Search:the white man

Obscure & outstanding free jazz album reissued for the first time since it’s original release in 1969. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

In the late 1960s, young jazz musician Bobby Naughton, a keyboardist and vibraphonist, faced significant challenges as he sought to record his first album. With major record labels and jazz clubs catering only to big names, Naughton and other creative musicians of his generation found themselves sidelined by the mainstream music industry. They turned to self-reliance and self-production, becoming part of a movement of independent musicians. Naughton’s debut album, Nature’s Consort, was a DIY effort in every sense—recorded on home equipment and featuring a hand-printed woodblock cover. The album was distributed independently at concerts and by mail, receiving little attention initially, but over the years it gained a reputation as a rare, sought-after artifact of the period.

Though recorded during an outdoor concert in Connecticut, Nature's Consort reflected the "loft jazz" scene in New York City. This avant-garde jazz movement centered around musicians who lived and played in loft spaces in lower Manhattan. Naughton commuted from his home in Southbury, Connecticut, to play with his bandmates Mark Whitecage, Mario Pavone, and Laurence Cook in New York's lofts. These musicians regularly performed at venues like Studio We, a key gathering spot for free-form jazz, where musicians could experiment and develop their sound, often with no audience present.

Naughton’s journey into jazz was a winding one. Originally from Boston, he played rockabilly and blues-rock before transitioning into free jazz. Inspired by avant-garde artists like Carla Bley and Paul Bley, Naughton sought to explore new forms of music that went beyond traditional jazz structures. His bandmates, Mark Whitecage and Mario Pavone, were both deeply affected by the death of John Coltrane in 1967, which prompted them to quit their day jobs, attend Coltrane’s funeral, and move to New York to pursue jazz full-time.

Nature’s Consort was a collective project, with band members sharing equally in any profits. However, Naughton was the driving force behind the group’s creative direction. He composed much of the original material and selected pieces by Ornette Coleman and Carla Bley for the band’s repertoire. Jazz critic Nat Hentoff praised the album for its “high-risk improvisation” and the musicians' ability to anticipate each other’s moves. Though Nature’s Consort received little press at the time, it has since been recognized as a significant early document of the loft jazz era, representing Naughton’s disciplined, improvisational approach to music.

"_Syd Barrett fronting Queens Of The Stone Age- surefooted, inventive and buzzing with surprises." - The Guardian "A refreshingly bold alt-rock sound." Alfitude NJ White - aka WHITEY - explodes out of the shadows with the announcement of his highly anticipated double LP MENTAL RADIO, out on 3rd October 2024. Pulling in influences from across decades of sound and putting it through the Whitey blender to create something musically fresh, MENTAL RADIO is an album that in turn is furious, raw, amused, politically razor sharp and poignant... a satirical take on 21st Century life, a musical pop art collage. As an individual, Whitey prefers to speak via his work, and has eluded all interviews for well over a decade - leading one journalist to describe him as 'the musical equivalent of Bigfoot'. Despite this elusive stance, his music continues to rack up many millions of plays and draw fans from all ages across the globe. Across a string of acclaimed albums, Whitey's music has made its mark, from rock'n'roll clubs to electronic dance floors, fashion catwalks to movie soundtracks, television to computer games, from Breaking Bad and the Sopranos to Grand Theft Auto. Whitey has built a strange home in the shadows between mainstream entertainment and the vanishing underground, an outsider who celebrates his outsider ethos in his work- and yet whose music is embraced by both popular and alternative culture. Whitey is a prominent spokesperson for independent music - his viral letter about 'fair fees for artists' was shared 500,000+ times; and made Newsweek, The Times, BBC Worldwide and the front editorial of Music Week. Whitey's back catalogue has previously received praise from the likes of The Independent, The Guardian, Record Collector, Uncut and Rock Sound to name a few. Available as a Double Vinyl LP, CD and cassette through NO! LABEL, published globally by Mute Song and repped for live by William Morris Entertainment- this is set to be a benchmark album of 2024. Housed in a Gatefold Sleeve (Gloss Finish plus Silver Foil Trim) Including two Printed Inner Sleeves (Gloss Finish).

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

Out of My Province is Nadia Reids third album, following 2017s critically acclaimed Preservation. This album is Reids first with Spacebomb Records, produced by Matthew E. White and the Spacebomb House Band. Out of My Province is the sound of a young artist growing in profile and dexterity before international audiences and whose world has changed before her eyes. // "Each of the album's 10 songs manage to elegantly teeter without toppling into the overly referential or experimental sides of the sonic canyon. They recall the greats while also plotting a map of the future. The New Zealand songwriter makes her best album yet" UNCUT.

Warehouse Find!

A Ron Wells classic intended for release in 2020 and delayed for various reasons including moving factory and our original stampers getting recycled.

This release is sourced from mint vinyl as the original masters are long gone, we have carefully restored and remastered this classic release while retaining all the character of the original. Remastering is by Bob Macc @ Subvert Central Mastering. You can be assured the tracks sound fantastic but do not suffer from the Loudness Wars while still holding their own when mixed with modern productions.

Repress.

The Italo dance classic that Carl Craig sampled for the legendary 69 track 'Rushed'

Finally available again on Dark Entries


We are honored to announce the next 12 in Dark Entries Editions is one of the all time Italo Disco club classics: My Mine - 'Hypnotic Tango'. My Mine were the trio of Stefano Micheli (vocals, keyboards), Carlo Malatesta (vocals, keyboards), and Danilo Rosati (drums, keyboards) formed from the ashes of Italian New Wave group Ipnotico Tango in 1982. They shifted focus from the experimental post punk sounds towards something more commercial with which to try and enter the market, namely to make a record. At that time Carlo was studying in Bologna and he had heard about producer and arranger Mauro Malavasi famous at that time for the many hits produced for Macho, Peter Jacques Band, Change, Luther Vandross, Ritchie Family. The group handed Malavasi a demo tape and four days later they were invited to Fonoprint Studios to record their first single, 'Hypnotic Tango'.

Utilizing new electronic instruments like the now legendary Roland TB-303, Danilo improvised a simple but effective synthesizer bass line and passed it through the Roland Echo until something magical came out. 'Hypnotic Tango' was released on Progress Record in 1983 and became an international hit across Europe and US dance clubs in New York, Detroit and Chicago, capturing the imagination of House and Techno producers. In 1987 the legendary Frankie Knuckles remixed 'Hypnotic Tango' at Seagrape Studios in Chicago, with assistance from studio engineers Tommy White and Brett Wilcotts. Originally released on Danica Records as the 'Powerhouse Mix' paying tribute to the Windy City club atmosphere and adding his own "sighs" in the track as well. The Hypnotic Remix This reissue presents 4 mixes of 'Hypnotic Tango' including the 'Hypnotic Mix' only appearing together once before in 1990 on Rams Horn Records. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original artwork and includes an insert with photos and liner notes by Stefano Micheli. 'Look on the floor and all is spinning round, Someone told me this was just a dance And take a chance I ain't met before..Do you think I really have a chance"

Red Brut’s third album, "On Bare Ground", is a sonic tapestry woven from the final threads of her Rotterdam existence. Entirely composed of soundscapes captured during her last two years in the city, the album evolves into a poignant farewell as its creation mirrors the passage of time, culminating in a profound departure from her life there.

A Coherent States, Dead Mind Records and Econore co-release. 200 copies on white vinyl, comes with obi-strip.

“On Bare Ground” is a sculptural work blending its lo-fi with haunting melodies, field recordings, and ethereal soundscapes. Uncompromising in its approach, the album evokes the echoes of experimental music from a spectrum that ranges from dark bedroom pop to rhythmic noise, crafting a cloudy and dreamlike atmosphere. With meticulous attention, it unfolds as a strong hypnotic journey, where intricate sounds emerge from a hidden center, while, in a parallel narrative, they gradually expose On Bare Ground’s underlying deep melancholic core.

Red Brut is the artistic alias of Dutch artist Marijn Verbiesen, who recently moved to Groningen and has been a vital force in Rotterdam's art scene. Her work reveals a particular sensitivity to everyday sounds, the soundscapes of cassette music, musique concrète, and spontaneous sound collage, combining these elements into a unique and truly personal avant-garde expression. This expression is present in various forms, in a wave of releases that began with limited-edition underground cassette releases in the mid-2010s and culminated in her two full-length albums, "Red Brut" (2018) on the Belgian label (K-RAA-K)³ and "Cloaked Travels" (2020) on the Finnish labels Lal Lal Lal and Ikuisuus. She has appeared at many important European festivals such as Rewire, KRAAK festival, Inversia, Colour Out Of Space and in numerous smaller venues worldwide. In addition to her career as Red Brut, Marijn is a member of the free improv/weirdo electronic pop duo Goldblum and before in the experimental no wave/noise trio Sweat Tongue.

“On bare Ground works as like an homage to self discovery amid urban malaise” The Wire

After navigating the labyrinthine musical chambers of their 2023 modern exotica album 'Palace Of A Thousand Sounds', Reno. Nevada’s Whatitdo Archive Group has returned with their first-ever holiday offering—venturing into the darker side of Christmas folklore with their new ice-cold 45, 'Wild Man'. Drawing inspiration from a global archetypical myth of the same name, Whatitdo Archive Group examines the ancient story of the Wild Man—the hairy, half-human, half-beast that stalks the shadows of humanity’s shared primeval past. The myth of the Wild Man is a folktale that goes by many names: The Yeti of the Himalayas, the Bigfoot of North America, and, of course, Krampus of Eastern Europe—a yuletide beast with a reputation as a child-devouring "Anti-Claus" who now finds himself the subject of Whatitdo’s latest musical exploration.

‘Wild Man’ gives us a glimpse into the band’s newest sonic direction. With a heavy rhythm section carried by Alexander Korostinsky’s driving bass line, the sticky wah-guitar of Mark Sexton’s L-5, and the acrobatic lines of the Wurlitzer electric piano, “Wild Man” revels in the spiritual jazz flavors of Pharoah Sanders and grooves hard like the classic soul-jazz stylings of Ramsey Lewis. Much like the Krampus myth itself, 'Wild Man' is meant to weave an ominous spell over any Christmas cocktail party long after the kids have gone to bed. Hear the warning for yourself in the song’s haunting chant: "You better watch out for your life, when the Wild Man comes in the night".

But mythology isn’t abandoned on the B-side. The band takes the traditional English folk melody 'Greensleeves' and reimagines it through the musical lens of Ethio-jazz. Recorded live at the Archive Group Studios, the track exudes a dark, roomy atmosphere, drenched in unease and mystery courtesy of the wandering electric piano dancing above the hypnotic rhythm section and mesmeric groove of the distant Batá drums. This fresh reimagining taps into the ancient, cross-cultural lineage of the "Green Man" myth, a pagan symbol of rebirth and the power of the natural world, further blurring the lines between holiday cheer and the primal, elemental forces enshrined in our collective cultural memory.

After the band’s 'Palace Of A Thousand Sounds' was named 2023’s "Best Library Record" by PopMatters Magazine, their new 'Wild Man' 7” capitalizes on the same creative process that shaped their last record, while now exploring new conceptual territory. By drawing inspiration from archaic global folklore and again utilizing their peculiar recording techniques, W.A.G. has crafted a truly unique holiday offering that unearths the darker, more primal undercurrents of the Christmas tradition. The 'Wild Man' 7" is released as part of the Snowflakes Christmas Singles Club, pressed on snow-white bio-vinyl and limited to 300 copies.

Repress of this Christmas classic, 300 copies on snowy WHITE vinyl! "At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? ...you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we'd guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the overinflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it's for LIFE!" - Ian Damaged, National Elf

NOTON is pleased to announce the release of Xerrox Vol. 5, the final installment of Alva Noto’s Xerrox series.

For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images—both visual and acoustic—that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist's evolving perspective and conceptual approach.

Initially characterized by rawness and a conceptual focus on seeking resolution in white noise, the later works engage with themes of dissolution while shifting their emphasis toward acoustic particles. The copying process is now less visible through software manipulation; rather, it unfolds as the artist describes melodic and acoustic images that are then manipulated, copied, and transformed into new patterns during composition.

Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo.

The conclusion of this album holds a sense of finality for the artist. “I aimed to create a whole cycle of tracks that frame both the beginning and the end,” Nicolai explains. “The motif of the journey continues, but this time, the story reaches a dissolution through a conceptual object that embarks on its own journey into infinity. The word “dissolution” (“Auflösung” in German) is a wonderful concept. On one hand, you can solve a riddle, on the other hand, a pill can completely dissolve in water. Here, I am deliberately describing the process of dissolution.”
In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. “This album probably took the longest to complete,” he reveals. “I first created melodic sketches, which became the foundation for the pieces. These recordings are created entirely from scratch. Based on these sketches, I constructed the process of copying, manipulating, and reshaping.”

Drawing from his recent experiences working with film and larger ensembles, Nicolai's approach to composition reflects a growing influence of classical instrumentation. “This experience of working with acoustic classical instruments has flowed into the compositional process for Xerrox Vol. 5. Certain instruments are designed with potential orchestral translation in mind.”

The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. “I wasn’t initially interested in strong, emotional melodic aspects,” Nicolai shares, “but I realized that the fragment plays a central role.” This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album’s emotional resonance.

“Xerrox Vol. 5 has a lot to do with farewell,” the artist explains. "Not only the farewell to the series itself, which I’ve nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It’s a very emotional, personal album.”

Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. “I prefer to allow the music to evoke personal experiences and images rather than dictate a specific narrative,” he states. The result is a layered listening experience that invites tenderness and introspection.

In 2015, Membranes released their first album for 25 years.
It was a critically acclaimed double album about life, death, and the universe. An ambitious work, it became the band's best-selling album in a long and unconventional career. “Dark Matter / Dark Energy” was both the band’s critically acclaimed return and best-selling release and, due to public demand, it is now reissued as a double vinyl album in stunning and experimental, ground-breaking new artwork and packaging.
The album which will be launched in December with gigs at the Albert Hall in Manchester and Shepherds Bush Empire in London was inspired by Membranes’ John Robb, meeting John Incandela the head scientist from the CERN project at a TEDx talk they were both giving.
Incandela had just completed his work on the Higgs Boson particle project, and Robb became friends with him and other scientists from the project. Their conversations about the universe were mind-blowing, and the album attempted to capture these in musical form.
The band toured the album around the world, supporting The Stranglers, The Sisters Of Mercy, and Mark Lanegan, who called the Membranes one of his favourite all-time post-punk bands and said that ‘John Robb is a legend - I’m truly honored to know him’.
The Membranes were formed in Blackpool in the late seventies and were big John Peel and music press favourites with their innovative bass driven discordant Death To Trad Rock sound providing a template and influence for many bands over the years including Big Black, Mercury Rev, The Wedding Present and even the likes of the Lambchop who covered them.
John Robb is also a well-known face on TV and radio as well as running the Louder Than War music and culture website and writing best-selling books like ‘Punk Rock - An Oral History’ and ‘The Art Of Darkness - The History Of Goth. He is currently working on his mémoires and a new Membranes album.
The new edition of the album comes in revolutionary and stunning new artwork gatefold sleeve, complete with lyric sheet, and a poster of the original album cover, all of which captures its interstellar themes.

In 2015, Membranes released their first album for 25 years.
It was a critically acclaimed double album about life, death, and the universe. An ambitious work, it became the band's best-selling album in a long and unconventional career. “Dark Matter / Dark Energy” was both the band’s critically acclaimed return and best-selling release and, due to public demand, it is now reissued as a double vinyl album in stunning and experimental, ground-breaking new artwork and packaging.
The album which will be launched in December with gigs at the Albert Hall in Manchester and Shepherds Bush Empire in London was inspired by Membranes’ John Robb, meeting John Incandela the head scientist from the CERN project at a TEDx talk they were both giving.
Incandela had just completed his work on the Higgs Boson particle project, and Robb became friends with him and other scientists from the project. Their conversations about the universe were mind-blowing, and the album attempted to capture these in musical form.
The band toured the album around the world, supporting The Stranglers, The Sisters Of Mercy, and Mark Lanegan, who called the Membranes one of his favourite all-time post-punk bands and said that ‘John Robb is a legend - I’m truly honored to know him’.
The Membranes were formed in Blackpool in the late seventies and were big John Peel and music press favourites with their innovative bass driven discordant Death To Trad Rock sound providing a template and influence for many bands over the years including Big Black, Mercury Rev, The Wedding Present and even the likes of the Lambchop who covered them.
John Robb is also a well-known face on TV and radio as well as running the Louder Than War music and culture website and writing best-selling books like ‘Punk Rock - An Oral History’ and ‘The Art Of Darkness - The History Of Goth. He is currently working on his mémoires and a new Membranes album.
The new edition of the album comes in revolutionary and stunning new artwork gatefold sleeve, complete with lyric sheet, and a poster of the original album cover, all of which captures its interstellar themes.

The first eponymous album by Biglietto per l’Inferno, released in 1974, represents one of the most significant and influential peaks in the Italian progressive rock scene, a constant presence in any Italian rock records of all time “best of” list.

Anything related to this masterpiece has become iconic and timeless, from the cover image made by visionary photographer Cesare Monti to the album’s unique sound for that era, from the challenging and refined lyrics by the histrionic singer Claudio Canali, who later retired to a convent until his death in 2018, to the record company bankruptcy that caused the end of the band’s career after only two years, to a second album, “Tempo della Semina”, that remained unreleased until many years later.

Celebrating 50 years since the release of “Biglietto per l’Inferno” is therefore more than necessary.

This commemorative white vinyl edition, with a special 350gsm cover and a 60x30cm insert with lyrics, a presentation of the album written by music collector and connoisseur Mox Cristadoro, as well as a collection of photographs from those unforgettable years. A must-have release for any music collection!

Sophie Zelmani’s 2010 album I’m the Rain is a delicate and introspective collection of folk-inspired tracks, reflecting her signature soft vocals and acoustic sound.

The album blends minimalist arrangements with heartfelt lyrics, creating a soothing, atmospheric listening experience.

Standout songs like “You Can Always Long For May” and “If I Could” highlight Zelmani’s poetic songwriting and emotional depth, exploring themes of love, loss, and introspection. Her subtle use of acoustic guitar, gentle melodies, and whispery vocals evoke a sense of calm and reflection throughout the album. I’m the Rain solidifies Zelmani’s reputation for creating deeply personal and timeless music. For fans of intimate, folk-inspired singer-songwriter styles, I’m the Rain is a must-listen, offering a tranquil escape into Zelmani’s beautifully crafted world. I’m The Rain is a limited edition of 1000 individually numbered copies on white coloured vinyl.

Before we pack away the poppers for another year, let Red Laser take you for one last spin on the waltzers.
Tried and tested at our recent road block parties in Manchester, these edits shine a light on four primo-grade Italo face melters. Fervently excavated by Bosco over countless visits to Bel Paese and streamlined for the hydrofoil, with some extra added calories for the club.

Opener 'Destiny' tweaks and shudders under analogue arpeggios, dazzling Strat chops and cosmic bass interplay before dropping into a simply glorious female vocal that, thankfully, gets plenty of airtime before Bosco calls close. A track so close to perfection we had to make it longer.
'Flavio', up next - and half sung in Italian so we only know a bit of what she's on about - is another supreme slice of Italo disco from the upper echelons that Bosco snaffled between glugs of Barolo and a face full of worm cheese. Sure to instigate group hugs, 4AM declarations of love, tears of happiness and huge pelvic thrusts dependant on environment and inebriation.

The tingles continue on side B with another supernova burning bright across the stars. 'Newsin' introduces itself with a joyous marriage of marimba and synth before yet another vocal proves Italians really do, do it better when it comes to writing some of the catchiest hooks and choruses in the universe.
'Lace', featuring the record's only male vocal appearance, has a romantic, proto-goth-new-wave vibe; like if Robert Smith and Richard Butler had a chem-sex love child after a wild night in Baia Degli Angeli.

Not sure who the woman in lace is, but we'd defo like to see her down The White Hotel one night...

Flat Duo Jets: White Trees 2024 Remaster Fronted by the late Dex Romweber. The duo’s fourth album was the first album of all original material. Produced by Caleb Southern, White Trees is a Jets’ masterpiece that proved that Romweber could diversify his band’s material without losing his recklessness and urgency.

Dex passed away earlier this year on February 16th and this reissue is dedicated to his memory and legacy. Jack White from the White Stripes has called Dex and the Flat Duo Jets a major influence when starting out. White declared that seeing the Jets for the first time “opened up a whole new inspiration for me about the guitar.” And he was downright effusive in the 2006 cult-classic Romweber documentary ""Two Headed Cow"", calling Romweber “a huge influence on my music… one of the best-kept secrets of the rock & roll underground.” In 2009, White recorded a seven-inch with Romweber, and in 2011 he reissued the Jets’ long-out-of-print 1991 album Go Go Harlem Baby on his Third Man Records imprint.

“[White Trees] by North Carolina’s Jets is a tarnished neo-rockabilly gem. Dexter Romweber’s battered honk is the perfect voice to wrap around these twisted tales about Charlie Dick (Patsy Cline’s hubby), UFOs, and dining with Van Gogh. It’s as if the ”Eraserhead” soundtrack were recorded at Sun Studios and sent to Weekly World News for editing.”- Entertainment Weekly Arguably the busy Duo’s most accomplished set, ‘93s handily diversified White Trees jumbled stylistically antiquated originals in a cohesively dignified manner. -Beermelodies"

At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? …you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we’d guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the over-inflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it’s for LIFE! Ian Damaged, National Elf

MC5 (Motor City Five), the legendary Detroit band. Their first single (included here) was released in 1967. In 1968 they played the infamous Democratic Convention that turned into a police riot, and they went on to be the "Official White Panther Party Band". Their manager John Sinclair became a hippie martyr, after being jailed for 10 years for 2 joints, inspiring John Lennon"s "10 For 2" song. Thrown off their first label Electra, they signed to Atlantic for 2 more albums but only achieved underground success. Now greatly revered as one of the seminal rock"n"roll bands and a huge inspiration for punk. Thunder Express documents their last and first studio works: - six tracks recorded in France at Studio Castle Herouville for a TV show in 1972; plus four tracks from their debut singles from "67 & "68. The title track is not available elsewhere. In 2024 MC5"s guitarist Wayne Kramer, drummer Dennis Thompson and manager John Sinclair all passed away, marking the end of the MC5 era.

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

"In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further. Meanwhile the Queen's family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war. All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night's Watch, is all that stands between the realms of men and icy horrors beyond. Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy, atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time. Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert."

LAVENDER, das Debütalbum der Alternative-R&B-Musikerin MULAY, ist ein zutiefst persönliches Projekt. In zwölf kunstvoll intimen Songs verarbeitet sie eine intensive, schmerzhafte Erfahrung mit toxischer Liebe. Aber LAVENDER ist viel mehr als ein klassisches Heartbreak-Album. Es ist ein Plädoyer dafür, an Verletzungen und Enttäuschungen zu wachsen. Ein Leuchtfeuer im Sturm dunkler Zeiten, das von Heilung, Selbstentdeckung und Empowerment erzählt. Stärke durch Verletzlichkeit – das ist das Mantra dieser Platte.

Mit LAVENDER setzt die in Berlin lebende Singer-Songwriterin, Produzentin und Künstlerin den Weg fort, den sie mit zwei EPs begonnen hat: ANTRACYTE (2021) und IVORY (2022) ergänzten sich konzeptionell zu einem interdisziplinären Gesamtkunstwerk aus Sound, Gesang, Visuals und Performance, bei dem ambivalente Gefühle, Licht und Dunkelheit, zusammengedacht werden. Entstanden sind die Songs zwischen Paris, London und Berlin – zusammen mit alten (Llucid, Novaa), aber vor allem mit neuen Kreativpartnern wie den französischen Produzenten/Multiinstrumentalisten Elie Zylberman und Jules Minck. Auf der Suche nach ihrer kompromisslosen Wahrheit bewegt MULAY sich fließend zwischen innovativem Songwriting und ambitionierten Produktionen, die weite, kaleidoskopartige Soundräume voll von souligem R&B, Hip Hop und Electronica aufmachen. MULAY verwandelt Schmerz und Wut in fiebrig aufgeladene, ansteckende Soundscapes, in denen Downtempo-Momente und schnellere, tanzbare Beats sirupartig zu einem emotionalen Rausch zusammenfließen.

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2004’s 'Mantra Of Love’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what others had to say upon it’s original CD only release back in 2004 …

“Acid Mothers are strong folk. You'd think they'd tire quickly, all tucked away on their island, strewn about on tree roots while baking their lungs and throats to a knotty green tinge. But instead of waltzing through life like hippies, they manage to not only tour and put out records every year, but also to fill those albums with 30-minute jams and assorted freakouts. And while evil jam bands would fill that space with guitar work taken from the Classic Rock Manual of Clichés, Makoto Kawabata and company assault listeners with frighteningly dense walls of white noise, psychedelic swirl effects and, yes, even guitar solos-- albeit ones that are more Merzbow or Keiji Haino than Gary Rossington. Truly, AMT's endurance and threshold for cosmic lashings are both worthy of admiration.

But how much AMT can you take in one sitting? If there's anything this band has taught us-- via records such as 2002's Electric Heavyland and the ferocious Acid Mothers Temple & the Melting Paraiso U.F.O-- it's that they're not afraid to reach for the upper regions of consciousness. On Mantra of Love, they offer two titles over the course of one hour, never faltering along the way, and it's as if we listeners are just brief visitors passing through a never-ending, spontaneous group trip. For all I know, Kawabata has hundreds of hours of this stuff on his hard drive-- at any single moment, this record's sheer volume of sound is a clamor to behold. However, if you aren't dialed into that the particular space AMT inhabits (for me, it's the mystical fire-baptism standby), you might not hear their glorious noise for all the, well, glorious noise.

"La Le Lo" begins as a lengthy psychedelic ballad sung by Cotton Casino (who doubles on "beer & cigarettes"), who is accompanied by her own ghostly backing vocals. The band is playing a mantra as Casino waxes earth-mother stylings to the moon. The serenity is broken by a patented AMT rave led by Kawabata's electric sitar (!) solo. Ace rhythm section Tsuyama Atsushi ("monster bass") and Koizumi Hajime hold things together, as does the generally decent recording quality (not a given for these guys), but the real money is in effects-- lots and lots effects. Much like France's Richard Pinhas or AMT's countrymen in Les Rallizes Denudes and High Rise, the band understands the collaborative power of solo + overdriven Moog sirens and screams. And, also like those artists, Acid Mothers can go on all night if need be. About 25 minutes into this piece, any hell that hadn't already broken loose gets its due, and the band speeds to a fiery climax before winding down into glimmering astro-ambience.

The second track, "L'Ambition dans le Miroir", also begins as a minor ballad featuring Casino's haunting solo vocal. The Mothers set her up with a faux-blues drag and a thick buffer of synth-rays; when Casino actually enters, she fights for airtime with an array of falling stars and cosmic dust. However, this time there is no overwhelming solo to power the comedown. Casino intermittently coos in the background while droning horns keep the auxiliary pixie haze from evaporating. As they showed on In C and La Novia, AMT are more than adept at creating calmer storms-- listeners just have to catch them in the right light. Mantra of Love doesn't necessarily capture the most inspired moments in their canon but as usual with this band's records, it's rarely at a loss for moments of horror or grandeur.”

Acid Mothers Temple & The Melting Paraiso U.F.O. : Cotton Casino - Vocal, Beer & Cigarettes - Tsuyama Atsushi - Monster Bass, Vocal, Cosmic Joker - Higashi Hiroshi - Synthesizer, Dancin' King - Koizumi Hajime - Drums, Percussion, Sleeping Monk - Kawabata Makoto - Guitar, Bouzouki, Electric Sitar, Violin, Hammond Organ, Speed Guru

Hard-Fi make their welcome return with brand new single ‘Don’t Go Making Plans’ on Ignition Records. Their first new material in ten years, the track marks the first taste of an EP of brand new songs, as well as a big UK headline tour this November. Rolling around a sun-scorched groove and boisterous beats, ‘Don’t Go Making Plans’ is an immediate, soul-infused summer anthem, recorded at the band’s own Staines studio, produced by frontman Richard Archer and long-term contributor Wolsey White. It’s the end result of the first session together since 2011 album Killer Sounds and follows a series of sold-out tours and live shows over the last 18 months - listen here. As with many of the band’s songs, there is a thought-provoking depth behind Hard-Fi’s pop sensibility. The song’s defiant themes were initially inspired by the UK Government’s attempts to criminalise many aspects of popular protest through the 2022 Public Order Act, while the issue has been thrown into even sharper focus over the last year as police and people have repeatedly clashed on streets around the globe. SGB50LPXX

Christmas is the most wonderful moments of the year, when we meet with family and friends,

and when we really want to have a nice time. Of course, music is essential to achieve this ambience. Christmas:

The Complete Songbook in vinyl format is an album ideal to liven up that special moment,

since it is an completely different album from those currently available. With an fantastic selection of artists,

ranging from Frank Sinatra and Louis Armstrong, to Belinda Carlisle, Gilbert O’Sullivan and Patti Austin,

they all delight us with fantastic versions of Christmas’ classics.

With an elaborate and eye-catching artwork and specially remastered sound for vinyl format,

this is a fundamental album for the upcoming Holiday season.

ShitKid's self-titled debut EP immediately cut through the haze on its release in 2016, pushing the home-recording lo-fi pop artist into the spotlight with praise from the likes of The FADER, Pigeons & Planes, i-D, SPIN, The Line of Best Fit and many more. Home-recorded lo-fi recordings ranging from the alternative pop of debut single "Oh Please Be A Cocky Cool Kid" to the White Stripes-y garage rock of "Rnr Sally" to the just plain weird, the ShitKid EP is an essential release from ShitKid - now available on vinyl again, on limited edition galaxy vinyl.

180 Gram Vinyl Make the holiday season unforgettable with All Time Christmas Favourites! This festive collection is the perfect soundtrack, featuring the beloved voices of Johnny Cash, Paul Anka, Bobby Darin, Harry Belafonte, and many more. Whether for hosting a holiday gathering or enjoying a quiet evening by the fire, these timeless classics will fill your home with warmth and joy.

180 Gram, Red Vinyl Make the holiday season unforgettable with All Time Christmas Favourites! This festive collection is the perfect soundtrack, featuring the beloved voices of Johnny Cash, Paul Anka, Bobby Darin, Harry Belafonte, and many more. Whether for hosting a holiday gathering or enjoying a quiet evening by the fire, these timeless classics will fill your home with warmth and joy.

180 Gram Vinyl Get ready to spin some holiday magic with the Christmas Hits record! This festive collection is packed with timeless music from legendary artists like Brenda Lee, Connie Francis, Elvis Presley, The Beverly Sisters, and many more. Perfect for setting the holiday mood, this LP will keep every Christmas lover's spirits bright. Whether you're trimming the tree or sipping cocoa by the fire, let these iconic voices bring the joy of the season to your home.

180 Gram, Gold Vinyl Get ready to spin some holiday magic with the Christmas Hits record! This festive collection is packed with timeless music from legendary artists like Brenda Lee, Connie Francis, Elvis Presley, The Beverly Sisters, and many more. Perfect for setting the holiday mood, this LP will keep every Christmas lover's spirits bright. Whether you're trimming the tree or sipping cocoa by the fire, let these iconic voices bring the joy of the season to your home.

Did you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details-the horses, the possible human, the faint wisp of white clouds-give it depth and wonder, something to which the imagination can return. Did you know that the music on Earth 2-repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called "ambient metal"-works much the same way? The surface is massive and obvious, the meatpaw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder. The widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.

~~~From Mississippi and Olvido Records~~~~~~ Steel-string guitar and vocals by the great Giorgos Katsaros, a mythic figure of Greek rembetiko. Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime. Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs. Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing. These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice. Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s. Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels circulate to this day. Greek researchers Stavros Kourousis and Konstantinos Kopanitsanos, who also compiled these tracks, contribute groundbreaking new historical research on Katsaros' life. Lyrics, poetically translated by Tony Klein, further fill in the picture. Clean and rare 78s were remastered by Stereophonic. Katsaros has never sounded better than on this LP, pressed on heavy black vinyl, with extensive notes and lyrics.

All Is Chaos by Stake, released 1 November 2024, includes the following tracks: "The Calling", "Stargazing", "Trapped", "Drowning In Your Blood" and more.

Hellbilly Deluxe 2: Noble Jackals, Penny Dreadfuls and the Systematic Dehumanization of Cool is the fourth solo studio album by former White Zombie frontman Rob Zombie. The album is a sequel to his debut album Hellbilly Deluxe and was released on February 2, 2010. This is the first album with bassist Piggy D and the last with drummer Tommy Clufetos.

Hellbilly Deluxe 2 is also the first release where Rob Zombie worked with his full touring band. Previous albums were written and recorded by Rob Zombie himself and a rotating set of musicians. The lead single ""What?"" debuted on radio stations on October 6. Rob Zombie enlisted the help of artists Dan Brereton (creator of Nocturnals), Alex Horley (of Image Comics and DC Comics) and David Hartman (storyboard artist) to create the album artwork. British dark/horror/science fiction/steampunk artist Sam Shearon aka 'Mister Sam Shearon' (artwork for Ministry, Slayer, Clive Barker, and tour merchandise for Iron Maiden) also contributed to the artwork of Hellbilly Deluxe 2.

Hellbilly Deluxe 2 is now available as a limited numbered edition of 1500 copies on Dracula coloured vinyl, housed in a gatefold and it comes with a 4 page booklet.

"This Christmas album – a limited edition on transparent red vinyl - contains some of the biggest evergreens of the season. These are the holiday songs you know by heart, the ones that immediately put you in the Christmas mood. Featuring Bing Crosby, Elvis Presley, Brenda Lee, Johnny Cash, Louis Armstrong, Dean Martin, Ella Fitzgerald and many others."

André Rieu is a Dutch violinist and orchestra leader known to many as the waltz king of Europe. He is also one of today's most celebrated solo violinists/composers, with over 500K sales on his catalog. Rieu is known to the general public with his performances of popular classical works by Johann Strauss.

His 1992 Christmas album Merry Christmas consists of beautiful arrangements of traditional Christmas songs. Merry Christmas is completely remastered for vinyl and is now available as a limited edition on translucent red coloured vinyl.

André Rieu is a Dutch violinist and orchestra leader known to many as the waltz king of Europe.

He is also one of today’s most celebrated solo violinists/composers, with over 500K sales on his catalogue.

Rieu is known to the general public with his performances of popular classical works by Johann Strauss.

His 1992 Christmas album Merry Christmas consists of beautiful arrangements of traditional Christmas songs.

Merry Christmas is completely remastered for vinyl and is now available as a limited edition on translucent red coloured vinyl.

Mit der neuen Doppel-LP 'Long Distance Love - A Sweet Relief Tribute to Lowell George' hat Sweet Relief, die Organisation, die alle Arten von Berufsmusikern und Beschäftigten der Musikindustrie finanziell unterstützt, die mit körperlichen oder geistigen Problemen, Behinderungen oder altersbedingten Problemen zu kämpfen haben, ein Juwel vorgelegt.

Lowell George war der Gitarrenvirtuose, Sänger und Songschreiber von Little Feat. In dieser Sammlung von 25 Liedern interpretieren und spielen Künstler wie Elvis Costello, Ben Harper und Dave Alvin seinen vielfältigen Katalog. Der in Hollywood, Kalifornien, geborene George war Mitglied von Frank Zappas Mothers of Inventions, bevor er diese Band verließ und mit Bill Payne Little Feat gründete. Lowell gehörte der Band 7 Jahre lang bis zu seinem Tod an und veröffentlichte in dieser Zeit acht Alben. Obwohl George 1979 starb, lebt sein Vermächtnis durch dieses Album weiter.