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Deluxe edition on 180 gram dracula red vinyl with printed inner sleeve of Snelle's latest album. Incl 2 bonus tracks! Will be released on the day his sold-out NL tour starts.

Acclaimed Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg / Seefeel) and Kiki Hitomi (ex-King Midas Sound) - return with feverishly joyous new album Hot Pot Totto, a bubbling hot pot of dance music that responds to ecological anxiety.

“Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!” Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride.



Thematically - despite its ostensibly celebratory impact - Hot Pot Totto addresses the world’s grave ecological state. “Now our earth is on the way to catastrophe, as global warming becomes a serious problem through humanity’s fault. We are on the edge,” Hitomi writes. “We need to get back on the right track.” The ottotto of the album title refers to this experience - the need to get back on track. However, this is not lamenting music: it is fiercely defiant, full of colour and rapture, maintaining an optimism that we can.



Opening single “Hakke Yoi” ties treated voice, a floor-shaking beat, and a dizzying, transforming colour palette to a heart-quickening BPM. The track is named after the traditional cry of a sumo wrestling match, shouted by the referee to maintain tempo, commonly translated as “put some spirit into it!” The lyrics refer to humanity’s sacrifice of our planet for our own material gains. Later, key track “Buri Buri” features Ugandan experimental dance producer Catu Diosis and centres around the lyric “Turn disaster to our advantage / good fortune and happiness will come to those who smile,” offering not regret but encouragement and empowerment with its neon alien sonics and relentless vibrancy.



Kiki Hitomi was formerly a member of Ninja Tune / Hyperdub’s King Midas Sound (along with The Bug and Roger Robinson), and co-founded iconic Japanese dubstep-noise duo Dokkebi Q. She is also a celebrated illustrator and designer, having created artwork for countless record sleeves (including this one) and brands. Shigeru Ishihara - aka DJ Scotch Egg - has been orbiting the dance music galaxy for over a decade, releasing radiantly unpredictable solo records through Lightning Bolt’s Load Records, as a member of Warp Records’ legendary Seefeel, and performing with both projects across the world. He recently undertook a residency at the Nyege Nyege Villa in Uganda, working with Phantom Limb alumnus MC Yallah. More recently, Ishihara has been releasing music under the guise of Scotch Rolex, collaborating with the likes of Shackleton, Swordman Kitala, Lord Spikeheart and more.



Hot Pot Totto is WaqWaq Kingdom’s third release for Phantom Limb, following the rapturously received album Essaka Hoisa in 2019 and follow-up EP Dokkoisho in 2020. The band recently performed at the label’s sold out 5th anniversary event in London, setting an ecstatic venue alight with energy.








f B1 Buri Buri feat. Catu Diosis

A Colourful Storm begins 2024 with a luxurious suite of daydreaming introspection courtesy of Unchained, the longstanding solo project of Nathaniel Davis who was last seen on vinyl in the final Blackest Ever Black release. Recorded at home between 2020 and 2023, Gabbeh is the latest expression of Davis's guitar-based instrumental musings and represents a stylistic evolution of his self-released noise tapes and CD-Rs into romantic, bossa nova-influenced melody-making. He wrote the tracks sporadically, with minimal instrumentation and intervention. Electric guitar, bass improvisations and rhythms from an old drum machine are layered and given new life, the space between them softly breathing with minutiae of the everyday: the buzz of cicadas, the passing of cars, the whistling of passersby. The psychogeography of Grenoble, Davis' home since 2018, played a conscious role in the weaving of Gabbeh's fabric: "I think certain songs reflect, in ways, Grenoble's natural surroundings. 'Drac' is named after the river that flows from the mountains down to the city… 'Dru' is the name of a well-known peak near Chamonix". Opener 'Largo' sets the mood, its primitive samba rhythm concealed by a cloud of saudade. The bebop sensibility follows suit, the tension between its angular picks and percussive shuffle a wondrous balancing act, while the intoxicating sway of 'Rambler' is perhaps the most poignant expression of longing and loss we've heard in recent years. Highly recommended for fans of Durutti Column, Maurice Feebank, Toninho Horta.

DJ and producer Gratts returns to his own imprint with the third instalment of the "Balearic but bumpin'" trilogy. Here, the Belgian puts forward a captivating piece of organic, Body & Soul NY inspired deep house, assisted by Cata Mansikka-aho on vocals. As always, an instrumental is provided for maximum nightclub daydreaming. On the flipside, British duo Faze Action up the energy levels with an equally musical disco version that hits in all the right spots. Artwork once again by Mads Cooke.

Glenn Underground:
"Bad Ass'd Project, The whole thing"

Laurent Garnier:
"Really cool tracks :) Looking forward to hearing more stuff in the future."

Colleen Cosmo Murphy:
"Great release! I like the original best! I will be supporting on the show once I’m back in February."

Groove Armada:
"Sounds great and Faze remix is great too!"

Severino (Horse Meat Disco):
"Great stuff and amazing remix!"

Kevin Reynolds (Transmat):
"I remember this voice! Both tracks are incredible, has this classic Dinosaur L vibe that is super dope!"

Gareth Sommerville (Athens Of The North):
"Love Gratts’ productions - this is no exception. Spiritual for optimists."

Shane Johnson (Fish Go Deep):
"Really enjoying the original mixes here... such a relaxed, musical groove that perfectly suits that lovely, drifting vocal. Looking forward to playing."

From Karma Recordings comes their fifteenth EP. For this outing we thought we’d bring back the immense remixing talent of Billy ‘Daniel’ Bunter and Sanxion. With over thirty years in the game who can argue with this. They have taken the original Acid jungle version and turne dit into a bouncy four to the floor club smash. Dan has been playing this out for a good while now and it’s been rinsing dancefloors and festival fields throughout summer 2023. Keep the vinyl on and it glides into the original more jungle Acid vibe from the Karma Krew. Who are they ? Nobody knows !! Flip the vinyl over and we once again have a superb track from the man like DJ Terrace. Every time he sends me a track I’m a little surprised again at what he can do and he certainly is a Karma favourite. The nit smashes Dubious with a track that is half jungle, half modern day dnb which makes you want to bass face all over the place. Another slammin’ 4 tracker from our stable !

The king is dead, long live the king, as they say - except in this case the late king is DJ Bone's legendary Subject Detroit label, which has now been shuttered after 25 years, and the newly anointed king is his new outlet Further, taken from his Amsterdam parties of the same name. It kicks off with a pair of new EPs on the same day and this is the first from Yeti Mind Tricks. 'We Ain't Like Them' is a hammering Motor City techno cut for the peak time which Bone remixes into a more stripped-back but no less edgy and potent cut. On the flip are 'Bimini Road' and 'Vandelay,' both of which bring stylish techno drenched in machine soul.

Soul Jazz Records’ 200% Dynamite! set the benchmark for reggae meets funk compilations that has never been bettered. Out of print for over 15 years this new 2023 edition with new tracks and is being released in a one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023.
Jam-packed with reggae tunes that crossed-over to become dancefloor hits such as Tenor Saw’s sound boy anthem ‘Ring the Alarm,’ K.C. White’s classic cut of the seminal ‘No, No, No’ and Augustus Pablo’s ‘Rockers Rock’, 200% Dynamite explores the links between reggae, jazz, funk and soul.
Carrying on perfectly from 100% Dynamite, this second compilation continues to trace the history of Jamaican reggae and the influence of American styles such as funk and jazz had on this music.
Featured here are serious funk and rocksteady tunes from the likes of The Skatalites and Johnny Osbourne through to Jamaican jazz from masters such as Tommy McCook and Byron Lee, as well as some serious dub from the likes of Augustus Pablo, King Tubby and Jackie Mittoo.
New bonus tracks on this new 2023 edition include seminal dancehall party cuts Sister Nancy’s ‘One Two’ and Chaka Demus and Pliers’ ‘Murder She Wrote’, alongside classic soul to reggae covers including cuts of Marlena Shaw’s ‘Women of the Ghetto’ and Odyssey’s ‘Don’t Tell Me Tell Her’.






‘Once again, Soul Jazz goes digging through the reggae vaults and produces another sterling compilation. If you’re looking for a primer on the music of the island, you could do worse than buying every one of the records in this superb compilation series.’ All Music
‘In Soul Jazz’s outstanding Dynamite! series 200% is the head-turner. The label has its finger on the pulse of the now just as surely as it does on that of the past.’ Pitchfork
‘Soul Jazz Records ‘Dynamite’ series has quickly become a
rewarding guide to reggae’s most infectious back pages. Every home
needs some Dynamite.’ Irish Times
‘Soul Jazz Records’ long-running series
of highly-regarded reggae albums.’
Rough Trade

Repress.

Studio One's music in the 1970's took the label to new heights. The new style of Disco Mix brought many areas of Reggae together ­ Roots, Lovers, Disco and Dub all came together in extended form, re-versioning classic hits, experimenting with new studio technology, over-dubbing, syn-drums and more producing what many fans describe as the most creative and innovative phase in the history of the legendary Studio One Records.

This Studio One Disco Mix album includes many sought after classic tunes only ever released in very small quantities (on Studio One's very first 12" records as well as it's infamous Music Lab 10"s out of New York) and consequently many of these track s have been unavailable since their day of release. Studio One Disco Mix features many of the classic Studio One artists such as Alton Ellis, Sugar Minott, Jackie Mittoo and Willie Williams (with his classic re-versioning of his own "Armigideon Time") alongside less well artists such as Doreen Schaeffer, Judah Eskender Tafari and George Dudley and many more.

DJ Support: Richard Dorfmeister, Luke Una, Chris Coco, Phil Mison, Mickey Brown, Erki Pruul, Marco

The sweeping poem ‘Cofio’ by the great Welsh poet Waldo Williams has inspired a remarkable collaboration between Ibiza-based record label NuNorthern Soul, Welsh DJ, performer and cultural commentator Gareth Potter, composer and musician Joan Bibiloni, poet and actor Pep Tosar Vaquer, actor Rhys Ifans and musician James Baron aka JIM / Ron Basejam.

1st March is St Davids Day and Balearic Day. St David’s Day honours the death of the patron saint of Wales and the Day of the Balearic Islands the day when islands Ibiza, Mallorca and Menorca became an autonomous region of Spain.

Cofio Recorda Remembrance is made up of two powerful and haunting tracks drenched in NuNorthern Soul’s unique take on the globally popular Balearic Chillout style. Un Adéu features music by Joan remixed by James Baron with Pep reading the poem in Catalan and Spanish. Badia Onírica is a tremendously atmospheric reading of ‘Cofia’ in Welsh and English by Rhys with music again arranged by James.

It connects Wales and Ibiza but, on a more universal level, Cofio Recorda Remembrance links the fundamental aspects of human existence, of, as Waldo Williams puts it ‘earth’s innumerable generations’.

a A1: 'Badia Onírica' Welsh Version
b A2: 'Badia Onírica' [English Version]
[c] A3: 'Un Adéu' [Instrumental Version]
[d] B1: 'Un Adéu' [Catalan Version]
[e] B2: 'Un Adéu' [Spanish Version]
[Instrumental Version]

"The 'Kashkaval EP' marks DJ 3000's fourth vinyl release, stemming from his acclaimed 'Mezë' album.

This EP encapsulates DJ 3000's evolution, weaving a narrative from his Albanian heritage to his current thriving career. 'Kashkaval EP' stands as his most intimate and comprehensive work to date, embodying a profound musical odyssey. It extends an invitation to all, urging them to partake in a celebration of diverse cultures and a symphony of sound that transcends geographical boundaries. Through meticulously crafted tracks, it guides listeners on a shared and cherished voyage, forging connections through the universal languages of music, culture, and food.”

Kashkaval - Is a cheese originating from the Balkans. When producing this electro track, it all came together quite swiftly, to be honest. I only needed one final element to complete it. Coincidentally, my dad was discussing this cheese at the time, so I recorded him talking about it on my phone and seamlessly integrated it into the track. I applied various effects and kept it subtle in the mix, making it almost unrecognizable in Albanian. The chords fell into place after that.

Constant Sorrow - This song took shape during the pandemic. I had nearly completed the concept, and for some time before that, I had been in conversation with producer and vocalist Keith Caden. I believed his vocal talents would be a perfect fit for this track. I shared the track and its title with him, and he subsequently wrote the vocals, even contributing harmonica and a few other embellishments. I'm particularly fond of this electro-style track, and Keith's vocals truly bring a unique and special dimension to it.

From The Ashes - Electro played a significant role in this album. When I mention electro, it's not the typical style of tracks but rather a more unique approach. The vocals on this album truly infuse profound meaning into the songs, and I have a deep appreciation for the way the chords resonate and create a dynamic bounce in the tracks.

Crown Royal - There's an amusing backstory to the essence of this track. "Crown Royal" harkens back to a liquor we used to enjoy back in the day. We'd have our Crown Royal and pair it with those Black & Mild cigars – quite the combo! This track was born from the memories of those late-night drives back home from the club.

Cassete comes with 3 extra panels of artwork from Ciaran Birch

Outerwordly collaboration between two great artists at the forefront of their scene, a release that was sparked by a commission from the BBC!

Dali de Saint Paul is known for her vast amount of collaborations, most notably with Moor Mother & Valentina Magaletti.

Maxwell Sterling's previous work includes sublime & diverse albums on The Death Of Rave & AD93.

When they met to create an improvised session for the famous experimental music radio show Late Junction on BBC Radio 3. Their encounter was so prolific that day that a lot of their music was not played on the show, so they have decided to give their audience the chance to listen to the fragile, brilliant and dark composition they have produced together.

A pioneer in his field, Etienne de Crécy remains more than ever one of the pillars of house music made in France. In his three-decade career, the French producer has recorded some of the world's most important electronic music albums, including Tempovision, released in 2000, arguably his mostaccomplishedto date.

Seven Davis Jr. returns with a new album fresh after releasing the virtual reality infused clubby "Iss Good" EP on Classic Music Company. This album contains a fusion of R&B Hip Hop / Trip Hop / Deep & Soulful House songs. Inspired by the 90s sound and energy with appearances from John Cale, Luke Solomon, Ivan Dorn, Life On Planets, Jon Dixon and more.

Garrett T Capps is one bad mofo. GTC is a real hombre. He makes cowboy kraut with his band NASA Country & also lots of Tex-Mex rock n' roll. He is San Antonio's resident cosmic country gonzo honky tonk weirdo freak! And he is a national treasure in Holland. He can usually be found at The Lonesome Rose, the bar he owns in the city he was born in. And now you can hear his iconic debut album, Y Los Lonely Hipsters, on vinyl on Cow Pie Recordings. Garrett T. Capps and his band, The Only Hipsters, recorded and released the nine-track L.P back in 2016. Now, for the first time ever on vinyl, this album can be heard on our limited edition queso splatter and nacho orange colorways. “It’s good to change up the diet here and there, but I felt strongly that sticking to menudo in the studio would help us achieve the acoustic terroir we were after,” said Capps. “The Only Hipsters and I are all San Antonio guys, and I wanted the music to reflect that. Tex-Mex in the left ear and T-bone steaks in the right ear.” With Songs like “Born in San Antone,” Capps and The Only Hipsters hope to serve up a solid portion of South Texas timbre, complete with heavy steel guitar, accordion, violin, acoustic and electric guitars, organ, bass and drums in various arrangements. This record holds an esteemed spot in Texas cosmic-country releases

On Everything Harmony, the fourth full-length studio release from New York's The Lemon Twigs, the prodigiously talented brothers Brian and Michael D'Addario offer 13 original servings of beauty that showcase an emotional depth and musical sophistication far beyond their years as a band, let alone as young men. Everything Harmony successfully blends the brothers' distinct personalities while giving voice to their eclectic influences. Opening the album with the unassuming acoustic folk of plaintive "When Winter Comes Around," which echoes the sophisticated grandeur of classic Simon & Garfunkel recordings, they immediately switch things up to the sunny classic pop motif of "In My Head." "Corner of My Eye" channels an Art Garfunkel-like vocal melody over a moody, vibraphone-tinged backing track suggesting the chamber pop of Brian Wilson. While they had no grand concept for Everything Harmony, both the D'Addarios felt a "palpable mood of defeat" prevailed while writing and recording it. "New To Me" was inspired by their shared experience with loved ones suffering from Alzheimer's, "What You Were Doing" is dressed in the tortured jangle of vintage Big Star, while "Born To Be Lonely," written after watching John Cassavetes' Opening Night, deals with what Brian calls "the fragility that often comes with age." Everything Harmony is a unified song cycle born of shared blood and common purpose. With two musical heads being better than one, there's no shortage of ideas to draw on. Their only impediments are time and the challenge of keeping up with their own prolific musical inspiration. "We share an intuition and tend to be influenced by one another," says Brian, "so the lyrical ideas on this record tend to complement each other. Writing has never been the issue for us. It's completing, editing and compiling that takes the time. We're trapped in a web of songs!"

DirtybLends edition 10 is a Chicago slab of ruff business!

the A-side comes from new member of The Klan of The Beatheadz Grizzly Knuckles with ‘Caviar’ an influential continuation concept from the early days of trax records for 1 of the nastiest productions to come from The Sensuous Man & Woman Goes Disco laying on top of a drum machine rhythm that gets to the heart of the cut and the message!

the B-side comes from the leader of The Klan of The Beatheadz: The Jak himself re-creating the drum rhythm of Jesse Saunders with his Kpr machine from scratch, then applying influential sounds from his keyboard to sound like DJ Rush from his proto release on relief records by creating a new blueprint for Jakbeat CHICAGO style of slam dance and mosh pit chaos that happened at The Reactor or Medusa’s (for those who remember)

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

7A Records is proud to present Davy Jones "The Bell Records Story". A lavish reissue of Davy Jones' self-titled album remastered with 6 bonus tracks. The CD version comes with a big 36 page colour booklet, extensive liner notes from Monkees historian Mark Kleiner and rare and previously unseen pictures. This reissue gives fans the opportunity to reassess an album that was unfairly neglected by record buyers at the time of its initial release in the fall of 1971.

Prior to entering the studio with producer Jackie Mills, Jones had recorded a batch of more somber and adult contemporary-sounding demos than the eventual Bell recordings of big band sunshine pop. While the latter played quite squarely into Jones’ established image; the former suggested another path that may (or may not) have launched Jones into a more fecund musical and commercial direction. Who can say? At the end of the day, we have these recordings and their manifold (and for too long overlooked) pleasures to enjoy, a worthy entry in the broad category of early seventies sunshine pop and in the specific canon of Davy Jones and Monkees-related recordings. Here is primetime Davy Jones, singing like an angel, and pointing to a love that leads to joy for all mankind. This release comes with a Booklet & Liner Notes & Photos

Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much-loved coffee brewing and heart-to-heart talking simulator - "Coffee Talk Episode 2: Hibiscus & Butterfly". You are a barista and your customers aren't always humans. Listen to their stories and influence their hearts with a warm cup of coffee or two. Introducing "Coffee Talk Episode 2" on tape. Dive into the soothing rhythms of this atmospheric lo-fi soundtrack, which captures the very essence of the Coffee Talk universe. Each groove transports you to that familiar coffee shop corner, where the patter of rain, heart-warming chatter and captivating melodies intertwine flawlessly. Presented in a stunning analogue format, the cover is drawn by Junkipatchi, Episode 2's lead writer and narrative designer. The tracks themselves have been handpicked by Andrew Jeremy, game producer and music composer, who has this to say: "The world is so chaotic that it can break you down. Just take your time to rest and re-energize with relaxing and chill music, before you start each day conquering the world once again." So, settle down with your favourite brew and let Coffee Talk Ep. 2 on tape guide you on a melancholic yet tranquil journey, evoking the Seattle from a parallel universe that you've come to know and love. Secure your auditory escape today and immerse yourself in an unmatched coffee shop ambiance.

Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much-loved coffee brewing and heart-to-heart talking simulator - "Coffee Talk Episode 2: Hibiscus & Butterfly". You are a barista and your customers aren't always humans. Listen to their stories and influence their hearts with a warm cup of coffee or two. Introducing "Coffee Talk Episode 2" on tape. Dive into the soothing rhythms of this atmospheric lo-fi soundtrack, which captures the very essence of the Coffee Talk universe. Each groove transports you to that familiar coffee shop corner, where the patter of rain, heart-warming chatter and captivating melodies intertwine flawlessly. Presented in a stunning analogue format, the cover is drawn by Junkipatchi, Episode 2's lead writer and narrative designer. The tracks themselves have been handpicked by Andrew Jeremy, game producer and music composer, who has this to say: "The world is so chaotic that it can break you down. Just take your time to rest and re-energize with relaxing and chill music, before you start each day conquering the world once again." So, settle down with your favourite brew and let Coffee Talk Ep. 2 on tape guide you on a melancholic yet tranquil journey, evoking the Seattle from a parallel universe that you've come to know and love. Secure your auditory escape today and immerse yourself in an unmatched coffee shop ambiance.

Double LP on Hibiscus & Butterfly Pea Tea Vinyl Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much-loved coffee brewing and heart-to-heart talking simulator - "Coffee Talk Episode 2: Hibiscus & Butterfly". You are a barista and your customers aren't always humans. Listen to their stories and influence their hearts with a warm cup of coffee or two. Introducing "Coffee Talk Episode 2" on vinyl. Dive into the soothing rhythms of this atmospheric lo-fi soundtrack, which captures the very essence of the Coffee Talk universe. Each groove transports you to that familiar coffee shop corner, where the patter of rain, heart-warming chatter and captivating melodies intertwine flawlessly. Presented in a stunning analogue format, the cover is drawn by Junkipatchi, Episode 2's lead writer and narrative designer. The tracks themselves have been handpicked by Andrew Jeremy, game producer and music composer, who has this to say: "The world is so chaotic that it can break you down. Just take your time to rest and re-energize with relaxing and chill music, before you start each day conquering the world once again." So, settle down with your favourite brew and let Coffee Talk Ep. 2 on vinyl guide you on a melancholic yet tranquil journey, evoking the Seattle from a parallel universe that you've come to know and love. Secure your auditory escape today and immerse yourself in an unmatched coffee shop ambiance.

One half experimenting with new styles not tried before, and the other half proving that when it came to progressive rock, they had few equals. It perfectly represents the versatility, sense of humour and compositional genius of this most singular of bands. Including the same personnel that had recorded the previous years In'terview - Derek Shulman, Ray Shulman, Kerry Minnear, Gary Green and John 'Pugwash' Weathers, and yet it felt different. Marking a change in direction following their successful In'terview tour, the album received mixed reviews upon its initial release, but has since grown in stature, praised for its forward-thinking sound and experimental nature. We are now pleased to present this record in its full glory and the best it's ever sounded.

Continuing his association with Gentle Giant, award winning producer and musician Steven Wilson has remixed The Missing Piece.His tonal range and painstaking attention to sound quality gives the album a fresh and exhilarating sonic lift.

The Missing Piece by Gentle Giant, released 23 February 2024, includes the following tracks: "Betcha Thought We Couldn't Do It", "Mountain Time", "Memories Of Old Days", "For Nobody" and more.

This version of The Missing Piece comes as a 1xLP.

Das erste Live-Album von Van Halen - das Doppel-Platin-Album Live von 1993: Right Here, Right Now - feierte sein Vinyl-Debüt am Record Store Day als 4-LP-Set in limitierter Auflage. Aufgenommen im Mai 1992, als die Band ihre große Welttournee zur Unterstützung ihres klassischen, mit dreifachem Platin ausgezeichneten Albums For Unlawful Carnal Knowledge beendete, liefern Sänger Sammy Hagar, Gitarrist Eddie Van Halen, Schlagzeuger Alex Van Halen und Bassist Michael Anthony über zwei Stunden lang die typischen Van Halen-Hits.

It’s a family affair. One formed almost thirty years ago, back in the mid-nineties, when the pair joined seminal French jazz combo Olympic Grammofon. For twenty-four years they have worked together as Bumcello, each complementing the other, echoing polar opposites. The Boom in Bumcello is none other than Cyril Atef, incisive drummer, relentlessly pushing beats towards new horizons. The Cello is Vincent Ségal, cellist without blinkers and extraordinary musical alchemist. Since 1999, these two die-hard music fans, coming together for mercurial results, have released one record after the other whilst conquering the hearts of their live audiences, old regulars as well as new recruits. We have all been seduced by the way their music leapfrogs categories - these two experts are much more interested in kindred spirits than pigeonholing, and this very spirit is celebrated on more than one track of this ninth record, whose concept is original to say the least.

Everything began with an idea by Cyril Atef - a soundtrack based upon drawings penned by Marin, Vincent’s son, architect and visual artist. The musicians involved then coached their reaction to these images on a score, and the pair were charged with collating and adjusting the results. These thirteen ink drawings, in a heroic fantasy vein, constituted a matrix which was then to serve as a guide, like a roadmap through a singular and multi-faceted labyrinth. The key to this sonic fresco is in Bumcello’s image – an eclectic aesthetic twinned with a great sense of contrast. Herein lies the trademark of this entity animated by the gift of musical ubiquity, gorged on scales and rhythms, capable of a slap as much as a gentle caress. From classical music to electronics, from improvised music to sophisti-pop, everything is allowed with no preconceived ideas. They can even reclaim the traditions of others, all the better to propel them towards new horizons - this is how the very history of music has always panned out.

If you listen between the lines and look at the details, more than one piece bears witness to the moments and individuals that have impacted the criss-crossing lives of Vincent and Cyril. The track Crash is the perfect excuse to create a Jamaican-style jam with New York inflections, and we can see, in capital letters, the name Hilaire Penda, playing alongside Bumcello at the Apollo Theater in the associated drawing. This bass player from Cameroon, who died on 5th November 2018, was more than just a friend for the two Frenchmen. He was one of the family. Similarly, they give a nod to another Cameroonian, and another departed friend - singer of rock band les Têtes brûlées, Zanzibar, through the vocals of fellow countryman Zanzi. The ghost of Rémi Kolpa Kopul, emblematic voice of Radio Nova, haunts the margins of Spark Av, in a vocal sample with a smattering of effects. As for I Remember Tim, it directly honours the memory of Timothy Jerome Parker, aka The Gift Of Gab, another friend who left us in 2021. Tim is depicted in a drawing with the docks of Oakland in the background, and it’s his alter ego within Blackalicious, Chief Xcel, who remotely added his signature to the track, notably by adding the words of Lateef The Truthspeaker to brass and woodwind sounds.

These are the only additions to Bumcello’s original nucleus, all the better to create a genuine musical concoction where Vincent Taurelle is in charge of production and mixing sessions recorded live and direct. He is also invited for a twinkle on the keys (piano, synths, Wurlitzer, organ), on a handful of tracks. Already at the commands of previous opus Monster Talk, always taking care over the slightest detail, the one that makes all the difference, this pianist is now also part of the family. “Everything he brings is perfect, whether added though slight touches or through very important choices”, say the two members of a combo which today, appears to us under the guise of a trio, adding an extra dimension to a far-reaching mix, in the image of the veiled or more explicit tributes making up the cornerstones of this release.

Booker, a drawing where we see the musicians enter a club, honours James Booker, great pianist from New Orleans who has always fascinated Vincent, in a genre that is off-beat and gender defying. Her Story was created by Cyril in support of the Iranian women’s movement. Aysyen Kampe evokes, even in the original drawing, a tradition that remains impactful for Bumcello – Haitian mysticism, and Ouï Khouïette Ouï conjures up the beats of the Allaoui, a war dance from Western Algeria, one they have taken part in in the past with the help of Cheikha Rabia. They deliver a metal version, original and surprising, especially as Marin Ségal’s drawing features the Nicholas Brothers, those iconic dancers of the 30s jazz scene!

Resolutely hard to pin down, Bumcello’s beats can initially take on the structure of disjointed house, though Sangre begins like a film soundtrack, “in a Mexican style” adds Vincent, who was at the origin of this track. A delicate alap on the cello can open up onto afrobeat rhythms, a well-pitched voice can enchant, like on the amazing The City Has Eyes which has everything of a hummable pop hit. Emblematic of this manner of encompassing all music without being exclusive, Le Grand Sommeil, a direct reference to the Howard Hawks movie inspired by Raymond Chandler, a precursor of David Lynch, begins nice and smooth but ends on a wild tempo, on a drum’n’bass tip, as in the good old days of Cithéa, when this Party story began in the other century.

This vinyl re-pressing of Martin Carthy's Debut album is released to commemorate Topic's 85th anniversary in 2024 - Limited edition of 1000 copies - Black vinyl, standard weight with black, polylined inner sleeves. In the early 1960s, the approach Martin Carthy took to folk music was nothing short of revolutionary, albeit a relatively quiet revolution befitting of his humble nature. You wouldn't find Carthy's music clambering up the singles charts; his was not a face adorning the teen magazines. Instead, his influence was felt at a grass-roots level. He plied his trade in the folk clubs, which is where the likes of Bob Dylan and Paul Simon sought him out, enamoured of his traditional repertoire and keen to learn songs like 'Scarborough Fair' and 'Lord Franklin' directly from him before adapting them for their own purposes.

His debut eponymous album, re-released here, on vinyl by Topic Records as part of their ongoing Topic Treasures series, is a snapshot of the work he was doing at the time.

Originally finding its way into the world in 1965, courtesy of Fontana Records, Martin Carthy pulled together 14 songs from his burgeoning repertoire. Produced by Terry at the Philips Recording Studios in Marble Arch, the album was a must-learn checklist for budding guitarists and folk club orgas, and, to this day, remains an essential listen for anyone attempting to find their way into traditional English folk music. Most people turn up for 'Scarborough Fair', very few leave without getting hooked on 'High Germany', 'Sovay' and 'Ye Mariners All'.

The album also introduces Carthy's earliest collaborations with Dave Swarbrick, an enduring and much-copied partnership that lasted, off and on, until Swarbs death in 2016, and became a blueprint for how guitar and fiddle duos ought to sound. While Carthy had been building up his solo repertoire over the previous five or six years, several of the duo arrangements on this album ('Lovely Joan', 'A Begging I Will Go', 'Broomfield Hill') were thrown together in the studio, adding a fizz and freshness to the recordings. This became the pair's standard way of working. "We used to rehearse on stage, in front of the audience," he explains today.

In the years since, Martin Carthy has become the veteran of over 40 studio albums and a veritable beacon for musicians and music lovers seeking "the real stuff." Pressed to name his favourite, he needs no time to think it over. "I always stand by the first album," he says of his 1965 debut. "I love it. There are some things on it I think I couldn't have done better. There was a clarity of purpose."

And, with this re-release, we can be sure that newcomers get to hear that sense of purpose in the best possible quality, as clearly as Bob Dylan, Paul Simon and a generation of folk lovers did six decades ago.

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

Returned to us from early 90s Japan are the holy holy sounds of Ghost. Their collective, clearly inspired by various forms of transcendental music throughout history, created a new syncretic psychedelia with these albums, mixing the texture and vibe of multinational forms of traditional music, with strummed antique stringed instruments and the haunting wail of a recorder on top of their heavy beats and guitars. The considerable depth of this approach was explored through 2014 over another five Ghost LPs, as well as the further explorations to the present day of leader Masaki Batoh, as a solo artist and with The Silence, Damon & Naomi, Helena Espvall and most recently, nehan. These first three Ghost titles were originally released by P.S.F. on CD in 1990, 1992 and 1994, respectively, radiating enigma and energy in palpable waves with their original sound. After the acclaim that greeted Drag City"s 1996 US release of Lama Rabi Rabi, we quickly reissued all three on vinyl - and they quickly went out of print! At which point, Ghost had Snuffbox Immanence and Free Tibet ready to go. And then, Hypnotic Underworld. And then, and then . . . . Now, it"s been 25 years since they were last offered on vinyl. In the twenty-year sweep of Ghost history, these first three releases qualify as primitive early Ghost - sort of like a German Os Mutantes (or perhaps a Brazilian Amon Düül). The subterranean presence of a diversity of progressive/avant classic rock influences (Pink Floyd, Incredible String Band, Captain Beefheart, Scott Walker, Led Zeppelin, Popol Vuh, Third Ear Band, to name but a few) provokes further synthesis, making for an entirely new meditation on the traditional order of psychedelic music. The first two studio albums, each one an iteration of Ghost"s unique lysergic folk music, were followed by the monolithic "live in various places" happening of Temple Stone, which raised the trippiness levels considerably. But this was only the end of the beginning . . .

I am thrilled to share with you the upcoming release of Live Life and Tell Stories, the new album by Figub Brazlevic & John Robinson set to release in the spring of 2023. This album is a celebration of John Robinson's love for storytelling, which has been evident since he was a young child, and his passion for hearing epic storytelling from many of his favorite emcees of the golden era of hip hop.

The connection between Figub Brazlevic and John Robinson is far from a fly-by-night or simply another international internet collaboration. The two met in 2009 during Robinson’s first time touring in Germany, and shortly after, Figub remixed J.R.’s group Scienz Of Life’s Leviathan album for the love and respect of the music. The remixes, which have yet to be released, impressed J.R. and his SOL crew, and he knew he would work together in the future with Figub. That time has come, and the message is clear: Live Life and Tell Stories is a seamless blend of Robinson’s thought-provoking narratives and Brazlevic’s abstract jazzy boombap soundscapes.

This album promises to take listeners on a sonic journey of dope grooves and ill storytelling, where Robinson's unique storytelling abilities are masterfully interwoven with Brazlevic's jazzy, boombap beats. From start to finish, Live Life and Tell Stories is sure to captivate audiences and keep them grooving to its infectious beats.

In an era where the music industry is dominated by short-lived trends, it is refreshing to see two seasoned artists come together to create music that is both timeless and meaningful. This album is a perfect example of what can happen when artists come together to create something truly unique, and I can't wait for its release in the spring of 2023.

So mark your calendars, because Live Life and Tell Stories is set to release in the spring of 2023. This is an album you won't want to miss, so be sure to push play and let Figub Brazlevic & John Robinson take you on a sonic journey of dope grooves and ill storytelling. Let's go!

A very "MGMT MGMT album" which the band describes as "a group of songs about love and change, first and foremost." Descriptors from the band include: bold, flavorful, playful, sincere, optimistic, perceptive. Loss Of Life was produced by MGMT and Patrick Wimberly (Solange, Lil Yachty, MGMT), with mixing and additional production by Dave Fridmann (Flaming Lips, Interpol, Spoon). The album includes the first ever MGMT song with a feature, courtesy Christine and the Queens. The album artwork has been licensed from John Baldessari's estate and is an artwork titled Noses & Ears, Etc. (Part Two). Formed in 2002, MGMT released their era-defining debut album Oracular Spectacular in 2007. One of the most influential albums of the '00’s - it went on to sell over 2 million copies worldwide and was certified Gold or Platinum in over 10 major territories, including double platinum in UK, Platinum in Australia, Gold in France and Platinum in the USA. It gave the world evergreen hits such as “Kids”, “Electric Feel” and “Time to Pretend” which have inspired, and continue to inspire new generations of artists and music fans alike to this day - those three songs combined have been streamed over 2 billion times on audio streaming platforms since released. Always taking an unexpected creative turn at every new record, but always maintaining their cultural and commercial relevance over the subsequent 15 years, MGMT later released three further studio albums: “Congratulations” (2010), “MGMT” (2013) and “Little Dark Age” (2018).

Suburban Architecture are pleased to announce the third in their 'Architecture Dubs' series of limited edition 10" vinyl releases, which sees some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material in homage to that most innovative of periods.

Following on from the now sold out release of Architecture Dub #001 (featuring remixes from Peshay and DJ Trax), and #002 (featuring Blame and DJ Trace), edition #003 features remixes from two further legends in the scene, Nookie and DJ Crystl.

Nookie needs little introduction. From early 90s Hardcore through to present day heavy hitters via a string of mid 90s classics, Nookie has had an enviable career in the genre. Having recorded for seminal labels that heavily influenced the Suburban Architecture sound: Reinforced, Moving Shadow and Good Looking, Nookie was an obvious choice for this remix package. On this release he takes 2021's 'Renegade Horns' to more dancefloor oriented territory with an energetic roller that marries classic drum breaks with a contemporary production feel.

DJ Crystl is also a name with a storied history in Drum & Bass. Also releasing music since the early 90s, Crystl has seen releases on influential labels, Lucky Spin, Dee Jay Recordings, Moving Shadow and iconic US Hip Hop imprint Payday. Crystl's remix of 2020 Suburban Architecture cut 'New Horizons' carries classic 1994 flavour, delivering an extended, Amen-laced rework of the original, full of classic Intelligent sonics.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

Im Juni 2023 wurde "Street Fighter 6" veröffentlicht und bricht seitdem Verkaufsrekorde. Nun erscheint der Hip-Hop geladene Soundtrack von Yoshiya Terayama und CAP-JAMS mit Beiträgen von Künstlern wie GRP, Shigeyuki Kameda, Daniel K. Solovitz, Chris B. Harris, Yasumasa Kitagawa, The Sound Room, Haruki Yamada und Katsuhisa Asari bei Sony Masterworks. Tauchen Sie mit diesem Sammlerstück in die Welt des Fighting Ground ein und lassen Sie sich von der musikalischen Energie von "Street Fighter 6" verzaubern! Die limitierte 4 LP-Box enthält ein 28-seitiges Art Book, eine Slipmat und ein Stickersheet.

Gently Down Your Stream marked a creative zenith within the Columbus, Ohio, soul scene, at the juncture of the 1960s and '70s. The Four Mints were one of the most influential local group harmony outfits of their era and - with assistance from Columbus doyen and Capsoul purveyor Bill Moss - among the few to release a full length LP. The roster of backing musicians hired to provide aural landscaping reads like a Midwest super-group, with surprising appearances from Indianapolis-based vibraphonist Billy Wooten and drummer Bobby Allen of the Fabulous Originals from Dayton, Ohio. And though most of the material on 1973's Gently had been previously released as 45s, the collection - five singles and one priceless track saved from the scrap heap - gives witness to a world-class vocal quartet at its professional and intuitive peak. Under the watchful eye of arranger and mega-talent Dean Francis, the Four Mints pour forth from your speakers soulful, faithful and clear, but perhaps more importantly, intrinsically homegrown and utterly honest.

DOG BEACH is Merryn Jeann’s first full length album, produced by Rob Ellis, comparing her directely with his previous collaborators.

Rob Ellis is a record producer, composer, arranger and musician who has been acting for about 40 years and during which he's had the honor to work with such notable artists as PJ Harvey, Marianne Faithfull, Scott Walker, Nick Cave, Warren Ellis, Brian Eno, Thom Yorke, Anna Calvi, ...

About working with Merryn : "In every instrumental phrase that she arrived at and each line of her vocal delivery Merryn's enthusiasm and very individual creativity comes across brilliantly I think... whilst still managing to retain an expression of deeply felt heart and soul... a rare combination in my experience, and a match for any of my aforementionel, much admired collaborators."

"The days in the studio were endlessly creative and playful... and subsequently very exhilarating... by the end it felt like we had really gone through something extremely special, and I believe the resulting LP strongly reflects that." Rob Ellis

Album was recorded over 5 weeks in England, including musicians such as Jim Barr (Portishead), Ben Christophers (Bat For Lashes) or Patrick J. Pearson (Daughter, LYR) but also Christelle Canot aka Confuse, half of IN CASE OF FIRE recently signed to Steve Budd’s prestigious record producer agency.

Merryn Jeann is a Naarm/Melbourne and Bundjalung Country/Byron Bay Shire based singer-songwriter and multi-instrumentalist. She has crafted a genre-bending, dreamy world of soundscapes that bear an enticing musical wisdom.

Sitting somewhere between Caroline Polachek, Cat Power, Weyes Blood, Feist, and Kelsey Lu, Merryn Jeann’s sound is fueled by authenticity. Her raw and honest self packaged into intricate and reflective morsels, many of which are yet to be revealed.

She played Glastonburry at the beginning of her career with the band TORA.

UK and international promo by Whiteboard PR.

A second LP will be recorded in 2025 again with Rob Ellis at the production.

Side projects : OSOO with Kyson & Chris Hill, IN CASE OF FIRE

Joyce Harris was born in Kentucky in 1939 and moved to New Orleans with her family when she was 13 years old. Harris learned to play guitar, write songs and was soon performing duets with her younger sister Judy. They released three singles – ‘He’s The One’ / ‘Hey Pretty Baby’, ‘Washboard Sam’ / ‘Nursery Rock (Beedle De Bop)’ and ‘Hey Little Baby’/ ‘Rock And Roll Kittens’ – as Judy and Joyce in 1958. When her sister got married, Harris spent a year singing in restaurants in Mexico and a first solo single ‘It’s You’ / ‘The Boy In School’ was released on New York’s U.T. Records at the end of 1959. A talent spotter saw her in Mexico and was impressed enough to secure her an audition with the Austin, Texas-based Domino label. Harris was soon in the studio with Tommy Kaspar and Don Burch of Domino’s vocal quartet, the Slades, to record ‘I Cheated’ / ‘Do You Know What It’s Like To Be Lonesome?’ (R-903) in October 1960. ‘No Way Out’ / ‘Dreamer’ (R-905) followed in January 1961 and sold strongly enough to be licensed to Infinity Records. On 7 April 1961, Harris performed ‘No Way Out’ live on TV on American Bandstand. Three more singles would be issued on different labels between 1963 and 1966.

Harris’ cover version of ‘I Got My Mojo Working’ – backed by Sonny Rhodes’ group the Daylighters –was recorded at the ‘No Way Out’ session and remained unissued until Ace put it out on our “The Domino Records Story” in 1997 (CDCHD 506). With renewed interest in Harris we are delighted to pair this ‘Trailer’ version of ‘I Got My Mojo Working’ with ‘No Way Out’ as a 7” single.

Drop the needle and shake your stuff.

Das nächste Kapitel von Danny Kiranos, a/k/a Amigo the Devil, wird mit Yours Until the War is Over fortgesetzt – seinem bislang entwaffnendsten und einzigartigsten Werk. Das 13-Track-Projekt verbindet Themen der nachvollziehbaren Selbstzerstörung und Traumabindung mit fesselnder Authentizität. Gespickt mit obskuren literarischen Anspielungen – ähnlich der wahnsinnigen Lesegewohnheit von Kiranos – beweist das Album, dass diese ganze Amigo the Devil-Sache keine True-Crime-Nische ist. Yours Until the War is Over ist eine Songwriter-Platte, die erfolgreich Tom Waits huldigt.

REMO DRIVE, the longstanding project of brothers Erik and Stephen Paulson, want you to feel something. Following a six-year run of pristine emo-influenced rock "n" roll records comes Mercy, the band"s fourth album and third for Epitaph. It"s the band"s most lyric-focused offering to date, a record about reinvention, trusting yourself, and wearing your heart on your sleeve even when it"s painful or vulnerable. Sonically, Mercy is also a major departure for REMO DRIVE. It"s less indebted to the emo and pop punk that foregrounded the duo"s career and instead invested in thorny, baroque indie pop byway of Father John Misty and Fleet Foxes. It was produced by Phil Ek, a legendary Seattle-based indie rock producer who has previously worked with those two bands as well as the Shins and Band of Horses, among others. REMO DRIVE worked with Ek over the course of ten days. "It was refreshing to work with Phil," says Erik, "It made music feel like how it did when we were younger. He was like fuck it, let"s go, let"s have fun." Mercy is a study in intimacy, in being real with yourself, in entering an exciting new creative chapter where you are making the art you really want to make. That"s where REMO DRIVE is today.

In the early aughts, The Children"s Hour produced a genial, naive-adjacent, front-porch take on Josephine Foster"s celebrated solo music with the album SOS JFK, then disappeared from the face of the earth. The belated issue of their second album from 2003 furthers their arc delightfully. David Pajo"s Aerial-M-esque drums and bass elevates Josephine and Andy Bar"s shared vibe of love, pure and simple, to an apex of local band barroom bliss.

KIRLIAN CAMERA sind ein kreativer Wirbelwind der musikalischen Innovation. Die mitreißende Kraft ihrer Inspiration manifestiert sich sowohl destruktiv, wenn es um das Einreißen von Grenzen in Bezug auf Genre, Stil und Konventionen geht, als auch konstruktiv, wie beim Errichten einer neuen Klangarchitektur auf den Ruinen der alten. Auch das jüngste Meisterwerk der Italiener, "Radio Signals for the Dying", folgt dieser Tradition und erklimmt dabei einen weiteren künstlerischen Höhepunkt. Oberflächlich betrachtet wandeln KIRLIAN CAMERA erneut auf dem dunklen musikalischen Pfad, den sie auf ihrem letzten Doppelalbum "Cold Pills (Scarlet Gate of Toxic Daybreak)" (2021) eingeschlagen haben. Dass die italienischen Elektro-Provokateure direkt mit dem Nachfolger noch ein prächtiges Doppelwerk folgen lassen können, spricht Bände über ihre ungeheure kreative Energie. Dabei bringt "Radio Signals for the Dying" keineswegs eine bloße Wiederholung des glorreichen Vorgängers. Stattdessen verändern KIRLIAN CAMERA ihren Sound auf subtile Weise durch raffinierte Details, reizvolle Tricks, großartige Effekte, unerwartete Wendungen und musikalische Ausflüge sowie spannende Variationen bestehender Themen. Seit über vier Jahrzehnten erschaffen KIRLIAN CAMERA ein Reich vielschichtiger Klangkonstruktionen, okkulter Transzendenz und subversiver Inhalte, die schon immer zum Kern ihrer Kunst gehörten. In der Vergangenheit hat die im besten Sinne schamlose, zuweilen geradezu unverschämte Lust der Italiener an der Provokation der Welt einen ehrlichen Spiegel vorgehalten und damit wiederholt Kontroversen ausgelöst. Die Italiener haben nie damit aufgehört, nach neuen Antworten zu suchen und ihre Hörer auf eine abenteuerlichen musikalischen Reise zu okkulte Dimensionen und magischen Orte von gefährlicher Schönheit und freudiger Dunkelheit mitzunehmen. KIRLIAN CAMERA sind Elektro-Schamanen, Rockmystiker, Klangrevolutionäre und Hohepriester der freien Künste, die als musikalischer Phönix im kreativen Feuer von "Radio Signals for the Dying" erneut wiedergeboren werden.

Die Versuchung, Bill Fay zu mythologisieren, kann überwältigend sein. Sein Status als unbesungener Held hat sich langsam, aber stetig, über fünfundzwanzig Jahre hinweg entwickelt und mit jedem neuen Album kommen Fans hinzu, darunter prominente Musiker wie Jeff Tweedy, Kevin Morby, Adam Granduciel und Julia Jacklin, um nur einige zu nennen. Fay war jahrzehntelang ebenso produktiv wie unterschätzt, innerhalb seines Katalogs ist die Bill Fay Group seine bedeutendste Zusammenarbeit. Nach seinem selbstbetitelten Debüt Bill Fay (1970) und dem Klassiker "Time of the Last Persecution" (1971) hatte Decca Records kein Interesse ein drittes Album zu veröffentlichen. Bill Stratton, Gary Smith, Rauf Galip formierten sich mit Fay zur Bill Fay Group und nahmen zwischen 1978 und 1981 in mehreren Sessions, trotz minimaler finanzieller Mittel, ein brillantes Album auf. Die Bandmitglieder beschwören ein elegantes Gegengewicht zu seinem Gespür für das Unauffällige. "Tomorrow Tomorrow and Tomorrow" bringt die galaktischen Qualitäten des frühen Rock, die Komplexität der Jazz-Improvisation und Fays erdigen Folk-Zauber zusammen. Zur Zeit der Fertigstellung fand sich aber leider kein Label für das Projekt. Erst 2005 brachte David Tibet auf seinem Label Durtro Records eine unvollständige, nur auf CD erhältliche Version heraus. Eine Neuauflage von 2006 machte das Album auf Vinyl erhältlich, allerdings mit stark gekürztem Tracklisting, es fehlten neun Songs. Jetzt endlich erscheint Tomorrow Tomorrow and Tomorrow weltweit in voller Länge. Es enthält die 22 Original-Songs des Albums, dazu 6 Bonustracks, sowie seltene und bisher unveröffentlichte Fotos von den ursprünglichen Aufnahmesessions von "Tomorrow Tomorrow and Tomorrow".

Reissued on vinyl for the first time since its original release in 2005

Fresh off of his breakthrough success producing for underground acts like Little Brother as well as mainstream leaders like Jay-Z and Destiny's Child, North Carolina's hottest producer 9th Wonder cemented his name as a force in hip hop in 2005 with this collaborative LP with Buckshot of Black Moon.

Levitation Sessions continue with Italian psych pop group Dumbo Gets Mad, as they take us on a journey
through 13 of their feel-good, groovy tunes. Recorded in Reggio Emilia in Italy , Dumbo Gets Mad invites
us into the taste of a European summer day. Get a preview of the upcoming session and prepare your
eyes and ears for the full release Cotton Candy Colored Vinyl

Modern English’s new album, 1 2 3 4 – produced by Mario McNulty (David Bowie, Lou
Reed, Nine Inch Nails), mixed by Cenzo Townsend and mastered at Abbey Road – retains
the intrinsic spirit of the early, post-punk days and is also a sterling sonic example of what
Modern English have always done best. The album encompasses seething songs with punk
bite, keyboard-forward melodic rockers and simmering, darkwave-meets-post-punk gems.

- Klassisch schwarzes Vinyl
- 2x12" Vinyl
- Deutsche Pressung
- Überarbeitetes Artwork in einem der Bildwelten würdigen Großformat
- Stabile Kastentasche
- Mehrfarbig bedruckte Innenhüllen mit allen Songtexten
- Mehrfarbig bedruckte Vinyletiketten
- Limitiert auf 500 Exemplare weltweit

FÜR FANS VON: Scorpions, Victory, Jane, Epitaph, Eloy, Mob Rules, Thunderhead, Nitrogods / Vinyl Farbe: schwarz, bedruckte Innentasche, 140 g
Fargo zählten Anfang der Achtziger zu Deutschlands wichtigsten Rock-Acts. Mit vier Studioalben zwischen 1979 und 1982 und ihren Tourneen unter
anderem mit AC/DC und Mothers Finest hat sich die Hannoveraner Band einen echten Kultstatus erspielt. Am 23. Februar 2024 werden ihre vier
frühen Klassiker wiederveröffentlicht, darunter auch "Frontpage Lover" (1981), welche neu gemastert wurde.

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

Beach Fossils' self titled debut album is a seminal release from the halcyon days of Brooklyn's underground music scene. Songwriter and composer Dustin Payseur's home recorded masterpiece captures the naïveté of youth, the anxiety of routine, and the joy of infatuation, though a track list full of layered guitars and heartfelt lyrics. Beach Fossils take inspiration from 60's jangle pop, 70's kraut rock, 80's post punk, to create a sound uniquely their own with this first record, causing a ripple effect on the sound of indie music in the years that followed it.

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.

Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom's record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes "When Will They Learn" and "I'm Gonna Miss You" which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo- recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through - all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener "Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. "Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance oor with him. "Disorder Starts At Home" is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.

Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom's record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes "When Will They Learn" and "I'm Gonna Miss You" which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo- recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through - all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener "Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. "Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance oor with him. "Disorder Starts At Home" is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.

The iconic Is It Balearic heads to the slightly less iconic - in Balearic terms - West Midlands to retrieve this great EP of electric dance effort gems from Wrekin Havoc. 'Camino' is a loose, melody-rich sound with silvery drums and real nostalgia, then 'Moon Dance' it's a more laidback and zoned out sonic daydream for lazy and sunny afternoons by the pool. There is an electro vibe to 'RLTW' which is a reworking of a Christopher Cross Yacht classic then a T Kurt Remix reworks it into a boogie banger. Another varied and vital EP of grown up dance sounds.

"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

Devon made her musical debut earlier this year, releasing her first ever recorded single, ‘Swim’ to swooning fans in September, and has decided to follow it up next week with a sultry and high energy tune entitled ‘Killer’. ‘Killer’ is the second song to be released by Actress/Model/ — and, now —Musician, Singer/Songwriter: Devon Ross. ‘Killer’ hits all digital platforms worldwide on the next ‘Bandcamp Friday’ (1-December -2023) in advance of her very first concert taking place at London’s legendary 100 CLUB on December 13, 2023. Inspired by Sixties and Seventies legends, such as The Beatles, Rolling Stones, Patti Smith, Bob Dylan, The Stooges and Television, Devon Ross is finally debuting her first recordings on the forthcoming EP, entitled Oxford Gardens. Oxford Gardens was recorded in Paris and mixed & mastered at Abbey Road Studios in London and set for release on Thurston & Eva Moore’s indie record label, The Daydream Library Series. TRACKLIST: 1/I Don’t Wanna 2/Swim 3/Killer 4/Mine Not Yours. Bio: Model-actress-guitarist, 23-year-old recording artist was raised in Los Angeles and moved to London in 2020. British Vogue cited Ross as “the coolest model currently climbing up the ranks”. During 2019, Gucci recruited her for a Rome runway show before casting her in the launch of the Gucci x Disney Collection (notably shot at Disneyland). It opened up the floodgates as she went on to walk for Valentino, Erdem, Gauchere, Sies Marjan, and Simone Rocha and lead campaigns for Vivienne Westwood and Mulberry. Her career would be chronicled by L’Officiel, 10 Magazine, W, and many more. In 2021, she joined the cast of HBO and A24’s Irma Vep - The Serial (2021) alongside Academy® Award Winner Alicia Vikander, Adria Arjona, Carrie Brownstein, Byron Bowers, and others. Eva & Thurston met Devon at Cannes Film Festival in France in 2021 and started going to shows and kicking around London together. After witnessing her guitar playing and hearing her music the couple invited her to release music on their independent record label. This month November 2023, The Daydream Library Series independent record label will celebrate five years in operation. Thurston & Eva founded the label in 2018 to release the debut album Sistahs by London’s black, feminist, punk band Big Joanie.

World Of Echo are proud to announce the long-awaited reissue, on 17th February, of the self-titled debut album by Bristol’s Movietone. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time Movietone has been reissued on vinyl. An expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993. Taken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups.

Movietone was the cumulation of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting, and finding ways to ‘make do’, a DIY sensibility that would inform Movietone through their decade-long lifespan. From formative rehearsals in a shed in the garden of Brook’s family home, to recording early material to four-track in Redland Library, and on into the Whitehouse and Mr Grin’s studio sessions for their debut album, Movietone’s music fell together in a creatively unpredictable, yet conceptually rigorous manner.

By the time they released Movietone, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were Movietone’s closest conspirators), through Elliott’s jungle/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack. A closely knit community, Movietone are the centre of this nestling architecture of groups.

The vision in the music, mostly, belongs to Wright, but Movietone ran in democratic creative consort. Listening back to Movietone, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies. Full of half-captured memories and entangled abstractions, there’s an elliptical, ruminative quality to much of the writing here that shows the deep influence of the Beat Generation writers, along with a twilight environment captured in the songs that’s pure third-album Velvets, Galaxie 500, early Tindersticks, Codeine. Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” – point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.

Movietone would go on to make three fantastic albums for Domino – Night & Day (1997), The Blossom Filled Streets (2000) and The Sand & The Stars (2003) – and their Peel Sessions were released early in 2022 by Textile. Still held in high regard by artists like Steven R. Smith, and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to Movietone anew – still inspired, still seductive, still magic, still mysterious.

A stunning display of powerful emotion shines from the post-hardcore glory that defines The Appleseed Cast. The End Of The Ring Wars is a moving story about tragic loss and the battle to overcome the sorrow that lingers on. Disturbingly honest and passionately realized, The Appleseed Cast reminds us that sometimes the only way to feel alive is to grip closely the pain that made us who we are. This record will make your heart soar. This is a reissue of the long out-of-print vinyl version of the bands classic debut album on Deep Elm Records. 2xLP on heavy 180 gram vinyl. New artwork by Zum Heimathafen. Partly gloss printing on heavy deluxe gatefold sleeve.

The Fire Theft was an alternative rock band from Seattle, formed in 2001 from the ashes of legendary emo band Sunny Day Real Estate. The lineup consisted of vocalist/guitarist Jeremy Enigk, bassist Nate Mendel and drummer William Goldsmith. Mendel is also famous for being the full-time bassist in the Foo Fighters and Goldsmith was also Foo Fighters’ drummer between 1995 and 1997. This is the 20th anniversary reissue of the band's only album which was originally released on Rykodisc in 2003. A 2019 vinyl reissue of this record currently goes for very silly money on the second-hand market…Features reconstructed artwork for vinyl by Nathan Shumaker, on a gatefold cover with embossed print, 12" insert, 180 gram coloured double vinyl.

Today we are proud to present you our new release - double vinyl, dedicated to the third anniversary of our label with house and breaks music, which we focus on from residents. This collection is a real gift for all connoisseurs of high-quality electronic music.

Inside you will find 12 tracks from lively and reputable producers such as UC Beatz & Poppy, Swales, Dub Striker, Manuold, Scruscru & Guydee, Mario Penati, Denyl Brook, Marc Brauner, Yann Polewka, Street Choice, Dylan Dylan, WHATEVER, which cover all facets of house music. Powerful-groove house, stylish breaks, express deep tech and thoughtful deep house - each track on this vinyl is a unique story that you will want to listen to again and again.

Our label has existed for three years, and during this time we have made a huge step in the development of electronic music. Our resident team works to ensure that every release is special and memorable.

We are confident that this double vinyl will be a real treasure for all house music lovers. Every track on this album is a true dance banger that will last in the club or on your turntable forever.

So don’t wait, place an order for our new release and get a unique opportunity to hear the best tracks from our residents.
Thank you for supporting our label.

Multi-instrumentalist, producer, and composer Yussef Dayes releases The Yussef Dayes Experience (Live from Malibu), featuring music from his critically acclaimed debut solo album, Black Classical Music. Dayes is joined by his longtime collaborators Rocco Palladino, Venna, Elijah Fox, and Alexander Bourt on the new release, which was originally shared as a live-performance video filmed in the Malibu mountains last year and is available on YouTube.

As the fable goes: pre-discogs, intrepid disc jocks would often take trips to Italy (many tricking their spouse into believe it was a ‘holiday’!) to source records from the seemingly endless supply of top tier Italo, disco and cosmic record shops across the country. According to legend, the classified sections of local yellow pages and information booklets which would contain the addresses of the record shops and dealers in the area would often be ripped out unscrupulously, thwarting – or at least making it more difficult for – the next vinyl tourist to source out the rare gems amongst the rich seams – a wild west vinyl gold rush if you will.

Such stories are a rarity these days, with youtube making some of the most underground tracks common knowledge, and discogs almost making any record obtainable – at a price of course. Upgrading his digging methodology, Bosco has developed a secret New Technique to side-step the machine and in doing so obtained a clutch of amyl-soaked fluffers that are so rare, that upon writing they aren’t even listed online! Seriously, he must be communicating with some interdimensional, upper echelon Italo overlords; taking us on a primo-thrust tour through the most unexposed recesses of the Italo disco galaxy.

Don’t be hoodwinked by their sheer obscurity however; we wouldn’t give a toss if they couldn’t tear the arse off the dancefloor. But they’re all fuckin rhodium grade tackle peeps! Eight neon-drenched late night roman candles of Italo disco decadence that’ll defo have you jizzing rainbow skittles over the dancefloor as you search desperately through the fog for another huff of poppers off Darren.

Total Discogs market value: as yet undetermined

Pharoah Brunson’s Pyramid Points: 9999999999999

Emin's album Now or Never inspired by the late Elvis Presley. The album comprises of 12 reimaginations of Elvis classics and produced by 16x GRAMMY award-winning David Foster (Dolly Parton, Barbra Streisand, Aretha Franklin).

Embracing his lifelong admiration for Elvis Presley, Now or Never will pay homage to the classics we have all come to know and love. Emin has handpicked his beloved and most poignant 12 Elvis-inspired love songs and the album will include hit single, "Suspicious Minds", sentimental romantic Plaisir d'amour inspired ballad "Can't Help Falling In Love" and the iconic film title track, "Love Me Tender".

Emin says: "This album is a dream come true, I started my musical career listening to Elvis, and learning to write music based on what Elvis was singing. Meeting David Foster 10 years ago, doing a show with him and performing some of Elvis' songs gave me enough confidence to think we might collaborate one day! Now we've created this beautiful album together. David and I handpicked some of Elvis' best songs and I'm so grateful that he's taken on this project and made it as incredible as he has. As a producer, every album David touches becomes the artist's best work and he's done the same for me. This is the best piece of music I've ever done!"

Days of the New (the Green album) is the second self-titled studio album from Days of the New, originally released in 1999 and written, performed and produced by Travis Meeks. After the first album, the band broke-up and with only Matt Taul on board from the past, lead bandmember Travis Meeks surrounded himself with a sea of musicians, including a young pre-Pussycat Dolls Nicole Scherzinger for background vocals and even drew in an orchestra. Influential Rolling Stone's review called the album "a progress report from an artist in the midst of a head-spinning transition". The first single "Enemy" charted #10 in the US Alternative Airplay chart, #10 in the Mainstream Rock Tracks and the second single "Weapon & The Wound charted #10 in the Mainstream Rock Tracks. Days of the New (the Green album) celebrates its 25th anniversary and is available on vinyl for the first time. This 2LP includes an insert.

Days of the New (II) by Days Of The New, released 16 February 2024, includes the following tracks: "Enemy", "Skeleton Key", "Bring Yourself" and more.

This version of Days of the New (II) comes as a 2xLP. This release comes with (a) Insert(s).

2023 Repress

Maston’s Darkland is a breezy collection of the material from the Tulips sessions that didn’t make it on to the original LP. Originally a digital-only release for those in the know in the autumn of 2018, after re-issuing Tulips in 2020 it made too much sense for Be With to give Darkland a vinyl release.

Like Tulips, Darkland was recorded mostly in Hoorn, in the Netherlands, between 2015-2017 during downtime from Frank’s touring duties with Jacco Gardner’s band. Bits were also done in Los Angeles on some extended trips back home.

The collection plays like an alternate view of Maston’s instant modern classic Tulips; a companion piece to the LP proper with similar mixture of shorter themes and more full length tracks. As Frank Maston explains: “I think Darkland is the shadow of Tulips in a way… what it might’ve been in a different universe. But the heart of Tulips beats in these songs as well and they evoke the same memories and feelings for me. I see my process playing out across these songs - lots of experimentation and trying out new techniques and sounds and just sort of going for it.”

Frank goes on: “It was all from the same pool of material, like 30+ ideas. I was making a lot of little demos… some would be more fleshed out and become songs and others would just be a cool riff and not go anywhere. When I started trying to form it all into an LP I went through all the sessions and ideas and collected the ones I thought were the most fleshed out and cohesive together as a whole. There were a fair amount of songs that were finished and in hindsight really should have been on Tulips (like what would’ve been the title track). And the rest of these songs are either very early versions of tunes that ended up on Tulips or some cool ideas that just ended up being dead ends. It definitely shows how wide my net was in the beginning before I narrowed the record down stylistically.”

Darkland opens with its ornate 39 second title-track before striding into “Tulips”, that full-length title-track that never was. It’s a real head-nod, percussive-rich electric piano stunner that would’ve been a comfortable standout on the album proper. But now this “downlifting” gem is given ample room to shine on this record.

The funky organ-led bass and drums workout “Immaculate Conception” will keep your neck gently snapping while MPC fiends go reaching for their sampler. And that’s gospel. “Love Theme No 3” cuts a breathtakingly stylish vibra-slapped swathe through the middle of the opening side before we’re startled by the pronounced bass and twinkling percussion of “The Owl In Daylight”. Charming digi-drums underpin the wonky synth (quiet-)banger “Innovative Patterns” which has a lovely melodic switch-up in the final third before the tempo (and hairs on your neck) rise on the faintly creepy yet imminently groovy “Osiris”. The gorgeously soft-focus “Groove Experiment No 3” closes out the first half in slow-mo wonderment.

The lushly melancholic “Raincloud” ushers in side B before the emotionally-stirring “Phonic” taps at the door, coming on like the long lost sister to Pet Sounds’ “Let’s Go Away For A While”. Next up, the swooning beauty “Love Theme No 2” keenly sways in front of you, growing ever more insistent and hypnotic. The too-short “Italian Summer” conjures the same flirtatious imagery as the title hints at whilst “Endless” is a fascinating “piano-pella” alternative version to “Rain Dance” from Tulips. “Wonder Theme” has a nostalgic, exotic 60s swing and album closer “Willow” is a hushed, campfire folk gem. The gently circular strumming is just magical.

Speaking to Aquarium Drunkard back in 2019 about the sessions that became Tulips, Frank noted: “I was really surprised by the lack of sunlight during my first winter in Holland, so I would call it Darkland which then became the name of the first demo I wrote during that time. It was also the working title of the record when I first started writing. Some are full songs that didn’t make the cut (including what would have been the title track), some are just ideas that I never finished.”

Whilst we were working on Darkland’s vinyl release Frank explained more specifically about the music that didn’t make it on to Tulips: “When I was putting together the tracklisting for Tulips I was already thinking that whatever didn’t make it onto the LP would be cool to release eventually somehow. The response to Tulips has been so passionate over the years that it’s nice to be able to offer another piece of that world. And for me personally it’s amazing to have more of my work out there in the world. Most common bit of feedback was that many of these songs should have been on Tulips. The odd friend says it’s much better than Tulips.”

Just like Tulips before it, Simon Francis’s vinyl mastering for Darkland has been cut at 45rpm so you can trip out to this as well at a woozy 33 1/3. The artwork too has been designed by Frank himself as a literal visual continuation of the Tulips cover.

We couldn’t possibly say whether Darkland is better than Tulips, and luckily we don’t have to decide.

Best remembered for his partnership with the rapper Will Smith in the duo DJ Jazzy Jeff & the Fresh Prince, the duo won the first rap Grammy as well as scoring some big pop hits back in the day, including their 1987 smash, "A Touch Of Jazz," which famously sampled Bob James' classic track "Westchester Lady."

In a full circle moment, James and Jeff have joined forces on the tune "That Bop," a thumping dance track overlain with elegant piano hooks. "It was fun to work with him so many years after he had sampled me in the past," says James, who reveals they collaborated by sharing music files across the internet during the pandemic.

"We also did a couple of other tunes that may see the light of day soon," discloses James, who is keen to work with the hip- hop legend again. "I hope the next time we'll actually be in the studio at the same time so that we can interact," he says. The B-side features Bob James' original jazz-funk classic and DJ favorite, "Shamboozie", available for the first time on 7" vinyl.

Released by evosound on a 7" Vinyl Single on the 6th of October, 2023. Limited Edition of 1,200 copies worldwide.

With his seemingly endless capacity for creating compositions which have an alluring quality, and which are often wrapped in a mesmerising arrangement that pays homage to those towering sound constructions made by Phil Spector, Shadow Morton, Brian Wilson and the likes, veteran New York polymath Marc Jonson is also deserving of household name status. Involved in making records since the mid-sixties, Jonson's latest long-play collection is a particularly special glimpse into a secret stash of recordings made between 1979 and 2012 in his tiny flat on Cornelia St., New York's Greenwich Village, during the years we spend living (and surviving) there. These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable. Spanning these grooves are such delightfully told stories as 'The Man Who Walks On Air', 'November Paint Brush', the atypical jazz stylings of the instrumental title cut, plus the revealing light that is 'The Moon' and the magical, wide eyed beauty as conjured by 'Ages Of Wonder'. These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable. "Those who have taken the leap into Jonson's hitherto unknown musical world will be able to tell you that this is not only an experience which is immensely rewarding, but it's also one which needs to be heard to be believed. The captivating layers and mesmerising quality heard throughout lies in the way Jonson's startling array of songs seem to breathe in and exhale from many different, often eclectic elements." Lenny Helsing (Shindig!, Ugly Things Magazine).

Open Mics might not always have a great reputation but for Merlin Hydes it brought some good things. On one hand he met his producer Jon Kenzie who is hosting "Bring Your Own Song" in Hamburg and on the other hand playing that Open Mic put him in touch with DevilDuck Records because they are good friends with Jon Kenzie and he told them to check this boy out. A couple of months later the debut album "In Plain Sight" was recorded at Kenzie"s home studio in just three days and is now ready to conquer the world... or at least a little part of it. The idea was to just record the songs in a cosy and easy set up just as in the good old days without thinking too much about it and avoid any perfectionism. "In Plain Sight" describes the balancing act between the peaceful country life, the desire to have a yard and a garden and the supposedly exciting and urban city in which you always might feel a bit strange and as you have chicken poop under your shoes", as Hydes explains....

On June 29th 2023, Jeremiah Chiu walked into the Vintage Synthesizer Museum (VSM) in Highland Park, Los Angeles, with no plan more specific than "let"s fire this stuff up and see what happens." Exploring the VSM"s vast collection of classic, rare and staple synthesizers, he would sequence, trigger, and layer the machines together with help from VSM founder/curator Lance Hill. The resulting album - In Electric Time - was recorded in just two days, and edited to completion in the two days following. It was captured fully analog by engineer Ben Lumsdaine, who contributes performances on a few tracks himself. Cooper Crain (of Bitchin Bajas) makes an appearance as well; but ultimately the collection is an intuitive expression of organic electronic conceptualized and created in-context by Chiu alone, as he calls on a lifetime of work in sound synthesis to pain a fulgent, refreshingly undercut sequence of cinematic sketches and in-process themes. In some ways, In Electric Time reflects the directness of Raymond Scott"s electronic studio recordings - with sharp cuts and room chatter - and, in others, it conjures the in-the moment- magic of Harmonia.

On June 29th 2023, Jeremiah Chiu walked into the Vintage Synthesizer Museum (VSM) in Highland Park, Los Angeles, with no plan more specific than "let"s fire this stuff up and see what happens." Exploring the VSM"s vast collection of classic, rare and staple synthesizers, he would sequence, trigger, and layer the machines together with help from VSM founder/curator Lance Hill. The resulting album - In Electric Time - was recorded in just two days, and edited to completion in the two days following. It was captured fully analog by engineer Ben Lumsdaine, who contributes performances on a few tracks himself. Cooper Crain (of Bitchin Bajas) makes an appearance as well; but ultimately the collection is an intuitive expression of organic electronic conceptualized and created in-context by Chiu alone, as he calls on a lifetime of work in sound synthesis to pain a fulgent, refreshingly undercut sequence of cinematic sketches and in-process themes. In some ways, In Electric Time reflects the directness of Raymond Scott"s electronic studio recordings - with sharp cuts and room chatter - and, in others, it conjures the in-the moment- magic of Harmonia.

It was winter. Six Parts Seven had returned to Ohio after touring out to Washington State, to record Casually Smashed to Pieces. There was down time between the recording and the actual release of that album in January 2007, and we were rehearsing, playing local shows, and collaborating, with most of us involved in other projects to keep the momentum going (Mike w/ Talons, Al w/ Beaten Awake), but the one we all came together over was recording an album with Joey Beltram, the songwriter behind Goodmorning Valentine, a local band we shared players with, a band we deeply admired. The music on Kissing Distance came together over two weekend days. There were a lot of people around; 6P7 and GMV players coming and going from the Saint Ledger House. There were handles of whiskey, there was weed, stacks of Marlboro Reds for the ones still dragging butts. We all went 'dancing' at Thursday's, in Akron, Ohio, on Saturday night. Not sure how we were productive the following day. Chalk that one up to relative youth. Over those two days, songs were cut without any prior rehearsal time. None of us remember how the idea came up. In hindsight, it seems inevitable. The first song on the album, "Mediation in D," had been written a couple of years before, and was the decided spark that set the fire blazing: for both bands, this song was the starting point, an invitation to take things further, to expand, combining players from both bands, our 'toolbox' had increased in size from a single hammer to a toolbox. Everything came easily at this point. "Drunk from the Bottle," is the first of the one-take/one mic songs: an SM58 used for both vocal and guitar, making it impossible to over-think anything: You got the version, or you did not, that simple. "Instrumental #2," is the last full/core band recording by Six Parts Seven. The first piece in our catalog written/arranged by Tim Gerak. This song would have been developed on our follow-up to Casually Smashed to Pieces. Alas, an album never came to be. The ache in this is real. It's there in the bass guitar, tuned high and open, played with a slide, and utilizing one of Jamie Stillman's pre- Earthquaker Devices fuzz pedals. "Lonely Daughter," is another one-take/one-mic song, notable for the lead-guitar, played by James Matthew Haas, who overdubbed his part, months later, standing alone on the deck at Joey's folks place, playing to the moonlight, making magic...

2024 Repress

Get Up! Time to release this beast on 7".

Breakwater’s earth-shattering “Release The Beast” is unquestionably the standout song from their 1980 funk masterpiece LP Splashdown. It also came out as a now-hen’s-teeth-rare 7" in the same year and when it came to putting it out as a 7" again we just had to do it in a miniature version of the Splashdown sleeve. It’s one of the best album cover shoots of all time.

For the b-side, we’ve backed Breakwater’s biggest track with Be With’s favourite: the quietly majestic gem “Let Love In”, another winner from the same LP.

Possessing a sound and a feel that was lightyears ahead of its time, “Release The Beast” is a showcase for Breakwater’s phenomenal power-funk capabilities. The energy is astounding. It rips out of the grooves on a deep funk tip, with speaker-smashing, room-shaking drums competing with distorted funk-rock guitar, bumping bass and space-age synths. But it’s not without its compellingly haunting elements too. What else can we say? It’s a genius piece of music.

And, yes, of course this is the tune Daft Punk sampled for their 2005 track “Robot Rock”. Let’s be blunt, they lifted the Philly act’s funk-rock vamping pretty much wholesale. But to be fair to them we wouldn’t have messed with the perfection of the original either and those Parisians shone a much-needed spotlight on an innovative band from the halcyon period of post-disco funk.

On the flip, “Let Love In” is a smooth, easy glide that demonstrates Breakwater’s superb, sophisticated musicianship. The tight horn section and irresistible bass make for an undeniable groove. However, it also reveals a depth to their lyricism that’s often overlooked. In these dark days, the sentiment of the opening lines is truly one to we should all take to heart:

“It feels good to be friends with everyone, Walk around and the feeling’s in the air, No more hate can’t you see, This is really for me.”

A feel good hit for the summer if ever there was one.

Remastered for this vinyl reissue, we’re delighted to present this modern soul double-sider. Essential in every way.

J. Robbins on Basilisk:
2020 gave us the pandemic, which despite all its awfulness also gave me a lot of opportunities to write and demo music - but everyone was terrified to get into the same room together to play. Finally, around February of 2021, I called up Brooks Harlan and Darren Zentek and asked if they would be down to meet me at the studio and do a 2-day session and see how it turns out. Brooks and Darren were into the idea - we were all in full cabin fever mode at that point and dying to do anything - so I sent them the demos and we did it. The musical connection had always already been there, but the energy that came from all being in the same room doing this together - something we had just spent a year wondering if we’d ever get to do again - was wonderful. It felt like having been lost in the desert, and then finding an oasis. I’ve never been so happy with a session - both the results and the experience, and the outcome was exactly what I had wanted: something more stripped down and very immediate.

We were all fired up and we did a second session in March 2022. In the interim I enlisted some collaborators:Gordon Withers to add cello and second guitar to a few songs, Janet Morgan and her two sisters to sing some harmonies, Dave Hadley to play pedal steel on “Not The End,” and Chicago punk legend John Haggerty to add an actual blazing guitar solo to the song "Exquisite Corpse." And I went on working on vocals and overdubs at home. The lyrics were (as always) somewhat therapeutical: “Automaticity” came out of thoughts on aging and remaining present in a world increasingly going on auto-pilot; “Last War” and “Dead Eyed God” work out fears prompted by January 6th and the rise of neo-fascism. More personal matters were trying to work themselves out as well. Recurring childhood dreams ("Deception Island"), surrealist games ("Exquisite Corpse"), and trephination guru Amanda Feilding ("Open Mind") were also in the mix.

Another result of pandemic isolation was that I had also been working on more abstract, electronic based music(inspired by my love of film soundtracks, Peter Gabriel’s music, and by studio work I had done not long ago with the band Locrian), using granular synthesis, sampling, and software synths. So as Basilisk came together, I wanted to see if I could pull those sounds into the flow of the record, open up its vocabulary a little and still make something cohesive. Connection has always been the whole point of music making for me. There are so many ways to come at it, and i don't want to close any of those doors. Going forward, I only want to open more of them.

These recordings of Gongs Orchestras were made during Funeral Ceremonies in two Kung villages and one Jaraï village in Ratanakiri province, Cambodia by Laurent Jeanneau (Kink Gong) in 2003 and 2004, at a times when jungle had not been replaced by rubber plantations. Focusing on funeral's ceremonies, those hypnotics pieces are intense and haunting harmonics sonic experiments.

"Adventure brought me to south-east Asia, not academic research. I was based on and off in Banlung, capital of Ratanakiri province between 2003 and 2006. Finding gongs orchestras became my obsession, I've witnessed different contexts in which gongs were being performed, but the most brainwashing ceremonies were the funerals, because they would never end, I remember leaving the 3 days funeral ceremony of a prominent Jaraï dead man in Tang ji village at the border with Vietnam and still hearing the gongs the entire next day going back home through the jungle". - Laurent Jeanneau (Kink Gong)

"Many of the ethnic minority groups, the Jarai, Kac_, Tampuan, Kavet, Kreung, Brao, Bunong, Mnong, Edé, and others, are hill-rice farmers who live in the uplands of the Annamite mountain chain. Collectively these groups have been known by many names, including a number of disparaging terms in local dialects, such as moï, kha, phnong, and others. The term Montagnard was applied to them by the French during the colonial period, and was used by the US military and in popular discourse in English during the United States-Vietnam War. In scholarly and popular literature during the mid-twentieth century these upland farmers were also called hill tribes. I have opted for the word highlanders as a relatively neutral term that avoids the semantic burdens associated with these other namings." - Jonathan Padwe, The book Disturbed forests fragmented memories.

Maya Youssef is a multi-award winning musician and composer from Syria. She is hailed as ‘queen of the qanun,’ the 78-stringed Middle Eastern plucked zither. Maya’s intense and thoughtful music is rooted in the Arabic classical tradition but forges pathways into Western classical and contemporary styles. It explores the emotional and healing qualities of music.

The 'Finding Home' is a journey through memories and the essence of home both within and without in the search of that place of peace, comfort, and healing which manifests in everyone in a unique way.

Maya wrote this album during a time of spiritual awakening. Over time she has come to accept the loss of her homeland and in the process of grieving (which she explored in her Album Syrian Dreams in 2018) Maya has found a much greater sense of home in the most spiritual sense.

“As any Syrian will tell you, there is this overwhelming sense of loss and an overwhelming sense of grief. Because that world which existed before the war started, despite it naturally having problems, was a beautiful world with a booming economy, artistic scene, film festivals and visiting international artists, Damascus was the third safest city in the world. The loss of that world was heart wrenching and, in a way, steered me towards a universal concept of home.

The main trigger that made me create Syrian Dreams was the Syrian war and the loss of my homeland. And it's only by embarking on that spiritual journey of constant meditation and of finding home within God and within myself that I started to feel consolable and started to feel that I have my own home within me. I felt that the world is my home and humanity is my home. With my latest album I want to take people through a transformative journey, where they land in that place of home for them. No matter how that will look like for each person.” Maya Youssef

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.

Swedish death metal legends UNLEASHED are among the undisputed Viking kings of the entire genre. Founded in 1989 by Johnny Hedlund, UNLEASHED have been delivering first-class death metal in the tradition of their Nordic ancestors since day one! The best-of album "Viking Raids" is an impressive collection of works from the band's first creative phase from 1991 to 2004, during which time the band released albums such as "Across the Open Sea", "Vitory", "Warrior" and "Hell's Unleashed". Songs such as "Death Metal Victory", "The Longships Are Coming", "Winterland" or the stomping "Don't Want To Be Born" have long since become genuine classics that have to be played at every metal party. Reaper Entertainment is re-releasing "Viking Raids" on 300 pieces of strictly limited blue splatter vinyl.

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.

PET NEEDS sind eine vierköpfige Punk-Melodic-Rock-Band aus Colchester, die in den wenigen Jahren, die sie bei Xtra Mile sind, die ganze Welt bereist
hat. Ihre letzten beiden Alben, die in den letzten 18 Monaten veröffentlicht wurden, haben dazu beigetragen, die Band zu den aufsteigenden Stars zu
machen, die sie heute sind.
Sie tourten mit Frank Turner, Flogging Molly und Skinny Lister durch Europa, begleiteten Frank Turner auf der 50 States in 50 Days USA-Tour,
unterstützten Bouncing Souls, The Hives. The Lottery Winners und absolvierten ihre eigenen Headline-Touren durch Großbritannien.
Der Umgang mit dem Nebeneinander von schnellem Leben und den ruhigeren Zeiten zu Hause ist das zentrale Thema ihres dritten Albums
Intermittent Fast Living". Es ist das lebendige Porträt einer Band, die auf der Achterbahn des Rock'n'Roll-Lebens fährt und nur für den Bruchteil einer
Sekunde anhält, um den Moment festzuhalten. Aufgenommen in den Vada Studios mit George Perks (Enter Shikari, Skindred) und gemastert von
Frank Arkwright in der Abbey Road.