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"Every 4,044 years comet Calanhi enters the inner solar system, returning from its long and silent voyage through the Oort cloud. As it approaches perihelion, billions on Earth gaze into the night sky, transfixed by the celestial spectacle of their lifetime. While solar winds tear at the comet's surface, deep inside the glowing ball of ice, ancient machinery springs to life..." Over the past five years Daniel Lodig and Martin Sovinz aka /DL/MS/ have been continually commuting through the electro singularity, constructing their unique brand of fragile bass music from extradimensional sound salvage, and spreading their frequency patterns via the subspace channels of Frustrated Funk, Pomelo, and TRUST. 'Calanhi' is the Viennese duo's debut album - 12 tracks that combine the eternally fresh aesthetics of Detroit-style electro with a relentless curiosity for rhythmic and harmonic experimentation. Seismic club thumpers like 'Invisible Bits', 'Mountains', and 'Trusted Funk' alternate with moody ambient interludes, boldly constructed beat inventions, and blissfully melodic acid breaks. Two collaborations further switch up the flow: Nigerian artist G.Rizo (Hezekina Pollutina, Deejay Gigolo) drops her cryptic rhymes on 'Divide & Conquer', and Spanish singer Xx Isis xX provides vocals for 'Accelerated Frequency'. Mastered by Keith Tenniswood aka Radiocative Man. Sleeves designed by dextro_org. Vinyl version ships with postcard and Bandcamp download code.

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2021/2022.

Archie Shepp’s Black Ballads first came out in 1992 and celebrates its 30th anniversary in 2022. This 2LP features eleven great jazz ballads including classics such as “Embraceable You” and “Georgia On My Mind” by the tenor saxophonist. Shepp is supported by pianist Horace Parlan, bassist Wayne Dockery and drummer Steve McRaven.

To celebrate the legacy of Wim Wigt’s Timeless Records 45th Anniversary, Music On Vinyl is releasing the 45th anniversary Jazz Series. Each release includes the Timeless Records insert showing the first 8th albums on limited coloured vinyl.

Black Ballads is available on vinyl for the very first time as a limited edition of
500 individually numbered copies on translucent magenta coloured vinyl. The package comes with an insert with upcoming titles from The Timeless Records
45th Anniversary Jazz Series.

Benoit B aka Terra Utopia breaks out into another auspicious alias for Step Ball Chain, Blu:sh - metamorphosed; coming in hot and heavy, sexy and sophisticated. Bass down, *ss up! The ambitious 6 tracker “Lovebite” fuses forms of dance; reworking elements from niche corners of the Step stratosphere that can result in freaky combustion. Breathing life and lust into every phrase, we are fortunate to be offered an intimate glimpse into a complex world of sound, filled with bold and brash inspired statements, rhythmically rolling the dice with snap lock precision. The cherry on top is served via a vocal collusion from fellow associate noff, the web expanding as the label delves deeper into futuristic tech territory, the prolific producer pushing their own boundaries and desires for new meticulous audio spectrum and ethereal realms.

The trio of flirtatious tracks laid bare on the A side read as a love letter to 4/4 naughty nocturnal testimonies. Opening auspiciously; Tighten Up dips into nasty grit, a sub centered excursion into the technological domain, sleazy and stripped back with modest tenacity. Candy Land sugarcoats the status quo of pumped up prog, playfully in the driver's seat and revving 100 miles per hour toward Hush highway; narrated by Greek cyber enigma noff.. An atmospheric deep trance kissed club chant. Opposites attract and find points of connection on the flip of Lovebite, the B side boasting a mutually slick sharpness permeating the record; blending sparse bass focused broken beat expeditions with liquid dnb; genially abstract mood boards of sampling mayhem; cut and spliced in addictive fashion. Flushes of gorgeous esoteric harmonic soundscapes fill out the rhythmical chaos, grounding and expanding the mind through a lush & plush tint woven in Recess and Heaven Spot alike.

A perfect prophecy destined for Step Ball Chain, Blu:sh’s first, yet expertly curated EP sets the bar high as hell. Divine dance music that can’t help but push boundaries; confronting and challenging our archival references and perceptions of genres and classifications, arguably the best kind of auditory statement.

Originally released in 2008 following the birth of his daughter, Show You The World takes Living Legends MC, The Grouch, on a new path of growth and maturation as he navigates his new world of fatherhood and the new perspectives it brings. With topics ranging from his experience as a new father, partner, and son to drug addiction in the family, as well as his own personal struggles and triumphs, The Grouch succeeds in showing us his world. At 16 tracks, the album features appearances from Murs, Bicasso, Scarub, Mike Marshall, Raphael Saadiq, Abstract Rude, Marty James, & One Block Radius, and is best known for the hit singles, "Artsy," "The Bay To LA," &"Breath."

What would you do if a never before released jazz funk album from 70s Yugoslavia had dropped suddenly into your arms? An album which sounds like a crate diggers holy grail!? Album full of heavy drum breaks, repetitive bass grooves, superb sax solos and world class jazz arrangements finely intertwined with Yugoslavian folk music elements?! - “PRESS IT!” ~ That’s what we said always striving to present the future of unheard sound of Yugoslavia! With the help from Mr. Cosmic himself (Željko Kerleta), Jovan Maljoković and his wife Nevenka and, of course, Radio Belgrade who provided the recordings buried deep in their library, here we present Jovan’s first vinyl release since 1989 and his album nr. zero. If this LP was released in 1976, sounding this clear and impressive as it sounds today, it would be up on the pedestal with cult Yugo jazz-funk releases such as Sećanja by Miša Blam (also released on Everland) – and believe me – it would burn a whole through your wallet. Don’t allow me to get started on the Jovan’s ensemble personnel here, represening the crème de la crème of jazz and funk instrumentalists of Yugoslavian Jazz (Goce Dimitrovski, Miloš Krstić, Kire Mitrev, Miodrag Maljoković, Aleksandar Sanja Ilić, Miša Blam, Uroš Šećerov...). The raw execution, top recording and compositions resembling but not imitating the greatest contemporary western jazz-funk ides of the time, that sound like something that could have been easily released on Mainstream, Columbia, MPS or even be an authentic Kudu hit record if it had been released at the time by Creed Taylor. Just listen to the track A1 Ponor Naviše with a whirlwind of big band arrangement turnovers or track B1- Uspomena (hint: Sećanje...) where Jovan takes on the ‘Lame donkey’ in a strong downbeat rearrangement released just two years after Volker Kriegel published it on his album Lift! (MPS/BASF 1973.). You’ll be blown away by the instrumental prowess of the ensemble and Jovan’s ideas! ~ Dr. Smeđi Šećer

From the mind of Caserta comes a brand-new imprint. God Hour picks up where Bridge Boots left off putting Caserta right back to work doing what he’s come to be best known for; turning old school joints, usually not meant for the dance floor, into modern day heaters.

'Playa' takes a '70s ballad about the one who got away and makes it a little less heart wrenching and a lot more danceable! The A side features the full vocal surrounded by the driving bass, drums and horns any good disco record should have. With lush Rhodes, strings and synths to warm things up and make you wonder where things went awry even while you’re 2 stepping the night away.

For those of you who cant come to grips with the fact that that special someone is gone or just plain hate lyrics then flip-er on over for a classic Caserta Dub.

Balls is the 18th studio album by Sparks and was originally released in August 2000. The album has been newly remaster for this LP reissue and will be released on heavyweight vinyl.

Highly acclaimed guitarist Philipp van Endert played and produced on
"Moon Balloon" the largest and most complex music project that he has been able to record with in his music career so far

Combined with the renowned Filmorchester Babelsberg he recorded an outstanding and unique album featuring his original tunes that combine Jazz, Classic and Film music. Philipps compositions were arranged by Peter Hinderthür and the live performance at Filmstudios Babelsberg was conducted by Jörg Achim Keller (BBC Concert Orchestra, Metropole Orkest, HR BigBand, WDR BigBand a.o.)

While Bobby Oroza puts the finishing touches on his next album, he treats us to this killer two-sider to end out 2021 and hold us over until the new record is finished. Bobby's debut album "This Love" made big waves around the world and amassed him a cult following from the US to Japan and everywhere in between. He found big love in the sweet soul scene early, but has since made fans in a myriad of circles and subcultures globally. It has by now become clear that his music is not just one thing, analog soul textured for sure, but also with an array of influences that span far beyond the soul ballad world. It is that inability to really nail down his sound that has become the biggest charm, an esoteric and profound passion permeate the lyrics and vibe of everything about Mr. Oroza. This new 7" shows off two sides of Bobby's song writing, an upbeat number on the "plug" side and a heavy duty ballad on the flip. The A side "The Otherside" is an optimistic tune that Bobby humbly shares his story about the troubles we can create for ourselves and the possibility of having a change of mind that frees us from them. The track is equally encouraging with its sunny energy that carries an important message from Bobby to anyone who is struggling and can't see a way out. The B side "Make Me Believe" is another instant classic for the slowie enthusiasts. A moody, soul bearing, cry for help that comes off with a sweet- ness.

Few would dispute that the title of Trower's latest album – No More
Worlds To Conquer – is a fair summary of the thumbprint he has left on the musical universe


But as he reminds us, it should not be misinterpreted as his mission being accomplished. "I definitely feel like I'm still reaching," he considers, "with the guitar, and the songs, and everything else."
Turning once again to his trusty toolkit of Fender Stratocaster and Marshall amp, Trower's guitar work is ageless, whether that's the tough chop of Ball Of Fire, Losing You and Cloud Across The Sun, or the slower-burn wah squalls of the title track and Deadly Kiss.
On Waiting For The Rain To Fall, Trower's playing is crystalline as a dew drop, while the aching finale, I Will Always Be Your Shelter, offers a solo whose masterful touch is compelling as anything in his catalogue.

The Classic 1977 Folk album .and follow up to Savage Amusement.
Feat: Mick Ronson, Andy Latimer & Keef Hartley.
Recorded at Sawmills Studios, Cornwall, Tapestry Studios, London and Fairview Studios, Hull.
Incl. Extensive Sleeve Notes from Andru Chapman & Marc Higgins
With bonus track: Steel Bonnets (Instrumental)
Limited Edition on 180 gram vinyl

This classic piano/ guitar duo album between Bill Evans and Jim Hall has had several label reincarnations, firstly on United Artists and Solid State, and then finally on Blue Note.

"Other than four piano solos from April 4, 1962, this set was pianist Bill Evans' first recordings after a hiatus caused by bassist Scott LaFaro's tragic death. The first of two meetings on record in a duo format with guitarist Jim Hall, the collaborations are often exquisite. Both Evans and Hall had introspective and harmonically advanced styles along with roots in hard-swinging bebop. There is more variety than expected on this fine set with some cookers, ballads, waltzes,
and even hints at classical music." Scott Yanow, AllMusic

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

- First vinyl reissue, available on LP for the first time in 20 years - Completely remastered audio and restored artwork - Side D lunar vinyl etching art // After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter "Sleazy" Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group's heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one. Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed "moon music" - post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group's limitless insular synergy. Opener "Something" is stark and incantational, a spoken word experiment for windswept voids. "Tiny Golden Books" unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. "Ether" is an exercise in funeral procession piano and intoxicated wordplay ("It's either ether or the other"), while "Where Are You?" and "Batwings - A Liminal Hymn" lurk like liturgical murmurings heard on one's death bed, framed in granular FX and flickering candlelight. As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination "Paranoid Inlay" captures the group's oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. "It seems concussion suits you," he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: "On a clear day I can see forever / that the underworld is my oyster."

Tape

You can’t keep a good thing down: 99 marks the triumphant and long overdue return of Matthew Edwards’ Rekid project. More than just Radio Slave records slowed down, his alter ego preferably ploughs the field between ambient excursions, downtempo hypnotism, sample sculptures and the general space in between raves.

Since its first appearance with the Lost Star EP for Classic in 2004 and the still breathtaking follow up Made In Menorca opus on Soul Jazz Records, Edwards firmly established himself as a producer of many, if not all trades. Thought of, produced and conceived during the first lockdown of 2020, 99 is conceptual (with the tempo firmly set at that tempo), concise (34 minutes and 34 seconds long) and content with exploring the possibilities of limitation (one track a day, live takes, no editing).

Without departing the original Rekid ethos of glacial music, it presents a modernized and contemporary version of IDM tropes, chill out topics and a capturing sound of mesmerizing materiality.

After a while, it all made sense to Edwards as one piece, was presented to Running Back, where the A& R department thought the same and is now available as a continuous cassette mix and a separated vinyl single album as well as for streaming and downloads.

Jeep music for ballet dancers.

Repressed for the first time in a while, note small price increase. Etta James historic live recording from 1963! On stellar Blue vinyl, with the original album artwork and including 3 bonus tracks. Best known for the lush 1961 rendition of the ballad “At Last” – a slow-dance staple at wedding celebrations everywhere, she is also celebrated for having recorded one of the best live albums of all time, “Rocks the House.” Recorded in 1963 at the New Era Club in Nashville, James is captured at her performance peak. The foundation for her reputation as a fiery no-holds-barred performer was firmly established in this recording. Blues, soul, jazz, R&B, and rock vocalist Etta James, needs no introduction. An icon from early rock’n’roll’s pantheon of divas, she has inspired 5 decades of listeners and fellow artists with her vocal stylings. From Janis Joplin to Beyonce, her expressive and guttural style has been imitated but never quite matched. Jackpot Records is honored to release this momentous record on stellar blue vinyl, with the original album artwork and including 3 bonus tracks which have only ever been released previously on CD. Her powerful version of “Something’s Got a Hold on Me” will shake you. Her impassioned version of “All I Could Do Is Cry,” will break you.

After producing Bendik Giske’s wonderful Cracks from last year, André Bratten returns with his own music, and the first volume of his Picture Music series, his most accessible and melodic music to date. The title is taken from a compilation on legendary German label

Joe Bonamassa - 'The Ballad of John Henry' 2022 Remaster erstmals als farbiges Doppel-Vinyl

Provogue / Mascot Label Group veröffentlichen am 22.04.2022 drei spezielle Vinyl-Neuauflagen des Blues-Titans Joe Bonamassa. You & Me", "The Ballad of John Henry" und "Live from the Royal Albert Hall" erscheinen erstmals remastered.
Das Bonamassa Kult-Album "The Ballad of John Henry" aus dem Jahr 2009 wird erstmals auch auf farbigem Vinyl erhältlich sein. Das Album wurde für die 2 LP-Version neu gemastert und auf 180g braunem Vinyl gepresst. Als besonderes Bonbon gibt es mit der B.B. King Coverversion von 'Chains and Things' einen Bonustrack.
Bonamassas siebtes Studioalbum brachte ihn erneut auf Platz 1 der US Billboard Blues Charts und brachte ihm den Durchbruch in Europa. Mehrere Bonamassa-Originale zieren das Album ebenso wie Coverversionen von Tom Waits, Sam Brown und Ike & Tina Turner, die die ganze Bandbreite seiner Palette aufzeigen.
Mit mittlerweile 25 Nummer 1 Alben in den Billboard Blues-Charts, ausverkauften Tourneen und seiner Keeping The Blues Alive Cruise in Amerika und Europa, ist Joe Bonamassa allgegenwärtig. Diese Re-issues sind für seine langjährigen Fans und für Musikliebhaber, die JB neu für sich entdeckt haben. Diese drei Alben sind Joe Bonamassa vom Feinsten!

Alan-Parsons-Fans dürfen sich 2021 gleich über zwei besondere Reissues freuen: Der britische Musiker, Tontechniker und Produzent legt seine Alben »On Air« und »The Time Machine« noch einmal auf, und zwar auf CD und LP. Die beiden Vinyl-Versionen kommen auf Translucent Blue Vinyl bzw. Transparant Vinyl, sind nummeriert und auf jeweils 1500 Exemplare limitiert.

»The Time Machine« erschien 1999 und ist das dritte Soloalbum von Alan Parsons. Es handelt von Zeitreisen und von der Erinnerung an die Vergangenheit.

Der Gesang auf dem Konzeptalbum stammt unter anderem von Tony Hadley (Spandau Ballet), Colin Blunstone, Maire Brennan (Clannad), Beverly Craven und Neil Lockwood (ELO).

»The Time Machine« klingt wie eine Kombination aus dem Alan Parsons Project der 1970er-Jahre mit einer Prise Pink Floyd und ist ein Klangerlebnis, das Fans von Parsons, New Age und Electronica begeistern wird.

Das Album beginnt mit dem Instrumental »The Time Machine (Part 1)«, geschrieben von Cockney-Rebel-Schlagzeuger/Komponist Stuart Elliott (später Al Stewart und Kate Bush u. a.), das der Art und Weise ähnelt, wie das Project sein Album zu eröffnen pflegte. Es gibt den sanften Song »Out Of The Blue«, mit Leadgesang von Tony Hadley von Spandau Ballet. »Ignorance Is Bliss« ist einer der schönsten Songs mit dem Gesang des ehemaligen Zombies-Leadsängers Colin Blunstone.