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After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs. “Werk Road (1997 MPC 60)” is the third volume of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

1997 is when the name Hi-Tek began to develop a global buzz, largely due to the combustible indie-rap scene. He’d moved on from the now-shuttered Beatbox Studios in his hometown of Cincinnati and began building his first proper home studio in his new apartment on Werk Road. With a borrowed Akai MPC 60 drum machine as the foundation, he began churning out beats at a more prolific rate than ever.

In addition to placements on debut LPs by Mood and Royal Flush, Tek would make his name in 1997 as one-half of the duo Reflection Eternal with Brooklyn MC Talib Kweli. Their Rawkus Records debut 12” “Fortified Live” was an instant smash, and it quickly placed him at the top of the class of up-and-coming beatmakers. His unique balance of bassline-driven grooves behind soulful samples would eventually lead him to be in high demand for artists across the spectrum of the genre, and in short time he was producing for Common, Snoop Dogg, Raphael Saadiq, Dr. Dre, 50 Cent, and others from all over the country.

The work featured on “Werk Road (1997 MPC 60)” reveals an artist who would not only become one of the most respected producers in rap, but one of the cultural ambassadors of his home city of Cincinnati for over 25 years. In 2022, Hi-Tek was inducted into the Cincinnati Black Music Walk of Fame alongside luminaries like The Isley Brothers, Bootsy Collins and Midnight Star, and remains the most successful hip hop artist that the city has ever produced.

Out February 23rd on translucent orange vinyl for the album's 15th anniversary: Fucked Up’s now classic album 'The Chemistry Of Common Life' synthesizes numerous diverse impulses into an expansive epic about the mysteries of birth, death, and the origins of life (and re-living).

Merging elements of hardcore songwriting with up to 70 tracks of guitars, organs, winds and vocals, (including 18 guitars on the first single, the fatalistic “No Epiphany”), the music remains iconoclastic and startling, with Pink Eyes’ vocals front and center. Guest musicians, of course, abound, notably gorgeous voices such as Brooklyn’s Vivian Girls and Toronto’s Katie Stelmanis.

Fucked Up"s now classic 2008 album The Chemistry Of Common Life synthesizes numerous diverse impulses into an expansive epic about the mysteries of birth, death, and the origins of life (and re-living). Merging elements of hardcore songwriting with up to 70 tracks of guitars, organs, winds and vocals, (including 18 guitars on the first single, the fatalistic "No Epiphany"), the music remains iconoclastic and startling, with Pink Eyes" vocals front and center. Guest musicians, of course, abound, notably gorgeous voices such as Brooklyn"s Vivian Girls and Toronto"s Katie Stelmanis.

20 TOMES AVAILABLE, MORE THAN 55 MILLIONS MANGAS SOLD (WORLDWIDE) ONE OF THE BEST-SELLING MANGA OF THE WEEKLY SHONEN JUMP IN JAPAN

ONE OF THE BEST SUCCESS OF THE CLUB DOROTHEE

Transistor Radio: the fourth M. Ward album. Listening to M. Ward's breezy ode to radio's forgotten heydays is a lot like taking in a huge breath of dust-bowl wind -- however, its charms are rooted in the hazy lemonade-sipping of summer rather than the great depression-obsession of the post-O Brother, Where Art Thou? mainstream.

Das vierte Album von Ghost Funk Orchestra. Nach „A New Kind of Love“ (2022) taucht Ghost Funk Orchestra mit „A Trip To The Moon“ noch tiefer in die Welt der Filmmusik, der Exotica und des psychedelischen Surf-Rock ein. Ein vielschichtiges und collagiertes Hörerlebnis mit mehr Elementen, als man in einem einzigen Hördurchgang heraushören kann. Große Kompositionen mit Garagenrock-Attitüde. Die Einflüsse reichen von Eddie Palmieri und Esquivel bis hin zu The Lively Ones, Dusty Springfield und War. Die Tracks werden durch echte, aufgezeichnete Übertragungen der Apollo-Mondmissionen miteinander verbundenFür Fans von Orions Belte, Temples, Allah-Las, Unknown Mortal Orchestra, Khruangbin, David Axelrod, Man or Astro-Man?

Das vierte Album von Ghost Funk Orchestra. Nach „A New Kind of Love“ (2022) taucht Ghost Funk Orchestra mit „A Trip To The Moon“ noch tiefer in die Welt der Filmmusik, der Exotica und des psychedelischen Surf-Rock ein. Ein vielschichtiges und collagiertes Hörerlebnis mit mehr Elementen, als man in einem einzigen Hördurchgang heraushören kann. Große Kompositionen mit Garagenrock-Attitüde. Die Einflüsse reichen von Eddie Palmieri und Esquivel bis hin zu The Lively Ones, Dusty Springfield und War. Die Tracks werden durch echte, aufgezeichnete Übertragungen der Apollo-Mondmissionen miteinander verbundenFür Fans von Orions Belte, Temples, Allah-Las, Unknown Mortal Orchestra, Khruangbin, David Axelrod, Man or Astro-Man?

Das vierte Album von Ghost Funk Orchestra. Nach „A New Kind of Love“ (2022) taucht Ghost Funk Orchestra mit „A Trip To The Moon“ noch tiefer in die Welt der Filmmusik, der Exotica und des psychedelischen Surf-Rock ein. Ein vielschichtiges und collagiertes Hörerlebnis mit mehr Elementen, als man in einem einzigen Hördurchgang heraushören kann. Große Kompositionen mit Garagenrock-Attitüde. Die Einflüsse reichen von Eddie Palmieri und Esquivel bis hin zu The Lively Ones, Dusty Springfield und War. Die Tracks werden durch echte, aufgezeichnete Übertragungen der Apollo-Mondmissionen miteinander verbundenFür Fans von Orions Belte, Temples, Allah-Las, Unknown Mortal Orchestra, Khruangbin, David Axelrod, Man or Astro-Man?

Olustee is a masterpiece of soul-shaking music. JJ’s deep Southern roots and skill as a storyteller shine through, whether he’s rocking with gospel-tent fervor or slowly winding his raspy voice around a lyric of heartbreak and loss. It’s an aggressively groove-driven record fueled by JJ’s gritty vocals and funk-infused guitar playing.

"Klez.e sind zurück! Im Jahr 2016 überraschten sie mit "Desintegration". Das war eine Überdosis The Cure, die ganz toll war. Nun sind sie mit ihrem neuen Album ,Erregung' wieder bei sich selbst angekommen. Der autobiographische Titeltrack ist ein bewegendes Zeugnis davon, wie Außenseitertum Menschen wie uns in die Liebe zur Musik treibt. In "Tortur" singt Tobias Siebert: ,Wir sind wie die Welt nicht mehr zu retten / Meine Lippen auf Deinen'. Der Blick von Klez.e auf die Welt ist romantisch, tieftraurig und politisch. In der Musik liegt Schmerz, aber auch Wut auf die Umstände, in denen wir gefangen sind. Ich empfehle euch, tief in ihren Songs zu versinken!" - Jan Müller (Tocotronic) "Anders gesagt, in stürmischen Zeiten braucht man manchmal irgendwen oder irgendwas zum Anlehnen. Zum Beispiel einen Sound, der einem vertraut ist. Aus der Kindheit oder Jugend. Der aber so zeitgemäß ist, dass nichts Verstaubtes an ihm haftet. In stürmischen Zeiten braucht man manchmal was zum Nachdenken, das über die Frage hinausgeht, wo man den nächsten Kaffee trinken, das nächste Konzert erleben oder den anstehenden Urlaub verbringen möchte. Für die, die gut zuhören können, auch Songtexte. Und die dürfen gerne das aktuelle Geschehen aufgreifen. Aber sie müssen einem nicht zwingend mit belehrendem Zeigefinger kommen, für den sich irgendwer eventuell nicht mal vom eigenen Schreibtisch oder Sofa wegbewegt hat, um der Welt da draußen zu erklären, was zu tun ist und was zu lassen, sobald irgendetwas passiert. Und es passiert ja immer irgendetwas, und deswegen kommt das neue Album der Band Klez.e genau richtig. Während viele andere Bands, die aktuell New Wave oder Post Punk spielen, gut aber bemüht klingen, wirkt die Musik bei Klez.e leichtfüßig gespielt und dennoch mit enormer Dringlichkeit aufgeladen. Sie klingt mächtig und selbstbewusst, dabei wärmend und umarmend - und sie erscheint nun auf einem neuen Album, das den ambivalenten Titel "Erregung" trägt." - Christiane Falk (RBB Radio Eins)

"Klez.e sind zurück! Im Jahr 2016 überraschten sie mit "Desintegration". Das war eine Überdosis The Cure, die ganz toll war. Nun sind sie mit ihrem neuen Album ,Erregung' wieder bei sich selbst angekommen. Der autobiographische Titeltrack ist ein bewegendes Zeugnis davon, wie Außenseitertum Menschen wie uns in die Liebe zur Musik treibt. In "Tortur" singt Tobias Siebert: ,Wir sind wie die Welt nicht mehr zu retten / Meine Lippen auf Deinen'. Der Blick von Klez.e auf die Welt ist romantisch, tieftraurig und politisch. In der Musik liegt Schmerz, aber auch Wut auf die Umstände, in denen wir gefangen sind. Ich empfehle euch, tief in ihren Songs zu versinken!" - Jan Müller (Tocotronic) "Anders gesagt, in stürmischen Zeiten braucht man manchmal irgendwen oder irgendwas zum Anlehnen. Zum Beispiel einen Sound, der einem vertraut ist. Aus der Kindheit oder Jugend. Der aber so zeitgemäß ist, dass nichts Verstaubtes an ihm haftet. In stürmischen Zeiten braucht man manchmal was zum Nachdenken, das über die Frage hinausgeht, wo man den nächsten Kaffee trinken, das nächste Konzert erleben oder den anstehenden Urlaub verbringen möchte. Für die, die gut zuhören können, auch Songtexte. Und die dürfen gerne das aktuelle Geschehen aufgreifen. Aber sie müssen einem nicht zwingend mit belehrendem Zeigefinger kommen, für den sich irgendwer eventuell nicht mal vom eigenen Schreibtisch oder Sofa wegbewegt hat, um der Welt da draußen zu erklären, was zu tun ist und was zu lassen, sobald irgendetwas passiert. Und es passiert ja immer irgendetwas, und deswegen kommt das neue Album der Band Klez.e genau richtig. Während viele andere Bands, die aktuell New Wave oder Post Punk spielen, gut aber bemüht klingen, wirkt die Musik bei Klez.e leichtfüßig gespielt und dennoch mit enormer Dringlichkeit aufgeladen. Sie klingt mächtig und selbstbewusst, dabei wärmend und umarmend - und sie erscheint nun auf einem neuen Album, das den ambivalenten Titel "Erregung" trägt." - Christiane Falk (RBB Radio Eins)

FÜR FANS VON: Scorpions, Victory, Jane, Epitaph, Eloy, Mob Rules, Thunderhead, Nitrogods / Vinyl Farbe: schwarz, bedruckte Innentasche, 140 g
Fargo zählten Anfang der Achtziger zu Deutschlands wichtigsten Rock-Acts. Mit vier Studioalben zwischen 1979 und 1982 und ihren Tourneen unter
anderem mit AC/DC und Mothers Finest hat sich die Hannoveraner Band einen echten Kultstatus erspielt. Am 23. Februar 2024 werden ihre vier
frühen Klassiker wiederveröffentlicht, darunter auch "Frontpage Lover" (1981), welche neu gemastert wurde.

PREVIOUSLY UNRELEASED ON VINYL. Syntech’s second album “Atmospheres” originally released in 1991 is entirely composed and produced by Edwin Van Der Laag. On this album, Edwin breaks away from danceable space synth formula and moves towards strongly electronic, ambient, distant, extra-galactic spaces with his Atari 1040 ST. The music from this album had a huge impact on electronic music enthusiasts and remained an inspiration to many young artists.

Beach Fossils' self titled debut album is a seminal release from the halcyon days of Brooklyn's underground music scene. Songwriter and composer Dustin Payseur's home recorded masterpiece captures the naïveté of youth, the anxiety of routine, and the joy of infatuation, though a track list full of layered guitars and heartfelt lyrics. Beach Fossils take inspiration from 60's jangle pop, 70's kraut rock, 80's post punk, to create a sound uniquely their own with this first record, causing a ripple effect on the sound of indie music in the years that followed it.

NOW is proud to present the very best of Country music with NOW That’s What I Call Country. 4 CD’s jam-packed full of the biggest Country hits of all time! With 86 tracks and its mix of classic and modern hits, this collection is essential for any Country music and Pop fan! So, grab yours today, and get ready to enjoy the very best of Country also available on a Coloured Triple LP set with 50 tracks and its mix of classic and modern hits, this collection is essential for any vinyl collection! So, grab yours today, and get ready to enjoy the very best of Country across 3-LPs!

Ploy kicks off the year with the third release on his Deaf Test imprint with his own strain of club rattling 4/4 house music.

The A side - Vortex (stripped mix) - rolls out an infectious three note bassline, rumbling alongside seven minutes of cranky arps and sharp risers with a minute long breakdown providing the only respite amidst the unrelenting groove. Tech house through Ploy’s weirdo lens.

Vocal chops and slapping percussion feature on Vortex (busy mix), deftly layered over the pounding U.S garage drums and explosive hits. A main room roller for the peak hours.

In Your Head races along a galvanic bassline and guttural techno synths, complemented by an earworm vocal hook (a ploy signature). Rude UK tech house business.

Eyez On U is a ‘tough as nails’ progressive drum workout. Functional club gear with bags of groove and industrial strength breaks, slapping you around the dancefloor.

Sending winds down the 5 tracker with sultry r&b vocals floating over hazy synths, glossy strings and a dusty drum groove. A nod to Detroit and the house music that has informed his work for the past decade.

Written, produced and mixed by S. Smith
Additional mixing from Thomas Bulwer on Vortex and In Your Head
Mastered by Beau Thomas

Two longstanding electronic legends, Steve Bug reunites with frequent collaborator Cle for the three-track ‘It Just Happened EP’ on Nu Groove.

The German tastemaker and Poker Flat label boss has helped define a plethora of electronic sub genres through his modern releases and expansive DJ sets. From early LPs ‘Volksworld’ and ‘Da Minimal Funk’, to later works ‘Traffic Signs’ and ‘Never Ending Winding Roads’, Bug’s futuristic vision is apparent throughout his experimental releases.

Joined once again by Cle, a fellow veteran of the German rave scene, the pair return to the cult NYC label with three striking originals following previous release ‘Let It Go / Suitcase In A Box’. The EP’s lead, ‘It Just Happened’ features breathy synths and acidic loops that harken back to an era of underground house, immediately nostalgic yet forward thinking in its technique.

‘Crew Thing’ and ‘House Music Transcends’ follow suit, both teeming with energy as the two producers show off their unique creative process through sound.

Danielle Boutet’s P »Pièces« is a mysterious artifact of Quebecois marginalia, self-released in 1985. Moving from languid ennui to high drama, »Pièces« is a dreamy gestalt, an album that borders Chanson, spoken-word, jazz noir, and minimalism, conjured from the chasm between acoustic and electronic realms. »Pièces« allows us a window into the highly intimate songcraft and compositional skill of an artist who longed to linger not in the public eye, but in relation with others and the world around her.

Born in Quebec City, Boutet studied music at the University of Montreal, where she focused on composition and percussion, before becoming involved in Montreal’s feminist and lesbian art scene. Primarily written, performed, and recorded by Boutet, with voice, guitar work, and technical assistance by Sylvie Gagnon, Pièces was created during a paradigm shift in home recording. Originally composed for the piano, Boutet and Gagnon utilized a consumer-friendly Tascam 4-track Portastudio and versatile Yamaha DX-7, alongside guitar, bass, marimba, and the human voice, to expand and contemporize the original composition’s scope.

Inspired by prog rock and British poet and musician Anne Clark, »Pièces« translates Boutet’s influence by moving between sunny, wistful fairytale and dark, wintry dirge. Filled with longing marimba, vertiginous, startling synth pads, and folk guitar, each track on Pièces offers a wholly unique proposition. Some are modal and rife with the ethereal psychological tension of a sci-fi soundtrack, while others are more like entering a smoke-laced lounge, the entertainer embodying seduction.

With the sprechgesang of artists like Serge Gainsbourg, there is an intense intimacy to Boutet’s delivery, sometimes as if she is performing for an audience of one. As one lyric goes, translated to English from French: “Like holograms/ Images from a world/ That inhales souls/ And exudes drama.” Another song contains an excerpt from The Tao of Physics: “The eastern sages specify clearly that they do not identify an ordinary void, but rather, a void having an infinite creative potential.”

To English-language audiences, the album’s title, »Pièces«, might seem to simply refer to the eleven different pieces. The title can also, of course, refer to parts of a larger whole, but Boutet is keen to point out that there is also another meaning: In French, a pièce is a room. On the cover of the original cassette, Boutet is seen sitting on a chair, alone in an empty apartment, a cable snaking at her feet. Listening to »Pièces« is like entering eleven different rooms: whether a study encased in shadow, a greenhouse left to wither in an eternal frost, or a divine nave.

Boutet sold a few dozen copies around Montreal, a scene mostly occupied by the new wave explosion de rigueur, but the inclusion of Pièces in the 1987 issue of Ladyslipper—the North Carolina-based mail order catalog that championed women musicians of all calibers and careers—led to more exposure throughout North America. “In the catalog,” Boutet says, “they included it in the New Age section, but I was, and still am, aware that this album is relatively unclassifiable.”

Boutet would release one more album, titled Musiques Urbaines, before getting pulled in the direction of interdisciplinary art and theory. “Although I never stopped making music, I lost all interest in public diffusion or performance,” Boutet says. Despite her departure from performance and publicly releasing music, she left behind a strange and enthralling document of Montreal’s 1980s feminist fringe, an aural document of the historic moment when self-recorded music and its practical potential became a prismatic reality.

Danielle Boutet’s Pièces arrives February 16, 2024 as part of uncommon¢ (“uncommon sense”), an open-ended, serialized endeavor from Freedom to Spend that provides new meaning for rarefied recordings from music’s outermost fringe.

This freakbeat jelly belly delight showcases the Bandits’ vaudeville humor, garage rock & catchy psychedelic pop! Considered a cult classic, this mixed bag of candy-coated fuzz is sure to satisfy your sweet tooth! Our favored stereo mix, pressed on yellow vinyl! Newburgh, New York psych-punks the Jelly Bean Bandits formed in 1966. Originally known as “The Mirror,” the band regularly packed area nightspots like the local Trade Winds, Poughkeepsie's Buccaneer Nightclub, and Burlington, Vermont's Red Dog.

In due time, they recorded a three-song demo reel that resulted in a three-album recording contract with Mainstream Records – however, unknown to Mainstream, these three songs represented the sum total of the Jelly Bean Bandits' repertoire, forcing the band to write enough additional material to flesh out a full-length LP in the course of a week. Amazingly, their eponymous 1967 debut is excellent, a freakbeat cult classic distinguished by emotive guitar and some innovative production techniques – all the more impressive, the album was recorded in a single 12-hour stretch. Mainstream hated the end result, however, and dropped the Jelly Bean Bandits just as they were commencing work on the follow-up – only one song was completed before the sessions were aborted, leaving just one ‘60s studio album from these confectionary con-artists. – Jason Ankeny

"The Jelly Bean Bandits" includes the following tracks: "Poor Precious Dreams", "Going Nowhere", "Goodtime Feeling", "Neon River" and more.

This version of the album comes as a 1xLP pressed on yellow vinyl.