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Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro, out February 16th, and presents the trip-infused lead single 'Lunar Barge'.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations "post-classical grunge". Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed 'No Perfect Wave' (2016, Injazero) and subsequent releases 'Exit Rumination' (2018), 'White Whale' (2020) and 'In Love & Fracture' (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer's unprecedented second "heat dome", which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of "simple ecstatic improvisation." Diab explains: "I wanted to place myself in a space for creation with little thematic pretence, with the belief that music 'shows its face' as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play."

'Reet' is a lost treasure of late 1960s folk/psych-folk. The only album she ever put to tape, with clear pure voice and guitar. luckily recorded by Andres Raudsepp in 1969.

Reet will be loved in the same breath as ;Sibylle Baier, Vashti Bunyan, Molly Drake, Bridget st John, Reet Hendrikson deserves wider listening and recognition.

Reet Hendrikson was born in Estonia only months before the "great escape" into exile in 1944. Brought up and educated in Sweden, she went to study in the US in 1967 on a Fulbright scholarship, before she made her mark as an Estonian musician in Canada. While her arrangements of Estonian folksongs on the guitar reflected the styles of the sixties, her voice and choice of material sounded authentic and made a connection with ages past.

When Hendrikson arrived in Canada in 1968 via the US, her Estonian was native-like because of the high quality of Estonian schools in Sweden. She was thus able to characterise the identity of young ex-patriate Estonians – especially those born in exile from Soviet occupation – in a new and meaningful way. A formal musical background allowed her to create the arrangements that accompanied her simple but pure singing voice. Having heard her under northern Muskoka pines at an Estonian summer seminar, it didn't takeAndres Raudsepp ( of raindeer records)long to bring her to a recording studio. "Reet – Estonian folksongs" appeared in 1969.

Hendrikson soon found her way to the scholarly atmosphere of Boston where, as a multi-instrumentalist, she joined a group of musicians who favoured traditional folk music. Back in Sweden in the 1980ies, she was invited to join a scholarly society of Estonian young women, which she led during musical sessions. She visited Estonia as frequently as possible, trying in particular to be helpful to Estonian musicians by providing sheet music and much-needed repertoire from the Swedish National Radio Archives, where she worked for a while..

Reet Hendrikson died in Stockholm in the autumn of 2000.

The second album by F.K. Raeithel, just after the operetta DIE WURLITZERORGEL DES GEISTES, explores the realms of interlocked rhythm sample and hold music. On 16 tracks different setups of self generating modular synthesizer patches are gathered on this release.

The concept of Dance With Uncertainty is deeply rooted in philosophical, artistic, and cultural traditions. The notion of embracing uncertainty and change has been explored in various forms throughout history, often symbolizing the human experience and the impermanence of life. In the context of music and sound, Dance With Uncertainty could be seen as a reflection of the constant ebb and flow of life‘s uncertainties, captured and conveyed through sonic textures and evolving compositions.

Interlocked Rhythm Sample & Hold Music, this approach to sound creation weaves a mesmerizing tapestry of rhythm, texture, and sonic exploration, captivating listeners and defying traditional musical boundaries. At its core, Interlocked Rhythm Sample & Hold Music is a synthesis of technology, creativity, and a deep understanding of rhythmic intricacies. The foundation lies in the Sample & Hold circuit, a device that captures and freezes incoming voltages, creating distinct musical snapshots that evolve over time or an Linear Feedback Shift Register (eg. Rungler), a circuit used in electronic music synthesis and sound manipulation to create unique and evolving musical textures. The Rungler was created by Rob Hordijk. A more sophisticated use of a 8 bit shift register and by combining this with a typical sequencer design is the Klee Sequencer developed by Scott Stites. A cheap version of this design is the Turing Machine. Another tool is the Analog Shift Register. In the context of creating arabesque melodies, an analog shift register (invented by Fukushi Kawakami and later adapted by Serge Tcherepnin) can be a fascinating tool to generate intricate and ornamented musical patterns. Yet, it‘s the interlocking of these snapshots that sets this genre apart, infusing the compositions with an intricate dance of patterns and pulses. A fourth device is a pendulum or random addressed sequencer, that in the first case moves in a drunken unpredictable manner. Each of these devices for uncertainty becomes a rhythmic sculptor, freezing the dynamic interplay of melodies, beats, and textures. These frozen moments are then interwoven, each snapshot forming a unique thread in a sound tableau that stretches and contracts, pulses and breathes. The result is an auditory experience that challenges preconceptions of rhythm and structure. The interlocked rhythms give rise to complex grooves that ebb and flow in unpredictable ways, evoking a sense of perpetual motion and transformation. The music becomes a living organism, its heartbeats synchronized yet untamed, its evolution both deliberate and free-spirited. The juxtaposition of staccato bursts and fluid flows, of machine-like precision and organic unpredictability. As listeners delve into the world of Interlocked Rhythmic Sample & Hold Music, they embark on a sonic odyssey. The music becomes a companion, guiding them through a labyrinth of rhythmic landscapes that simultaneously challenge and invite them to the dance with uncertainty.

Acoustic Sounds and Contemporary Records present this new reissue of Art Pepper’s 1960 album “Smack Up”. Recorded by legendary engineer Roy DuNann the album also features Jack Sheldon (trumpet), Pete Jolly (piano), Jimmy Bond (bass), and Frank Butler (drums). This new edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket.

As the developers at Relic Entertainment busily crafted the grand space strategy of 1999’s Homeworld, series composer Paul Ruskay was left largely to his own devices in crafting the now iconic score. He took diverse inspiration from Vangelis’ score for Blade Runner, Brian Eno, the sampling of traditional instruments from all over the globe by Algerian DJ Cheb i Sabbah, and ambient electronica duo Delirium. Homeworld’s score was born of limitations thanks to Ruskay’s “primitive setup” of synthesiser, sampler and sequencer — at the time his Studio X Labs were being built around him — and this forced him to produce instinctive, live mixes.

During the Homeworld Remastered Collection restoration process, Ruskay dug out the original music DAT tapes out of a shoe box, dusted off decade-old Pro Tool Studio sessions, and had uncompressed versions made of all tracks. Subtle, faithful musical elements were added to help widen the mixes of the first Homeworld, before it was then mindfully remixed and sequenced.

As master drummer Jeff Williams sorted through his archive of cassette tapes from his extensive international career, he had no idea that hidden within it would be a recording of a 1990 evening when he joined storied NYC legend David Liebman for a set of spontaneous performances.

orange marbled vinyl

A1 - The Construct
Opening the EP in style with a slew of darkly FX, The Construct sets a suspenseful tone before a thorough atmospheric amen on slaught takes center stage - solid, weighted breaks are chopped and edited to the standards fans have come to expect from ASC with a morose, anxious energy to the vocal samples and synthy backdrops punctuating the track in style. A banger for the club as well as the phones.
A2 - Tidal Lock
Distinctive thumping quadruple kicks thunder like a furious heartbeat as Tidal Lock mixes up the vibe and experiments with off-key tones and delivers a neurotic energy to the breaks. Rapid hats and snares accelerate the mix with deep undertone sub bass, as ASC crafts a cacophony of detail and delirium to a track that somehow fuses both calm and a tenacious ferocity in one. Unique, stylish and a joy to listen to.
AA1 - Centurion
A DJ-friendly intro opens Centurion with initially simple breaks which are soon joined with detail and a forceful finesse. Curious, inquisitive FX and melodies bristle melancholically as a stunning deep bassline seizes the attention and the atmosphere elevates. Familiar classic atmospheric signatures add to the complexity later in the track, with all layers continuing to breathe throughout.
AA2 - Nexus
ASC concludes the EP with a deep, rapid fire workout in Nexus -a track which quickly exudes a moody, tense vibe driven by a nervous vigor - inviting you to explore its immersive tapestry of quality modern atmospheric breaks. Persistent hi-hats and snares dominate the mix with vocal samples and otherworldly
effects, and parallel high horn notes complement the composition perfectly.

grey & green splatter vinyl

A1 - Spacewaves
Opening the EP in thunderous style, Aural Imbalance chops impeccable, clean amen breaks, rolling sublimely into a chorus of fluid, delicate keys. The track whisks the listener atop the crest of wavy edits before a quietly turbulent assortment of blips and notes punctuate a bass-heavy breakdown. The latter half combines the elements in surreal harmony for a triump hant crescendo, buoyed by the truly vibrant breaks.
A2 - Tranquil Sea
A masterclass in subsurface ambience introduces Tranquil Sea, glistening melodies cascade into punchy breakbeats, setting the pace. Brimming with sunken off-key 808 bass resonating unpredictably with the spirit of the ocean, Aural Imbalance gently builds the vibe with soothing waves of mesmerising soundscapes as the beats rumble on, inviting you to dance amidst the swirling currents of his inimitable sound.
AA1 - Concordia
Old school analogue breaks take center stage as Aural Imbalance rewinds the clock for a great dancefloor-friendly slice of history with a modern Spatial twist. Quiet plinky keys bubble underneath long, whooshing ripples of the sea, echoed hi hats and a distinctive classic bassline intertwine perfectly, carrying you to uncharted sonic territories that will linger in the recesses of your mind long after the needle is lifted.
AA2 - Fading Fields
Delicate cymbal work and stirring pads combine deliciously before the listener is lifted to blissful serenity with a sumptuous tapestry of synths and micro melodies set to an immense, head nodding break pattern. The noteworthy kickdrum delivers a classic analogue stomp while the drums joyously encircle them
in their droves, showcasing further the variety and density Aural Imbalance offers.

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs. “Werk Road (1997 MPC 60)” is the third volume of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

1997 is when the name Hi-Tek began to develop a global buzz, largely due to the combustible indie-rap scene. He’d moved on from the now-shuttered Beatbox Studios in his hometown of Cincinnati and began building his first proper home studio in his new apartment on Werk Road. With a borrowed Akai MPC 60 drum machine as the foundation, he began churning out beats at a more prolific rate than ever.

In addition to placements on debut LPs by Mood and Royal Flush, Tek would make his name in 1997 as one-half of the duo Reflection Eternal with Brooklyn MC Talib Kweli. Their Rawkus Records debut 12” “Fortified Live” was an instant smash, and it quickly placed him at the top of the class of up-and-coming beatmakers. His unique balance of bassline-driven grooves behind soulful samples would eventually lead him to be in high demand for artists across the spectrum of the genre, and in short time he was producing for Common, Snoop Dogg, Raphael Saadiq, Dr. Dre, 50 Cent, and others from all over the country.

The work featured on “Werk Road (1997 MPC 60)” reveals an artist who would not only become one of the most respected producers in rap, but one of the cultural ambassadors of his home city of Cincinnati for over 25 years. In 2022, Hi-Tek was inducted into the Cincinnati Black Music Walk of Fame alongside luminaries like The Isley Brothers, Bootsy Collins and Midnight Star, and remains the most successful hip hop artist that the city has ever produced.

Auf dem fünften Band dieser Motörhead-Konzert-Reihe
nehmen wir Sie mit in die spirituelle Heimat des britischen
Hardrocks - Donington - um Ihnen das donnernde
Live-Set der Band vom legendären Download Festival im
Juni 2008 zu präsentieren. Feat. Phil Campbell und
Mikkey Dee sowie einem Gastauftritt von Würzel bei Ace
of Spades/Overkill ist dies eine willkommene Ergänzung
zu dieser faszinierenden Sammlung von
Motörhead-Live-Auftritten und ein Muss für alle Fans, egal
ob komplett oder neu. Erhältlich als Doppel-LP im
Gatefold Sleeve in gelbem Vinyl.

Bill Evans and Stan Getz are about as close as musicians can get in terms of artistry, musical philosophy, technique, and personality. These previously unreleased sessions, recorded in 1963 with drummer Elvin Jones and a mix of bassists Ron Carter (Side A) and Richard Davis (Side B) are a perfect harmony of their strong individual styles and collaborative sensibilities with both at the peak of their creative careers.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Marking their fifth instalment on the label, Aquaregia bastions Troma & PERS1 unveil their debut album entitled Ancestral Posterity. Through four Acts, this opus serves as a sonic tapestry across the annals of time; a deep hypnotic escapade from the genesis of civilisation to an enigmatic, dystopian future.

Inveterate, known for championing transformative sounds, is thrilled to announce the launch of its maiden Various Artist compilation, "Incurables 001".

"Incurables" isn't just a title; it's a testament. It epitomizes the label's and its artists' relentless pursuit to push creativity's boundaries. The term captures the insatiable, 'incurable' passion for genuine music and its inherent message.

The compilation boasts an ensemble of prodigious talents, with contributions from artists such as Cressida, S Ruston, Ôtone, Znzl, Giordano, and Rommek. Together, they've crafted a compilation that is not just a collection of tracks but a synergistic blend of sonic narratives.

Curated by Tapefeed, each track on "Incurables 001" functions as a piece of a larger puzzle, resulting in a cohesive and impactful auditory journey that is sure to captivate listeners.

Dean McPhee’s fifth full length album 'Astral Gold' sees the Yorkshire-based electric guitarist's music continue to evolve beyond the spacious folk-inspired fingerpicking that typified his earlier releases into a heavier sound combining deep bass, textured reverbs and waves of saturated delay. 'Astral Gold' brings together several now out-of-print tracks that were originally released on the Reverb Worship and Folklore Tapes labels, along with two brand new pieces – all recorded live in single takes. There is a cosmic theme throughout, including a track based on the local lore of The Ilkley Alien (The Second Message), a trance-inducing drone piece inspired by the orbit of the 'doomed moon' Triton (Neptune) and a meditation on lunar volcanism combining baroque melodies, EBow bass and found recordings of a crackling fire played through guitar pickups (Lunar Fire). Throughout this intricately layered and beautifully crafted album McPhee draws on a wide range of influences from Kosmische Muzik and Dub to Stoner/Doom Rock, British Folk and underground electronic music, and the result is both intoxicatingly atmospheric and sonically inventive. ‘Astral Gold’ was mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin and is pressed on 180g heavyweight vinyl. ‘Astral Gold’ follows Dean McPhee’s recent appearances this year on several well received compilation albums ‘I Thought I Told You: A Yorkshire Tribute to Michael Chapman’ on the Tompkins Square label, ‘Ballads of Seduction, Fertility & Ritual Slaughter’ released by Wasistdas, and Folklore Tapes’ limited edition cassette ‘A Web of Braided Willow (The Folklore of the Wickerman)’. "His take on the late folk guitarist’s ‘Caddo Lake’ could have you believing the pinch of callous on string was birdsong – a meditative gem" (Noel Gardner, The Quietus) "Magpahi's synth-drizzled Maypole, Dean McPhee's Sunset and Meg Baird's Willow's Song are particularly gorgeous" (Jude Rogers. The Guardian) "An excellent new single from UK guitarist Dean McPhee...the A-side is an echo-laden slice of smoldering instrumental guitar, pulling at the mind like taffy and living up to its cosmic title" (Raven Sings the Blues) "Absolutely lovely stuff; shimmering, gorgeous, delicate electric guitar playing of the very highest quality

Minas 'Num Dia Azul' is a sublime slice of private press bossa nova meets jazzy MPB perfection. Warm and bubbling with youthful spirit, the music is simultaneously loose in swagger, yet slick and tight. The album was originally released in 1983 and reflects the great music coming out of Rio at the time, yet 'Num Dia Azul' wasn't recorded in Rio, but actually in the USA.

Recorded in North Carolina just after Patricia and Orlando Haddad had graduated from the North Carolina School of the Arts, the record was only released for the Brazilian market on their own Blueazul Records imprint. As with most private press labels, they could only afford to have it pressed in small quantities. To add to its later obscurity, hundreds of copies were also destroyed in a house fire. They say cream always rises to the top, and fast forward to the 2010s, the word amongst collectors and DJs was spreading about this mythical under-the-radar recording. People from across the globe were contacting Patricia and Orlando for more information, hoping to secure themselves a copy. Luckily the original tapes had remained with the artists and were in great condition, so in 2016 the pair ran a successful Kickstarter campaign to have it remastered and repressed.

For this Mr Bongo 2023 re-issue, we have tried to keep it as close to the original 1983 version as possible, both in the packaging and audio presentation. The CD version comes with bonus tracks. We are super proud to keep Patricia and Orlando's serene recordings in the circulation that they deserve to be. One for fans of Brazilian artists such as Burnier & Cartier, Edu Lobo and Joyce. We are sure those fans will lose themselves in the alluring textures of 'Num Dia Azul'

"Days Gone By," the latest creation from Manuel Gonzales (MGUN), showcases his remarkable versatility inside of the contemporary musical landscape. This 9-track EP, released for 100 LIMOUSINES, is a vibrant mosaic of raw, gritty sounds that capture the quintessence of Detroit's musical heritage.

Each track on the album is an immersive experience that echoes the feel of street techno, rhythmic and driving. MGUN's ingenious use of the studio as an instrument is striking, as he shapes tracks that embody the essence of bedroom production. The album vibrates with deep sub-bass frequencies, eerie highs, and peculiar artifacts of found sound.

Gonzales, a name synonymous with raw and unadulterated music, brings his signature touch to the 100 LIMOUSINES catalog, a label rapidly gaining recognition for its bold defiance of genre constraints. "Days Gone By" is more than a mere collection of tracks; it's a deep dive into Gonzales' daily sonic experiments, a testament to his relentless pursuit of pushing the boundaries of techno music.

This album is an essential listen for those who value the fusion of Detroit's robust underground legacy with innovative, avant-garde electronic music. It's a journey designed for those who revel in the unrefined authenticity of analog production and the boundless potential of cross-genre exploration. "Days Gone By”, an absolute experimental body of music, a unique auditory adventure that defies convention.

For Listeners Who Enjoy: Rob Hood, A Guy Called Gerald, RZA, Autechre, UR

Arketip Discs is a Barcelona-based vinyl and digital imprint co-founded by Spear and Makuto that has featured music by Reeko, Truncate, Temudo, ORBE and Eduardo De La Calle.
Makuto is the label head from Spain with a growing reputation and who has kept his productions exclusively to Arketip Discs so far. ''Sfera'' is a hypnotic and atmospheric cut with modular accents and tones that morph and expand in sleek style.
A. Morgan is from Manchester, UK and has been establishing his productions with revered releases on the likes of Jay Clarke's Blackaxon, Joton's New rhythmic, Hans Bouffmyhre's Sleaze and Berlin's BCCO. ''Vogue One'' has a stripped-back style and groove focused rhythm with creative sound design and precise percussion highlights.
VIL is known as a core member of the Portuguese outfit HAYES, and has released music on Ben Klock's Klockworks, Ben Sims' Hardgroove, Shlomi Aber's Be As One, and TWR72's Float amongst others. ''The Reaction'' has a shuffling and quirky rhythm with deep, floating chords and electric elements creating a unique vibe.
Also from Spain, Psyk is the Non Series label owner whose back catalogue includes Tresor, Luke Slater's Mote Evolver, Scuba's Hotflush, Reeko's Mental Disorder and Chris Liebing's CLR to name only a few. Psyk's impressive remix of ''The Reaction'' succeeds in expanding distinct electric fragments from the original into a tapestry of organic, modular soundscapes

Extra Characteristics
Printed Sleeve

First-ever vinyl repress of the classic 1984 Spanish- language album that consolidated Sheena’s star status in Latin America. Remastered from the original master tapes and pressed on powder blue coloured vinyl with refreshed artwork including new inner sleeve. Includes the Grammy-winning duet with Mexican teen star Luis Miguel, ‘Me Gustas Tal Como Eres’, as well as Spanish versions of her classic hits ’Telefone’, ‘Morning Train (9 To 5)’, ‘We’ve Got Tonight’ (with Spanish superstar Dyango) and more. Sheena Easton rocketed to overnight fame in 1980 with the BBC broadcast of The Big Time – arguably the first pop reality show – subsequently breaking records with her first two singles ‘Modern Girl’ and ‘9 To 5’ simultaneously hitting the UK Top Ten. Within a year, she had topped the US Hot 100 with the renamed ‘Morning Train (Nine To Five)’, recorded the smash Bond theme ‘For Your Eyes Only’, released two platinum-selling albums and become a bonafide international sensation.

Two months after recording The Sidewinder, trumpet legend Lee Morgan was back in Van Gelder Studio in February 1964 creating his masterful sextet album Search for the New Land with Wayne Shorter, Herbie Hancock, Grant Green, Reggie Workman, and Billy Higgins. The expansive title track is the centerpiece of this dynamic program of Morgan originals.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Saxophonist Joe Henderson expanded his palette on his vigorous 1966 album Mode for Joe with a dynamic septet featuring Lee Morgan, Curtis Fuller, Bobby Hutcherson, Cedar Walton, Ron Carter, and Joe Chambers that delivers powerful performances of originals including ‘A Shade of Jade’, ‘Black’, ‘Caribbean Fire Dance’ and the transcendent title track.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

The theme of the Album, titled "Echoes from the Universe",is the attempt, as human and temporal beings, to escape the idea of an alleged destiny predetermination by managing to build one's own individual life path trough will power. The "Concept Album" is based on the of the Norse Norns myth, who weave the threads of universal destiny on a tapestry, in which all existence, in a continuous mix of past, present and future, intersect and influence each other, thereby generating a kaleidoscopic vortex of infinite and unpredictable possibilities. For this reason, we have used them as a symbol of freedom of choice, which never excludes but indeed implies, the element of chance. The Artwork, interpreted by the artist "Django Nokes", reflects the Concept perfectly. Echoes from the Universe is an evocative soundscapes trip and fresh breeze of groovy beats and psychedelia swaying between sweet moments and massive progressive deliriums.

The theme of the Album, titled "Echoes from the Universe",is the attempt, as human and temporal beings, to escape the idea of an alleged destiny predetermination by managing to build one's own individual life path trough will power. The "Concept Album" is based on the of the Norse Norns myth, who weave the threads of universal destiny on a tapestry, in which all existence, in a continuous mix of past, present and future, intersect and influence each other, thereby generating a kaleidoscopic vortex of infinite and unpredictable possibilities. For this reason, we have used them as a symbol of freedom of choice, which never excludes but indeed implies, the element of chance. The Artwork, interpreted by the artist "Django Nokes", reflects the Concept perfectly. Echoes from the Universe is an evocative soundscapes trip and fresh breeze of groovy beats and psychedelia swaying between sweet moments and massive progressive deliriums.

This freakbeat jelly belly delight showcases the Bandits’ vaudeville humor, garage rock & catchy psychedelic pop! Considered a cult classic, this mixed bag of candy-coated fuzz is sure to satisfy your sweet tooth! Our favored stereo mix, pressed on yellow vinyl! Newburgh, New York psych-punks the Jelly Bean Bandits formed in 1966. Originally known as “The Mirror,” the band regularly packed area nightspots like the local Trade Winds, Poughkeepsie's Buccaneer Nightclub, and Burlington, Vermont's Red Dog.

In due time, they recorded a three-song demo reel that resulted in a three-album recording contract with Mainstream Records – however, unknown to Mainstream, these three songs represented the sum total of the Jelly Bean Bandits' repertoire, forcing the band to write enough additional material to flesh out a full-length LP in the course of a week. Amazingly, their eponymous 1967 debut is excellent, a freakbeat cult classic distinguished by emotive guitar and some innovative production techniques – all the more impressive, the album was recorded in a single 12-hour stretch. Mainstream hated the end result, however, and dropped the Jelly Bean Bandits just as they were commencing work on the follow-up – only one song was completed before the sessions were aborted, leaving just one ‘60s studio album from these confectionary con-artists. – Jason Ankeny

"The Jelly Bean Bandits" includes the following tracks: "Poor Precious Dreams", "Going Nowhere", "Goodtime Feeling", "Neon River" and more.

This version of the album comes as a 1xLP pressed on yellow vinyl.

Owen Ashworth's albums have always been about the human condition, and his latest is no exception. That may sound strange, given that it's called Animal Companionship, but it's as human as anything he's done before. After hearing problems forced the end of his electronic pop project Casiotone for the Painfully Alone in 2010, Ashworth started making quieter music as Advance Base, releasing A Shut-In's Prayer in 2012, Nephew In The Wild in 2015 and a slew of tapes and 7" EPs in between. Taken as a whole, Animal Companionship is not just a step forward for Advance Base_it's the culmination of everything Ashworth has been building for the past two decades. It's a record that's gentle in approach and endearing in practice, the kind of thing that only Ashworth could create.

Before releasing their lone self-titled debut album, one of the most rare rock records to be released in Europe in the 1970s, Paternoster provided the soundtrack for a film that could only have been made while the psychedelic movement was still in its first wave. The group’s first recordings presented here are the soundtrack for Herbert Holbaís 1971 hippie sci-fi film Die Ersten Tage (The First Days), screened at the Berlin International Film Festival, and interestingly played on Austrian TV in August of that year. The material issued here is the genesis of Paternoster and set the stage for the release of one of the world’s great rock albums with their self-titled debut the following year. The music has been painstakingly transferred directly from master tapes.

With "Onaida", Natascha Rogers shares a liberating folk spell that draws inspirations from Yoruba spirits, Afro-Latin rhythms and her Native American ancestry. Born in the Netherlands to a Dutch mother and a father with Amerindian origins, Natascha Rogers dares to be intimate and unveils a highly spiritual chiaroscuro record, raising purity, care and reconciliation to the level of the art, through folk enchantments. Sensitive to the ancestral call of the drums, she travelled the Black Atlantic for several years and received the teachings of the greatest Mandingo and Afro-Cuban master percussionists. As a distinguished percussionist and vocalist, she has graced the stage and has accompanied artists around the world, but for Onaida she set out on her own, retreating to a studio to escape the noise, rush and fast information cycles of our modern world. This album marks a rebirth for Natascha Rogers, as it symbolizes her return to the piano, her first instrument. Channelling these inspirations for Onaida, Natascha Rogers, has created a space of her own, where themes of humanity, spirituality, nature and womanhood are centre stage while also paying tribute to her ancestors. Sung in English, Spanish, or Yoruba, the album is a tapestry of intimate ballads and universal prayers, drawing inspiration from dreams, Amerindian poetry (Joy Harjo), and Cuban santería with ritualistic batá drum pulsations. On the powerful folk-tinged song "The West", she invited gifted singer-songwriter Piers Faccini. Onaida is a true initiatory experience, a second birth for Natascha Rogers who finds balance and accuracy with this singular opus. Natascha Rogers headed to the quiet commune of Pommerit-le-Vicomte, to write this new release, accompanied by sound engineer Joachim Olaya and published on acclaimed French imprint No Format!

"Due to the huge success of the Original Source Series and due to frequent wishes by both fans and critics alike, DG have decided to launch a reprint of all four titles of Batch 1 – marked as “SECOND EDITION”. Same Quality, just without numbering. THE ORIGINAL SOURCE is a new series of celebrated albums reissued on vinyl. These new releases include Claudio Abbado’s fascinating interpretation of works by Debussy and Ravel with the Boston Symphony Orchestra (1 LP), the legendary recording of Brahms’s Piano Concertos Nos. 1 & 2 with Emil Gilels, the Berliner Philharmoniker and Eugen Jochum (2 LPs), and Verdi’s Messa da Requiem in the iconic version of Herbert von Karajan and Berliner Philharmoniker (2 LPs). The renowned Berlin-based Emil Berliner Studios are remastering 4-track recordings from the 1970s, using their own cutting-edge and 100% pure analogue techniques (AAA) to create versions of the highest possible audio quality. Compared to the original releases, the advantages in sound are outstanding: More clarity, more details and a better frequency response, less noise, less distortion, less compression – the highest possible audiophile quality which gives listeners the chance to enjoy this repertoire like never before.
Produced on 180g virgin vinyl by Optimal, these limited and numbered releases will be issued in deluxe gatefold editions featuring the original artwork and liner notes, with additional photos and facsimiles of the recording documentation on the inner sleeve. Furthermore, each release includes a note by Rainer Maillard/EBS detailing the technical background and procedure of the Original Source Series, and an additional insert with a photo of the original tape box. Each LP comes in a protective cellophane jacket with a sticker highlighting the

"Due to the huge success of the Original Source Series and due to frequent wishes by both fans and critics alike, DG have decided to launch a reprint of all four titles of Batch 1 – marked as “SECOND EDITION”. Same Quality, just without numbering. THE ORIGINAL SOURCE is a new series of celebrated albums reissued on vinyl. These new releases include Claudio Abbado’s fascinating interpretation of works by Debussy and Ravel with the Boston Symphony Orchestra (1 LP), the legendary recording of Brahms’s Piano Concertos Nos. 1 & 2 with Emil Gilels, the Berliner Philharmoniker and Eugen Jochum (2 LPs), and Verdi’s Messa da Requiem in the iconic version of Herbert von Karajan and Berliner Philharmoniker (2 LPs). The renowned Berlin-based Emil Berliner Studios are remastering 4-track recordings from the 1970s, using their own cutting-edge and 100% pure analogue techniques (AAA) to create versions of the highest possible audio quality. Compared to the original releases, the advantages in sound are outstanding: More clarity, more details and a better frequency response, less noise, less distortion, less compression – the highest possible audiophile quality which gives listeners the chance to enjoy this repertoire like never before.
Produced on 180g virgin vinyl by Optimal, these limited and numbered releases will be issued in deluxe gatefold editions featuring the original artwork and liner notes, with additional photos and facsimiles of the recording documentation on the inner sleeve. Furthermore, each release includes a note by Rainer Maillard/EBS detailing the technical background and procedure of the Original Source Series, and an additional insert with a photo of the original tape box. Each LP comes in a protective cellophane jacket with a sticker highlighting the
"

"Due to the huge success of the Original Source Series and due to frequent wishes by both fans and critics alike, DG have decided to launch a reprint of all four titles of Batch 1 – marked as “SECOND EDITION”. Same Quality, just without numbering. THE ORIGINAL SOURCE is a new series of celebrated albums reissued on vinyl. These new releases include Claudio Abbado’s fascinating interpretation of works by Debussy and Ravel with the Boston Symphony Orchestra (1 LP), the legendary recording of Brahms’s Piano Concertos Nos. 1 & 2 with Emil Gilels, the Berliner Philharmoniker and Eugen Jochum (2 LPs), and Verdi’s Messa da Requiem in the iconic version of Herbert von Karajan and Berliner Philharmoniker (2 LPs). The renowned Berlin-based Emil Berliner Studios are remastering 4-track recordings from the 1970s, using their own cutting-edge and 100% pure analogue techniques (AAA) to create versions of the highest possible audio quality. Compared to the original releases, the advantages in sound are outstanding: More clarity, more details and a better frequency response, less noise, less distortion, less compression – the highest possible audiophile quality which gives listeners the chance to enjoy this repertoire like never before.
Produced on 180g virgin vinyl by Optimal, these limited and numbered releases will be issued in deluxe gatefold editions featuring the original artwork and liner notes, with additional photos and facsimiles of the recording documentation on the inner sleeve. Furthermore, each release includes a note by Rainer Maillard/EBS detailing the technical background and procedure of the Original Source Series, and an additional insert with a photo of the original tape box. Each LP comes in a protective cellophane jacket with a sticker highlighting the
"

Kurz nach dem sowohl von der Kritik wie auch vom Publikum warm aufgenommenen fünften Album "The Pitcher" erschienen zum Record Store Day 2014 zwei unveröffentlichte Tracks aus derselben Session: "The Painted Bird" (Singleversion) und "The Lady Came From Baltimore". Das gute Stück ist auf 500 Exemplare limitiert.

Die schönsten, traurigsten und innigsten Songs kommen noch immer aus Skandinavien. Als Christian Kjellvander sich in dem winzigen Dorf Österåker, eine halbe Autostunde nördlich von Stockholm, eine alte Kirche kaufte, war klar, dass er seine Heimat gefunden hatte: für sich, seine Familie und seine Songs. Der schwedische Singer/Songwriter brauchte einen Ausgangs- und einen Endpunkt, dazwischen kann er mit seinen Liedern auf der ganze Welt unterwegs sein, im Vorprogramm von Leonard Cohen oder Kris Kristofferson singen, mit seinen Bandprojekten Loosegoats und Songs Of Soil touren oder Solo-Konzerte spielen, die nur so vor Intensität und Erhabenheit leuchten. So wie sein neues Album "A Village: Natural Light" es schon im Titel trägt. Lieder über nicht weniger als Leben, Lieben und Sterben. Es sind keine Lieder, die einen weit fort tragen, sondern sie stehen mit beiden Beinen fest auf dem Boden. Und doch atmen sie etwas Überirdisches, eine raue Schönheit wie in einem kargen, nördlichen Wald und die Klarheit einer mittendrin entspringenden Quelle. Kjellvander erzählt, er habe, als er diese Lieder schrieb, auf dem Dorffriedhof als Leichengräber gearbeitet. Nicht, weil er so morbide wäre, sondern weil er den wahrhaftigsten Job, den es nur geben kann, machen wollte. Das setzt er als Songwriter konsequent fort Und als Musiker lässt er die Lieder dann so hell erstrahlen, dass man ihn quasi vor sich sieht, wie er sich die Erde von den Händen reibt, die Gitarre nimmt und in seiner Kirche seine Stimme erhebt.

The initial idea was for Christian Kjellvander to be playing instrumental songs backed by other musicians at a large exhibition of the Swedish photographer Jacob Felländer"s work at Kraftwerk in Berlin in May 2020. As they are mutual admirers of each others work, Christian Kjellvander agreed. Well, things happened and then nothing happened. But they did exchange photos and song ideas and Jacob finally asked Christian if he would like to record the music anyway and release as an album.

Christian Kjellvander gehört zu den wenigen Musikern, die ohne Kompromisse ihren Weg gehen, immer nur das nächste Album im Blick. Nach der Reunion seiner Band Loosegoats und deren 2012er-Album "Ideas For To Travel Down Death"s Merry Road" legt er mit "The Pitcher" umgehend nach. Es ist die fünfte Soloplatte des schwedischen Singer/Songwriters und die erste seit "The Rough And Rynge" aus dem Jahr 2010. Aufgenommen in einer alten Kirche auf dem Land in Schweden, ist "The Pitcher" sein vielleicht elegantestes und handwerklich sauberstes Werk. Eine sehr atmosphärische, dichte, bewegende Platte, mit Hingabe geschnitzt aus Worten, Noten und Erinnerungen, die mit den ersten Akkorden von "The Mariner" - einer zarten, sehr persönlichen Ballade - beginnt, sich in "The Zenith Sunset" mit den Brüchen in der Mitte des Lebens beschäftigt, um dann mit der Hymne "The Bloodline" zu enden. Das Ganze vorgetragen mit geradezu hypnotisierender Klarheit und dieser einzigartigen Stimme, die hier noch tiefer, noch einschmeichelnder erscheint als je zuvor. Die LP erscheint mit CD.

In diesen Tagen, in denen Ausgrenzung und Abschottung zu regieren scheinen, braucht es Künstler wie Christian Kjellvander. Der schwedische Singer/Songwriter ist einer, der das Fremde umarmt und das zutiefst Menschliche auslotet. Bereits der Titel seines neunten Albums, "Wild Hxmans", zeigt: etwas ist anders, irritierend. Denn Kjellvander macht uns ein X für ein U vor. Das ist gut, denn er macht uns nachdenklich und sensibilisiert. Wir nutzen ein X, um unsere Stimme abzugeben. Aber auch, um einen Fehler grob unkenntlich zu machen. "Einfach durchstreichen und weg - wenn Leute versuchen, dieses Prinzip auf andere Menschen anzuwenden, haben wir ein Problem", sagt der Musiker, dessen Wunderstimme mal an Leonard Cohen, mal an Neil Young und mal an David Sylvian erinnert. Und so erzählt uns der 42-JaÌêhrige in sieben rauen wie soghaften Songs zwischen Folk, Blues, Americana und Free Jazz von Abschied und Aufbruch, von Flucht und dem Gefühl, neu in einer Welt zu sein. So erschafft Kjellvander einen Sound, der ruhig atmet und pulsiert, um sich dann aus dieser Intimität in eine unglaubliche Dynamik hineinzufiebern, in etwas Dunkles, Sattes, Schwüles. Mitunter scheint seine Musik zu entschwinden, um kurz darauf flirrend und transparent zu strahlen.

Tone Def are the original Bournemouth ravers with some absolute classics released in the early 90’s on Moving Shadow. Rog from the band is also the founder of Void Acoustics, the ultimate in club and festival audio equipment, a hobby that became a huge business empire for him.

This EP was written during 1990 to 1991 and had been lost for 30 years until recently, when Rog was checking some of his old ¼” tapes that he took out of storage. These are 4 original UK acid breakbeat rave tracks, encapsulating the raw DIY ethos of the era, of kids messing about in their bedrooms, writing music with no boundaries or templates. Never heard before, never released before… until now.

Acid Boom is a sister label to the Vinyl Fanatiks family. A vehicle to release that early 90’s acid sound that would later morph into rave. High energy 303’s, 808 and 909 drum machines, synced up to rolling breakbeats. Whether music from back in the day or new music that’s been created to emulate that early warehouse sound, Acid Boom is here to take you on a rush.

A collection of unreleased tracks from the early 90's Jumpin' & Pumpin' era, when FSOL hid behind various guises

Finally here, the first release in our long planned Parish label reissue program. Students of late '80s digital reggae know that Edgar Whyte's Parish label is one of the finest labels of the period, issuing many singles and albums, with a unique selection of artists and a bunch of killer original rhythms. We've been working on this program a long time and are very pleased it's finally here. There will be a killer selection of reissue and previously unreleased tunes coming in 2024, all from master tapes. We figured it's only fitting to start off with what is likely the most in demand Parish single for '80s digital collectors, and from one of the label's signature artists. Everton Chambers' "This Love of Mine" came out in 1988 and is extremely tough to find, a ruff piece of stepping digital, even favored for play by the late great Jah Shaka.

Three years on from the desolate beauty of their debut, Quindi Records is proud to present the second album from Dead Bandit. The ghosts of their past endeavours still haunt their guitars, but on Memory Thirteen the duo's delicately dishevelled Southern gothic feels tonally distinct from their prior outing.
Dead Bandit is Ellis Swan and James Schimpl - the former a noted solo singer-songwriter from Chicago with a penchant for eerie, witching hour murder ballads and the latter an accomplished Canadian multi-instrumentalist with a bias towards heartworn, roaming soundscapes. Their instrumental collaboration has an open, lyrical quality which says as much as any spoken line, and on this album they've especially embraced the power of contrast as we're guided between scenes, sometimes within the confines of one track.
'Peel Me An Orange' is especially instructive in this regard, beginning as a blown-out paean to sonic degradation and the acute sense of hopelessness it projects, only to yield to a lilting tape loop of twanging guitar before entirely widening out in an emphatic burst of post-rock optimism.
Post-rock isn't noted for its banal cheeriness as a genre, and Dead Bandit aren't about to lay down feel-good drive-time anthems, but the sense of pulling at extremes of energy and introspection show Swan and Schimpl to be testing the emotional limits of their weatherbeaten sound. The cautiously sentimental mood of 'Blowing Kisses' hints at the hard-won light which can be encountered while pointedly driving into darkness.
Sometimes noise is a subtle device - a looming bed of unease under the forthright pluck of Swan's distinct guitar tone or the cracking round the edges of a beaten up drum machine. On 'Memory Thirteen' the distortion on the bass becomes a central figure in its haggard waltz, while 'Staircase' and 'Perfume' leave the signal wet until the delay feedback becomes the body of the riff. Either way, the sound is never left untouched as Swan and Schimpl grow more comfortable in their exchange, blurring their respective sonic languages as they expand their shared vocabulary to create an album of depth, difference and devoted distortion.