Suche:the most

The official new edition from this rare and great Afrobeat & Soukous masterpiece from Nigeria !

"Vibro Success Intercontinental Orchestra was an extraordinary group from the Central African Republic, founded by the sax player Rodolphe 'Beckers' Bekpa, also known as Master Békers, in the late 60's. The band achieved surprising domestic success after Beckers introduced the first drums to the Congolese Rumba rhythm. His innovation proved to be wildly popular so they were hired as the resident band of “ciel d’Afrique au Km5”, a night club in Bangui. The club was renowned as the temple of the Olympic Réal football team's fans and that visibility propelled them into becoming the official national orchestra.

1970 marked beginning of the band's international fame . Their fame spread beyond national borders until they became so popular that invitations began to arrive from nearby countries like Cameroon and Chad, the former of which the band would then tour that same year. The success of their performances prompted a further tour in 1972. According to Rodolphe Bépka, the audience enthusiasm Vibro encountered was bewildering. "We filled the old military stadium in Yaoundé in 1970, in 1972 the new Amadou Haïdjo stadium ... We are running with great success in the cities.” Their popularity was also growing in Chad, where they would tour several times through the early and mid 70's.

Towards the end of 1976, Vibro Success decided to take their music global and introduce Central African music to listeners worldwide. It worked. The turning point came in Nigeria. There the group achieved extraordinary success, with live performances followed by contracts with local labels like Scottie and Ben/Clover resulting in hit releases. Most of their LP's were originally released on this later label, Ben Limited, owned by Ben Okonkwo.

Ben, also known as Clover Sounds, brought a great number of the biggest bands from the country to market, bands like The Apostles, Akwassa,The Doves, Aktion, The Visitors, Mansion, Folk 77 and many others. Nearly all those groups started their recording careers in the label's studios based in the commercial heart of Aba, Abia State, one of Southeastern Nigeria’s largest cities. Aba at that time was a flourishing city, an important crossroads of people and culture with an intensive and active and cutting edge live music and nightlife.

But after that golden era the group began to lose its popularity. In the 1980's they returned to Bangui and resumed their old-time gigs in dance halls there - only to realize that their music didn't have the appeal it used to. Making matters worse, the domestic economic downturn accelerated, forcing the orchestra to slowly end its activities . Vibro Succès Intercontinental Orchestra disappeared at the end of the 80s and most of its members died in the 90s.

We discovered this LP during our first trip to Nigeria in 2016. While traveling in the east to meet up with a musician, we stopped for a night in a village. As often happens in Nigeria, information has a way of traveling fast. The news that a couple of white guys looking for records had arrived in the village the day before spread like light. When we awoke, we found a couple of elderly music lovers in the hall of our hotel with a little pile of records for sale. The nice cover of the “Drunkard” album was right on top!

At first we thought it was just another really good soukous album made by Vibro Success but after we heard “Drunkard” - we knew we had stumbled onto something very special. That was the “easy” part. Soon after, we had the idea of reissuing this LP and that was a bit harder. There were no credits on the cover and not much information about Vibro Succès. We started to ask to our friends to ask around, see if somebody knew them or the producer. That's when sadly we discovered that Ben Okonkwo had passed. So with no leads to follow and seemingly without any possibility of making progress on the matter, we "gave up" and returned to Italy.

A couple years later, in the summer of 2019, we found ourselves again in Aba. This time we had the chance to meet Nnamdi Okonkwo, the eldest son of the late Ben Okonkwo. After Nnamdi's mother and family agreed, he was glad to cooperate with us for the re-release of this special album."

Trailblazing instrumental synth pop experiments created to soundtrack Japan’s booming 1980s cartoon and comic industries. The brightly futuristic instrumentals on this collection reflect the mindset of composers and musicians who believed in a technological future where everything was possible.

In the late 1980s Japan experienced a brief but heady period where societal changes combined with new-found wealth to open up a world of possibilities. A huge influx of cash - artificially created by slashed interest rates after an agreement with the US to weaken the dollar relative to the yen - resulted in the inflation of real estate and stock market at a rapid pace. While the economic bubble it created was unprecedented and impossible to sustain, for a while money was in plentiful supply.

The musical genre City Pop reflected the aspirations of the country’s booming leisure class. Video games flourished with Nintendo's 1983 launch of their Family Computer (or FamiCom). Studio Ghibli was founded 1985 to later became one of the most famous and respected animation studios in the world, and Anime and Manga were established as major forms of entertainment for all generations of the Japanese public.

Music was no mere footnote to the anime and manga boom: the two forms of media often went hand in hand, and not simply through the presence of background melodies. With generous budgets available, even two-dimensional static manga comics could be released with an accompanying soundtrack of original music known as an ‘Image Album’.

Composer and arranger Kazuhiko Izu was one such beneficiary of this open budget approach. Written to accompany artist Katsuhiro Otomo’s manga comic Domu, the composer and arranger took advantage of the world-leading (and wallet-busting) Japanese synthesiser technology available at King Records’ fully equipped studio. Featured on this compilation, A3: Act 2 Scene 26 reflected the story’s sci fi themes with a blazingly futuristic yet warmly funky slice of synth pop that presents a joyful celebration of synthesisers and their seemingly endless possibilities.

Kan Ogasawara was another composer who made early mastery of the litany of synthesisers, drum machines and sequencers that had become available. Two tracks written to accompany the 1985 period manga Yume No Ishibumi are featured here; Honowo’s experimental electronic textures add spice to a jaunty electro pop melody that recalls the Rah band’s 1983 hit Messages From Stars; the jazz-tinged Utage rounds out Ogasawara’s shimmering synth textures with beautifully crafted backing from legendary musicians Yuji Toriyama (guitar), Pecker (percussion) and Jun Fukamachi (piano).

Before becoming one of the pioneers of Japanese Kankyo Ongaku (Ambient Music), Takashi Kokubo worked on the proto techno track Kiki (Jungle At Night). It was put together for the 1984 anime film Shonen Keniya (Kenya Boy) using some of the most expensive music technologies available at the time. This Africa-Inspired dance track offers a contemporary parallel to the early techno music that young Detroit based producers were then creating using cheap Japanese Roland drum machines and synthesisers.

This is the first compilation of Japanese anime and manga soundtracks curated by Kay Suzuki and Rintaro Sekizuka from Vinyl Delivery Service (a Tokyo based online record shop which also operates in East London's renowned wine and hifi shop Idle Moments). With a cover by artist Kazuki Takakura and two pages of liner notes, this vinyl only compilation of music never before released outside of Japan, captures a vital aural snapshot of an era whose forward-thinking sounds went hand in hand with cutting edge technology.

EASYGOING PORTRAIT OF DOWN-HOME SOUL SINGER COMING INTO HIS OWN AND ESTABLISHING AN INDELIBLE BOND BETWEEN PERFORMER AND AUDIENCE
1/4" / 15 IPS / Dolby A analogue master to DSD 64 to analogue console to lathe


On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall is a forgotten classic – an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the sound-staging, this reissue takes you inside the venue.

Moreover, aspects that really make this concert document unique – the energetic crowd, Withers and his band's willingness to extend arrangements, and the undeniable communicative bond between the performer and his fans – are brought into fuller relief. While most live albums give you the sense of what transpired, our reissue allows it to seem that what you're hearing and sensing is happening right now, in the moment. You are as much a participant as listener. For this reason and more, Live at Carnegie Hall ranks with James Brown's Live at the Apollo and B.B. King's Live at the Regal. No small claims, but the proof is in the grooves.

The antithesis of the sweaty R&B shouter that prowls the edge of stages, Withers deals in mellowness and vulnerability, qualities that come to fore. The songs here span soul, blues, and folk and often times, contain elements of all three styles. Live at Carnegie Hall also deals with serious subject matter with unflinching honesty and simple directness. Companionship, poverty, war, maturity, family, and love all crop up within Withers' tunes, yet the messages are never overly cumbersome or preachy. Credit goes to his easygoing style and relatable lyrics, not to mention a tight-as-a-vice band that on this night is simply "on."


"One more time?" Withers asks in response to a request for another stanza during "Use Me," and like the snap of fingers, his musicians are right back on cue, the crowd clapping along on every beat. This classic, as well as the instantly familiar "Ain't No Sunshine," poignant "Grandma's Hands," and all-time favorite "Lean On Me" are delivered with utmost soulfulness, passion, and electricity. Few, if any, live albums demonstrate such a bond between the crowd and artist as Live at Carnegie Hall. You'll definitely want to be there.

Melanie Martinez’s debut album “Cry Baby” has remarkably kept growing in stature since its 2015 release, now approaching its high-water mark of 1 BILLION global audio streams for the second consecutive year. The RIAA recently re-certified the record at 2x platinum, in large part due to TikTok trending moments for several of the album’s tracks. These trending moments, occurring over the course of 2020-1, most notably included the digital bonus cut “Play Date,” which became a TikTok phenomenon and is now Melanie’s most popular song with over 700M streams.
On this expanded deluxe edition, “Play Date” and 2 additional digital bonus tracks (“Teddy Bear” and “Cake”) are – for the first time – added to the original, standard vinyl album. These songs were only previously available on vinyl on the now out-of-print, limited edition Extra Clutter EP from 2016.
With an expanded booklet featuring 3 new illustrations for the 3 bonus tracks, this deluxe edition will be the one, primary Cry Baby vinyl product moving forward.

Chunklet Industries is proud to announce a breakthrough in broadcasting technology. For the first time, the BBC working hand-in-hand with intergalactic audio pioneers Man…or Astro-Man? present to you seven volumes of their famed U.K. radio sessions.The band’s debut session in Maida Vale 3 was also the first time they stepped foot on English soil. It all started with Birdstuff sending a postcard to John Peel insisting that he not play the band's music and it led to December 1993, at the special request of the legendary, who became one the earliest, most visible and most vocal supporters of the band on English soil, five songs were recorded and three tracks are being released on this initial single.t to you seven volumes of their famed U.K. radio sessions.

Legendary recordings by Toiling Midgets, first time on vinyl. The Toiling Midgets spawned from congress between the Sleepers and Negative Trend, two of the Bay Area’s most avowedly confrontational hardcore bands. Congruous to Flipper (two of whose founders played in Negative Trend), the new quintet boiled its songs down to their most primary elements, reassembling them if the mood struck but often allowing guitar solos to writhe somewhere in the middle distance as a disconnected rhythm cut in and out.

Born in South Carolina and raised in Harlem, Etta Jones began her career in the mid-1940s, recording for Black and White and RCA, and performing with Earl Hines’ sextet. Further recordings for Decca and King helped solidify her reputation but Prestige truly upgraded her status with the million-selling album Don’t Go To Strangers, the most outstanding of her career. Her expressive voice is never short of excellent here, as heard on Fine And Mellow and an excellent arrangement of I Love Paris, and most especially on the title track, which hit the US top 40. Get your copy of this great LP now and savour every moment of it!

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
The Lamb Lies Down On Broadway — Genesis' gold-selling sixth studio album!
180-gram 45 RPM 4LP
Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Genesis' sixth studio album was released as a double album in November 1974 by Charisma Records and is the last to feature original frontman Peter Gabriel. The group's longest album to date, The Lamb Lies Down on Broadway peaked at No. 10 on the U.K. Albums Chart and No. 41 on the Billboard 200 in the U.S..

The album is a concept album and tells the surreal story, devised by Gabriel, of a young Puerto Rican named Rael who embarks on a journey through a series of strange and bizarre events in New York City.

Musically, the album is a departure from the band's previous works, incorporating a wide range of styles including progressive rock, art rock, funk, and jazz fusion. The album features complex rhythms, intricate melodies, and dense layers of instrumentation, showcasing the band's virtuosic musicianship.

The album is notable for its use of storytelling, with each track contributing to the larger narrative of Rael's journey. The lyrics are often cryptic and abstract, and the album's surreal imagery has been interpreted in a variety of ways by listeners and critics.

The Lamb Lies Down On Broadway gained acclaim in the years after its release, reaching gold certification for sales in the U.K. and U.S.. In 1978, Nick Kent wrote for NME that it "had a compelling appeal that often transcended the hoary weightiness of the mammoth concept that held the equally mammoth four sides of vinyl together." In a special edition of Q and Mojo magazines titled Pink Floyd & The Story of Prog Rock, The Lamb ranked at No. 14 in its 40 Cosmic Rock Albums list. The album came third in a list of the 10 best concept albums by Uncut magazine, where it was described as an "impressionistic, intense album" and "pure theatre (in a good way) and still Gabriel's best work." A Rolling Stone poll to rank readers' favourite progressive rock albums of all time placed The Lamb fifth in the list.

The Lamb Lies Down On Broadway is widely regarded as one of Genesis's most important and influential works, inspiring generations of progressive rock musicians.

SOURCED FROM THE ORIGINAL MASTER TAPES: 2LP SET PRESENTS 1991 ALBUM IN 45RPM SPEED FOR FIRST TIME.

PCM Digital Master to Analog Console to Lathe.

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group’s swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity’s 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band’s sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits’ playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity’s definitive-sounding set also brings into transparent view Knopfler’s finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here’s a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler’s decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era’s prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler’s clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group’s oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It’s evident in the humorous satire of “Heavy Fuel,” closeted desperation of the witty “Calling Elvis,” and shake-and-bake bounce of “The Bug.” It pours from the album’s darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of “When It Comes to You.”

Hinting at the open-minded approaches and boundless curiosity he’d embrace as a solo artist, Knopfler doesn’t limit himself when it comes to style or subject matter. Look no further than “You and Your Friend,” a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album’s deep cuts, “Iron Hand,” comes on as one of the band’s most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners’ strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

“Every victory has a taste that’s bittersweet,” sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

#40 ON ROLLING STONE'S 500 GREATEST ALBUMS OF ALL TIME: ANTICIPATES LATE 1960S TURBULENCE VIA PROPHETIC SONGS AND DARK THEMES
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Any discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art. Transcending language and convention, its magnitude and magnificence need to be heard again and again. For here is an effort whose mind-boggling acoustic complexities and kaleidoscopic nuances are tailored for high-fidelity playback.

Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. Turn it up as loud as you want; the sole limitation will be your system's potential.

Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from its lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings.

The seemingly opposing combination – ominous, dark reflections situated amidst lush, light melodic beds – affords Forever Changes a distinguished tension of claustrophobia and openness, dourness and ecstasy, ugliness and elegance enjoyed by no other record in the rock canon. Much of the contrast owes to leader Arthur Lee's mental state and pertinent observations. Lee, whose suppressed romanticism often surfaces even amidst the blackest shadows and most cynical moments, believed he would soon die, and hence channeled everything from lasting hopes to acid-addled decay to the chilling testimony of a Vietnam veteran in his narratives.

Alternatively sad and beautiful, the album-opening and flamenco-inspired "Alone Again Or" establishes the mood for what follows. Vocals overlap and soar; tempos rise and fall; surrealism trades places with reality.Forever Changes thrives both because of and in spite of a surfeit of labyrinthine chords and difficult notes that never repeat. Its ambitious construction almost forced the already fractured band to cede responsibilities to session musicians, which appear on two tracks. The quintet's resolve to not only complete the album, but to do so with such poignancy and curiosity, further enhances Forever Changes' standing.

No wonder that, in the twilight of his troubled career, Lee performed the record in its entirely during concerts met with overwhelming critical acclaim. It was, and will always be, a personal manifesto of timeless relevance and appeal.

Repress!

For those who know, Bambooman is one of the most sought-after, probing, and distinctive voices in UK electronic music right now.

The Yorkshire-born producer's catalogue builds into an aural mosaic, comprising everything from scrunched up hip-hop to techno deviance, all delivered with an impish sense of individuality.
'Whispers' certainly resonates. It's a lengthy, bucolic work, an album of great breadth but also one of sustained mood – think those hazy summer evenings when shadows stretch out across the road, and autumn lingers around the corner.

This new album has a dusty, organic, and decidedly personal feel, much more at home with Jon Hassel's 'fourth world' aesthetic than the club.

The results are also imbued with an incredible sense of mystery, with Bambooman's productions frequently being shot through with a hallucinatory sense of the uncanny. Entirely self-composed, 'Whispers' utilises "lots of field recordings that I've collected over the last few years, while within the tracks you can find lots of the instruments, percussion, bells and whistles that have been gathered throughout my life."

In certain ways 'Whispers' is entirely autobiographical: Bambooman reaches back to his varied alter egos, to the ambient releases, art commissions, and soundtrack projects that litter his discography. The cover art was even pieced together by Oliver Pitt – of Glasgow group Golden Teacher – who was an early ally in the producer's sonic quest.

Stylistically 'Whispers' veers from avant hip-hop of Flying Lotus to the theoried composition of Terry Riley, from the future-forward percussive energy of Battles to the ever-evolving electronics of Mark Pritchard. It's a record marks by a fiercely independent spirit, but also by a close-knit cast of collaborators.

King Kashmere takes a starring turn, following the pair's collision on the recent 'SUPERGOD' EP.

Each vocal is recorded, chopped up and then spliced across the album, with Elsa Hewitt also making a number of appearances and re-appearances.
credits

Boukou Groove – the soul-funk band from New Orleans – consisting of the charismatic singer/keyboardist/songwriter Donnie Sundal and the virtuoso guitarist/songwriter Derwin 'Big D' Perkins, is the best-kept American soul secret of the moment. Donnie, the frontman of Boukou Groove, is rightly considered one of the best white soul singers of the past fifty years. His soulful and funky voice evokes comparisons with greats such as Curtis Mayfield and Ronald Isley.
But let's not forget Big D, who is celebrated as one of the best guitarists in New Orleans. As a regular session musician, Big D regularly showcases his unique mix of jazzy and funky guitar playing on albums by icons such as Maceo Parker, Dr. John and Snarky Puppy. The latest album, 'Groovin'', released for the first time on vinyl under the 'Juicy Records' label, is a collection of their best work to date. After two successful tours in Japan with performances at the Live Magic! Festival and at the Blue Note in Tokyo, the album serves as a wonderful introduction before the European tour begins. While Donnie controls the vocals and bass role with his funky Moog Bass, Big D enchants with catchy guitar riffs and sublime guitar solos. Together with a talented drummer and sometimes horn players, they create an irresistible mix of New Orleans Funk, Southern Soul and Rhythm 'n' Blues. Boukou Groove has delivered one of the most enchanting modern funky soul records of this decade with 'Groovin''.

This is the soundtrack to flipping through the filing cabinet at the mortuary in Return of the Living Dead. You are running out of time before ending up on the slab yourself at the end of a bad day at work. Wash away the blues with a pint and 12 tracks clocking in at just under 14 minutes whilst Stiff Meds take you on a journey to see the many faces of death. Starting in 2019, Stiff Meds arose from the grand tradition of fast as fuck music that has always been at the centre of UKHC from Napalm Death to Voorhees. Taking that history, along with some more US influences such as No Comment and Infest, vocalist Seth marries that with tales of the macabre as metaphors for daily life. Each song contains more riffs than most brains can compute in real time and is a testament to the skill level of the band. Not surprisingly they have grown a reputation as a ferocious live machine that blasts through 20+ songs with ease and without stops with wild crowd reactions to match. If you don’t believe us, then check out the Live at the Mersey Shore Set as an exclusive special feature of the physical vinyl release of Tales from the Slab. Don’t delay, it’s time to pick up your prescription. Check them out on tour in Europe, November-December 2023.

Brand new album from the Seattle cult band. Filth is Eternal's Find Out is the triumphant reawakening of one of Seattle's most energetic and committed bands. The new testimony whips forward with the force of a breakthrough and is a clear commitment to their own genesis with a deep awareness of themselves, their audience and the shared history
between them. The basic rules of the band: the immediacy must be in the foreground. The songs should have the power to ignite a pit in less than thirty seconds

Brand new album from the Seattle cult band. Filth is Eternal's Find Out is the triumphant reawakening of one of Seattle's most energetic and committed bands. The new testimony whips forward with the force of a breakthrough and is a clear commitment to their own genesis with a deep awareness of themselves, their audience and the shared history
between them. The basic rules of the band: the immediacy must be in the foreground. The songs should have the power to ignite a pit in less than thirty seconds

Brand new album from the Seattle cult band. Filth is Eternal's Find Out is the triumphant reawakening of one of Seattle's most energetic and committed bands. The new testimony whips forward with the force of a breakthrough and is a clear commitment to their own genesis with a deep awareness of themselves, their audience and the shared history
between them. The basic rules of the band: the immediacy must be in the foreground. The songs should have the power to ignite a pit in less than thirty seconds

Brand new album from the Seattle cult band. Filth is Eternal's Find Out is the triumphant reawakening of one of Seattle's most energetic and committed bands. The new testimony whips forward with the force of a breakthrough and is a clear commitment to their own genesis with a deep awareness of themselves, their audience and the shared history
between them. The basic rules of the band: the immediacy must be in the foreground. The songs should have the power to ignite a pit in less than thirty seconds

Most southern soul fans will tell you that that the music produced in Memphis in 1967 and 1968 was the pinnacle of quality. So following on from our look at the River City’s soul output in 1967, we now turn our attention to an album covering the next year. As before, the singers here are a heady mixture of local Tennessee talent and welcome soulful guests who journeyed down south hoping that a little of the famous Memphis magic would rub off on their songs. There are soul genres to suit all tastes here – from the deepest ballads to upbeat tracks that will rock your socks off. Soul doesn’t get much better than the artists and their tunes on this LP!

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat