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Analogical Force is kicking off 2024 with a stellar "all things Electronix" album from well known producer Vertical67 (who also runs the Vortex Traks label)! It's hard not to have heard of Thomas Pahl in the electro underwater depths after multiple appearances over the course of more than a decade and under a ton of aliases. With the illuminating title of 'Changes', Thomas gets rid of corsets and presents an entrancing voyage into post-euphoria, displaying a radiant and emotive side which the artist's new discordant sound emerges. A defiant cry in the face of existential angst. Navigating between breaks, dreamy melodies and reflective landscapes 'Changes' could be defined as a deep introspective journey into the machines. Cop while u can.

Trystero comprises Scottish/Luxembourgish producer Thomas Lea Clarke (aka MR TC) and Low Bat, otherwise known as one half of the formidable duo Jean-Luc. Their debut album, Sfumare e Vedere, was conceived over three days aboard Urban Boat, a 1960s barge transformed into an arts and performance space. Moored along the river just outside of Paris, the duo embarked on a joint residency, discovering their complementary creative energies and a mutual passion for all things strange and psychedelic.

As frontman, Low Bat is a fire-powered poet, his unparalleled stage presence resonating through Trystero's music. The French native and fluent German speaker has a natural flair for languages. For this project, he sings in a combination of Italian and English about love, loss, and class struggle, constructing surreal wordplay about pelicans and puttanesca. Meanwhile, Clarke's drone-lead electronic accompaniment takes its cues from sizzling acid, 1990s snap rhythms, post-punk, krautrock and shoegaze. Firmly rooted in these tripped-out genres, Trystero journeys to entirely new cosmic dimensions.

Die kratzigen Gitarrenhooks, das eingängige Schlagzeugspiel und die ausgedehnten Codas klingen eindeutig nach Großstadt, doch bei WIDOWSPEAK gesellt sich ein trockener Minimalismus und eine an die Atmosphäre von David Lynch Filmen erinnernde Düsternis, die aus der Kleinstadt der Bandmitglieder stammt. Während der Grunge Seattle berühmt machte und die Riot Grrl und die DIY Einstellungen synonym mit Olympia sind, steht Tacoma für etwas Raueres und Düsteres. Berühmt-berüchtigt für den beißenden Gestank der Papiermühlen hat die Stadt es dennoch geschafft, eine fruchtbare Musikszene ihr Eigen zu nennen - nur wenige Außenstehende wissen das. Drei Jahre, nachdem sie schon bei einem kurzlebigen Sampler Label Projekt aufeinander getroffen waren, fragte Michael Molly, ob es nicht Zeit wäre, eine neue Band zu gründen. Molly fing trotz Bühnenangst an, zu schreiben und kurz darauf lud Michael den Gitarristen Robert Earl Thomas zu einer ersten Probe ein. Obwohl Robert seine Gitarre über die Musikanlage spielen musste und Michael auf nur zwei Trommeln spielte, zeigte die erste Stunde, dass alles passte. Sie suchten einen Namen aus, den Molly sich schon Monate vorher ausgedacht hatte und der Sound von WIDOWSPEAK begann, Form anzunehmen. Im Herbst hatte das Trio sechs Songs für eine Kassette names ,October Tape" zusammen, die sie nur mit einem Laptop Mikrophon und Garageband aufgenommen hatten. Das Tape fiel in die Hände von Captured Tracks und hier ist das selbstbetitelte Debüt. Aufgenommen mit Jarvis Taveniere von WOODS bekamen die noch zittrigen Probetracks im Studio Luft zum Atmen. ,Widowspeak" erschafft eine unheimliche Atmosphäre, die sich manchmal auf den Jukebox Pop der Fünfziger oder auf die Psychedelia der Sechziger gründet. Während WIDOWSPEAK mit ruhigeren Acts wie MAZZY STAR oder CAT POWER verglichen wurden, haben sie einen Sound definiert, der ernsthaft nostalgisch und zunehmend selbstbewusst ist.

"Vor ein paar Jahren, nach einem Konzert in irgendeinem zentral-niederösterreichischem Club, vielleicht Melk, vielleicht Krems, vielleicht Sankt Pölten, kam ein schöner junger Mann zu mir. Er heiße Thomas Gravogl, sagte er und schenkte mir in ansonsten wortkarger Grandezza eine Schallplatte. Das Cover zeigte eine Krähenfeder, "Gravögl" stand drauf, und der Titel: "In da Finstan". Das Ganze war ein schöner Moment. Als ich die Platte anderntags hörte, war ich begeistert, und mehr noch, nach dem zweiten oder dritten Hören dauerhaft ein bisschen zum Besseren verändert. Der Dichter und Sänger Thomas Gravogl und seine Band, die Gravögl, stellte sich heraus, waren vier Zauberer aus dem bergigen Süden Niederösterreich, dort, wo sich Pielach- und Traisental durch sonnabgewandte Hügel immer höher in die waldigen Ostalpen schlängeln, in Richtung der Madonna von Mariazell und des mächtigen Ötschers. Wie diese wilde Gegend ausschaut, so klingen die Gravögl-Songs in ihrer weit zurückgelehnten Virtuosität. Es sind Outlaw(berg)balladen, Lieder, wie sie überall möglich sind, wenn auch überall nur ganz selten, und, yeah, halt auch in den Wäldern hinter Lilienfeld. Seit unserer Begegnung in diesem Club, an den ich mich nicht mehr erinnere, haben Thomas Gravogl und ich immer wieder darüber gesprochen, einmal miteinander "was zu machen". Jetzt veröffentlichen Charlie Bader und ich das zweite Album der Gravögl: Imma is irgendwos. Es ist eine Lieblingsband. Es ist eine Freude."

Finally the 5th album of the imaginary German quartet - as always via Denovali. Although the title ""Systeme"" suggests a perhaps rather distant-cool album, it is the most personal and concentrated soundtrack so far created by Thomas Bücker from Münster in his ""E-Smog-Playground"" studio. In 2008, the quartet still flirted with cyrillic-mysterious melancholy and red wine-swilling trakl melancholy. 15 years and four albums later, it seems almost cynical to simply continue at this point. Because: late modernity delivers its very own complex tragedies - in real time.

This feeling of ""Something's not right here"" runs like a thread through the entire new album. While it still sounds popularly symphonic here and there, there are also many soundscapes that have an observing, almost unmasking effect. Microtonal shifts, polyrhythmic structures, tempo fluctuations and sound aesthetics torn out of context create a fragile, unpredictable foundation - as if Talk Talk, Tim Hecker and Skrillex were making music together and challenging our tolerance for ambiguity.

Typical of the Bersarin Quartet: sparks of optimism shimmer through everything. However, sitting back and enjoying doesn't really want to work - necessarily. Because that makes it exciting without freezing in escapism - fortunately.

In the 1950s Chicago was the blues capital of the world. But by 1966 musical tastes had changed. R & B had morphed into hard soul and newer soft soul musical stylings had coalesced from earlier doo wop motifs, with bigger and more sophisticated productions. This was the era of the small independent owners / producers, all vying for airplay and sales in a hugely competitive marketplace. This landmark LP showcases many of the best of this output – the sounds that hit music listeners and buyers straight from the street. The mix here is a perfect blend of the tough hard soul style and the softer soul sounds. Just right for the feet and the heart. Enjoy!

Classic Miles Davis LP pressed on 180 gram vinyl, with a bonus CD digipack included containing the complete album ‘Birth Of The Cool’ album plus 11 bonus tracks and updated liner notes.
“The virtuosity led to relaxing, stylish mood music as the end result - the very thing that came to define West Coast or ‘cool’ jazz - but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream.” - **** AllMusic (Stephen Thomas Erlewine)

Classic Miles Davis LP pressed on 180 gram vinyl, with a bonus CD digipack included containing the complete album ‘Birth Of The Cool’ album plus 11 bonus tracks and updated liner notes.
“The virtuosity led to relaxing, stylish mood music as the end result - the very thing that came to define West Coast or ‘cool’ jazz - but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream.” - **** AllMusic (Stephen Thomas Erlewine)

Recorded in the 1982. Roots Radics backing in a dancehall style with the drums and bass of style scott and errol flabba holt on extended 12" mixes. Produced by Jah Thomas at Channel One Studio.

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
Bad Company's eponymous 1974 debut featuring "Ready for Love"
180-gram 45 RPM double LP
Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

From the wreckage of Free came Bad Company, the English hard rock supergroup fronted by singer Paul Rodgers and featuring his drummer bandmate Simon Kirke, Mott the Hoople guitarist Mick Ralphs, and King Crimson bassist Boz Burrell. Peter Grant, who managed the rock band Led Zeppelin, also managed Bad Company until 1982.

The group's eponymous 1974 album debut decidedly proves the band is proudly not progressive — the details make a difference, as do the pastoral acoustics of the closing "Seagull" — reducing their rock 'n' roll to a strong, heavy crunch; compare "Ready for Love," a tune Ralphs brought over from Mott the Hoople, to the original to see how these quartet members keep their heads down as they do their business. Appropriately enough given their name, there's a sense of slow, churning menace to Bad Company, writes AllMusic reviewer Stephen Thomas Erlewine.

Their first three albums, Bad Company (1974), Straight Shooter (1975), and Run with the Pack (1976), reached the Top Five in the album charts in both the U.K. and the U.S.. Many of their singles and songs, such as "Bad Company," "Can't Get Enough," "Good Lovin' Gone Bad," "Feel Like Makin' Love," "Ready for Love," "Shooting Star," and "Rock 'n' Roll Fantasy," remain staples of classic rock radio. They have sold 20 million RIAA-certified albums in the U.S. and 40 millon worldwide.

The self-titled debut album was recorded at Headley Grange, Hampshire, in Ronnie Lane's Mobile Studio. The album reached No. 1 on the Billboard 200 in the U.S, and No. 3 on the U.K. Albums Chart, spending 25 weeks on the U.K. charts. The album has been certified five times platinum in the U.S., and became the 46th-best-selling album of the 1970s. The singles "Can't Get Enough" and "Movin' On" reached No. 5 and No. 19 on the Billboard Hot 10.

All the hallmarks of a top-notch Analogue Productions reissue are here for your pleasure: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Dynamic dancehall singer Anthony Johnson began his career in the mid-1970s, cutting a few sides for Channel One before he joined the group Mystic I who cut some great work for Lee Perry and Linval Thompson before disbanding, leading to the hit material Johnson cut for Jah Thomas as a solo singer. Togetherness dates from 1993, when Johnson was long based in London, but his singing kills remained on par as in his heyday, the album a mix of ballads, pop adaptations and songs of dancehall appeal, the soave production values and one-off vocal style making it popular in Brazil and other territories. A lost gem, ripe for rediscovery!

Limited release.

After “The Legend of Kaspar Hauser” directed by Davide Manulli, Vitalic is once again putting his music to moving images with “Disco Boy” by Giacomo Abbruzzese (awarded a Silver Bear at the 2023 Berlinale). Electronic, intense and navigating between a variety of different atmospheres, the soundtrack - much like the film it accompanies - is full of promise and mystery. “The Swamps”, “La Guerre” and “Helicopter” are reminiscent of the intense, dark and foreboding productions of Thomas Bangalter for “Irreversible” by director Gaspar Noé. In contrast, “Winter is Coming” and “Lost Time” are places of melancholy and sweetness where all bass has completely disappeared. As for the eponymous theme for the film, “Disco Boy”, it pays true electronic homage to the sound of disco. The retro-futurist soundtrack to “Disco Boy” oscillates between devastating kick drums, moist ambient and dreamlike swathes. Vitalic has created uncharted sonic landscapes that invite us on a voyage of initiation and self-discovery.

Emerging from the depths of Cardiff’s burgeoning music scene, heirs to their country’s lineage of storytellers, are Slate. Formed by frontman Jack Shephard and drummer Raychi Bryant, the four-piece band are barely touching their twenties, but together, they have command of post-punk which rings with the gravitas of a death knell; a grasp of atmosphere and melody which touches on the ethereal.

With the addition of bassist Lauren Edwards and guitarist Elis Penri who completed the band at the end of 2021, the four bonded over the written word playing poetry games over pints. Together, they found an affinity with the surreal works of Arthur Rimbaud and the Welsh poets R. S. Thomas and Dylan Thomas, whose reverence for their country and its people bleeds into Slate’s own lyrics.

The 7" collects Slate's stunning 1-2 of debut singles 'Tabernacl' and 'St Agatha', which were both produced by Buzzard Buzzard Buzzard's Tom Rees. Both songs come loaded with frontman Jack Shephard's distinctive, poetic drawl, blistering yet gothic and ornate guitars and rollicking, road-ready drums. Together they offer a snapshot of a band born fully-formed and prove a statement of intent that's hard to ignore.

Of the track, Shephard explains: "'St Agatha' is the first song we wrote about being Welsh. Though, living in in the south, we each converge at the forefront of anglicisation. At the time of writing, we were indulging in literature, landscapes as well as each another, in an attempt to re-connect with much of our disregarded national identity. So much was left unrevealed to us in school. We read about a churchyard on the border, where some people are buried with their heads in Wales and their feet in England. It was the perfect place to tell the story of a conflicted protagonist. Severed at St Agatha’s, between there and the homeland

Die Neuauflage der 2015er Albums mit dem Hit aus Sex Education - in limitierter Auflage auf Eco-friendly farbigen Vinyl!

This Is The Kit (TITK) ist das viel geliebte Musikprojekt von Kate Stables, die in England geboren wurde und in Paris lebt. Produziert wurde Bashed Out von Aaron Dessner, einem Mitglied von The National, der sowohl Indie-Ikonen (Sharon Van Etten, Local Natives) als auch in jüngerer Zeit Stars wie Taylor Swift und Ed Sheeran produziert hat. Die für Bashed Out zusammengestellte Begleitband vereint die Talente der Tourmitglieder von TITK mit Session-Spielern aus der Brooklyner Musikszene: Bryce Dessner, Thomas Bartlett (Doveman, The Gloaming), Matt Barrick (The Walkmen) und Ben Lanz (Beirut, The National) leisteten wichtige Beiträge.

Seit der Erstveröffentlichung dieser LP leistete Kate wichtige Beiträge zum 2019 erschienenen Album/Film I Am Easy To Find von The National und wurde bei anschließenden Live-Terminen zum Tourmitglied. Im Jahr 2020 wurde der Titeltrack von Bashed Out ein Streaming-Hit, nachdem er in einer wichtigen Episode der Netflix-Serie Sex Education die Nadel fallen ließ.

Diese Musik ist ehrlich und menschlich - ein folkig-liebevoller Slow-Rumble. Es ist Rock, aber von der groovigen, katerfreundlichen Kiffer-Variante. Die Stimme von Stables erinnert an die Singer-Songwriter-Ära - ihr markanter, schneidender Gesang ist ganz vorne im Mix. The Line of Best Fit bezeichnet die Band als "unverzichtbaren Bestandteil der britischen Folk-Musik der letzten 10 Jahre...einer der wenigen wirklich innovativen Songwriter, die heute mit der britischen Folk-Schablone arbeiten."

- Ltd. Col. LP: (Eco Mix Coloured Vinyl)

With help from Jerry Seinfeld himself, one of the classics from the mixtape era, Wale’s More About Nothing sees its first official release on CD & Vinyl. Originally released in 2008, the album is nothing short of a masterpiece in his celebrated catalog, and features appearances from then-budding artists Wiz Khalifa & Fat Trel, among others. True fans of the musician will undoubtedly know how crucial this project is to the culture; a Jerry Seinfeld collaboration with Wale finally available for all.

With help from Jerry Seinfeld himself, one of the classics from the mixtape era, Wale’s More About Nothing sees its first official release on CD & Vinyl. Originally released in 2008, the album is nothing short of a masterpiece in his celebrated catalog, and features appearances from then-budding artists Wiz Khalifa & Fat Trel, among others. True fans of the musician will undoubtedly know how crucial this project is to the culture; a Jerry Seinfeld collaboration with Wale finally available for all.

Discover our new Men Collection : a fine selection of the greatest male artists in Soul & in Jazz on two nice vinyls !

Re-release Soul entwickelte sich gegen Ende der 1950er Jahre aus Rhythm"n"Blues, Gospel, Blues und Jazz. Im folgenden Jahrzehnt war Soul ein Synonym für schwarze Popmusik. Kennzeichnend dafür waren vor allem die Produktionen von Motown Records, zum Beispiel Diana Ross & The Supremes oder Sam Cooke. Seither sind herzergreifender Gesang und groovige Vibes die größten Stilmerkmale des Soul. Zu den weiteren Ikonen des Soul gehören Curtis Mayfield, James Brown, Aretha Franklin, Barry White, Sam Cooke, Al Green und viele mehr. Deren Erfolg ist eng mit dem Kampf der US-amerikanischen Bürgerrechtsbewegung gegen Rassentrennung und für Gleichberechtigung verbunden. 1969 benannte man die Rhythm"n"Blues- in Soul-Charts um. Der Soul-Orkan, der während der Sechziger in den Charts tobte, ebbte jedoch wieder ab, kam aber runderneuert in den 70ern als Phillysound wieder zu erneuten Hitparadenehren. 1982 änderte man die Chart-Bezeichnung von Soul in Black Music. Die vorliegende Kompilation vereint die legendären Stimmen des Soul mit ihren unvergesslichen Hits.