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A lost paradise, a lost innocence, and a lost culture; these are the dominant themes presented in Nicolas Roeg's 1971 masterpiece Walkabout, a survival story of two children lost in the scorched Australian wilderness. Together with other seminal Australian surrealistic outback films, (e.g. Wake In Fright) Walkabout was a film that reshaped the Australian film industry and defined the country's New Wave. On the cusp of the film's 45t h anniversary it is pertinent to observe that for decades the film's original soundtrack has also been considered lost. Composed and conducted by the acclaimed British film composer John Barry, the score is a hallucinogenic mix of exotic romanticism, children's nursery rhyme and potent psychedelic experimentation. For decades, the consensus among soundtrack circles was that the master tapes were officially missing with little chance that the music would ever see a legitimate release, but The Roundtable is pleased to announce that this is no longer the case. The complete soundtrack to one of cinema history's most visually spellbinding films has now finally been re-discovered, sourced from the original stereo master tapes and prepared to the guidelines of the original ill-fated 1970s LP release.


The premiere soundtrack release to Nicolas Roeg's 1971 New Wave Masterpiece.
Lost hallucinogenic orchestral score from acclaimed film composer John Barry.
12-track LP re-mastered from the original stereo master tapes.
180g vinyl and deluxe packaging including archival film stills and original press material.
6 Panel digipack CD.

Mannequin Records is thrilled to announce the upcoming release of Chromium Industries, a double LP (MNQ 162) capturing the innovative spirit of two pioneers of electronic music: Andrew Lagowski and Paul (Howie D) Howard. This long-anticipated album marks a return to the seminal sounds of the Chromium Industries label, which emerged as a crucial platform for boundary-pushing techno and electronic music in the early 1990s.


Andrew Lagowski, a name synonymous with exploration in electronic music, has been at the forefront of sound innovation since the early 1980s. Known for his work under various aliases, including Lagowski, Legion, and S.E.T.I., his early output in experimental and industrial sounds paved the way for his later techno-focused ventures. Albums like Knowledge (S.E.T.I.) and Nadir (Lagowski) highlighted his pioneering approach to unconventional sound sources and production techniques. In the 1990s, his work with Chromium Industries brought him into the techno spotlight, with a series of influential 12” singles that helped shape the electronic music landscape. With over 60 albums and 10+ singles to his name, Lagowski’s versatility and dedication have garnered him a loyal following and lasting influence across genres.


Paul Howard, aka Howie D, brought his DIY ethos from the punk scene of the 1970s into electronic music. As a founding member of The Frames and co-founder of the Brain Boosters and Spacematic labels, Howard has consistently pushed boundaries. His early forays into hip-hop saw him release the genre-pioneering jazz-rap track Miller Light as Fission. The transition from punk and hip-hop to electronic music was a natural one, culminating in his creation of Chromium Industries after a fateful night hearing Lagowski’s Vermilion at a London party. The label brought some of the most unique techno releases to the scene, with tracks like Blue Anomaly causing near-riots on the dancefloor. Since then, Howard’s work has evolved to include multiple aliases, including The Legend That Is, Phase Collective, and Skulpture.


Chromium Industries 2xLP will be available for purchase from January 2025 through Mannequin Records and select distributors.


This is an essential release for collectors, DJs, and anyone who reveres the legacy of 1990s techno and early rave.

Few sounds transcend time and space quite like the driving pulse of Afrobeat, and few artists, for that matter, have defined their own domains quite as profoundly as Tony Allen—the very beat of Afrobeat itself. In 2011, Allen recorded one of his inimitable rhythmic dialogues as part of the Afrobeat Makers Series for the Parisian imprint Comet Records. Charged with the same fervour for uninhibited expression that defined his trailblazing career, Tony Allen’s drumming, free from convention and charting its own course, emanates a cadenced stream of consciousness that speaks its own truth.

If Allen’s language was his beat, then on this record, La BOA—La Bogotá Orquesta Afrobeat—becomes his latest and most fitting interlocutor. What began as a tribute—a song named after Allen—now feels like the prelude to a deeper dialogue in a meeting that seems more like fate than mere happenstance.

Led by producer Daniel Michel, the ever-evolving band has spent over ten years embodying the fluid, transformative spirit of Afrobeat, imprinting it with their distinctly Colombian sensibilities. From Casa Mambo in Bogotá, Michel’s Mambo Negro Records has become a cornerstone of Colombia’s underground scene championing Afro-Colombian and independent music throughout that time.

Across this LP, Allen’s recordings lay down the canvas upon which La BOA paints its own vision of Afrobeat—raw and expansive, locking step with his drum tracks while building around the unmistakable blueprint of their Colombian rhythms: exuding Caribbean beat, rolling with Pacific groove, and, above all, shaped by the rarefied air of the Andean melting pot that is Bogotá. What ensues is an enduring conversation that crosses eras, borders, even life and death—a celebration of the passing of the baton and the boundless nature of Afrobeat as a genre that refuses to settle. Where the beat of Lagos meets the brass of Bogotá, so too La BOA meets Tony Allen.

Shards is a collection of pieces originally written for various film and TV soundtracks
Tim Hecker has scored over the last half decade.

These compositions were originally written for scoring projects including Infinity Pool, The North Water, Luzifer, and La Tour.

Press quotes for No Highs (2023):

"Tim Hecker has become one of the most pre-eminent and nuanced electronic producers of his
generation." New York Times

"Hecker pairs expansive and bright songs with more repetitive compositions, capturing the beauty in uneasiness and vice versa…” Resident Advisor

“It's somewhere between a replenishing bath and an out-of-body experience.” All Music

"The shapes it makes in the air are often wounding, but also graceful. And like all of his work, it is
devastating in the best way possible.” The Quietus

"The love of creation seems to be what drives him and that’s a special thing to be cherished.” New Noise Magazine

“To his credit, Hecker isn't just good at this stuff - he helped write the playbook.” Boomkat

4LP set containing 29 original / extended / full-length / 12” versions of Queer club classics – 1980-1989
‘More Sin’ features Pet Shop Boys, Sylvester, Divine, New Order, Eartha Kitt, Grace Jones, Hazell Dean, Desireless and many more.
Highlights include the hard-to-find 12” version of ‘Can’t Stop The Music’ by Village People and the rarely compiled underground club anthems ‘Pistol In My Pocket’ by Lana Pellay and ‘After The Rainbow’ by Joanne Daniëls.
All tracks fully annotated and with a foreword by Ian Wade – author ‘1984: The Year Pop Went Queer’. Following the success of the first ‘Box Of Sin’ in 2023, Demon / Edsel and Disco Discharge are proud to announce the sequel – ‘More Sin: Box of Sin 2’ will be released on 31st January 2025.

Over 4 LPs, ‘More Sin’ presents 29 choice selections from the music you might have heard on Queer dancefloors between 1980 and 1989 – a decade of dance in all its devilish delights. Meticulously researched from the published gay club charts at the time, the LP set encompasses full-length versions of Diva, High Energy, Alternative, Pop, Europop and House classics. Not only were the ‘80s Queer clubs where you were most likely to hear the latest groundbreaking developments in dance music, there was a lot of diversity on offer – on a given night you might hear a legendary soul singer’s new opus right next to some post-punks from Manchester and the latest European pop chart topper.

‘More Sin’ aims to reflect this. On ‘More Sin’, the space-age soulful club sound of Jean Carne rubs up against the widescreen Europop beauty of Desireless and cutting-edge house music from London courtesy of Wee Papa Girl Rappers… and along the way come some of the most important and era-defining artists of the decade – from Sylvester to Siouxsie & The Banshees, from Pet Shop Boys to Divine, from Hazell Dean to Grace Jones. Producing and mixing these classics is like a roll-call of the era’s studio giants – Trevor Horn, Larry Levan, Clivillés & Cole, Ian Levine, John Luongo, Bobby “O”, Martin Rushent and Stock, Aitken & Waterman to name a few. It’s time to give in to sin again.

Crosby, Stills, Nash & Young's Déjà Vu was the most-anticipated new album in America in 1970. More than 50 years later, it's one of the most famous albums in rock history with legendary songs, including "Carry On," "Teach Your Children," "Our House" and "Woodstock" that still resonate today.

This groundbreaking album went on to be certified 7x platinum-selling in the U.S., platinum in France, and gold in Germany, Switzerland and the U.K.

Alton Miller releases Last Tracks In Africa EP, lastest Jams recorded at the South Africa Studio. It is recognizable the reconnection to his own essence. The tracks are full of Soul, with a Deep and Organic Imprint. Nomumbah's versions reshapes as Masterclass, same feeling, contemporary elements and sounds, between electronic and warm Brazilian vibes. The release preserves the most sleek of Alton's signature.

Dennis Brown was a Jamaican reggae singer and one of the most popular artists in the history of Jamaican recorded music.

Bob Marley cited Brown as his favourite singer, dubbing him “The Crown Prince of Reggae”, and Brown would prove influential on future generations of reggae

singers. In 2023, Rolling Stone ranked Brown at number 67 on its list of the 200 Greatest Singers of All Time.

This album includes the classic tracks “Silhouettes “, “Lips of Wine”, “Changing Times” and “I Didn’t Know”.

Super Reggae & Soul Hits is available as a numbered limited edition of 500 copies on orange coloured vinyl

Compton’s Most Wanted’s 1991 album Straight Checkn ‘Em is a classic in West Coast gangsta rap, delivering hard-hitting lyrics and gritty beats that capture the essence of early 90s Los Angeles street life. Led by MC Eiht, the group’s sophomore album, features standout tracks like “Growin’ Up in the Hood” and “They Still Gafflin’,” which offer raw commentary on urban struggles and survival. With its deep basslines, funky grooves, and unflinching storytelling, Straight Checkn ‘Em solidified Compton’s Most Wanted’s place in the gangsta rap movement alongside pioneers like N.W.A. Known for its realism and authenticity, the album is a must-listen for fans of West Coast rap history. Explore Straight Checkn ‘Em for a raw, unapologetic glimpse into the streets of Compton during a pivotal era in hip-hop.

Straight Checkn’ Em is a limited edition of 1000 individually numbered copies on yellow coloured vinyl.

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Purple Tree Fog Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Amongst the hundreds of recordings issued by Sun Ra and his Arkestra, under their various guises, the majority were recorded in concert or in makeshift studios such as their early 1960s set-up at NYC's Choreographer's Workshop. Beyond those, roughly 22 albums were recorded at Variety Recording Studio in New York's Times Square. However, on August 25, 1986, Sun Ra and cohorts entered Mission Control, a state-of-the-art 24-track studio north of Boston, which was teeming with electronic keyboards and otherworldly sound generators. Nestled within that arsenal was a brand-new digital ultra keyboard — the Prophet VS ("Vector Synthesizer").
Of all the keyboards Ra played throughout his half-century career, the Prophet was one of the most sophisticated. There's no evidence that he had played either of the instrument's earlier incarnations, the Sequential Circuits Prophet-5 and Prophet-10. Created using microprocessors, a then-new technological advance, under the auspices of engineer Dave Smith in 1978, the Prophet-5 revolutionized electronic music as the first polyphonic and, most importantly, programmable synthesizer.
Ra was intrigued by the Prophet (surely by the instrument as well as by the name). Recorded during a single day, it's about time that these once lost performances have now been found.
It was a joy and a thrill to be sitting at the console hearing this music for the first time, especially with my fingers on the faders and knobs of the mixing desk. We watched the oxide fly off the 2" tapes during playback, making this our one chance to digitize before they metamorphosed into dust. Welcome to the new Sun Ra album....35+ years after it was recorded. The Omniverse has expanded once again.

Italian composer and saxophonist Laura Agnusdei returns with “Flowers Are Blooming In Antarctica” a career defining record that sees the artist diving into uncharted waters, a profound timeless meditation on our relationship with planet Earth, the eco-conflicts arising and the fascination with non human forms of life, backdropped to a vivid soundtrack of coral exotica, spiritual Jazz, fourth-world minimalism, tropical electronics, tribal futurism and contemporary elegance.

Every step of Laura Agnusdei’s path, from electroacoustic experimentation to her constant research based upon the acoustic dimension of wind instruments and their interaction with polymorphic electronic sounds, seems to have pivoted into a new sense of awareness, as if the mind and intellectual practice has finally caught up with the body, the heart and the soul, resulting in her most organic and transcendent work yet. “Flowers Are Blooming In Antarctica” is loosely inspired around a trifecta of pioneering ideas that explore unconventional reality: James Bridle’s ‘Ways Of Being’ with his radical story that mixes ecology, tech and intelligence; Luigi Serafini’s late-70s fantastical ‘Codex Seraphinianus’, an unparalleled collection of flora, fauna, anatomies metamorphosed into new fragile beings; J.G. Ballard’s climate-fiction foreshadowing sci-fi ruminations. These influences shift Agnusdei’s musical trajectory injecting doses of terrestrial malaise, the earthy sub-saharan ‘Ittiolalia’ with its wah-wah filtered sax and trance inducing groove; the rubbery playfulness of ‘Oasi Bar’; the gentle eco-system of ‘P.P.R.N’ reminiscent of Herbie Hancock’s innovative synthesis of funk, space and synthesizers; the kaleidoscopic northern lights of ‘Emperor Penguin Lullaby’, where south-east Asian echoes reach icy shores; the Jon Hassell hyper-ambience of ‘Cuttlefish REM Phase’; the post-apocalyptic march of ‘The Drowned World, a jazz standard for an artificial civilization on the brink of self-destruction. Nothing feels out of place and it’s no coincidence that one of the most powerful messages on the record is delivered on centerpiece ‘Are We Dinos?’ via an interview conducted with two preschoolers. Radical optimism or sonic liberation?

Laura Agnusdei’s tenor sax cuts deep all across “Flowers Are Blooming In Antarctica”, a laser baton raised up to the clouds, a conductor orchestrating devotional soundscapes for a three-eyed dolphin, guiding us through prismatic pastures and acidic oceans. Her tropicalized realm is pin-pointed with Miles-like sheer clarity, a bristling nakedness on the verge of exploding at any time, creating an album where ascension becomes the unifying code.

As part of the 60th anniversary celebrations of iconic series Doctor Who, one of the show’s most renowned tales underwent an out of this world update as it received an artistic colourisation.

Originally transmitted in December 1963 to February 1964, The Daleks were introduced to audiences and soon became one of the Doctor’s most formidable and enduring foes.

The story follows the very first crew of the TARDIS as they land in a petrified forest on an alien planet. Determined to explore, the Doctor (William Hartnell) leads his

companions into the metal city, where they discover danger at every corner and what will become his deadliest enemy, the mutant Daleks.

These seven original 25-minute episodes have been colourised and weaved together into a 75-minute blockbuster.

With brand new sound, a brand-new soundtrack - created by Mark Ayres utilising elements of Tristram Cary’s original music with newly recorded score –

The Daleks has been updated, whilst ensuring the original classic story remains as thrilling as it was when it began in 1963.

180 Gram Vinyl Melina Paxinos is a composer and saxophonist (soprano and alto) and dedicates her album "Time", to the now state of time, because time is the most precious thing we have. Here, modern Jazz meets Mediterranean flair, creating a small journey through time with the help of her expressive melodies. The band Melina Paxinos Quartet plays together since 2018 and consists of Melina Paxinos (bandleader, sax, comp.), Yiannis Papadopoulos (piano), Ntinos Manos (bass) and Dimitris Klonis (drums). As a guest musician this time she invited Andreas Polyzogopoulos, who with his lyrical playing, accompanies the band with his trumpet and flugelhorn. The last song on her album "Ta Matoklada sou Lampoun" is a composition by one of the most famous Greek rebetiko musicians Markos Vamvakaris (1905-1972), which Melina rearranged for her album, thus bringing the past, that is the cultural heritage, into the present.

180g, blue marbled vinyl. Melina Paxinos is a composer and saxophonist (soprano and alto) and dedicates her album "Time", to the now state of time, because time is the most precious thing we have. Here, modern Jazz meets Mediterranean flair, creating a small journey through time with the help of her expressive melodies. The band Melina Paxinos Quartet plays together since 2018 and consists of Melina Paxinos (bandleader, sax, comp.), Yiannis Papadopoulos (piano), Ntinos Manos (bass) and Dimitris Klonis (drums). As a guest musician this time she invited Andreas Polyzogopoulos, who with his lyrical playing, accompanies the band with his trumpet and flugelhorn. The last song on her album "Ta Matoklada sou Lampoun" is a composition by one of the most famous Greek rebetiko musicians Markos Vamvakaris (1905-1972), which Melina rearranged for her album, thus bringing the past, that is the cultural heritage, into the present.

Standard weight white vinyl remastered from the original tapes, restoring the original album on vinyl for the first time since 1995, including its original artwork. Includes download code.

In 1991, four kids from the suburbs of Chicago, IL formed Cap’n Jazz, arguably one of the most influential rock bands of the last 30 years. Those kids, brothers Tim & Mike Kinsella, Victor Villarreal, and Sam Zurick, were joined by Davey von Bohlen in 1994 and recorded their only full-length album before calling it quits - Burritos, Inspiration Point, Fork Balloon Sports, Cards in the Spokes, Automatic Biographies, Kites, Kung Fu, Trophies, Banana Peels We’ve Slipped on, and Egg Shells We’ve Tippy Toed Over - often referred to as Shmap’n Shmazz. Originally released on the Man With Gun label, the album quickly fell out of print after the band’s breakup, with the songs eventually making their way to the Analphabetapolothology compilation, released in 1998 via Jade Tree Records.

As a testament to this legendary debut, Polyvinyl is thrilled to announce the vinyl reissue of Shmap’n Shmazz, which has been remastered from the original tapes - restoring the original album on vinyl for the first time since 1995, including its original artwork. With the unmatched intensity heard in the opening track, “Little League,” coupled with eccentrically poetic lyrics, this iconic album has influenced countless artists since its release and unintentionally sparked a new genre. Pitchfork calls the album “a touchstone of Midwestern emo,” while Vulture placed “Little League” at #3 on their 100 Greatest Emo Songs of All Time list. Musician Devendra Banhart has also expressed his love for the band in a 2017 Joan of Arc documentary, describing Tim’s powerfully striking vocals like "going to the zoo on quaaludes, but all the other animals are on speed."

In addition to the band’s influential legacy, Cap’n Jazz was the catalyst to the formation of other notable bands featuring the original members, including American Football, Joan of Arc, The Promise Ring, Owls, Owen, Make Believe, Ghosts and Vodka and many more.