Search:the limit

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.

Infinity Machine is a duo comprised of Juan MacLean - as in the Juan MacLean, longtime DFA traveler - and Gee Dee, also known as Greg Droggitis, a producer and DJ based in Brooklyn and 1/3 of the Earth Beat DJ troupe. The project name stems from a series of gatherings the two began hosting in various private spaces around New York City shortly after lockdown, though that description is a bit innocuous for the journeys traveled by its attendees. These events, billed as "psychedelic dance ceremonies" lasting 8 or 9 hours, began with a sound meditation to vibrational and acoustic instruments before eventually segueing into a "dance" soundtracked by a DJ set from Juan and Greg. Something clicked - that ceremonial tea! - and so Juan and Greg began playing and recording in their studio using the same approach: improvisation with equal attention placed on traditional acoustic (flute, guitar, gong) and more contemporary electronic (Yamaha DX-7) sounds. After awhile, there was literally three albums worth of material, each of them a voyage into the warm, liminal space between new age, ambient, drone and psychedelia. None of those genres quite fully describe what's across 001, 002, and 003 - available from DFA digitally and on a very limited run of cassettes (150 each!) - but if you've read this far then you're either the right kind of curious or just forgot what you were doing.

Violently bleeding out into the mid-90s with their lone release "Feel My Hate-The Power Is The Weight - R.I.P. Cain" vinyl lp then completely disappearing into the ether. Southern Lord compiled all known recordings in 2003 on the "Hortators Lament" compact disc.

Then in commiseration of the label's 20th anniversary (2018), TL allowed Southern Lord to release all these recordings (and even some more cryptic, current musings) on the limited edition 2xLP set: "Cease & Decease".

2024! Toadliquor continues their decades-long onslaught of desolation, despair, and damaged vocal cords with Back in the Hole. Seven prize picks for the communal trough. Strap in and feed.

FFO: Pain, Misery, Destruction. (not bands, emotions/actions)

Infinity Machine is a duo comprised of Juan MacLean - as in the Juan MacLean, longtime DFA traveler - and Gee Dee, also known as Greg Droggitis, a producer and DJ based in Brooklyn and 1/3 of the Earth Beat DJ troupe. The project name stems from a series of gatherings the two began hosting in various private spaces around New York City shortly after lockdown, though that description is a bit innocuous for the journeys traveled by its attendees. These events, billed as "psychedelic dance ceremonies" lasting 8 or 9 hours, began with a sound meditation to vibrational and acoustic instruments before eventually segueing into a "dance" soundtracked by a DJ set from Juan and Greg. Something clicked - that ceremonial tea! - and so Juan and Greg began playing and recording in their studio using the same approach: improvisation with equal attention placed on traditional acoustic (flute, guitar, gong) and more contemporary electronic (Yamaha DX-7) sounds. After awhile, there was literally three albums worth of material, each of them a voyage into the warm, liminal space between new age, ambient, drone and psychedelia. None of those genres quite fully describe what's across 001, 002, and 003 - available from DFA digitally and on a very limited run of cassettes (150 each!) - but if you've read this far then you're either the right kind of curious or just forgot what you were doing.

Infinity Machine is a duo comprised of Juan MacLean - as in the Juan MacLean, longtime DFA traveler - and Gee Dee, also known as Greg Droggitis, a producer and DJ based in Brooklyn and 1/3 of the Earth Beat DJ troupe. The project name stems from a series of gatherings the two began hosting in various private spaces around New York City shortly after lockdown, though that description is a bit innocuous for the journeys traveled by its attendees. These events, billed as "psychedelic dance ceremonies" lasting 8 or 9 hours, began with a sound meditation to vibrational and acoustic instruments before eventually segueing into a "dance" soundtracked by a DJ set from Juan and Greg. Something clicked - that ceremonial tea! - and so Juan and Greg began playing and recording in their studio using the same approach: improvisation with equal attention placed on traditional acoustic (flute, guitar, gong) and more contemporary electronic (Yamaha DX-7) sounds. After awhile, there was literally three albums worth of material, each of them a voyage into the warm, liminal space between new age, ambient, drone and psychedelia. None of those genres quite fully describe what's across 001, 002, and 003 - available from DFA digitally and on a very limited run of cassettes (150 each!) - but if you've read this far then you're either the right kind of curious or just forgot what you were doing.

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

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

Speak to most musicians about their motivations, inspirations and processes and you will, generally, get variations on a similar, broadly consensual, theme. Natasha Pirard is genuinely different. Her interest in sound goes way beyond the superficial and the ephemeral. She is fascinated by how and why sound makes us feel, the political implications of sound, noise pollution and the everyday sounds embedded in our immediate environment.

Contextually, this makes a lot of sense when confronted with her debut release for DEEWEE, Dream Cycles. A 120-minute exploration of sounds, loops, frequencies and waves, it’s an eight- part musical cycle split into 15-minute sections across four cassettes, she believes, reflects on this notion of cyclical, rather than linear, time. The eight song cycles are repetitive. They start off basic and functional and build over time. They begin with one sound but soon you hear other sounds. From there you get taken to another point, where you hear something else and so on and so forth. The circle is never-ending.

Natasha Pirard is a musicologist and composer from Ghent. She will be releasing her album Dream Cycles in February 2024, as a limited edition four cassette box set, marking her debut on the Ghent-based label DEEWEE.

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

FOR FANS OF: LED ZEPPELIN, AC/DC, THE DOORS.
THE ROLLING STONES Live, aufgenommen und übertragen durch einen lokalen Radiosender im Jahr 1981. Diese Schallplatte, gepresst in pinkem
Vinyl, enthält u.a. die Hits & Klassiker You Can't Always Get What You Want, Brown Sugar, Satisfaction und viele mehr. Strikt limitiert.

- 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

FOR FANS OF: MOTÖRHEAD, IRON MAIDEN.
LEMMY Forever. LEMMY ist für immer. Diese limitierte 12inch Schallplatte, gepresst in rotem Vinyl, enthält rare Hits & Klassiker von und mit Lemmy,
der Frontröhre von Motörhead.

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.

- 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

FOR FANS OF: ANTHRAX, MEGADETH, SLAYER.
Strikt limitierte 10inch Picture-EP der Metal-Kultband METALLICA. Mitgeschnitten und Live übertragen vom Radiosender BCM-FM im Jahr 1987. Diese
Collectors-Edition enthält u.a. die Hits Master Of Puppets und Seek And Destroy. Nur 300 Exemplare, weltweit !

Green Vinyl
The 3rd Acid Lab is here !! Very limited 200 copies release with underground-acid techno trax !! Don't miss this one out!

Nach dem Erfolg von We'll Bring The House Down aus dem Jahr 1981 setzten Slade mit Till Deaf Do Us Part ihren neuen Aufschwung fort. Mit der Single Lock Up Your Daughters sowie anderen Tracks, die im Laufe der Jahre zu festen Bestandteilen des Slade-Live-Sets wurden, darunter "Rock and Roll Preacher" (der zum neuen Opener der Band wurde) sowie Ruby Red und Knuckle Sandwich Nancy.Die LP erscheint in limitierter Auflage auf weiß-schwarzem Splatter-Vinyl, während die CD einen Bonus-Radio-Edit von "Rock and Roll Preacher" sowie erweiterte Booklet-Notizen enthält.













[m] 13. Funk, Punk & Junk [CD Bonustrack]

The Three of Us is a name you might not know even if you are something of a jazz lover. It was the name that jazz keyboardist Hilton Felton - who will be much more well known to those with an ear for rare groove - used for this one groovy soul-jazz album. It arrived in super limited quantities back in 1971 and is now hugely sought after and therefore also rather expensive on the second-hand market. Joining Felton for these sessions were bassist Joe Harris and stickman Johnathan Setell, but it is Hilton's touch that really elevates the music - his free melodies and deep grooves really make their mark. This one has never been reissued before.

This compilation takes you on a trip through dance tracks from the era where music clubs in Belgium & Europe were hot and trend setting.

This will be a limited edition, pressed on 180 gram high quality 12" black vinyl.

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

2023 Repress

Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue.

Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.”

There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener’s technicolour imagination. It turns out that was accidentally on purpose: “I was discovering a lot of library music for the first time… listening to a composer’s entire catalog or finding all this obscure stuff. I wasn’t entirely conscious of the influence until I started making this music and realized I was channeling the vibe. That’s when I began focusing more on weaving melodic themes throughout the record to make it function more like a soundtrack”.

Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank’s touring duties with Jacco Gardner’s band. “Tulips” comes from the title of the very first demo he made in Holland, it was the first thing that came to mind. Makes sense.

Recording in Europe with some very European influences in mind, Frank wanted to eschew any American influences. But we can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen.

Dreamy opener “Swans” is an exquisite soul instrumental and recalls the soft-psych of Koushik, which Be With loves of course. Tropicalia influences abound in the cool and breezy “New Danger” and the KPM-references are loud and proud on the lush organ pop of “Old Habits”. Fast-paced “Chase Theme No. 1” manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of “Infinite Bliss” is all gauzy flutes and happy-sad vocalizing and the title is almost perfect: it’s bliss, no question; *if only* it went on forever. Side A closes with “Evening”, a subtle bossa nova beat thing. Gorgeous.

Side B opens with the heat-shimmer guitars of “Rain Dance”, evoking an unreleased Byrds or Buffalo Springfield backing track. Yes, it’s that good. “Sure Thing” is music to accompany an elevator ride you never want to end, but in a good way! The ornate “Garçon Manqué” is as beautiful as the instrumentals on Pet Sounds (think “Let’s Go Away For A While”) and the wistful “Turning In” starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo that would startle if it wasn’t so pitch-perfect. “Chase Theme No. 2” is a briefer, more keening counterpart to what we hear on side A. The head-nod bass-drums-keys funk of “Hues” rounds out this staggeringly assured set; still opening each phrase with a plaintive strum, but using vibrato and heavy reverb to accent the electric organ melody. Sublime.

All these top drawer musical references might sound like just more of the usual release notes hyperbole, but there’s a reason that this still-young LP already changes hands for big money. It really is that good. Of course that first pressing didn’t hang around for long and Frank’s regularly been asked about a re-press pretty much ever since.

Re-issuing Tulips on Be With made sense to Frank “because the record would fit in so well with the catalogue”. Having already delved into the archives of KPM and Themes, and beginning to do the same with Coloursound and Selected Sounds, the collaboration “just makes sense and seems inevitable”. We agree.

Frank wasn’t sure a record of instrumentals with obscure soundtrack references would be an easy sell when it was originally released, and was surprised when Tulips turned out to be exactly what some people wanted to hear. We reckon its timeless beauty ensures that it’ll *always* have an audience.

The record was originally cut to be played at 45rpm, a technical quirk that grants the home listener the opportunity to go deeper, for longer. Played at 33rpm, the more languid unfurling of the tracks proves just as wonderful a trip. As a psilocybin-soaked case study from Aquarium Drunkard back in January of 2019 describes, some of the songs sound as if they were intended to be heard that way. The slower speed allowing the listener to step inside and perhaps even “crack the code” of the music’s meaning.

Mastered for this vinyl reissue by Simon Francis and featuring alternative burnt orange artwork from Maston himself, this Be With pressing is limited to just 500 copies. Hypnagogic it may be, but please don’t sleep.

Limited pastel red LP version! 2022 RZA LP, who reprises his own Bobby Digital Production Persona for this one, produced in association with DJ Scratch. Back in 1998, RZA had already cemented his status as Wu-Tang Clan's man behind the boards, producing the entirety of the group's respective solo albums. But when it came to his own breakout moment, the producer opted to introduce the world to Bobby Digital, a cartoonishly hedonistic mad-rapping alter-ego and grew so fond of the character that he released another album under the moniker before finally delivering 2003's Birth of a Prince as the RZA. Now it seems Bobby Digital is back in the picture and potentially set square up with his host. On Friday, RZA announced a new album, RZA vs. Bobby Digital, with the release of the hard-hitting new single, "Saturday Afternoon Kung Fu Theater." According to a press release, production on the album is handled by DJ Scratch. "Giving Scratch the reins as a producer and me taking the reins as an MC, that's what frees me up creatively and lets me play more with lyrical gags and lyrical flows because I don't have to be focused on everything," the producer noted in a statement. The new single marks the second Bobby Digital drop of the year, following "Pugilism," which was slated to be featured on the long-rumored project, The Cure, but seems to be a part of another upcoming collection of songs under the moniker titled Digital Potions. However, neither of those projects have a firm release date at the moment.

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

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

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

WRWTFWW Records is happy to announce the first-ever physical release of Louisiana-based composer and producer Jammin’ Sam Miller’s full HD re-creation/restoration of the beloved Super Metroid video game soundtrack. The limited biovinyl double LP is packed with 27 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well as an obi strip.

Composed by Kenji Yamamoto and Minako Hamano, the soundtrack for 1994 SNES exploration / action-adventure / sci-fi / alien video game Super Metroid has always been a fan-favorite. A true masterclass in music storytelling, it beautifully evokes the epic and eerie adventure of the game’s protagonist Samus Aran with superb use of atmospheric sounds, space-operatic arrangements, rumbling bass, oppressive techno-futurist moods, tribal drums, and airy synth themes, admirably balancing the ominous feel of a dark menace and contemplative, even soothing, ambient soundscapes.

Jammin' Sam Miller assiduously recreated the soundtrack note by note, by finding the original equipment used to create it, translating the MIDI into a modern studio context, adding in keyboard samples, and re-mixing and re-mastering the whole score. He explains: "This was made possible by locating the original instrument samples from workstation keyboards and drum machines before they were put into the game and rebuilding the soundtrack from the ground up, applying some modern mixing techniques along the way to lift the veil of 16bit compression and create an updated listening experience."

Super Metroid is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

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.

glass beach's debut album the first glass beach album is the first album from glass beach. That's a good place to start, but the album's plain & descriptive title does little to explain exactly what goes on in the hour-long adventure contained therein.the first glass beach album was initially self-released by the band in Spring 2019, but it's roots date back to as early as 2015 - songwriter & band leader j mclendon started demoing songs for the album when they first moved to Los Angeles & spent three years polishing those first demos into these songs with bassist Jonas Newhouse & drummer William White. On their Bandcamp page, the band describes their sound as the accumulation of jazz, new wave, synth music, and emo distorted through the lens of punk. The songs that make up the first glass beach album are ambitious, theatrical and chaotic. Abandoning genre limitations makes glass beach's talent for songwriting all the more apparent - mathy guitar leads, catchy drum grooves and the constant interplay of horns, synths, and even the intermittent theremin set the perfect scene for j's stunning vocal performance, which can shift from a charming falsetto to the lead of a sing-a-long in an instant.

Remastered and first worldwide release (previously only limited availability in Iceland) Since first bursting onto the global punk scene in 2018, Icelandic trio GRÓA have thrilled audiences across the world by fully embracing an unruly freedom. Made up of sisters Hrafnhildur Einars Maríudóttir (aka Hrabba, age 22) and Karólína Einars Maríudóttir (aka Karó, age 20) and their childhood friend Fríða Björg Pétursdóttir (also 22), the Reykjavík-bred band merge elements of post-punk and noise-rock and art-pop with absolute abandon, arriving at an explosive yet magnificently arranged sound unlike any other. A local favorite, the Icelandic government has recently been sponsoring worldwide travel to share GRÓA with the rest of the world and in 2023 they have played shows around the world including in UK, Western and Eastern Europe as well as USA dates including Washington DC, Seattle, Chicago and New York City. They have recently recorded an in studio performance at KEXP which will be broadcast worldwide in January 2024 and more worldwide touring is planned for early 2024 to support the vinyl and CD releases. Listing iconoclasts like Sonic Youth, PJ Harvey, and Bikini Kill among their longtime inspirations, the Icelandic punk band GRÓA pursued their experimental impulses with more intensity and confidence on Í Glimmerheimi, matching the album’s shapeshifting sound with a surrealist but emotionally potent form of lyrical storytelling. “It’s about a girl who’s trying to escape the world she’s stuck in—this glitter world that looks so good on the surface, but it’s not where she’s meant to be,” says Karó in discussing the album’s concept. “There’s a song called ‘Jetpackstelpan,’ or ‘Jetpack Girl,’ where she leaves the world on a jetpack and flies away to the moon, and she’s never coming back again.” Opening on the kaleidoscopic rhythms and rowdy call-and-response vocals of “Fullkomið” (“Perfect”), Í Glimmerheimi brings that narrative to frenetic and dazzling life, ultimately closing out on “Skrímslið er að ná þér” (“The monster is getting you”): a serpentine and strangely mesmerizing epic whose swirling textures, otherworldly vocals, and sparse yet complex guitar tones illuminate the immense scope and depth of GRÓA’s artistry.

"Miles Davis is regarded to be one of the most influential and acclaimed figures in the history of jazz and 20th-century music. At the request of Columbia Records executive George Avakian, he formed his first regular quintet in 1955. After all members of the first quintet left Davis a few years later, he hired the core of the second quintet in 1963 and the final member in late 1964. The second quintet would record and play together until the end of the 60s. Sorcerer is the third album by the Second Great Miles Davis Quintet. The quintet consisted of Miles Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums. It was recorded in May 1967 and contains a darker sound. The last song on the album, ""Nothing Like You"", features vocals by Bob Dorough. Sorcerer is available as a limited edition of 2500 individually numbered copies on crystal clear vinyl."

"Mane Attraction is the fourth studio album from the New York-based glam metal band White Lion. The album featured the singles “Love Don’t Come Easy”, the eight-minute heavy rock epic track “Lights and Thunder”, and a re-recorded version of their debut single “Broken Heart”. It was the last album that featured both Greg D’Angelo and James Lomenzo in the line-up. For the first time since its original release in 1991, the album is getting a reissue. Mane Attraction is available as a limited edition of 1500 individually numbered copies on silver coloured vinyl and includes an insert. "

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

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.

Nach der überraschenden Rückkehr 2023 für eine Reihe feierlicher, ausverkaufter Konzerte in UK und Europa starten die Post-Rock-DIY-Helden The Boxer Rebellion in ein vielversprechendes Jahr 2024, das noch einmal in die Tiefe geht und ihre neue 'Open Arms' EP einläutet, ein pulsierendes, kristallines Mantra, das in limitierter 500er Auflage auf cremefarbenem Vinyl erscheint. Neue schimmernd-epische Songs wie 'Powdered Sugar' und 'Lightness Out Of Darkness' oder das kathartische 'As Man As Alive As The City' bestätigen, dass die Band nicht nur zurück ist, sondern auch in einem Ausbruch dringender, aktualisierter Kreativität eine klare Linie von ihrer Vergangenheit zur Gegenwart zieht.

6 track vinyl-only Ghetto house EP by three producers from the legendary Chicago house label Dance Mania. High energy 130-140bpm bass banging tracks ready to take any dancefloor to the limit.

Limitiert auf 300 Stück!


When HorrorPops say Bring It On, it"s as much about the music as it is about kicking ass. While never dropping their trademark sexy, horror-flick flair, Bring It On!, produced by BAD RELIGION"s BRETT GUREWITZ, revealed new depths of songwriting. Brash, Link Wray guitars; singer Patricia"s sultry petulance; throbbing standup bass - all served up in loving tribute to the brooding pop of 80s icons like Blondie and Siouxsie Sioux. First repress since the original release in 2005.

Einar Solberg, Frontmann von LEPROUS, präsentiert eine offizielle Veröffentlichung seiner rohen und unbearbeiteten 2022 live gestreamten Solo-Performance des 2015er Albums "The Congregation" von LEPROUS. Diese völlig reduzierte Performance - nur Einar und das Klavier - präsentiert das Album in einem ganz neuen Licht, das selbst Einar selbst nicht für möglich gehalten hätte. Das wunderschöne Solo-Klavierkonzert ist als limitiertes CD-Digipak, limitierte Gatefold 180g schwarze 2LP sowie als Digitales Album erhältlich.

FOR FANS OF: NIGHTWISH, AMARANTHE, HALESTORM, WITHIN TEMPTATION
TEMPERANCE BESTSELLER! Zum ersten Mal auf Vinyl Limitiert auf 500, in ‘MARBLED ORANGE’ Vinyl. Temperance ist eine der meist gepriesenen
neuen ‘Melodic Metal’ Bands, die in den letzten Jahren in Europa aufgetaucht ist. Mit gleich 3 Sängern in ihrem Line-up, besticht die Musik von
Temperance durch ihre ausgefeilten Harmonien, sowohl auf ihren Studioalben als auch bei ihren starken Konzerten, welche auch durch eine Fülle von
schneidenden Gitarren-Riffs, Electronica und sogar Einflüsse des Rock glänzen. Melodien, geballte Energie und überragende gesangliche Harmonien:
Drei Worte, um die Seele und den Erfolg von Temperance’s Sound treffend und prägnant zu umschreiben.
‘Of Jupiter and Moons’, das 4. Opus der Band aus dem Jahr 2018, stellt einen weiteren kräftigen Schritt vorwärts in der Karriere der umtriebigen Band
dar. Gemischt und gemastert von Jacob Hansen (Volbeat, Epica, Amaranthe), mit einem hervorragenden Cover Artwork von Yann Souetre (Ayreon)
und Band Photos von Tim Tronckoe (Nightwish, Ghost), kehren Temperance zurück ins Zentrum der Szene, stärker als je zuvor!
Die Veröffentlichung des Albums 2018 fiel zusammen mit der Vorstellung des neuen Vocal Teams: Das Talent von Marco Pastorino wird nun verstärkt
durch die neuen Sänger Michele Guaitoli (bereits bekannt als Leadsinger von Kaledon und Overtures) und Alessia Scolletti, einer begnadeten Sängerin
und ‘Rising Star’ der italienischen Szene!










[j] Daruma's Eyes [Part I]

2024 Repress

Limited edition remastered reissue of an obsure Italian Balearic Disco song produced and arranged by Victorio Pezzolla the same man behind the project "ASSO - Don't Stop" that was a big hit during early 80s in the N.Y.C. underground clubs, regularly played by Larry Levan at Paradise Garage and by David Mancuso at Loft. The plus on this limited edition reissue is that the production is directly handled by the former producer to obtain a more accurate sound compared from the first release.

Elias Landberg, channeling the rich techno legacy of Skudge, presents "The Wind" EP on Syncrophone Records. This 3-track odyssey pays homage to Skudge's atmospheric finesse and hypnotic rhythms, showcasing Landberg's seamless blend of raw analog energy. Limited Edition: Immerse yourself in the Skudge-inspired techno experience with the exclusive golden-colored vinyl, a sonic canvas capturing the essence of the genre's pioneers. Embark on a journey through "Wander's" hypnotic beats, unravel the enigmatic "Hidden Location," and surrender to the ambient allure of the title track, "The Wind." Secure your golden vinyl copy now, and let Elias Landberg guide you through the echoes of Skudge's influential sound, inviting you into the heart of techno exploration.

Originally released in 1972, You Are the Music... We're Just the Band was recorded with producer Neil Slaven. The line-up of Glenn Hughes (Deep Purple), Mel Galley (Whitesnake), and Dave Holland (Judas Priest) recorded this album before disbanding later that year when Hughes left in 1973 to join Deep Purple. You Are the Music... We're Just the Band also featured a wide range of guest performers, including guitarist B. J. Cole, pianist Rod Argent and saxophonist Jimmy Hastings. You Are the Music... We're Just the Band has not been released on vinyl since 1978 and now has been fully remastered and comes on white, red and black twist 180-gram vinyl and beautifully repackaged (limited to 250 copies pressed – gatefold sleeve).

For fans of Deep Purple, Whitesnake, and Glenn Hughes! Trapeze was formed in 1969, the band originally featured former The Montanas members John Jones (trumpet, vocals) and Terry Rowley (keyboards), and former Finders Keepers members Glenn Hughes (bass, vocals, piano), Mel Galley (guitar, vocals) and Dave Holland (drums). Jones and Rowley left the band following the release of their self-titled debut album in 1970, with the lineup of Hughes, Galley and Holland continuing as a trio. Originally released in 1970, Medusa was recorded at Morgan Studios, and was produced by The Moody Blues bassist John Lodge. The line-up of Glenn Hughes (Deep Purple), Mel Galley (Whitesnake), and Dave Holland (Judas Priest) recorded this album and the follow up You Are the Music... We're Just the Band in 1972 before that line-up disbanded when Hughes left in 1973 to join Deep Purple. Medusa has not been released on vinyl since 1979 and now has been fully remastered and comes on amber vinyl with purple, green and black splatter - 180-gram vinyl and a beautiful gatefold sleeve (limited to 250 copies pressed).

10 Year Anniversary Vinyl Release (first time vinyl pressing of Blake Mills’ debut album). Includes Hi Res Audio Download Card & Poster Foldout. BLAKE MILLS is a Grammy-nominated songwriter, guitarist, producer, and composer based in Los Angeles. In 2010, Blake’s solo career began with this self titled critically acclaimed album released only on a limited run of CDs and digitally. It became a cult favorite over the years, with 2019 marking the first time it will be pressed on vinyl. In 2015 he produced the highly acclaimed sophomore album SOUND & COLOR for ALABAMA SHAKES. The album reached #1 on Billboard charts and was nominated for six Grammys, winning Best Alternative Album, Best Engineered Album, Best Rock Performance and Best Rock Song. Blake went on to produce the albums NO SHAPE for PERFUME GENIUS, DARKNESS AND LIGHT for JOHN LEGEND, WE’RE ALL GOING TO DIE for DAWES, and SEMPER FEMINA foR LAURA MARLING - earning him his second Producer of the Year Grammy nomination. Blake also composed original music for DAVID O’RUSSELL’S Academy Award nominated film JOY. As a session player and sideman he has worked with BECK, CASS MCCOMBS, JACKSON BROWN, LUCINDA WILLIAMS, BAND OF HORSES, FRANK OCEAN, RANDY NEWMAN and NEIL DIAMOND, among others. RICK RUBIN and T BONE BURNETT frequently call upon his services as a guitarist, and equally enamored is ERIC CLAPTON who told Rolling Stone magazine “Blake Mills is the last guitarist I heard that I thought was phenomenal

3 Monstruous Tracks Straight From the Basement Feat. One of the Original House Music Creator Ron Hardy. All the Real Djs Were Looking for Those for Years. Grab It Before It's Sold Out, We Have Very Few Copies. a Must Have. Essential Item Limited Edition No Re-Press...

The Marshall Mathers LP 2 is the eighth studio album by Grammy Award winning rapper Eminem. It was released on November 5, 2013, by Shady Records, and Interscope Records. The album serves as a sequel to his third album The Marshall Mathers LP (2000). Featuring executive production by Dr. Dre and Rick Rubin this record became an instant classic. The album also features guest appearances from Skylar Grey, Rihanna, Nate Ruess, and rapper Kendrick Lamar, among others.

The Marshall Mathers LP 2 was regarded as one of the most anticipated albums of the year. The album was revealed during the 2013 MTV Video Music Awards in August, alongside a preview of its lead single “Berzerk”. The next two singles were “Survival” and “Rap God”. “The Monster” (featuring Rihanna) was released as the album’s fourth single and reached number one on the Billboard Hot 100. The album’s fifth single “Headlights” (featuring Ruess) was released in 2014.

The Marshall Mathers LP 2 debuted at number one on the US Billboard 200, selling more than 792,000 copies in its first week. In March 2017, it was certified quadruple platinum by the Recording Industry Association of America (RIAA). It was met with positive reviews by critics, with praise directed at Eminem’s technical rapping abilities and production choices. The album was also named on multiple best album year-end lists. It won Eminem a record sixth Grammy Award for Best Rap Album at the 2015 Grammy Awards.

In celebration of this prolific album, we will be releasing a Digital Deluxe edition along with a 2CD and a limited edition 4-LP featuring 16 original tracks plus 5 bonus tracks, and 6 instrumentals.

Following on from their Fabric presents mix compilation and a busy summer of touring, including 2x sold out All Night Long shows in London - Chaos In The CBD return with 'Outdoor Limit’ to complete the 'Sirena Deep’ EP on their much loved In Dust We Trust imprint.

Sirena Deep
This classy Deep House track has a warm and deep rolling bass line and beautifully layered keys. Washed over with a stunning flute accompaniment from long-term collaborator and legendary jazz musician Nathan Haines which adds the extra magic to this outstanding production.

Outdoor Limit
On the B-side the boys deliver a slightly darker, mischievous and moody roller with ‘Outdoor Limit’ - an 8 minute journey through minimal grooves, in what feels like the perfect soundscape for getting lost in a dark room in the small hours.

New release in our limited vinyl series! Andy Vaz has been dedicated to his own label Yore Records and deep house releases for years. He is a reliable hub of good vibes and musical taste in Cologne. This can be heard internationally not only as a DJ and shop owner, but also on our limited vinyl release. 'A Collection Of Trax Vol. 1' includes new and previously released material: Let's start the release with classic deep house and a nice piano and vocals on 'Only'. Followed by a brand new track and a musical look back into the background imprint days. A well-balanced atmospheric piece - it doesn't get more minimal than this. On the flip it starts with 'Deutz Motorcity (From The D)' and a touching German intro followed by deep chords. Funky bassline, heavy drums - the final track must be an acid piece in true style.

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

We Release JAZZ is so happy to announce the fourth Bruno Spoerri release in the WRWTFWW discography, this time focusing on the Swiss legend’s unheard jazz catalogue. The pristine 6-track album Musiques Légères (1976-1982) is available as a limited edition half speed mastered biovinyl LP housed in a heavy 350gsm sleeve with superb design by Nicolas Eigenheer and the classic WRJ obi.

Swiss jazz and electronic music pioneer Bruno Spoerri unveils a treasure trove of never-before-released songs in this rare archival collection recorded between 1976 and 1982 that includes collaborations with the fabled Radio Suisse Romande-backed music ensemble GIR (Groupe Instrumental Romand) which featured the crème de la crème of Helvetic forward thinking musicians with an international reputation. The super team of instrumentalists / composers represented Swiss national radio in endeavors that spanned a vast array of music genres such a jazz, pop, experimental music, or what they referred to as “musiques légères” (light music), their very own brand of jazz and funk infused easy listening. One notable member of GIR was drummer extraordinaire Stuff Combe that We Release JAZZ collectors will know from his Stuff Combe 5 + Percussion LP.

Musique Légères (1976-1982) offers a marvelous blend of easy listening jazz, joyful synth improvisations, and soulful funk ballads, a testament to Bruno Spoerri’s multifaceted talents and ability to approach various genres while keeping his very personal and very magical touch. Among the hidden gems on the carefully curated collection is the immensely catchy "Prince Karl", an undeniable hit that truly deserves to be heard.

This is the fourth Bruno Spoerri release from WRWTFWW, following the synth heavy and galactic Voice of Taurus and The Sound of the UFOs, and the compilation of unreleased experimental tracks Rare & Unreleased 1971-1998.
Musiques Légères (1976-1982) is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

White vinyl, limited to 500 copies. Liam Cromby, known for his work as the lead singer and songwriter of We Are The Ocean until 2017, has today announced his forthcoming debut solo album What Can I Trust, If I Can't Trust True Love, due for release on December 1st 2023, also sharing the title track, available to stream/download worldwide now. "Drawing from my own experiences, this song is a testament to those early, fragile moments of a relationship_where every misstep feels like a fall and every kind gesture feels like flying," he explains. "Choosing to name the album after this song was instinctive, given that it was among the final tracks to be crafted. Even though it came later in the creative journey, it perfectly embodies the central theme of the album." Since revealing the first taste of new music in March, with the release of `Here I Am' - accompanied only by a contemplative, artful film featuring an elaborate dance between two performers - followed by `Breakdown', and last month, `At This Table', this new phase of his career is already off to an impressive start. With early airplay from BBC Introducing and Absolute Radio Country among others, an appearance at The Great Escape festival and sold-out headline shows across the country, Cromby was invited to play at the prestigious Black Deer Festival of Americana, and along with a full-band set, joined Brandy Clark, Drake White, Elles Bailey and Bella White for a Songwriter Session. Although recorded in a matter of days, the project was at least five years in the making.

Sylvain Chauveau has been releasing quiet and minimal compositions on various labels for more than two decades. ultra-minimal marks his debut for Sonic Pieces and takes the minimal approach even further, centring on reduction and limitation.

The album was recorded live at Café Oto, London in March 2022 - one of Sylvain’s rare solo concerts and the first time he performed publicly with only acoustic instruments; no machines, no recorded sounds have been used, only piano, guitar, harmonium and melodica, played one at the time. While some of the compositions are completely new, others are live versions of previously released pieces which have either been performed close to their original or stripped-down, reduced to a single instrument and partly rearranged. This reveals a predilection for repetitions and variations that Sylvain shares with Jim Jarmusch, and at the same time it is a personal attempt to avoid electronic devices as a tool for live music.

The artwork and track titles follow this reductionist idea and an aesthetic of miniaturization that Sylvain has developed for many years. They refer to the minimalist, concrete poetry that he writes regularly. In this context rewriting some of the original titles was a consistent implication to achieve a complete work, an album that perfectly represents Sonic Pieces’ aesthetics, both musically and visually.

After almost 6 years of silence since “Akelarre”, Synths Versus Me, the personal musical project of Nico Cabañas, co- founder of Oráculo Records alongside the young Italian promise India Nardone. Recorded analogically in just 2 months, fluctuates in a futuristic way between different kinds of unusual dark sub styles such as industrial noise, proto- tribal, synthpunk or krautwork, and, of course, among other dance-oriented such as EBM, new beat, synthwave, electro/breakbeat or trance. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Formed in Fullerton, CA in 1978, Social Distortion were one of the original LA punk groups and their first single was released on legendary LA punk label Posh Boy. But far more rare than that first single ("Mainliner" b/w "Playpen") is the unreleased EP Posh Boy's Little Monsters. This EP only made it to the test pressing stage back in 1981, and featured those two tracks from the first single along with "All The Answers" and "Justice For All." This is the absolute holy grail for Social Distortion fans and it's finally available in commercial form on two limited edition pressings for RSD 2019, black vinyl available worldwide and a Europe only red vinyl limited edition. Includes 2 bonus tracks.
“Of the 3 teenagers who recorded for me, one has died, another was believed to be dead and one became immensely wealthy from playing music. The one who did hard time in prison was not Mike Ness. It was the drummer Carrot, better known as John Stevenson, now living a very ordinary life in rural Florida.
I now count John as a dear friend. Apparently, he was only l6 years old when he rolled into the studio that day in April l98l, armed with a taped up pair of drumsticks. He played great as did both Mike and Dennis (RIP). This time there was no fighting in the studio over production values. I had promised Ness that we would not fight so once there was a minor disagreement over the artwork for the proposed l2", I dropped the project in favor of the Playpen/Mainliner 7" which sported iconic artwork from the band.”

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

“I like to work with a variety of instruments and set ups,” says Mark Van Hoen, sometimes known as Locust or Autocreation but here working under his own name on the excellent Plan For A Miracle, his first physical release of solo music since 2018’s Invisible Threads. ”Sometimes it’s literally in my studio, with all the hardware electronics available. Sometimes the laptop, using software instruments. Some of the tracks on this record were recorded in the desert (Joshua Tree) using a 4-track tape machine and small modular synthesiser set up. Each track was recorded in different location using different instruments, which accounts for the distinction between each piece. It’s also about my own reaction to my environment, and what’s going on in my life at the time.”

The Croydon-born Van Hoen started musical life in the early 1990s, signing for R&S records in 1993 but developing his own, myriad and distinctive style across a range of releases on Touch, Editions Mego and other labels, using a battery of instruments, including analogue synthesizers and taking a number of different approaches to recording, rather than ploughing a single sonic furrow. He has worked on a number of collaborations, including with Nick Holton and Neil Halstead of Slowdive, under the moniker of Black Hearted Brother - their Stars Are Our Home was released in 2013. “I have known Neil Halstead since 1992,” says Van Hoen. “He shared a house with me for a couple of years, and the music I was making and listening to along with clubs I was attending had an influence particularly on Pygmalion, the final Slowdive album on Creation.”

Each track on Plan For A Miracle does indeed sound like a world unto itself, a mini-environment, a weather condition, an ecosystem created for the moment. It’s a collection of tracks recorded over the past few years, released on Bandcamp - despite his apparent absence, Van Hoen works constantly. Opener “Climates”, in its exquisite limpidity, feels like a homage to Brian Eno, one of his most formative influences in his teen years, commencing with Music For Films, which he bought in 1979. “This Is For Them”, feels like a ghostlike throwback to early drum & bass or electronica, reminiscent of his own, earliest outings. “There have been a number of requests from labels to make some more music like my very early releases on R&S,” says Van Hoen. “This is part of ‘letting go’ and realising that there’s nothing less creative about going back to those styles again.”

“Pencil Of Spheres” is something else again, a magnificent, imaginary glass structure, shimmering, refracting, without visible means of suspension, a thing of impossible beauty. “Electric Lights” evokes an abandoned fairground, its lights still pulsating, its music lingering. “The Underpass”, meanwhile, insofar as it reminds of anything at all, is faintly reminiscent of Cluster or Neu’s! West German ambience, the urban mundane rendered magical, the sodium lights, the whitewashed walls. The reverberant, faintly oriental chimes of “Insight” transport us yet again, burgeoning and intensifying.

The landscapes, the skyscapes rendered on Plan For A Miracle feel unpopulated as a rule - but when he does introduce vocal elements, Van Hoen has a history of doing so to spectacular effect - think of “Real Love” from 1998’s Playing With Time, the seductive intonation of its title recurring throughout like a series of massive holograms, echoing, stuttering, breaking up, surging. Here, there are just the faintest of vocals, barely distinct, disquieting. “There’s been a bit of a game changer in recent times,” explains Van Hoen. “AI software that enables you to extract vocals and instrument parts from virtually any recording. That means sampling individual parts from existing sources is no longer limited to the original mix exposing certain parts soloed. The vocal parts I use are from multiple sources and often pitch shifted altered rhythmically and melodically.“ There’s further vocal chatter on “I Really Do”, proceeding at a faster pace as if giving chase, or being pursued - distant, enigmatic. “The Music”, meanwhile, its beat tolling, lost in its own fog of static, features a curious intonation, like the ghost of a lost Walker Brother.

Sadly, the album’s title is in reference to a personal tragedy on Van Hoen’s part - the loss of his wife. Titles such as “I Won’t Give Up”, which faintly reminds of another Eno masterpiece, Another Green World, in its nautical hurly-bury, or the pastoral strains of “Mrs Who”, heavily clouded with sadness, seem to allude to this. “In fact the record was recorded entirely before she passed away,” says Van Hoen, “most of it before she even became very ill. The title was given to the album when it started to look like she wasn’t going to make it beyond a few months. It was something Osho said - “plan for a miracle” - so it was a statement of hope. Unfortunately it was not to be.” Although the album is non-thematic, non-specific in its atmospheres, sound paintings, elegant structures it most certainly stands as a magnificent monument to Osho’s memory.

-David Stubbs.

Currently celebrating ten years of releasing music on vinyl & cassette and following hype for recent releases from Moscow (via Tallinn)’s Galun (glagol album) and Osaka's Kiji Suedo (Hosek EP & Riot album), Edinburgh's Hobbes Music label continues to mine a leftfield seam with this brand new album from singer/songwriter George Demure (Tirk, Output) aka DJ/producer George T (Greco Roman, Optimo), better known as George Thomson to his mum. And it’s another absolute peach if you have a taste for post-club sounds of a more leftfield persuasion.

This is the follow-up to his 'The Record Store' EP which came out via George's own All Noise imprint in 2021. He has also released the Roll On, King's Cross single via Hobbes Music under his George T moniker last November (plus various bits for the Paradise Palms and Ramrock labels in the interim).

“It all began with the Record Store EP in 2021,” explains George. “Limit my options. No samples, one drum machine, two analog synths (mono and poly), computer simply to record. I was so happy with the results I began with what you hear today. Same drums, same machines (or lack thereof) maybe some real percussion and melodica but hey, I only answer to me.”

Imagine, if you will, Scott Walker jamming with Kruder & Dorfmeister in a very small studio…

Bonus Album ‘Dandy In Dub’ features dubs, instrumentals and bonus tracks, with yet more regular flashes of pure brilliance. Be sure to check out opener 'After' and closer 'Blue Lou', which sound like George might well have sound-tracked some French 80s flick of the 'cinema du look' period (Betty Blue, Diva et al) in another life. Plus ‘Mr Minilogue’ with its clarinet-like synth.... Does it really get any better than this?!!

Sleeve art by the amazingly talented Bernie Reid, another local legend.

Feedback/Reviews to date:

'He's so talented!' JD TWITCH (Optimo)
'Love the LP. Sounds really together, production is awesome. I love the aesthetic. Vocal tracks sit nicely with instrumentals. Vocals sound light-hearted' THE MAGHREBAN
"On a bobbled and float-y, light sunbeam dappled vapor of deep house, garage, electro, kosmische, leftfield pop electronica, dub and new wave (both the German and UK’s), the Edinburgh DJ/producer and singer-songwriter George Thomson continues the good work he laid down on the last EP... It’s a most lovely, swimmingly blend of motivations, feels and deep grooves that effortlessly comes together in a generous offering of electronic music: the very epitome of the Hobbes label’s remit in delivering leftfield unique visions of now techno, house and club sounds." MONOLITH COCKTAIL
‘I love the album’ LEO MAS
‘Lovely stuff’ S/A/M (Music For Dreams/DK, Cafe Del Mar, Pikes, Playasol Radio and many more, Ibiza)
Plus play/s from Andy Wilson on ‘Balearia’ Ibiza Sonica Radio
+ DJ Dribbler (Pikes, Ibiza // Paradise Lost, Red Light Radio, Pure)

Desmond Dekker recorded some of his best known songs together with his backing group the Aces. Their single “007 (Shanty Town)” made him Jamaican music’s first outernational superstar, reaching the 14th place in the UK charts. The Leslie Kong produced Double Dekker was first issued in 1973 and consists of the best material Desmond recorded during his early years. In 1969 he scored a number one hit with the legendary song “Israelites”. You’ll hear how the Ska music from the mid-60s developed to the Rocksteady sound. This was “Ska” or “Blue Beat”—(or its new name for the slower tempo “Rock Steady”), and the lyrics come from the Calypso-Mento method of telling about current events in music. He was really at his prime from 1969 to 1971, and recorded classics such as “It Mek” (1969) and “You Can Get It If You Really Want” (1970), which you’ll both find on this record. Even before Bob Marley and Jimmy Cliff Jamaica already had their own international superstar, Desmond Dekker was his name.

Double Dekker is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

2024 Repress
* Following on from the success of our 'Liftin Spirit Reloaded' vinyl series, we are pleased to announce our next project in collaboration with Ram Records. 'Ram Reloaded' will be a series of limited 12" vinyl from Ram's early years, re-mastered from the original DATs and presented onto our usual, high quality, heavy weight vinyl.

* In 1994, Shimon made his first appearance in the Ram studio to create two tracks alongside Ant Miles. With additional production from Andy C, and the vocal sampled from the film ‘Predator’, Shimon’s debut track soon fell into place. Highlighting the usual precision tooled breaks, synonymous with the emerging Ram style, Ant Miles’s reversed bass line and stereo oscillating effects had an immediate impact on dancefloors throughout the UK, cementing Shimon as an artist to watch out for in the future. For the flipside to Predator, Ant Miles and Shimon went on a roller jungle vibe with haunting pads and slow time stretched vocals, creating a hypnotic trance state perfectly complimenting the A side.


Promotion across chosen internet websites and Hardcore/Jungle 12” vinyl communities.

Repress on cream and black galaxy vinyl, limited to 500 copies. PHOBOPHILIC's abrasive explorations of existentialism and the limits of human consciousness are a welcome feature of the currently thriving US death metal scene. The influence of death metal's forefathers is evident in PHOBOPHILIC's full throttle output, but their gaze is fixed firmly on the future - wherever it may take them... Since their 2016 formation PHOBOPHLIC have steadily accumulated early releases in the shape of two demos, 2019's Undimensioned Identities EP and a split release with Canada's Sedimentum, all the while honing their craft out across the North American touring circuit - featuring live stints with Gatecreeper and Mutilated respectively, as well as appearances at LDB Fest and Philadelphia Death Nexus - positioning themselves among US death metals most intriguing young acts. Across Enveloping Absurdity's runtime PHOBOPHILIC's quest for elucidation is explored in punishingly heavy fashion across tracks such as Those Which Stare Back, Nauseating Despair and Survive in Obscurity. But for all of the Midwestern group's old school death metal artisanship and lyrical angst, there is a fundamental rejection of misplaced nihilism in the form of quieter and reflective passages throughout. No better is this showcased than mid-album track Individuation's calm before the storm, which offers up Enveloping Absurdity's most contemplative moment.

"Live In Tokyo is the first live album by jazz fusion pioneers Weather Report, which was recorded and released in 1972. The recordings took place on January 13 at Shibuya Philharmonic Hall in Tokyo, Japan. It was one of five sold-out shows that they played in Japan during that month. The line-up during that time consisted of Joe Zawinul, Wayne Shorter, Miroslav Vitous, Eric Gravatt, and Dom Um Romão. All the music is encapsulated in five lengthy ""medleys"" of WR's repertoire, three of which contain elongated versions of themes from the group's eponymously titled debut album from 1971. Live In Tokyo is the first live album by jazz fusion pioneers Weather Report, which was recorded and released in 1972. The recordings took place on January 13 at Shibuya Philharmonic Hall in Tokyo, Japan. It was one of five sold-out shows that they played in Japan during that month. The line-up during that time consisted of Joe Zawinul, Wayne Shorter, Miroslav Vitous, Eric Gravatt, and Dom Um Romão. All the music is encapsulated in five lengthy ""medleys"" of WR's repertoire, three of which contain elongated versions of themes from the group's eponymously titled debut album from 1971. Live in Tokyo is available as a limited edition of 1000 individually numbered copies on purple coloured vinyl."

This is a drug record, but not in the way you might think. Chances are, if you’re reading this you’re burnt out. You’re tired, you’re stressed, you’re working. You’re surviving. So what do we do? We consume. Turning to screens, alcohol, substances and transactional relationships for a quick fix of dopamine, a little endorphin rush, a sharp boost of oxytocin. As we move along, our tolerance for all of these things rises, and our capacity to operate without them falls. We block up our neurotransmitters, and need more and more hits just to function and feel human. Put simply, it’s addiction. It’s ruining our brains, taking over our lives, but it’s all so… gratifying. Set in a not-too-distant and - crucially - not-at-all-unrealistic future, Normandie’s fourth album, ‘Dopamine’ finds the band asking and answering two unsettling questions: what if we pushed our brains and bodies far beyond their limits? And what if we already are? “The whole album is about the chase for different highs and natural chemicals: oxytocin, serotonin, dopamine, endorphins, adrenaline…” starts frontman Philip Strand. “What if dopamine had to be clinically provided because we've burned through our receptors?” “Making this album futuristic and dystopian came very naturally when we started discussing the current state of the world. We’re all on overdrive. We’re upping the stakes all the time, and everybody has a higher tolerance now for stress in a way that nobody saw coming,” he explains.

The next space probe and the third of four releases from our VA Series is currently traversing The Third Room universe en route to the new world. On board, it carries various sonic relics - timeless and fascinating, much like the vastness of space itself.

Featuring four exceptional tracks by Anastasia Kristensen & CTRLS, Jayat, Nadia Struiwigh and UFO95, this release showcases sounds from long-forgotten times in an authentic, modern context. The T3R VA Series 03 is as timeless as space and time itself, destined to explore many more worlds.
Ensure you don't miss the opportunity to order your limited copy of this part of the series and reserve a ticket for an exciting journey to a new dimension.

This is a reissue of Sea Power"s Mercury Prize nominated Do You Like Rock Music? album. The album will be expanded for this 15th anniversary reissue with radio sessions and B-sides and extensive new sleeve notes (see attached). The album will be released on CD, Double LP (Ltd. Ed. Picture Disc) & digitally. The limited-edition LP will be housed in gatefold glow in the dark sleeve with orange vinyl & a picture disc, plus extensive new sleeve notes written by Roy Wilkinson. This kaleidoscopic record encapsulates Sea Power"s true heart. "Easy, easy..." Only Sea Power could turn a football chant into art... with ease. From this bounding refrain of "No Lucifer", via the serenity of "Waving Flags", the balm-like "No Need To Cry" and the joyous "Trip Out", 2008 album Do You Like Rock Music? reflects the band"s ability to find glacial beauty in the commonplace, making soul-stirring epiphanies an everyday occurrences.

Limited to 1000 copies worldwide

Charlotte de Witte Kicks Off 2024 With a New Label and Rework of One Of Techno’s Most Iconic Tracks


January 15,2024 - Today, techno force of nature Charlotte de Witte unveils a two-part homage to an iconic era of Belgium’s underground club scene with the debut of an archival label within her KNTXT imprint and a rework of one of the most anthemic techno tracks of all time. Appropriately titled Époque, this sonic time capsule aims to simultaneously preserve and reimagine the spirit, sounds and discotheque culture of the late 90’s and early 2000’s for a new generation. As head of the label, de Witte will kick off its release on February 9 with her own spin on the Belgian techno classic, “Universal Nation” by M.I.K.E Push.



Released in 1998 and originally written by M.I.K.E. Push as a B side for a different project, “Universal Nation” quickly solidified its reputation at the turn of the century as an iconic and defining track of this era in electronic music history. Reimagined through de Witte’s high-energy lens, this rework is an ode to one of her favorite classics.

Hail the sonic mayhem as we commemorate two decades of groundbreaking beats! Bong-Ra's iconic masterpiece, 'Bikini Bandits Kill! Kill! Kill!,' is set to make its vinyl debut on Rotterdam's Redrum Recordz. This record is a genre breaking fusion of breakcore, jungle and experimental electronic sounds that define Bong-Ra's visionary work. Safe to say; a classic! With guest appearances of The Dirty Dred (Skindred / Dub War), Mike Redman (Deformer) and Lolita Storm. In homage to the album's relentless energy and fiery spirit, the 20th-anniversary edition comes in striking red double vinyl. Order now to ensure you don't miss out on this limited release.

FOR FANS OF: BOB DYLAN, JOHN FOGERTY
Bruce Springsteen ist weltweit seit Jahrzehnten äußerst populär und gilt als einer der grössten Rockstars. Allein in den USA hat er mehr als 70 Millionen Alben verkauft. Seine Songs haben meist das amerikanische Alltagsleben zum Thema. Seine zahlreichen Fans nennen ihn gerne anerkennend The
Boss. Diese limitierte Vinyl-LP beinhaltet eine umfangreiche Auswahl an Hits und Klassikern; mitgeschnitten von diversen US-Radiostationen im Jahr
1992.

Their 3rd Album and follow up to "Do Not Tailgate" from 1997 back in stock on vinyl and on a "Startracks 30 yrs anniversary" special. Limited Edition 300 copies in three color splatter vinyl.

Experience the Revival of a True Electro Classic

Welcome to the dark, immersive world of Gosub's "Night Mal'ach," now reissued and remastered by Isophlux Records. Originally released in 2007 and revered for its limited run of just 500 black labeled copies, this seminal album from the electro maestro Shad T. Scott is back, sounding fresher and more vital than ever.

About the Album:"Night Mal'ach" dives deep into the heart of electro, blending shadowy melodies with moody, brooding soundscapes. This reissue breathes new life into Gosub's iconic tracks like "Forcequit Your Love," "Fuck Satan," "Init Your Mind," and "Populated Data Cells," each meticulously remastered to captivate a new generation of listeners while honoring the purists.

After 10 years of silence, Regimen Galáctico Totalitario is the new release of the Mexican producer Dellarge, reknown as well for his experimental noise project I.N.R.I. (Indústria Nacional del Ruido Infinito). In this mini-album, Dellarge presents his vision of nowadays evolution of EBM towards a futuristic blend of breakbeat, industrial, and electro creating the perfect soundtrack for a futuristic apocalypse. Presented in a ONE-OFF, truly limited edition of 300 copies lacquered pressed on 180 gr. high-quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Limited Crystal Clear Vinyl. Warm and harmonic, this four-piece Scandinavian soul act deliver nostalgia steeped tracks with a timeless feel. Described as the bastard lovechild of Fleetwood Mac, Khruangbin, obscure Motown singles, hip-hop duo Eric B & Rakim seasoned with a bit of Stevie Wonder, Selda Bagcan, Elis Regina and Ted Gärdestad, Dina Ögon borrow across decade, country, and genre, ultimately delivering cohesive and homely retro pop from a laidback Nordic horizon. With two critically acclaimed albums under their belt and backing from the likes of Tyler The Creator, many sold out tours and and an organic growth and word of mouth build up on a global level in just two years, they are gearing up to release their third album "Orion" in February 2024.

First time on 45 for these 2 classic Lalo Schifrin title tracks from a couple classic Clint Eastwood soundtracks, Dirty Harry and Magnum force – very limited pressing.

our Flies' 45s series continues to pay tribute to the golden age of Italian film music, this time with the first 7-inch release ever of two super-groovy themes from Gianni Marchetti's soundrack to Milano: il clan dei calabresi (known in English as The Last Desperate Hours), a 1974 poliziottesco film directed by Giorgio Stegani.

"M2", on side A, is a re-versioning of a timeless classic – Quincy Jones' "Ironside" theme – where the punch of funk comes to the fore and is fused with the acid sound of early 70s Italian prog rock. This combination of jazz-funk and prog rock is found also in "M3", on side B, which weaves a tapestry of powerful horns and gently weeping guitarover a driving, funk-blues bass line.
A must-have for lovers of rare grooves and poliziottesco films! But don't wait around, it's a limited edition!

What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots, and records done with his various other bands (Dinosaur Jr., The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), well, to paraphrase Lou Reed, "J's week beats your year." What Do We Do Now began to come together during the waning days of the Pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. "When I'm writing for the band," he says, "I'm always trying to think of doing things Lou and Murph would fit into. For myself, I'm thinking more about what I can do with just an acoustic guitar, even for the leads. Of course, this time, I added full drums and electric leads, although the rhythm parts are still all acoustic. Usually, I try to do the solo stuff more simply so I can play it by myself, but I really wanted to add the drums. Once that started, everything else just fell into place. So it ended up sounding a lot more like a band record. I dunno why I did that exactly, but it's just what happened." Two guest musicians are playing this time out; Western Mass local Ken Mauri (of the B52s) plays piano on several tracks. Since J himself has some experience with keys, when asked why he needed a hired gun, he says, "Ken is great, and he plays all the keys. I tried playing some keyboards on the first Fog album, but I'm really only comfortable playing the white notes, so it's kind of limiting. laughs Nowadays, I could just turn the pitch on a mini Mellotron to play different sounds, but black keys just seem hard. For whatever reason, I just like banging on the white ones. Seems like it's harder to figure out how to stretch your fingers around the other ones." Mauri has no such qualms and plays all the keys very damn well. He sounds especially great on "I Can't Find You," where he is Jack Nitzsche to J's Neil Young, creating one of the album's loveliest tunes. The other guest musician, Matthew "Doc" Dunn, is also prominent on this track. Dunn's steel guitar manages to both widen and soften the musical edges of the music, giving it a full classicist profile. Dunn is an Ontario-based polymath who J met through Matt Valentine. After J played on Doc's great 2022 Sub Pop single, "Your Feel," he figured it was time for payback. Both Dunn and Mauri add beautifully to the songs here, helping to transform them from acoustic sketches into full-blown post-core power ballads. What Do We Do Now is the finest set of solo tunes J has yet penned, and the way they're presented is just about perfect. Asked if he would be touring to support the album, J says he'll be doing some weekend dates, but he probably won't be putting a band together. And I'm sure these songs will sound great solo and acoustic, but the arrangements on this album are truly great and put a cool, different spin on Mascis' instantly Recognizable approach to making music. So, what do we do now? Not sure. But apparently, what J does is to make one of his most killer records ever. Hats off to him. - Byron Coley

What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots, and records done with his various other bands (Dinosaur Jr., The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), well, to paraphrase Lou Reed, "J's week beats your year." What Do We Do Now began to come together during the waning days of the Pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. "When I'm writing for the band," he says, "I'm always trying to think of doing things Lou and Murph would fit into. For myself, I'm thinking more about what I can do with just an acoustic guitar, even for the leads. Of course, this time, I added full drums and electric leads, although the rhythm parts are still all acoustic. Usually, I try to do the solo stuff more simply so I can play it by myself, but I really wanted to add the drums. Once that started, everything else just fell into place. So it ended up sounding a lot more like a band record. I dunno why I did that exactly, but it's just what happened." Two guest musicians are playing this time out; Western Mass local Ken Mauri (of the B52s) plays piano on several tracks. Since J himself has some experience with keys, when asked why he needed a hired gun, he says, "Ken is great, and he plays all the keys. I tried playing some keyboards on the first Fog album, but I'm really only comfortable playing the white notes, so it's kind of limiting. laughs Nowadays, I could just turn the pitch on a mini Mellotron to play different sounds, but black keys just seem hard. For whatever reason, I just like banging on the white ones. Seems like it's harder to figure out how to stretch your fingers around the other ones." Mauri has no such qualms and plays all the keys very damn well. He sounds especially great on "I Can't Find You," where he is Jack Nitzsche to J's Neil Young, creating one of the album's loveliest tunes. The other guest musician, Matthew "Doc" Dunn, is also prominent on this track. Dunn's steel guitar manages to both widen and soften the musical edges of the music, giving it a full classicist profile. Dunn is an Ontario-based polymath who J met through Matt Valentine. After J played on Doc's great 2022 Sub Pop single, "Your Feel," he figured it was time for payback. Both Dunn and Mauri add beautifully to the songs here, helping to transform them from acoustic sketches into full-blown post-core power ballads. What Do We Do Now is the finest set of solo tunes J has yet penned, and the way they're presented is just about perfect. Asked if he would be touring to support the album, J says he'll be doing some weekend dates, but he probably won't be putting a band together. And I'm sure these songs will sound great solo and acoustic, but the arrangements on this album are truly great and put a cool, different spin on Mascis' instantly Recognizable approach to making music. So, what do we do now? Not sure. But apparently, what J does is to make one of his most killer records ever. Hats off to him. - Byron Coley

The Sex featuring members of Mercenary God and No Suicide. A mixture of different elements with a rock substrate for an uncategorized result. Another Post-Punk gem from the 80's Italian North-Eastern scene.

My adventure buddies? The silent, enigmatic Patti, former singer of the mysterious No Suicide, and the young, faithful Chris, a passionate Police fan, we met on the battlefield and he immediately became my brother. For him, learning to play the bass was a way to get close to Sting, in other words, just one step below Paradise. Patti instead played keyboards as an extension of her mysterious and glacial presence, so still and distant that the audience sometimes wondered if she was real. And then there was my fixation for the drum machine, a futuristic device which could transform the drumming sweat into an invisible, yet physical, dreamlike pulsation. A particular combination of characters and a special astral conjunction, that’s what you need to get a nucleus source of sonic emotions, and in some ways this is what we were. You could clearly feel it during the concerts. When at the end of ‘81 My Mercenary God lost their drummer and had to disband, I felt clearly that the music had already changed.

Our old 70’s rock ‘n’ roll sound was no longer representative of the day. We were like some sort of yesterday’s newspaper. Thus I Sex was born (later The Sex). According to Freudian thought that sees sexual instinct as the driving force behind every (creative or destructive) human act. And in fact we immediately started creating, destroying, assembling and deconstructing our sound. Suddenly “tomorrow became now”. It was an outburst of creative independence in the form of homemade cassettes put together with makeshift tools, at least until the arrival of the legendary 4 track recorder. I was 19 years old, Chris was only 17. Nothing more than kids after all. Yet we were already veterans, veterans of a lost war. Wise, naive, disillusioned dreamers, everything and the opposite of everything. But, above all, we were totally devoted to our creative delirium up to the point of losing touch with reality, crossing limits, breaking down barriers and almost bordering on madness. Perhaps we were just too involved, especially if in relationship with what we could receive in return. We always spread our energies as if there was no future. We unconsciously felt that we had to live in the moment, now or never, and in retrospect it really was like that, and this is why these songs exist now. Songs created with the intent to tell an inner universe that is, now as then, far from any convention.

White vinyl, limited to 650 copies. The album title hangs heavy throughout the duration of the songs themselves, a weight around the neck of its creators. Inspired by a tumultuous time for vocalist Seb Alvarez, the album is an uncomfortable listen as he grapples with then-undiagnosed bi-polar and unchecked addiction issues. Whilst the themes of shame, deception and trauma are not new to meth., they have previously been dressed up with a fictional veneer. This time around, Alvarez lays his vulnerabilities bare, offering up the darkest parts of himself. The oppressive burden of shame, galvanised by behaviours rooted in addiction and mental illness seeps into the anxiety-inducing atmosphere of the album. Alvarez chronicles the differing types of shame and rock bottom feelings from Catholic guilt instilled in him from a young age, through to the more recent deceptions of concealing the effects of alcoholism. As he details his constant internal battles and downward spirals, everything is channelled into the creative process. The result is stark, unyielding and raw. For the first time, the band wrote as a unit, indicating a shift in focus. Alvarez focussed on the lyrical and thematic elements of the album and created more room for his bandmates to thrive. The ominous sound of SHAME is littered with experimental flourishes, as meth. lean into noise rock and metal simultaneously. There is an industrial bleakness to the album that propels it along, at some points as though through gritted teeth. Operating under a remit that included avoiding a reliance on riffs, meth. instead let rhythm - specifically their drums - carry the weight and forward motion of their compositions. Recorded in winter 2022-23 by Zack Farrer at Rose Raft in New Douglas, IL, the album was later mixed and mastered by Colin Marston.

Fabled jazz-rock group Soft Machine present this heartfelt tribute to one of the greats of British jazz - trumpeter Harry Beckett - covering his stunning “The Dew at Dawn” on this limited edition 7” vinyl, with a cover of a classic Softs tune on the B side.

This is the second 7” in My Only Desire Records’ Brit Jazz 45s series, which sees some of their favourite contemporary jazz acts each making brand new studio recordings of two classic compositions from the golden era of ‘60s and ‘70s British jazz.

Now led by guitar master John Etheridge, an original Soft Machine member since the mid-‘70s and Canterbury scene veteran saxophonist Theo Travis, the band has undergone some recent lineup changes with bassist Fred Thelonious Baker (a former Harry Beckett bandmate) joining for 2023’s ‘Other Doors’ album. This is also the first recording with drummer Asaf Sirkis, who has replaced the late British jazz legend John Marshall.

Etheridge and Travis’ unique arrangement has upped the tempo of the “The Dew at Dawn” (originally released on Ogun Records in 1975) pushing the Caribbean-infused groove to the fore. Beckett’s joyful theme - first played on Etheridge’s guitar and then picked up by Travis’ mesmeric soprano saxophone - evokes the sun rising over the misty Hackney marshes and the hope of a better future. The track is underpinned by Baker’s nimble bass guitar and Sirkis’ scattering drums, with Etheridge’s superb soloing honed over a stellar five-decade career.

The Hunger Games: The Ballad of Songbirds & Snakes is the highly anticipated new film in The Hunger Games movie franchise and is based on the 2020 same-titled novel by Suzanne Collins. This 2023 movie is the fifth installment and serves as a prequel, as the story is set 64 years before the events of the first movie. Its plot follows the events that eventually lead a young Coriolanus Snow on the path to becoming the tyrannical leader of Panem.

The music from the previous films went viral, especially with “The Hanging Tree” sung by Jennifer Lawrence and composed by James Newton Howard. Howard makes his return to the franchise after scoring the original four films. Featured throughout the album's 40 tracks is global superstar pianist Yuja Wang.

The vinyl edition of The Hunger Games: The Ballad of Songbirds and Snakes contains 37 orchestral tracks by James Newton Howard and 3 piano solo tracks by Yuja Wang composed by Howard. It's limited to 1000 individually numbered copies on red coloured vinyl, housed in a gatefold sleeve and includes a 4-page booklet with movie stills.

NERDS! Unless you were head cheerleader or captain of the football team, watching this film was a rite of passage (and indeed, sweet revenge) for any ‘80s high schooler or college matriculator; in fact, Revenge of the Nerds was such a classic that it spawned three sequels. But none of them compare to the 1984 original, which substituted the socially challenged “I.T. guy” for the slobs of Animal House in its classic underdog story complete with nerd gets girl happy ending. Along the way it offers something to offend just about everyone, especially in today’s “woke” climate, but one thing about the movie has stood the test of time: its killer new wave soundtrack! “One Foot in Front of the Other” by Bone Symphony—produced by Giorgio Moroder protégé Richie Zito—might be the highlight, but “Are You Ready for the Sex Girls” by Gleaming Spires and “Right Time for Love” by Pat Robinson & Jill Michaels have their share of devotees. And any soundtrack with two tracks by The Rubinoos is just fine in our book! For this 40th anniversary reissue, we at Real Gone Music have pressed up 500 copies in limited edition “lemonade swirl” vinyl (sans alcohol, of course)... gentlemen, start your turntables (and your slide rules)!