Search:the moon

African-born, Baltimore-based experimental hip-hop producer Infinity Knives joins PhantomLimb for the release of his unique debut album Dear, Sudan, a vibrant and polymathic labyrinth of moods and colours.

Infinity Knives - aka producer and musician Tariq Ravelomanana - moved from Tanzania (via Kenya, South Africa and Madagascar) to Baltimore with his family as a teenager, soaking up the raw,vociferous hip hop culture around him, devouring Western classical music, and embedding himself with the city’s verdant music scene. This unique combination of life experiences and contrasting strands of musical education empowered and enabled him to create his Infinity Knives guise, allowing us a window into his singular energy with Dear, Sudan.

​Tariq writes “Music has always been my medium. Since I was a child living in Tanzania, music has been my babysitter. The one central idea I kept dwelling on was that all humans experience sorrow, but despite the fact that it's universal, we still experience it as if we were alone.”

Appropriately, Infinity Knives casts a wide and thrilling net. Dear, Sudan runs like a masterful showreel of deftly balanced disparate elements, a late night channel-hopping between multiple, vital, powerful musics. Tariq himself offers “experimental, drone, hip hop, leftfield minimalism, neo-classical and Baltimore” as his key styles. “I wanted Dear, Sudan to be a record of the things that I enjoy, the things that keep me coming back to this life and I wanted it to be in the language I understand the most. I hope that this album can be a companion to those in need.”

NOTON signs Italian-born, Bern-based sound-artist and producer Saele Valese.
In ‘IVIC’, his debut LP, Saele Valese, distills hauntological noise, droning tonal experiments and minimalist rhythms into a series of electro-acoustic-wave ventures written over five years in Berlin, Saas-Fee and Thun.
Drawing influences from the psychoacoustic properties of the live album format, IVIC’s 11 tracks were mixed and recorded live on DAT cassettes and through DAW experimentation, without the possibility to revise the final recordings. Valese adopted this approach to conceptually propose reconciliations between the irreversibility of the
past, and acceptance of its residuals in the present. The track titles themselves follow this pathos, citing the works of the American photographer Francesca Woodman and the poet Sylvia Plath. The inclusion of passages incorporating live sonics and throes of industrialismnso,ton.info contributes to the images of gravity, intimacy and spatiality that the music presented here invokes.
In keeping with this imagery, the music possesses a dilated, shuffling rhythmic base, much like the firm traversal of a tanker against a storm of jangling components, and still moments of gloomy sonics
alternating with more ravenous upheavals of power electronics.
If the track divisions do not pass by unheeded, they are consistently assembled to sonically accompaign the emotional charges and momentum of an imaginary cinematic experience; the beats caves in
for instants of relief, only to recoil in a cognated tempo but rearranged structurally. In another gesture of cogitated stride, the portentous waves of the record progressively rage into a turmoil in its third quarter during 'Horse The Color Of Rust'. The album reaches its closure fluctuating through microtonal oscillations to slowly eclipse into silence.
´In Your Rosary ì and Yì ou Cannot See Me From Where I Look At Myself ì were previously released on vinyl via Saele Valese’s own imprint, JSMË.
The track ‘You Cannot See Me From Where I Look At Myself’ 4 - is dedicated to the memory of Marco Bacher.
Artwork designed by Carsten Nicolai. Mastering by Matt Colton (Metropolis Studios, London).

DeWolff return with their new album, Wolffpack, released on 5th February 2021 via Mascot Records.

DeWolff, the kaleidoscopic warriors were not long into their 2019 Tascam Tapes European Tour when the Covid19 pandemic broke and they, like so many others, had to turn back and head home. They started working on the new album Wolffpack.

The album kicks off with the first song they finished, the soulful psychedelic funk of "Yes You Do," featuring Ian Peres and longtime friend of the band, Judy Blank. "We wrote it in a Zoom meeting!" Pablo says. "Treasure City Moonchild," struts in with a funky swagger and Piso's trademark swirling Hammond, with Dawn Brothers' Levis Vis providing some Bass juice. "Do Me," includes Theo Lawrence on vocals and is through the eyes of an anti-hero who realizes he isn't worthy of the woman of his dreams, and dates back to 2019 and the Next of Kin live show. "I consider this the best song I ever wrote, so I couldn't stand the idea that it was only used for those Next of Kin shows and then never again! That's why I brought it to DeWolff, but it needed some rearranging," he says. Another song from the Next of Kin sessions was "Sweet Loretta" and features Dawn Brothers' Stefan Wolfs and Darilyn's Diwa Meijman. "Loretta is the protagonist's childhood sweetheart. She has a rich dad, but he's really conservative, and so she can only inherit his money if she marries a man. But she's lesbian. So, the protagonist, who's also out for this old guy's money, suggests they play pretend and marry so they can split the money."

They sweep through disco on "Half Your Love," swamp rock on "Bona Fide" and take on sci-fi and the Old Testament on "RU My Savior." Their tour buddies The Grand East show up on "Roll Up the Rise." Written in the first days of quarantine, it's about the end of the quarantine - told from a future perspective. "Lady J," came after Pablo watched the documentary "13th." "I was quite shaken up by it," he admits. "The lyrics are based on the idea that Lady Justice seems to have a scale that doesn't measure the "weight" of your crime but the tone of your skin. She is supposed to be blindfolded, but the people who act in "her" name aren't blind at all: they discriminate between white and black."

The album ends with the forlorn "Hope Train." Based on the Pulitzer prize-winning novel by Colson Whitehead about two slaves in the US during the 19th century, who make a bid for freedom from their Georgia plantation. "I found it really hard to envision the world in which it takes place," he says. The band used a 1970s Fisher-Price Toy cassette recorder in the intro, "We wanted to see if we could somehow approach the sound of those very early country blues recordings, like the ones by Blind Willie Johnson.”

**400 ONLY REPRESS PHOTOLUMINESCENT COLOUR VINYL///!! 200 FOR EUROPE** “I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, ‘Ah!-(etc)’ made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose’ it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something” And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein… after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for “one-man-band-home-recording-pop-songs of idiosyncratic character.” A quick follow up to his more power pop and pub rock LP only “Hard Feelings” offering in the summer, “Ah-(etc)” finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60’s and 80’s.

As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along… Stoltz former bandmate, Echo & the Bunnymen’s Will Sergeant adds electric guitar to “The Quiet Ones” a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover “Moon Shy”, where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF’s Dirty Ghosts sings on “She Like Noise”, a song Stoltz wrote for her in celebration of her love of seeing live bands.

The album was mastered by Mikey Young in Australia.

Talking about the foundation of Jamaican music, the Alpha Boys School in Kingston can be considered as one of the places where it all began! Back in the day, under the direction of Sister Mary Ignatius, the school was the place where young boys from the poor neighborhoods in Kingston could embrace an instrument (mostly brass and drums). Then history tells us that some of these kids became among the most influential musicians in the history of Jamaican Jazz, Ska, and Reggae. Joe Harriott, Dizzy Reece, Tommy McCook, Don Drummond, Cedric Brooks, Rico Rodriguez, Johnny Osbourne, Leroy Smart and Yellowman are just some of the fruits of such a great community art project. Now this compilation contains some rare gems produced between 1959 and 1962 by Jamaican Jazz heavyweights such as Tommy Mc Cook, Don Drummond, Ernest Rangling, Lennie Hiibert, Cecil Lloyd and others. This is highly swinging music inspired by the Black American tradition with a unique and inevitable Caribbean flavour. Don't miss it!!!

Craft Recordings is pleased to reissue four classic, remastered titles from legendary jazz artist Chet Baker. Set for release on March 5th and available for pre-order now, the albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside—all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe. The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. Each title will also be available on March 5th across digital platforms in hi-res 192/24 and 96/24 formats.

After the heaviest of years, it should be time to take a little weight off with the playful sounds of The Person. Mapping its own Bermuda Triangle between dub-pop, sugary synthwave and Balearic boogie, ‘Tide Life’ transports Compass Point to Soggy Bottom, providing maximum fun, sun and bitmap escapism.

The eagle-eared may recognise The Person from the aspirational Italo-rockers Steaming Jeans, whose chalet-ready romp on Bordello A Parigi scored a Winter Olympic gold back in early 2020. Now left to her own devices, Minna Wight swaps the slopes for a jet ski and takes a Wave Race from Summer Bay to Monkey Island across 11 cuts of vintage oddball pop.

Whether she’s borrowing Brenda’s Beach Balls for the dubby daydream of ‘Snail Cafe’ and ‘The Place’, serving lost library cues to SNES club scenes on ‘Barry R Reef’ and ‘Elastic Shoes’ or spinning high school slow jams into synth soul ballads like ‘Nice Feeling’, Minna disguises serious musicianship behind a naive aesthetic. Disarmed by charm, we’re powerless to resist her tidal pull.
Patrick Ryder

Krijn Moons aka Alchi emerges as a new voice in instrumental electronic music with his debut 'Full of It' released with Mylja.
Inspired by artists such as Nicolás Jaar, Boards of Canada, Sigur Rós and James Holden, Alchi produces and performs music that is rooted in experiment rather than a single genre, flowing between and weaving through alternative dance, instrumental electronic postrock and neoclassical influences. Playing with imperfections and disarray, Alchi’s work honours emotional ambiguity, cultivating a sound that can be equally euphoric as it can be melancholic, a feeling that words cannot - and do not have to - articulate.
This is also the approach to composition and production for ‘Full of It’, Alchi explains. “More than the sum of its parts, the sound of a song creates a space that it starts to exist in, an intangible context shaped by the details that come from zoomed-in sound design and
production or even working with old or broken instruments. At a certain point, in this space that feels somewhat unknown and familiar at the same time, everything comes to life.”
Within this ambiguity, Alchi finds a place to liberate himself from instrumental boundaries, creating landscapes that value coincidence, playful sound choices and a little bit of chaos.
'Full of It' portrays an uncommon kind of music that, in its abstraction, layers and linear structures, will balance both the familiar and the surreal.

THESE BOOTS ARE MADE FOR WALKING 1970

Issued on 7" vinyl for the first time, this is a licensed release of the song extracted from the "Skinhead Moonstomp" LP on Trojan Records in 1970, 50 years ago.

This is a cracking Boss Reggae cover of Nancy Sinatra's mega hit and a huge early Reggae anthem.

Incredibly this very much in demand song has never been released on 7" vinyl up to now!

THAT IS NICE 1971 - That is Nice has only been available on the "Skinhead Moonstomp" Special Edition CD.

This is a Symarip original and it is the complete opposite of "These Boots Are Made For Walking".

Here the gritty voice of Roy Ellis serves admirably the sad, pensive melody and simple lyrics of this melancholic love ballad. Simply beautiful.

A very rare gem and a perfect finish to this outstanding double sider single.

[c] A3. Mr Raffles (Man, It Was Mean) [2014 Remastered Version]


[f] B1. Make Me Smile (Come Up And See Me) [2014 Remastered Version]



[j] C1. Make Me Smile (Come Up And See Me) [Rough Mix] /



[n] D1. The Mad, Mad Moonlight (Live At Hammersmith Odeon, London, 14th April 1975) [2014 Remastered Version]

It was 1977, there may well have been “knives in West 11”, but at a student’s hall of residence in Leicester, a packed room of cross legged intellectuals were about to witness the debut of The Disco Zombies; Andy Ross on vocals and guitar, Geoff Dodimead on bass, Johnny ‘Guitar’ Hawkins on guitar and Andy Fullerton on drums. They were loud, fast and they had some witty one-liners.
The four-piece became five with the addition of Dave Henderson from The Blazers, a chirpy power pop punk quintet, who were part of a burgeoning scene in the city that included The Foamettes, Dead Fly Syndrome, Wendy Tunes, The RTRs, Robin Banks And The Payrolls and many more. Wine bars, canteens and bowling alleys in pubs were the home of this phenomenon until Subway Sect and The Lou’s arrived for The Great Unknown Tour. They needed a local band for support and the Disco Zombies obliged.
Record Shop owner - and now Mayor Of Mablethorpe - Carl Tebbutt was keen to ride the punk rollercoaster and decided to launch Uptwon Records with a Disco Zombies EP. Recorded in Chester in one four hour session, it included The Blazers’ ‘Top Of The Pops’ and Andy’s ‘Time Will Tell’, ‘Punk A Go Go’ and ‘Disco Zombies’.
Carl had done a deal with a one-stop music production company who went bust almost immediately and the record was shelved. Unperturbed the band pressed on and recorded a session at the local radio station, ‘TV Screen Existence’ being the only track that survived. A tour of Leicester – five pubs in five days – was the end of that era and the band without Johnny ‘Guitar’ who had another year to do at Uni, relocated to London taking with them The Foamettes’ guitarist Steve Gerrard who wisely returned to Leicester and become part of The Bomb Party. Steve was replaced by Mark Sutherland in what was to become the recognised line up of The Disco Zombies for several years, playing lots of London gigs from The Hope And Anchor to The Moonlight Club, North London Poly to the Scala.
By 1978, there was an eruption of small DIY indie labels and Andy Ross launched South Circular Records to release the band’s debut single, ‘Drums Over London’ - an ironic stab at people’s hostility to the arrival of other cultures, a piss-take of Spear And Jackson-wielding Tory attitudes. John Peel played it regularly until Rock Against Racism complained even though Peel explained that it was actually supporting their views. Ho hum. South Circular wasn’t to last but Dave Henderson launched Dining Out. Dave and Andy journeyed to Ipswich to record the debut EP from the Peel-approved Adicts, the plan being to follow it with a Disco Zombies’ single and regain momentum. ‘Here Comes The Buts’ was the second Dining Out release, featuring the breakthrough Dr Boss drum machine; it was greeted with great enthusiasm in some quarters, although strangely it was likened to The Cramps meets Neil Young in NME.
Dining Out was always just one step ahead of going out of business and even though the follow up had been recorded - ‘The Year Of The Sex Olympics’, backed with ‘Target Practice’ and ‘New Scars’ – it never saw the light of day as the money finally ran out.
Somehow, Dining Out had a second lease of life and Andy wanted to record a new track for a new release amid 45s from The Sinatras, New Age and Spit Like Paint. By now, the Zombies had been through their dark post punk phase and ‘Where Have You Been Lately Tony Hateley’ was a clever upbeat anthem which told the tale of the nomadic footballer. The test pressing gained many Peel minutes but by the time it was ready to release, the band had finally split up. It eventually saw the light of day on the Cordelia label’s ‘Obscure Independent Classics’ album. Very fitting.
So, it was 1980: Mark Sutherland opened a studio in Bow, Dod got a day job, Andy Fullerton already had one. Andy and Dave went a bit experimental in Club Tango; Andy eventually discovering Blur for Food which he started with The Teardrop Explodes’ David Balfe, while Dave flirted with Worldbackwards.
In 2011, the drum machine line up descended on Mark’s studio, rehearsing for a show at the Bull And Gate. They recorded two of their lengthier tracks – ‘Night Of The Big Heat’ and ‘LHO’ powered by a waning Dr Rhythm – these were pressed as an extremely limited edition ten-inch. A few years later Andy Fullerton returned to the fold recording three more originals ‘Hit’, ‘Lenin’s Tomb’ and ‘Paint It Red’ for an even more limited edition ten-inch in 2018 and a show in October that year at The Dublin Castle.
Since then, meandering lunchtime discussions in restaurants that were popular in the ‘70s (Joe Allen, Café De Pacifico, etc) have led to arguments about the lost tracks – ‘Man From UNCLE’, ‘I Need You Like I Need VD’, ‘Throwaway Line’, ‘I Thought You Were Only Joking’, ‘London Nights’, ‘Cosmetics For China’, ‘When Doo Wop Hit Hampstead’. It’s only a matter of time. Until then.....

BLACK vinyl with deluxe origami fold out sleeve & obi strip & DL Card. CD Wallet. The third album from Dutch punk-laced noiseniks adds new maturity and a conceptual feel that pulls the extremes of their sound together. A psyche-fuelled journey into the id punctuated with rhythmic kabuki modal mood swings, thunderstorms, digital beeps, traffic noise, and just plain old beautiful cacophonous reverb-drenched sound when needed. The 'third chapter' refers to the last five years that the Dutch band have spent creating their "difficult" third album. Each song spins a yarn; there are plagues, dreams, wind and fire, 'mythical' characters, and the search for the secret government warehouse. Lead single, Tokyo Music Experience, resonates with a conveyor belt-propelled modal guitar, reflecting the halcyon days of Japanese super-productivity; a mesmerising mantra, infected with news bulletin on-the-hour bleeps underlining its time-sensitive nature; a pristine super-commercial anthem to drive loyalty and reinforce solidarity with the party! Having been described as creating "underground noise with a bracing, warped pop appeal" (Mojo), their new album is a coming-of-age post-classic with a unique worldview - inspired by Van Dyke Parks (Song Cycle) Scott Walker (3 & 4), Moondog (Elpmas), White Noise (An Electric Storm) and Beach Boys (Smile). If their previous effort (Tape Hiss) was their very own sketch of a sketch for an incomplete concept album, a noisy reaction to their previous life, then 'Excerpts From Chapter 3..', with all its interlaced intricacies, is the realisation of their transition from punk-spiked-pop to psyche-pop protagonists. Evolving, testing, infectious...

To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.



But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.



Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere. - Ryan Muldoon

THERION have always been a band that have challenged themselves to explore new paths, while remaining true to their musical core values. For their 17th studio album, mastermind Christofer Johnsson and his collaborator Thomas Vikström have created something that has been previously unthinkable to the guitarist and the singer. "We have done the only thing that was left of all the different angles to explore", explains Christofer. "We have decided to give the people what they kept asking for. 'Leviathan' is the first album that we have deliberately packed with THERION hit songs."

True to the Swede's words, the album opens with the catchy and swift tune 'The Leaf Of The Oak Of Far' featuring female and male antiphonal singing as well as a choir that seems to have evolved straight out of THERION's breakthrough full-length "Theli" (1996). This is immediately followed by the obvious highlight 'Tuonela', in which Christofer cleverly underscores this hit-track's Finnish vibe by employing NIGHTWISH’s "metal voice" Marko Hietala. Next up in this parade of future fan-favourites is the title track 'Leviathan' that offers classic THERION material with operatic female vocals and a massive choir.

Christofer Johnsson's passion for classic voices, choirs, and orchestral elements as well as his penchant for epic melodies in combination with rock and metal shines clearly through the following sing-along ballad 'Die Wellen Der Zeit', which indicates another nod to German romantic composer Richard Wagner. "Ever since 'Theli', Wagner has been and will always be at the core of THERION", emphasises Christofer. "When we started to combine metal and opera, it was something new and original. Today, symphonic metal has long been a firmly established genre."

When THERION came into being in 1988 by changing name from the already existing band BLITZKRIEG, which was founded a year earlier, Christofer had rather taken inspiration from SLAYER's "Reign In Blood" among other classic metal albums. At the beginning, the Swedes were firmly rooted in death metal, a genre which they helped to define, as witnessed by their debut album "Of Darkness...." (1991). Yet even back then, there were hints of "something else" lurking beneath the rough surface.

The use of female vocals is another core ingredient of THERION today, which developed gradually. CELTIC FROST had basically introduced the female element to extreme metal on "To Mega Therion" in 1985. THERION began with both a female and male vocalist emulating a church like choir already in their sophomore full-length 'Beyond Sanctorum' (1992). With Symphony "Masses: Ho Drakon Ho Megas" (1993) and "Lepaca Kliffoth" (1995), Christofer continued to developed his trademark sound by gradually drifting towards cleaner vocals and more keyboards. With "Theli", the Swedes had firmly established a reputation of pushing the boundaries of metal in the 90s – among such acts as their compatriots TIAMAT, THE GATHERING, and MOONSPELL that were often referred to as "gothic metal" at the time.
THERION continued to break new ground leaving inspiration for others to follow in their wake: On "A'arab Zaraq - Lucid Dreaming" (1997), Christofer further explored the use of Near Eastern music in metal which he had already begun in 1992, while "Secret Of The Runes" (2001) dared to have Swedish lyrics in some songs. While critics were left confused and fans challenged, THERION were often ahead of their times and vindicated in hindsight. Even the band's 25th anniversary excursion "Les Fleurs Du Mal" has by now overcome the initial shock the album caused and is only beaten in terms of streaming by the classic "Vovin" (1998).
When Christofer faced the question of where to go next after the dramatic "Beloved Antichrist" (2018) had finally fulfilled his musical mission, his answer is "Leviathan" named after a giant sea monster from Judeo-Christian myth that has roots in Babylonic lore: THERION have created a giant hit album – and for the first time in the history of the Swedes, their fans are not asked to explore something new, but simply to lean back and enjoy the best from their band!

‘A Mind of Your Own’ is the debut release from The Bright Siders, the duo of acclaimed songwriter and musician Kristin Andreassen and NYC child psychiatrist Kari Groff, MD. Brimming with uplifting and empowering songs, the album invites its listeners to think deeply on feelings and emotions that come with growing up, while focusing on resilience and mindset.
Along with a slew of all-star guests including Ed Helms, The War and Treaty, Oh Pep!, The Hokes (a.k.a. Punch Brothers), Gaby Moreno, and more, The Bright Siders bring profound sensitivity and vivacity to songs about friendship, bullying, anger, acceptance of others, and coping with sadness and change.
This music is sure to spark meaningful conversations and bring families closer as they explore the beauty and complexity of their emotional lives together.

The Begotten is the brainchild of Jürgen De Blonde (Köhn/de portables) and Brecht Ameel (Razen), who initially performed a number of shows and released a CS under the moniker 'Kohier' - gleefully referencing the absurdity of Belgian tax systems and institutions.

On their debut LP "Temidden Laaghangende Wolken" they are joined by percussionist and improv-veteran Dirk Wachtelaer (Pablo's Eye/Vanishing Pictures), who locked with De Blonde and Ameel's post-reality continuum during a recording session at Les Ateliers Claus in Brussels. In this new trio format, The Begotten weaves a stripped-down set of after-hours, trancey observations on keys, baritone guitar and drums. Neon-lit bars are named Le Kheops or 60 Moons, streets are soaked in sheets of rain, people are staring at tax sheets and comets pass by unnoticed. Dub with tears; "Temidden Laaghangende Wolken" is the perfect backdrop of a strongly medicated game of Manillen during a 'Derrick' rerun.

Switch is the tenth studio album by Dutch rock band Golden Earring, released in 1975 as the follow-up of the band’s international breakthrough album Moontan. Switch actually marked a switch for Golden Earring, as it was more influenced by funk and prog than any of the band’s previous or subsequent releases. Lead single “Kill Me (Ce Soir)” perfectly demonstrates how Golden Earring experimented with a new sound. This reissue comes with a 4 page insert. Switch is available as a limited edition of 1500 individually numbered copies on transparent blue vinyl.

This reissue of ‘Louis Armstrong Meets Oscar Peterson’ includes 4 bonus tracks, also recorded in 1957 and produced by Norman Granz and the LP has 2 bonus tracks.
With Armstrong on both vocals and trumpet and Peterson on piano are guitarist Herb Ellis, bassist Ray Brown and drummer Louie Bellson. The-20 page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz
Magazine.

Tape / Cassette
Russian producer Requiem debuts on Sound+Matter with a four-track EP of raw and demonic electronic cuts. Hard-hitting from start to end, all tracks have been born and raised in a blood bath of influences ranging from witch house to blackened vaporwave and nasty trap. Requiem grabs you by the throat with his menacing wall of synths, thick atmospheric textures, slashing hi-hats and teeth grinding drums. Itʼs not until the closing track Exhale that you are actually allowed to breathe.

Tibor Szemző returns with a new album, based on the music for his film about historic figure Alexander Csoma.

Tibor Szemző is a Hungarian composer, performer, media artist. Recently his album Snapshots From The Island (1987) gained renewed interest. Over the years Tibor Szemzo continued composing classical / electronic works. His pieces often include spoken texts, film and other media. He creates installations and composes music for his own and others’ films.

Csoma, his new album, is based on the music for this film about Alexander Csoma. Alexander set up to research the origin of the Hungarians 200 years ago. During his student years, before he enrolled in college, he and two fellow students vowed to go to Central Asia to discover the origins of their nation. In the first thirty-five years of his life, he spent his humble pilgrimage in Asia traveling and studying with Buddhist priests in Tibet in isolation, and devoted the remaining eleven years of his life to publishing some of the material he had collected in India.

Now on the 200th anniversary, Szemző’s Cinematic Opera wishes to pay tribute to Alexandar Csoma. Over the course of two vinyl sides classical and acoustic instruments are mixed with angelic voices, spoken word in German, Hungarian & English. Sounding like vintage Tibor Szemzo compositions, vividly performed by the Gordian Knot Company and the Voces Aequales Ensemble.

The sought after track "THE UNDERTAKER" is next on BOO MOONMAN RECORDS. Originally released on RELIEF, the DAT recordings of "THE UNDERTAKER","LAST CALL", "KICKIN'" & "FEEL THE DRIVE" have been newly recorded! All feature BOO'S signature swing & uptempo vibes.

Remastered by Bob Weston, ‘Mountains’ comes back to us as a gold foil-embossed gatefold double LP and includes the previously unreleased original takes of ‘Return to Pirates’, ‘Poison Moon’ and ‘Killed by the Telephone’, which were delivered along with the original master tapes 20 years ago but were omitted from the final album.

The record is completed by a newly recorded orchestral version of ‘Valley of One Thousand Perfumes’ produced by composer Joe Wong (Russian Doll, Midnight Gospel) and mixed by Dave Fridmann.

At the turn of the Century, Timony (Ex Hex, Wild Flag, Hammered Hulls) was already a celebrated presence in American underground music - a fixture of D.C. and Boston rock ’n’ roll via her work in Autoclave and Helium respectively. By 1998, though, Helium was drawing to a close and Timony was feeling uncertain about the future. “I had never been good at the rock ‘n’ roll business, and making a living from being in a band just didn't seem like it was in the realm of possibility for me,” she writes. “I just knew I wanted to make another record because that was the part of being in a band that I liked the most.”

Following the November 20th 2020 release on CD and digital, Fogerty’s Factory is now being made available on vinyl.
This album is a ‘time capsule’ of the Fogerty’s Factory sessions that John Fogerty and Family have been sharing on YouTube and with various media during lockdown.
All tracks were recorded since the beginning of March 2020, and feature John along with his children, Shane, Tyler and Kelsy Fogerty. Shane and Tyler together are BMG frontline signing Hearty Har.
Seven of the tracks have never been available commercially before - the other 5 have only been made available digitally as part of the Fogerty’s Factory EP released in May 2020.

Here is a brand new single from the Radikal Guru's 4th studio album 'Beyond The Borders'. 'Do The Right Thing' features italian vocalist Marina P mainly known for her previous works with Mungo's Hi Fi. Her soulful lyrics are touching on social struggles that we are facing today in our communities. On the musical side Radikal Guru comes with meditative basslines, melodic patterns and arrays of echo chambers and 808's. Backed by two roots style vinyl exclusive remixes made by the Guru himself.

Just when America received a Grammy Award for Best New Artist in
1973, they released their second album Homecoming to great critical and popular acclaim. The single “Ventura Highway” preceded the album and hit a Top Ten status. The album followed suit and stormed the Billboard Top Ten. Polishing their sound, they built further on the Folk Pop formula they invented on their debut America a year earlier. Dewey Bunnell, Dan Peek and Gerry Beckley delivered a compelling and top quality set of songs, by many regarded as their best work..

Available as a limited edition of 1500 individually numbered copies on
flaming gold coloured vinyl.

• 180 GRAM AUDIOPHILE VINYL
• TRIFOLD SLEEVE, FOLD OUT SLEEVE
• LIMITED EDITION OF 1500 INDIVIDUALLY NUMBERED COPIES ON FLAMING GOLD COLOURED VINYL

Far heavier than their previous record. That’s evident from the get go, as they bash their way through the opening track “Give Me Your Hand,” a rhythm-heavy number fueled by fiery guitar solos, strident vocals, and a hard rocking sound. Yet the band still takes some interesting excursions along the way. “Good Lord,” for instance, encompasses Latin rhythms, a Southern rock segment, space rock passages, and even pop. The Beatles get a nod on “Any Way,” and funk goes psychedelic on “Get One Together”. Still it’s a hard rocking extravaganza. In later years, Charge’s reputation among prog rock fans soared, more so than their self-titled album.

Charge! is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl.

Stevie Nicks’ solo catalog has sold over 103,000 albums in 2019, including 90,000 in physical alone.

The power of her classic legendary hits endures to this day—nearly 2.7 MILLION on demand streams per week, over 150 MILLION total in 2019, and continued radio presence— over 1,700 plays per week / over 8 MILLION audience per week and a staggering nearly 450 MILLION in audience for 2019!

Filmed and recorded in Indianapolis and Pittsburgh in 2017 during the 67 city sold out tour, 24K Gold Live in Concert features her solo hits “Stop Dragging My Heart Around, “Stand Back”, & “Edge Of Seventeen”, as well as Fleetwood Mac’s “Rhiannon” & “Gypsy”.

It also includes the first ever live recording of “Crying In The Night”, and other live rarities.

Stevie Nicks’ solo catalog has sold over 103,000 albums in 2019, including 90,000 in physical alone.

The power of her classic legendary hits endures to this day—nearly 2.7 MILLION on demand streams per week, over 150 MILLION total in 2019, and continued radio presence— over 1,700 plays per week / over 8 MILLION audience per week and a staggering nearly 450 MILLION in audience for 2019!

Filmed and recorded in Indianapolis and Pittsburgh in 2017 during the 67 city sold out tour, 24K Gold Live in Concert features her solo hits “Stop Dragging My Heart Around, “Stand Back”, & “Edge Of Seventeen”, as well as Fleetwood Mac’s “Rhiannon” & “Gypsy”.

It also includes the first ever live recording of “Crying In The Night”, and other live rarities.

In unserer heutigen Kultur der permanenten öffentlichen Entblößung ist es selten, dass Künstler sich dazu entschließen sich am Licht der Öffentlichkeit vorbeizuschleichen. Das maskierte, schwedische Psych-Kollektiv GOAT ist da eine Ausnahme und wohl eines der großartigsten Popkultur-Mysterien der Welt. Ihr neues Album "Requiem" wirft dabei mehr Fragen auf als dass es sie beantwortet. Die einzige Erklärung, die die Band zu ihrem neuen Album abgibt ist, dass es sich dabei um ein "Folk-Album" handele und es sich mehr auf idyllischen Ritualismus als auf Acid-Freakouts konzentriere. Songs wie "Try My Robe" beschwören wieder einmal das heißblütige Pulsieren herauf, das uns schon 2012 mit "World Music" und 2014 mit "Commune" verführt hat.

Shcaa shows off his artistry once more on stunning new album, 'No Moon At All, What a Night', which lands on Apollo on October 9th following two lead singles in September. Paris based Shcaa makes abstract and emotional electronic music. The producer, composer and guitarist is meticulous in his use of space and time, arranging harmonies, rhythm and texture with a rare sensibility. He combines the synthetic and the organic and transcendent ways and has done so on the likes of Sharingtones, Archival and Grow before now landing on Apollo. This new album emerged from recording sessions first started in NYC in autumn 2017 and is one heavily influenced by nocturnal urban moods.

""Dad! Look, we can see the moon through the window."

Record made on Earth. All children, young and old, you will hear my heart here without a stethoscope. This record is "home-made with a window open to the world". Inspired by my family and friends, these music tracks are dedicated to them!" The Architect

The Architect takes us on a trip through the world and styles: Hip Hop, Jazz, Electro, Soul, Funk... A true vinyl lover and real digger, turntables have always been his favorite playground. Hyperactive beatmaker, he is also engaged with different side projects such as L’Entourloop and Bloc.

The success of his first EP "Foundations" released in 2013, including several hits such as "Les Pensées" (8M views) or "Dreader Than Dread (ft. Skarra Mucci & L'Entourloop)" (15M views), led him to do more 200 shows around the world and accumulate more than 35M of streams on the platforms.

Seven years later, The Architect finally returns with a new single "Darling", the first single from his long-awaited new album entitled “Une plage sur la lune” to be released on June 12th, 2020. A "home-made album with a window open to the world" as he describes it himself.

Following the extraordinary response to the online streaming event in July, audiences will have another chance to experience Idiot Prayer: Nick Cave Alone at Alexandra Palace as it screens in cinemas globally via Trafalgar Releasing from 5 November. The cinematic release of this remarkable and compelling film will be followed by an album on 20 November, available on vinyl, CD and streaming services worldwide.

Idiot Prayer: Nick Cave Alone at Alexandra Palace was recorded in June 2020 as the UK slowly emerged from lockdown, and was conceived as a reaction to the confinement and isolation of the preceding months. Initially imagined as an online only event, fans will now be able to see the film in cinemas as an extended cut featuring four unseen performances.
Two weeks later on 20 November, the music will be released as a double album of the same name featuring all 22 songs from the original film on vinyl, CD and streaming.
In Idiot Prayer, Cave plays his songs alone at the piano in a rarely seen stripped back form, from early Bad Seeds and Grinderman, right through to the most recent Nick Cave & the Bad Seeds album, Ghosteen.

The performance was filmed by award winning Cinematographer Robbie Ryan (The Favourite, Marriage Story, American Honey) in Alexandra Palace’s stunning West Hall. It was edited by Nick Emerson (Lady Macbeth, Emma, Greta). The music was recorded by Dom Monks.
Idiot Prayer is the fourth film that Nick Cave has released in collaboration with Trafalgar Releasing, following 2018's Distant Sky - Live in Copenhagen directed by David Barnard, 2016's One More Time With Feeling directed by Andrew Dominik and 2014's award winning 20,000 Days on Earth directed by Iain Forsyth & Jane Pollard.

Live at Alexandra Palace, 2020

A​ - 45 rpm - ​ ​“Wanna Freak?” The funk stabs, groovy sub, and mutated disco vocals will make you Freak all over the place! From Spiltmilk’s recent album ‘Funk Side of A Moon,’ for mid tempo house lovers this slo-mo jam clocks in at 109 bpm.

B ​- 45 rpm - ​ ​“Addict”
Outspoken yet spacey, ‘Addict’s’ staircase bassline flatters the bassheads but keeps the g-funk future peeps innit! Keep an ear out for LA party rocker Ztrip’s latest 45 set, mashing up doubles of ‘Addict ‘ white label with popular g-funk jams!

Trevor Wyatt aka ​Spiltmilk ​is madly passionate about refining his sound techniques. It is all about the spacey mutated funk right now, grab a listen to this flavour filled Album: ‘Funk Side of A Moon’ out now on MSLX Recordings

Flaming Tunes' sole release is perhaps the finest elegy to the '80s home recording ethos that you've never heard. Originally released in 1985 on cassette (with individually hand-colored covers), this self-titled album grew out of the collaboration between childhood friends Gareth Williams and Mary Currie.

Williams is best known as a member of English art-rock band This Heat. After leaving the group in the early '80s, he travelled to India where he studied classical Kathakali dance – an experience that would profoundly shape the music of Flaming Tunes.

In an old Victorian house in South London, the duo recorded during the day while Currie's young son attended school and Williams conducted tape treatments at night. They were joined by various guests including This Heat guitarist Charles Bullen as well as long-term collaborators Martin Harrison and Rick Wilson.

Using whatever instruments they had on hand (clarinet, piano, bells, etc.), Flaming Tunes create lo-fi melodies around simple arrangements, oblique rhythms and densely layered natural sounds. The results are a mesmeric collage of instrumental daydreams and sideways pop songs, floating into one another in a hazy confluence of late '60s Canterbury psych-folk and early Residents experimentation.

All of these beguiling elements converge in a personal manner, quietly insistent in listeners' ears like the blood pulsing in one's veins on a warm summer day.

Pink Vinyl

Machinecode is a duo comprising Current Value and Dean Rodell, a pair of artists who have shaped a unique sound in bass music and techno throughout their careers. Everyones and Nothings is an exploratory body of work that is immediately identifiable with the Machinecode audio aesthetic, and that moves through genres with ease - from 130 bpm leftfield bass, to Dr.Octagon-inspired halftime, techno, ambient and experimental dnb. It is layered with mystery and myth, exploring conspiracy, the stories that people tell each other, and the things that are whispered about in obscure corners of the Internet. The album artwork is by Zeke Clough (of Skull Disco notoriety and more) and an accompanying video by animator Oskar Alvarado retells and reimagines the folklore behind the Mesoamerican serpent deity, Kukulkan.

2X12" repressed !

Welcome to - Industrie & Zärtlichkeit , the raw, quirky yet emotional debut album from Moon! Although the Berlin-based duo is revered for dancefloor bangers such as - Ze power', Johannes Albert and Johannes Paluka (better known as Iron Curtis) have put much effort into making this album a true listening experience without sacrificing their roots in House Music. - Industrie & Zärtlichkeit (which translates into - Industry & Tenderness ) effortlessly achieves what is claimed in its title, namely a fusion of seemingly disparate elements: the rough and the smooth, dirty beats and soothing harmonies, bizarre sounds and comforting chords. The title track is a fine example of this perfectly-dosed blend with its detuned strings that glide over a crisp electro beat and an infectious melody which would make Kraftwerk proud. Cafe Del Landwehrkanal' is a lighthearted and kinky gem while - Light Of Virtue combines warm synth pads (Detroit is not far) with dusty drums and an acid bassline. MFB Nights' and Machine Rhythm Tomorrow' are also illustrations of the duo's undeniable savoir-faire, with the former celebrating garage classics thanks to its cheeky vocal sample and gorgeous rhodes chords while the latter plays out as a dedication to the early 90's, a time when people didn't care about genres and just dived in the novelty of electronic dance music.
But as we all know, there is a dark and secret side of the Moon, an aspect which is best expressed via the freaky organ chords of - Proto and its detuned melody. Not to mention the excellent ambient pieces - Fjordig or - The Bitter End which showcase the duo's ability to venture into uncharted territory.
All in all, Industrie & Zärtlichkeit feels like drinking fresh orange juice gently sparkled with chilli... and it concludes flawlessly with two reworks that prolong the album's laidback yet assured vibe. First off is Black Spuma (Lauer of Tuff City Kids fame and Italian disco legend Fabrizio Mammarella) who rework the title track into a hands-in-the-air boogie monster that will definitely be a festival staple this summer. Finally, Lerosa emphasizes the deeper shade of the album's spectrum with an impressive new wave rework of - Appeal .

The Radio 2 Top 2000 is the largest annual radio event in The Netherlands. The audience of Radio gets to vote for their favorite all-time songs. These literally millions of votes come together in the Top 2000. All these 2000 songs are broadcasted back to back from Christmas until a few minutes before New Years Eve, when they air the No.1 of the chart.

Top 2000 - The 60’s contains the best hits from the century in which the music industry saw its biggest change. It were the years some of the biggest bands in the history of music rose to fame, like The Beach Boys, The Kinks, The Who, and Fleetwood Mac. Rock, pop, funk, soul and psychedelia all stand side by side on this release, with artists like James Brown, Nina Simone, David Bowie, Etta James, Elvis Presley, and Dusty Springfield. These artists and many more you’ll find on this wonderful 2LP.

The Top 2000 bridges the gaps between all musical generation from the Sixties to the present, making it the most eclectic chart out there, and keeping more that half of the country glued to their radio day and night for the whole week it’s broadcasted. And with a daily tv spin-off during its broadcast, it has reached an even bigger audience.

Top 2000 - The 60’s is available as a limited edition of 2000 individually numbered copies on yellow vinyl. The package includes an insert.