluxe Edition enthält neben dem remastered Original Albun gleich drei unveröffentliche Konzerte aus Summer Tour in 1977 - Manchester at Manchester City Hall (7/29/77), London at The Rainbow (8/2/77), and Washington D.C. at Lisner Auditorium
(8/10/77).

Darüber hinaus erscheint das remastered Original Album
noch als 2LP Edition.!

Debut release from David J (Bauhaus, Love And Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners Recorded worldwide during the pandemic Available January 21, 2022 on CD and Digital with LP coming later in 2022 Iconic and foundational bands in the history of alternative music certainly include Bauhaus, Love And Rockets, and Violent Femmes. San Francisco born artist Darwin Meiners was a fan of all three. A chance meeting 13 years ago with David J (Bauhaus, Love & Rockets) grew into a friendship, and Darwin not only became a bandmate, but David J’s manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after the Femmes’ Coachella set in 2013. Soon after the three collaborated on Darwin’s 2014 release Souvenir. As the pandemic took hold, Darwin was looking for a new project to occupy the lock-down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society. To say this is something of a dream come true for music fans would be entirely accurate. (The band’s name came from one of many Zoom meetings between the three members. After addressing various pressing musical issues the conversation rambled somewhat and turned to the subject of David Lynch, with David J telling an anecdote which was told to him by Lynch’s sound designer, John Neff. Lynch had asked Neff to obtain a field recording of crickets chirping at night for inclusion in Mulholland Drive. When Neff played him the tape, the director immediately recognized the sound that the insects make when it is light which is apparently a little different to their nocturnal chirp. “No! No! No! These are day crickets, John! I want my night crickets!” Victor, Darwin, and David then shared a look of mutual realization and instantly agreed that the project now had a name!) In Night Crickets’ own words: Night Crickets, a long distance groove affair conducted during the drawn out days of lockdown and beyond.

How We Function' is the debut album from London grunge trio BERRIES. Live shows and festival appearances in the UK planned for throughout the year to support the release, including 2000Trees and Kendal Calling; shows in Germany supporting The Subways in May and at Frank Turner's Lost Evenings V Festival in September. Plus support tour with Jim Bob from Carter in November and their own UK shows in October. RELEASE TIMELINE: TRACK 1 - 'Wall Of Noise' - 11th March 2022 - single Wall of Noise is the latest offering from BERRIES debut album due to be released in July. Lyrically the song gives a nod to self-doubt and how solitude can heighten and affect these feelings. Feeling lost or confused can produce the noisiest thoughts in your mind and that’s what BERRIES wanted to convey in this song. They push dynamics and layers to create the "noise" that so many people are often trying to escape in their own thoughts and the development of that "noise" throughout the song. TRACK 2 - 'We Are Machines' - 13th May 2022 - single + announce of album This single launches the album campaign for BERRIES' debut 'How We Function'. It is a song about struggling in a demanding society and being exploited by people who have little empathy or concern for your well-being. The song touches on how we are forced to become machines, trying to maintain an impossible level of perfection and how we need to fight against this. Admitting we are only human and finding the strength to stand up and push for balance and rights. In turn, becoming a different type of machine.

We like what Trouble have done with this album, “Plastic Green Head”. The music sounds fairly dissimilar to the completely doom-laden, crushing riffs present on the earlier material, but what Trouble do here sounds every bit authentic. Not to mislead you, this definitely still sounds like Trouble, but they seem to have adopted a more laidback, stoner metal approach; sacrificing sinister atmospheres for more upbeat ones. The first few tracks are completely awesome offerings of vintage Trouble. The playful, thrashy riff of the title track, which opens the album, is a great introduction to the music at hand and Eric Wagner’s distinctive vocals sound powerful overtop. “Plastic Green Head,” “The Eye,” “Flowers,” these are all what you would expect from Trouble, huge churning riffs, 80 bpm drumbeats, Eric Wagners nasal yet powerful voice. They are simple, they are catchy, and they are just plain good. “The Porpoise Song” is a cover of a song by The Monkees, and strangely enough it’s very good. Big wall of guitar noise, and Eric singing in a less nasal and more melodic voice. “Opium Eater” sounds like it could easily be an Alice in Chains song. On this album there is silly plenty of Sabbath worship, but also more of an upbeat, hard rock feel. We would even say that a little grunge has crept into their sound (to be fair, it’s probably the other way around, Trouble influence crept into grunge.) If you’re looking for a nice dose of stoner metal, you’ll find just that right here. There’s plenty of memorable riffs which provide good replay value, and although you won’t find as much doom as you might expect from Trouble, it’s still there if you look for it.

Paganizer are one of the most active and present
bands of shredmaster Rogga Johansson. This
Swedish metal guitar hero is part of many projects,
such as Massacre, Stygian Dark, Heir Corpse
One, Warmagic, Revolting, Megascavenger,
Ribspreader, Putrevore, Blood Gut, Dead Sun,
Graveyard After Graveyard, Necrogod and most
recently To The Gallows.
 This compilation album isn’t a sum up of songs
from other albums. Rogga did some work on old
songs and recorded them again with a little twist,
especially for Doc Records. He also dug into his
vault to find some never-released songs, so it’s
much more than just a compilation.
 For fans of Dismember, (old) Entombed, Grave,
Necrophobic, Unleashed, Bloodbath.

• Leon Thomas’ debut as a leader was this classic of spiritual jazz recorded for Bob Thiel’s Flying Dutchman label. Originally pressed in 1969, it features an all-star band including Pharoah Sanders (under the name Little Rock), Lonnie Liston Smith (piano), James Spaulding (alto sax), Cecil McBee (bass), Roy Haynes (drums) and Richard Landrum (bongos).

• “Spirits Known And Unknown” features versions of ‘The Creator Has A Master Plan (Peace)’, the classic ‘Song For My Father’, ‘One’, ‘Echoes’ and the topical ‘Damn Nam (Ain’t Goin’ To Vietnam)’. Subtitled New Vocal Frontiers upon release, the rear sleeve noted that “Thomas is searching as far into himself as he can go for spirits known and unknown and is creating new dimensions of vocal expressiveness to bring these spirits – these feelings – into the experience of others.” The fact that this album is hailed as a classic shows that he succeeded.

• Pressed on 180gm vinyl we have remained faithful to the original pressing replicating the Flying Dutchman label style and gatefold-sleeve.

"I was trying to find where I fit musically again. I wasn’t really sure if it was Americana or if it was Country or if it was Rock – I was all over the place with my songwriting and my career. Ironically enough, COVID really gave me a chance to just turn my brain off a little bit and stop thinking. When I came out on the other side I found not only a renewed sense of my music and wanting to get out and play again, but I found a renewed sense of self. I really felt I found who I wanted to be as a writer, as a singer, as an artist. I hate to just say Country music or more Country-oriented but that’s really what it came down to and the simplicity of it. I really wanted the simplicity of the songs to carry themselves and carry the album and lead us all the way through the live show; where the simplicity creates these big, massive sounding songs and that’s what I feel like we got from this record. I’m just trying to put my own personal spin on what I think is great about Country music. I’m not reinventing the wheel here, I’m writing about things that have been written about a million times; you just try to put your own spin on things and I really feel like that’s what this album’s strength is: it’s traditional Country roots but it has a vintage Wade Bowen feel to it lyrically and sonically." - Wade Bowen

Will Stewart's new full length 'Slow Life' is a collection of songs that
capture his unique blend of varied styles and interpretations
From Montgomery's river region, up through west Alabama and over to
Birmingham, a brief stint in Tennessee and tumbling back over Red Mountain to
settle back in east Birmingham. You might call Will Stewart's sound "Central
Alabama Music." A little south of Nashville, some might say. In our current rapid
fire consumer culture of "brands" and "influencers," Slow Life invites people to
take a seat and relax for a while.
While past releases County Seat (2018) and Way Gone (2020) drew from a more
internal and reflective mood, 'Slow Life' approaches the music in a more
immediate and whimsical spirit.
Armed with his core band, Ross Parker (bass) and Tyler McGuire (drums) and
Janet Simpson (vocals) and help from Daniel Raine (keys), Stewart churns
through 10 songs of guitar driven folk rock. Recorded in the heart of east
Birmingham and engineered by Brad Timko, it's a sound that is uniquely central
Alabama.

For genre-bending band Whiskey Myers, 2019’s self-titled and self-produced album offered a watershed moment. With Rolling Stone raving that the “irresistible” album was “the record the band was poised to make” while declaring them “the new torch bearers for Southern music” in a story titled “How Whiskey Myers Won Over Mick Jagger and Made the Album of Their Career;” Billboard and No Depression naming the album to best-of-the-year lists; 41,000 first week album sales; and the project debuting atop both the Country and Americana album charts (as well as at No. 2 on the Rock charts, behind only a re-release of The Beatles’ Abbey Road), the band celebrated mainstream success a decade in the making. Now, after spending 21 days isolated at the 2,300-acre Sonic Ranch studio deep in the heart of their native Texas, just miles from the U.S./Mexico border, the Gold-certified renegades have doubled down on what they do best: sharing honest truths with no-holds-barred instrumentation, letting the self-produced music speak for itself. Yet with Tornillo, named for the border town that is home to the pecan orchard-filled recording complex and set for release on July 29 via their own Wiggy Thump Records with distribution by Thirty Tigers, the six-piece band has taken their solid decade-plus foundation and pushed themself to further explore new sonic landscapes. “It’s going to have a little bit different sound,” lead singer Cody Cannon shared recently with Outsider. “It’s still Whiskey Myers at its core, but it’s kind of fresh… We did a lot of bass and horns on this one, which is something we’ve always wanted to do. Just being fans of all that old music and Motown stuff, and a lot of the stuff coming out of Muscle Shoals, old rock and roll. “We’re going to bend genre even more, I think, with this new record,” he continued. “It’s all over the place. But that’s fun, right? I hate the whole ‘Put it in a box. You gotta be this.’ … That’s not art to me. I love the idea of just doing, really, whatever you feel. It comes out a certain way because that’s just how it comes out. Whiskey Myers never really tried to be a certain way. It’s just how we are. So I think that’s really the whole thing about music, or the beauty about music; it’s just that freedom to create.” Tornillo as a whole does exactly that, drawing as much inspiration from Nirvana as from Waylon Jennings – even adding the legendary McCrary Sisters’ gospel influence to the project on background vocals. With Cannon leading the way on songwriting, the album also features writes from lead guitarist John Jeffers and fellow bandmembers Jamey Gleaves and Tony Kent, as well as rising singer/songwriter Aaron Raitiere (Anderson East, Oak Ridge Boys, A Star is Born).

On a base level, the term ‘blood harmony’ is simple—it describes the specific sound two siblings make when they sing together. Given that Dave Hause has been writing and recording songs with his younger brother Tim for a while now, it made sense to use that phrase as the title for his fifth solo record. But this being a Dave Hause album also means there’s much more to it than that. Beneath the surface of Blood Harmony, in fact, are multiple layers of meaning relating to Hause’s role as a musician, a brother, a husband, a son and—having become a father to twins a few months before the release of 2019’s Kick—a dad. As such, Blood Harmony is a reassertion of what family means to him..

Living In Clip (25th Anniversary Edition) Newly remastered for vinyl + cd in deluxe packaging. This landmark double album by Ani DiFranco, features her trio from 1995-1996 with Andy Stochansky (drums) and Sara Lee (bass). Twenty-five years later the album is recognized as a point of entry that radically expanded DiFranco’s audience, and a historically important testament to the relationship between Ani as a live performer and the devoted community she created with her fans. If there was ever a record to help you pull through until the next time the Folksinger makes her way to your town, Living In Clip is the one. Affectionately named after the state of stage amps about to blow out, the record is constructed like a show complete with the onstage humor and antics we love. The culmination of years of studio work and constant touring, Living In Clip is a tour in itself: nearly two-dozen venues provide the atmosphere for over two hours of music complete with intermission and encore. Recorded straight from the soundboard on an 8 track ADAT, digital videotape and mixed by Ani and Andrew Gilchrist – Living In Clip is conceptually designed to preserve the authenticity and pulse of a live show. There are jazzy folkalicious renditions of "Letter to A John," "Fire Door," "Diner" and "Anticipate." Amusing and sweet snippets are interwoven throughout the songs and sometimes during them - "Out of Habit" harbors a little cinematic glimpse into Ani's first days in New York City. This dynamic collection also offers The Buffalo Philharmonic Orchestra playing on "Both Hands" and "Amazing Grace" at a hockey arena as well as a phenomenal version of "Shy," that was nominated for a Grammy for Best Rock Vocal Performance – Female (or whatever). Living In Clip is also considered one of Rolling Stone Magazine's essential albums of the 90's. Living In Clip includes a beautiful photo gallery that contains pictures of the sparkling faces, questionable attire and unique persons behind the road show.