Search:the first edition

Until Now, Jilala has been a much sought-after phantom in relation to their better-known musical and spiritual contemporaries, The Master Musicians of Jajouka. Culled from three and a half hours of 1965 recordings by writers/artists/poets Brion Gysin and Paul Bowles, the first batch of Jilala recordings were released on a 1965 LP that was scarce even upon its initial release. The second batch of Recordings, which this LP has drawn from, came in the form of a CD by Baraka Foundation in 1998, which is also now long out of print. The Jilala brotherhood -- like the better-known Jajouka culture -- has pre-Islamic roots in Sufi mysticism that span across northern Africa from Morocco to India. Jilala shares the kinds of small, portable instruments historically favored by nomadic cultures. Even among the more ardent aficianados of "world music" these recordings have seldom been heard. In the original liner notes Ira Cohen provides a breakdown of the Jilala ensemble: "The instruments used are the shebaba, a long transversal cane flute, which leads the way; the bendir, a handheld drum resembling a tambourine without cymbals; and the karkabat which is a double castanet made of metal. On this record there are usually three flutes, six drums and one pair of castanets." In conjunction with the qraqaba -- an iron analog to the wooden castanets featured heavily in the Flamenco music of the Roma people that also flourished over the centuries mere miles to the north in southern Spain. These bendir drums provide a range very similar to that covered in contemporary popular music by the bass drum, snare, and cymbals that make up standard drum kit. The Trance-inducing grooves were major influences on such bands as Led Zeppelin, Agitation Free, Can and the Rolling Stones. The collective rhythms are often reminiscent early hip hop. oFirst time these tracks appear on vinyl - Pressed on 180 Gram Black Vinyl o Recorded by Brion Gysin & Paul Bowles in Morocco 1965 o Limited Edition of 300 Copies - DMM: Direct Metal Mastering o New Liner Notes by Peter Wetherbee o Contains insert of original liner notes from 1965 Jilala LP o Long out of print in any format for over 20 years.

Originally released on Celluloid Lunch (Canada), really excited to do the Euro edition. Drawing influence from the looser end of the Ork records catalogue, the sensitive side of Ohio’s proto-punk scene and the grittiest and most sluggish tangent of 70’s power pop, Itchy Self’s debut 12” is an exploration of fully formed songs treated with spontaneous delivery. The group got together in early 2020 for 3 practices and a recording session and here are the results, laid out in their raw form. This is cross-generational racket n roll music that wears its heart on its loosey goosey sleeve. ‘B what you B’ is a life affirming testament to living against the grain that calls to mind the Modern Lovers’ aggressive positivity. Title track ‘Here’s the Rub’ is a barrage of abstract lyrics and skronky shred. ‘God Bless the Ego’ is an ode to the looseness and blurry eyed lucidity of indie rock’s forbearers such as Chilton, Kilgour, Pollard and Malkmus. ‘Reprobate’ is a Stones style ballad that channels the Saints and Johnny Thunders in equal measures. ‘Playing MTV’ is an audacious end remark to the record, that rips on classic Velvets strut and testifies it’s own ridiculous merit through boastful and catty lyrics. All in all, of course, it’s only Rock n Roll. This record is 1 part follow up to the Protruders “Poison Future” 12” on Feel It records (2019) and 1 part the first chapter of a new and exciting group formed in Canada’s capital of de-proffessionalized rock music. Recorded to 1/4 inch tape by Scott Munro (Preoccupations) and mastered by Mikey Young (Total Control), this record should provide a concise opening statement to anyone with the least bit of concern about Itchy Self. You’re gonna need an ocean of calamine lotion. Sorry State Records

Though it’s hard to pick a winner among the estimable Black Jazz catalog, this 1972 release from bassist Henry “The Skipper” Franklin would have to be near the top of the list. Franklin got his start woodshedding with Latin maverick Willie Bobo in the mid-‘60s and went on to play with The Three Sounds, but probably his most notable gig prior to this debut album was his stint in Hugh Masekela’s band (that’s Franklin playing bass with Masekela at the 1967 Monterey Pop Festival). For The Skipper, Franklin assembled a crack outfit that included a horn section of trumpeter/flugelhornist Oscar Brashear (Bobby Hutcherson, Ry Cooder, Donny Hathaway) and tenor & soprano sax man Charles Owens (Buddy Rich, Horace Tapscott, John Mayall) along with a Masekela bandmate in electric pianist Bill Henderson and ace drummer Michael Carvin (Pharoah Sanders, Lonnie Liston Smith, Freddie Hubbard). This is such a unique, organic recording that it’s hard to make comparisons; definitely a little fusion, a little ‘60s Blue Note feel, and the usual Black Jazz journey to the more lyrical, pop-inspired (“Little Miss Laurie”) and funk-infused (“Plastic Creek Stomp”) sides of jazz, but perhaps the best comparison is late-‘60s Miles before he went electric. In any case, The Skipper is just a joy to listen to from start to finish, beautifully recorded by Black Jazz producer Gene Russell and blessed with some really fine writing, most of it by Franklin himself. First-time LP reissue and a must-have!

After numerous successes across nearly every notable MC/DJ battle of the late 90's and early 00's, followed by their poignant debut, First Born (2001), and the innovative follow-up, E&A (2004), Eyedea & Abilities expanded upon their reputation for multi-dimensional lyricism and production, establishing the duo as a progressive and integral part of the underground hip-hop sound. In 2009, they re-emerged with rap-punk vocals, gutted guitar riffs, and synthesized drum beats on By The Throat, their final studio release before Eyedea's untimely passing in 2010. Together, the experimental and philosophical rapper Eyedea, synchronizing with the precision and ingenuity of producer/turntablist Abilities, curated a raw form of escapism that still resonates ten years later. While a song like "Spin


Cycle" delicately unravels the barriers of human intimacy, “Smile” immerses us into the horrors of poverty and hardships, and our society's obliviousness to them. In each track, Abilities compliments Eyedea’s fluctuating patterns by maintaining ranges from each

side of the spectrum, ensuring their advanced creation still stands as a testament of their dedication to the craft. Now, the long out-of-print vinyl is being reissued for the 10 year anniversary on a custom formulated watercolor swirl vinyl, wrapped art paper jacket of original watercolor artwork by Michael Gaughan with film lamination finish, full color printed record sleeve, insert with full album lyrics and free download card.

LP Ltd edition GOLD vinyl, DL card (First pressing 500 copies only). New album from brothers John and Michael Gibbons, the guitarists from psychedelic drone legends, Bardo Pond. A "heavy ambient" instrumental masterpiece that explores the symbiotic relationship of the duo as they build and dismantle sounds on a unique ethereal trip. A full-length follow up to 'Joint Chiefs' from 2006, 'Celestial Scuzz' is a monumental sound piece created from hours of jam sessions and crafted into a cohesive mind-blowing trip. The result has a heavy ambience, like Eno locked in a dark room with Sunn-O))))) rehearsing next door. While Bardo Pond's trajectory takes them deep into rock music's ever-imploding sound, the brothers Gibbons surf a more ethereal and eclectic plain; from a heady and consuming space, a "sanctuary; balm for the soul." Describing the writing process, Michael Gibbons explains it as "a kind of spiritual experience. Most of the time it leaves us stunned; the more stunned we are the better the jam." // Bardo Pond: "One of underground rock's most extraordinary enigmas." The Quietus // "An exquisite and enjoyable side trip into harmonious interstellar regions with stripped down instrumentation, they drift into shimmering passages of temporal displacement." Brainwashed

John Norum might be best known for being the guitarist in the Swedish hard rock band Europe, but he has simultaneously maintained a successful solo career. Face The Truth is his second album, released in 1992, five years after debut Total Control. The record features Glenn Hughes (of Black Sabbath and Deep Purple fame) on vocals for several songs, as well as guest appearances by Joey Tempest (Europe) and Mikkey Dee (Motörhead). A true hard rock all- star effort, that also includes Norum’s cover version of Thin Lizzy’s song “Opium Trail”. It is available on coloured vinyl for the first time, as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

"Ultra Eczema rarely reissues records: firstly, because we believe it's hard to improve on a good original (and we would never want to republish anything that isn't); and secondly, it's called the Internet and you can find everything on it. Nonetheless, in 2015 we reissued Kraus' 'I could Destroy You With A Single Thought', a CDR from 2004, because it was camping in our all-time favourite records list for a decade and the data on this erratic medium tends to erase itself, much like a troubled past. 'A Golden Brain' was published in the first wave of the Covid pandemic via Kraus' bandcamp as a digital release. And once again we couldn't help ourselves. This is Kraus at his best: if a bedroom could be a stadium, he would play the main stage! Limited edition of 300 copies. Includes an insert, download code and a UE sticker."

Clarinetist, composer, singer & spiritual jazz soothsayer Angel Bat Dawid presents this powerful live document alongside her band, Tha Brothahood. LIVE was mostly recorded on November 1st, 2019, at Haus der Berliner Festspiele in Berlin, Germany, during the 2019 edition of JazzFest Berlin. For Angel and Tha Brothahood - which includes Deacon Otis Cooke (vocals, synth), Viktor Le Givens (vocals, auxiliary instruments), Xristian Espinoza (tenor sax, percussion), Norman W. Long (electronics, synths), Dr. Adam Zanolini (double bass, bass guitar, soprano sax, flute, percussion), Isaiah Collier (drums), and Asher Gamedze (drums) - it was the first stop of their first European tour. Angel and her band experienced a number of difficult, racially charged interactions during their two days in Berlin. But despite, or perhaps in light of the difficulties they faced, they performed a set at Berliner Festspiele that Angel considers to be one of their best ever. "The show was very deep, and really helped me to process all the rage, and uncomfortable things I was feeling... It made me think of all the artists of the past who endured way more than I ever will with this music industry. It was a very freeing and beautiful show... we played our ass off!!"

When the film ‘White Men Can’t Jump’ was released in 1992, an EP of music from the film was dropped almost simultaneously. That EP, cheekily titled ‘White Men Can’t Rap’, featured a couple of exclusive gems, notably Gang Starr’s ‘Now You’re Mine’ and a cut from Main Source called ‘Fakin’ the Funk’.

The only single borne of that six-track EP was the Main Source track, released in remixed form on Wild Pitch records the same year. No surprise, it was head and shoulders above the rest.

Opening with those unmistakable harmonies from Main Ingredient’s ‘Magic Shoes’, the intro segues into a crisp beat borrowed from Grady Tate’s frequently sampled ‘Be Black Baby’ from 1969. Throw in a sprinkle of Kool & The Gang and you’ve got a track that would fit seamlessly onto Main Source’s masterpiece of an album, ‘Breaking Atoms’.

Instead, it’s the group’s last hurrah, the final collaboration between K-Cut, Sir Scratch and Large Professor before the latter departed the trio. It’s fitting that he saves one of his best vocal performances for last, railing at sell-outs with the assistance of his long-term collaborator Neek the Exotic.

Never released before on an official 7”, it’s a track that has lost none of its appeal, and the remix is the definitive version of this classic.

• Samples Main Ingredient’s ‘Magic Shoes’ and Grady Tate’s frequently sampled ‘Be Black Baby’

• First ever 7” release of the Remix

• Also available on Limited Edition Neon Green vinyl

Revive the epic Arcade adventure with the Metal Slug 3 soundtrack on 2LP (Red/White splatters) and CD with booklets on both, officially licensed by SNK.

Following Samurai Shodown 2019, Wayô Records and SNK Corporation once again join forces to deliver an international edition of Metal Slug 3's original soundtrack, in honor of the game's 20 anniversary! Originally exclusive to Japan, this album is now available in this double vinyl edition.

With its distinctive "rock orchestra" sound, the music for SNK's series turned out to be as essential as the games themselves thanks to its uniqueness and incredible energy. Composed by the legendary SNK Sound Team, this soundtrack has a lot in common with the other titles in the series, but stands as the densest and most inspired. Filled with biting humor and explosive action, Metal Slug 3 is often regarded by fans as the best game in the series!

- Two vinyl discs, 33 rpm

- First Print Edition translucent red with white splatters

- Complete soundtrack newly remastered for the vinyl format

- Gatefold with a central wide illustration and two individual illustrated sleeves for each disc

- New comments from the game team

- Officially licensed by SNK

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

Limited

LOVE IS A STREAM :: 10 year anniversary edition. Remastered by Stephan Mathieu. Design by Farbod Kokabi.

Jefre Cantu on Guitar & Electronics. With Lisa McGee, John Twells, and Maxwell August Croy on vocals. Orginally released October, 2010 on TYPE records, UK.

From the original press release: As a member of San Francisco legends Tarentel and Type’s premier astral travellers The Alps, Jefre Cantu-Ledesma is hardly a new addition to the label, so it’s hard to believe that ‘Love Is A Stream’ is his first Type solo album. Previously releasing on Arbor, Spekk and his own Root Strata imprint, this latest album marks his journey into the beautifully cacophonous world of dream pop. Shoegaze music has been much maligned in recent years, probably due to its rebirth and subsequent explosion of popularity (which gave rise to hundreds of young bands aping the over twenty-year-old sound). However it was only a fragment of the genre that these bands attempted to re-create, and on ‘Love Is A Stream’ Cantu, instead of focusing on tired weeping melancholy ballads, focuses solely on expansive, almost noise-ridden hopefulness. This is the kind of noise we fell in love with when My Bloody Valentine blew our ear drums performing ‘Loveless’, or the kind of harmonic excess we heard on hundredth listen to Catherine Wheel’s ‘Ferment’, but taken into deeper, more abstract realms. ‘Love Is A Stream’ is dedicated to love itself, and the dreamy, shimmering blown-out textures might at first sound like white noise before they ultimately give way to blissful harmony and hidden melody. Underneath the grit and growl are hidden guitar parts, synthesizer drones and even vocals (provided by Lisa McGee, John Twells and Maxwell August Croy) that succeed in swelling the dense, tape-saturated songs to heady new heights and belie any influences they might have. On each listen the mind strips away another layer of dust and bones to reveal haunting and deeply moving beauty. The world might be spiralling into despair, but Jefre Cantu-Ledesma has brought us a record that isn’t afraid to share the love. All that’s left to do is drown in it.

With North Star, Viking Metal pioneers EINHERJER release their eighth studio album on February 26, 2021, proving their status as the pioneers of blending Nordic Black Metal and Folk Metal genres once again. The album marks the band’s return to Napalm Records after 25 years, and their release of the legendary Dragons Of The North album (1996). The Norwegian metal outfit remains musically true to themselves and reinforces their exceptional position. North Star was recorded in the wake of the Covid-19 pandemic at the in-house Studio Borealis, owned by founding member and mastermind Frode Glesnes. The raw production ties in seamlessly with its predecessor Norrøne Spor and makes North Star probably the most powerful EINHERJER album to date! North Star is EINHERJER's musical mission towards something bigger - the search for guidance by the North Star in a constantly changing world that is searching for stability. The album’s opener, "The Blood And The Iron", peppered with uncompromising double-bass thunderstorms, pulls the listener in from the very first second, while "Stars" stomps through atmospheric soundscapes with dark chords. "West Coast Groove" underlines EINHERJER's technical songwriting sophistication with finest guitar solos. North Star will be available in black, blue/white inkspot and limited gold vinyl editions (gold limited to 300 copies). Founded in Norway in 1993, the band has significantly influenced the way of Viking Metal in the following years with Dragons Of The North - 25 years later, EINHERJER are stronger than ever and are bursting with energy on North Star! 1. SINGLE - EN Stomping drums and gloomy guitar chords, paired with ice-cold vocals by singer and guitarist Frode Glesnes - "Stars" draws the listener into the icy, dark world of EINHERJER! 2. SINGLE - EN With powerful double bass grooves, a catchy chorus and technically skilled guitar solos, EINHERJER are more uncompromising and harder than ever on "The Blood And The Iron"! 3. SINGLE - EN Old school vibes meet dark Viking Metal atmosphere in "West Coast Groove" - EINHERJER are in top form and still prove their status as genre pioneers after more than 25 years!

Machine is the second studio album by the American industrial metal band Static-X, released in 2001. The album can be considered post-modern metal, as it features electronics and industrial effects, and not just a pinch of electronic gadgetry. Critics and fans responded positively to this album, which peaked at #11 on the Billboard 200 charts. The song “Black and White” provided the album’s first single and music video, followed by “This Is Not”. The third single “Cold” is used on the soundtrack of the film Queen of the Damned. Machine is available as a a limited edition of 1000 numbered copies on transparent red vinyl.

Kaleidoscope is the fourth album (and third solo piano album) by French- Georgian concert pianist Khatia Buniatishvili. The album features a unique combination of challenging pieces in which she shows her true virtuosic playing style. Some of the pieces taken on by Buniatishvili on this record are the beloved “Pictures at an Exhibition” by Moderst Mussorgsky on side A, as well as Ravel’s “La Valse” and Stravinsky’s “Petruschka”. Available on vinyl for the very first time. The two LP’s are housed in a heavyweight sleeve with gloss laminate finish. The package includes a 4-page insert. This edition is a feast for both the ears and the eyes.

Horace Andy's voice is an instrument that once heard is never forgotten, regardless of whether you first hear it on one of the numerous Jamaican reggae singles that he recorded during the 70s or - like most people - on one of the Massive Attack albums he collaborated on as a vocalist. His falsetto and his characteristic slow-motion vibrato breathed life into tracks like "Spying Glass", "Cuss Cuss", "In The Light", "Skylarking" or "(You are My) Angel", ensuring that they still continue to resonate deeply with listeners. His vocal style influenced countless root singers and the combination of his timbre with Massive Attack's spartan hip hop beats still inspires legions of fans and copyists all over the world. Echo Beach has now picked up on this tradition - and the much older tradition of versioning - by asking friends of the label to rework Horace Andy's classic tracks in their own sound outfit. But this time the label hasn't trawled old Studio One tapes for historic vocal snippets - that would sooo nineties; no, Horace Andy personally put in an appearance to sing new versions of his classic tracks on top of timeless and contemporary riddims. Age may have deepened his voice, but it is by no means weaker, as can be heard on this album, on which Echo Beach welcomes old friends and new faces: there's Rob Smith, who as part of More Rockers and Smith & Mighty was just as crucial for Bristol's musical reputation as Massive Attack or DJ Krust & Roni Size. Today, he ensures continuity by working under the label and producer name.

Long awaited vinyl reissue of NWWs classic 3rd album. This blue vinyl version. Is exclusive to Cargo. Packaged in an outer sleeve that replicates the original United Dairies issue and has a brand-new Steven Stapleton designed full colour insert. Info: ollowing disagreements amongst the founding NWW trio over To the Quiet Men from a Tiny Girl, Steven Stapleton returned to the studio without Heman Pathak or John Fothergill to create something that more closely fulfilled his vision of what Nurse With Wound should be. The results are often cited as the first great NWW album, with Rolf Semprebon at Allmusic stating that it constitutes "the first fully realized NWW record....a far more mature effort than its predecessors, much more focused and sounding less like some stoned guys goofing off in the studio". There is a more extensive use of tape editing and audio collage on Merzbild Schwet than was found on the preceding releases, a strategy that would become Stapleton's signature sound on the albums that followed. There is also the overt use of humour; the sound of a repeated loud vinyl pop being included at the beginning of "Futurismo", initially creating the impression that the record is in some way damaged, accelerates to such a speed that it becomes obvious that it is part of the composition (the impact of this device losing relevance on subsequent cassette and CD editions).

* Cold Press is another imprint from the label known as Jungle Cat Recs. It was started to showcase a ‘no frills’ attitude towards the music. Hence no artwork, just raw jungle music. The first release was a great success and sold out almost instantly. Cold Press returns to give you 4 raw Ragga-Jungle tracks on a whitelabel 12 inch limited edition vinyl.
*Dub-Liner is well known for high energy new skool jungle with influences accross the board, including Reggae and Hip Hop.

Repress

RAWAX proudly welcomes Gigi Galaxy aka Gary Martin to the family! We are more than happy that Gary liked the idea to present his past treasures back on vinyl from the beginning. The first release on our "Motor City Edition" is the "Lemuria EP" from 1994. Originally it came out on Gary's own legendary Teknotika label - enjoy the trip to lemuria!
W+P by Gary Martin 1994 in Detroit U.S.A.

More than 40 years after its original release, this limited and numbered facsimile edition of Keith Jarrett’s legendary 10-LP box set “Sun Bear
Concerts” is recreated from original analog sources.
Sun Bear Concerts - documenting five complete solo performances by Keith Jarrett in Japan - counts as a milestone achievement in the history of jazz recording. As Down Beat wrote, on the occasion of the original release, Jarrett’s improvisations are “the inventions of a giant, overpoweringly intimate in the way they can draw a listener in and hold him captive. Jarrett has once more stepped into the cave of his creative consciousness and brought to light music of startling power, majesty and warmth.”
Rich in incident and detail, the music in this beautifully produced, illustrated and presented ten-LP set, first issued in 1978 revealed Jarrett as a player of limitless creativity, unique in his ability to find new forms in the moment, night after night. “These marathons showed Jarrett to be one of the greatest improvisers in jazz,” Ian Carr wrote in his biography of the pianist, “with an apparently inexhaustible flow of rhythmic and melodic ideas, one of the most brilliant pianistic techniques of all, and the ability to project complex and profound feeling.” The present edition is a facsimile of the original LP set, described by the late Haus der Kunst curator Okwui Enwezor as “part of ECM’s declaration of independence from standard packaging of jazz records. Setting itself apart in this way, ECM treated its recordings as works of art by musicians of the highest artistic and conceptual order.”
A work of art by any standards, Sun Bear Concerts brings together solo concerts in November 1976 in Kyoto, Osaka, Nagoya, Tokyo and Sapporo, in recordings made by Japanese engineer Okihiro Sugano and producer Manfred Eicher, who travelled through Japan with Keith Jarrett. The set’s book-form packaging, with design by Barbara Wojirsch, includes photographs by Klaus Knaup, Tadayuki Naitoh and Akira Aimi.