quête:three dog night

Laura Nyro Live In Concert in 1994! Previously available only in Japan Includes live versions of the classics “And When I Die,” “Wedding Bell Blues,” “Stoned Soul Picnic,” and more Member of both the Songwriters and Rock & Roll Halls of Fame A member of both the Songwriters and Rock & Roll Halls of Fame, Laura Nyro not only wrote songs that became hits for acts including The 5th Dimension, Blood, Sweat & Tears, Three Dog Night, Barbra Streisand, and many more, but has been cited as a major influence by Kate Bush, Elton John, Elvis Costello, Cyndi Lauper, Todd Rundgren, Broadway composer Stephen Schwartz Godspell, Wicked, and countless others. She recorded 10 studio albums (one released posthumously), but a live performance from Nyro was always an event. Originally issued only in Japan as Live In Japan in 2003, these 16 tracks recorded at Kintetsu Hall, plus 5 recorded at On Air West return as Trees Of The Ages: Laura Nyro Live In Japan. From Nyro-penned hits including “And When I Die,” “Wedding Bell Blues,” and “Save The Country,” to covers of Bacharach/David, Smokey Robinson, and Phil Spector classics, Trees Of The Ages is an essential document of Laura’s February 1994 historic visit to Japan. With Laura on piano and vocals, with harmonies by Diane Wilson, Dian Sorrell, Diane Garisto, the performances are sublime. Newly remastered by Grammy®-winner Michael Graves, and produced for release by Grammy®-winner Cheryl Pawelski and George Gilbert with the approval of The Laura Nyro Trust, the packaging contains updated artwork and new liner notes from author and musician John Kruth. Looking and sounding incredible, this essential addition to Nyro’s discography is available worldwide for the first time. Trees Of The Ages: Laura Nyro Live In Japan cements the legend of the incomparable Laura Nyro.

Madfish are extremely proud to present:

LAURA NYRO - AMERICAN DREAMER

An 8LP Deluxe Vinyl Box Set housing 7 of Laura’s breathtaking original albums - More Than A New Discovery, Eli And The Thirteenth Confession, New York Tendaberry, Christmas And The Beads Of Sweat, Gonna Take A Miracle, Smile & Nested, alongside an original LP of Rarities & Live Recordings.

During the singer/songwriter movement in the late ‘60s and early ‘70s, Laura Nyro was one of the most celebrated tunesmiths of her day. She penned soulful, literate songs that took the folky introspection of her peers and infused it with elements of soul, R&B, jazz, and gospel, giving them an emotional heat that set her apart. Nyro was a hugely respected recording artist, whose confident piano work and rich, expressive vocals made other sonic trailblazers such as Miles Davis and Alice Coltrane navigate towards her. She has influenced the greatest of songwriters - Bob Dylan, Joni Mitchell, Elton John, Neil Young, Carole King, Kate Bush and Elvis Costello among them. That influence continues today being heard in the works of Alicia Keys, Tori Amos, Suzanne Vega, Jenny Lewis and more. Nyro’s wonderfully
expressive and poetic songs – of which many became major hits by other artists, most notably The 5th Dimension, Three Dog Night and Barbra Streisand – remain hallmarks of outstanding quality. ‘Eli’s Comin’, ‘Gibsom Street’, ‘Wedding Bell Blues’, ‘And When I Die’, ‘Stoned Soul Picnic’, ‘Map To The Treasure’, ‘Sweet Blindness’ and ‘Stoney End’ are magnificent examples. Nyro was 18 years old when
she signed her first recording contract and wrote the songs for which she is likely to be best remembered. By the time she was 22, she had become one of the most successful composers in American popular music. But at the age of just 24, she drew back from her creativity and fame, battered and drained by the sheer energy and nerve required to sustain her career. Fortunately for those of us who loved her music, that was not the end of the story. She returned briefly to the fray for three turbulent years in the mid-to-late 1970s, and then enjoyed a final decade of artistic achievement and public acclaim, before illness took her from us at the tragically early age of 49 in 1997. Nyro found her early fame challenging yet despite living under an unrelenting spotlight, she was able to create this series of utterly beautiful
and stunningly unique albums.

Having initially met more than a decade ago at a local community radio station, sometimes doing guest slots on each other’s live, improvised noise shows, Cormac Culkeen and Dave Grenon knew they had a mutual interest in working with sonic textures. They listened to each other’s bands for a handful of years, and in 2017, “made good on a threat” that they’d been making for quite a long time: to start a band. At Cormac’s gentle but clear urging—declaring that they’d gone ahead and booked a space in which to record a video—the two wrote their first song, “Sebaldus,” an ambitious 12-minute trip, which also serves as the fireworks finale to their self-titled debut album. With surges of pathos that smooth out into something more soothing in turn, Cormac goes: “The hunter, you’ve seen him / The archer, his arrows are strong / And hunger, you’ve known her / I know the winter is long.” The track is as much about enduring a Canadian winter as it is about the eponymous 8th century hermit, shot through with sublimated desire. As Cormac put it, Joyful Joyful’s songs are “a little bit outside of time.” But while the lyrics beg close, oblique reading unto themselves, there’s also a distinct sense that they’re only one of many more ways that the duo shapes sound. Cormac, whose voice is like a sea with irregular tides, lights up about an idea in traditional sean-nós Irish music that songs already exist and are out there; it’s up to the singer to become the conduit. This belief in music as something to be channelled, and something more than sound, resonates with the singer’s fundamentalist religious past. To paraphrase: lots of group singing, harmonies, no instrumentation, totally unmediated, no priest, congregational—not choral, not a performance, not about talent, the spirit moves through people. “Of course that informs how I think about singing,” Cormac says. So, when they were exiled from the church because of their queerness, they took the music with them, dislocating it from its dogmatic bounds but not from its transcendent potential. This record might be thought of, then, as a kind of queering of sacred, devotional traditions—or at the very least, a space where all of these things can be held at once. Perhaps perceivable by some as contradictions, these intersecting influences create the conditions for an incredibly singular sound. Dave is steady and exploratory in his handling of this multiplicity, arranging sounds as they’re revealed, corralling them, coaxing them into form. “Because Dave is there,” Cormac says, “I get to sing three times higher, and three times lower, and faster, and backwards, and all of these sounds! That are there. They’re all there.” When asked about early musical memories, Cormac recalled an immediate fascination with harmony: from demanding that the first person they ever heard singing it explain what they were doing, to always (still, to this day) singing in harmony with their twin sister around the house, to being part of a children’s choir that sang soprano in Handel’s Messiah—not realizing until they entered the room with all the other ranges that their learned melody was but one part of the whole. Just as tellingly, Dave reflects on his early attraction to “abstraction and becoming abstract,” describing childhood afternoons messing with microphone and speaker feedback loops, producing long, enduring sounds with almost undetectable variations. In a way unique to the coalescing of these two listeners, notions of harmony are central to their output. Dave samples field recordings, old keyboards and synths, and vocal drones, running the live singing through four or five parallel effects chains, sampling and treating everything again in the moment. “Another way to put it is that Cormac’s voice comes into the board and then comes back out shifted, delayed, and shattered; Cormac and I hear it, live with it, and respond,” Dave says. This work is contingent not only on a deep intuition (neither of them read sheet music) of polyphony and due proportion (something St Thomas Aquinas famously listed as an attribute of beauty) but also on their connection to each other and ability to read subtle cues. Dave says they’d hold each other’s hands while performing if it was more convenient to do so, riffing on something else Cormac mentioned about traditional Irish singing: that someone would always hold the singer’s hand, for fear that without a tether to the ground they might find themselves utterly lost, unsure how to return. Joyful Joyful doesn’t shy away from offering such experiences of departure; they’re willing to unsettle their audiences because they themselves are unsettled. Their shared penchant for spooky, heavy music, and self-described “omnivorous” listening practices equip them with an array of sonic concepts that support this effort; Diamanda Galás, The Rankin Family, Pan Sonic, Pauline Oliveros, Keith Fullerton Whitman, Yma Sumac, and Catholic hymnody were just a few that came up. Observing their audience gives them insight about the effect of each song—something they considered while arranging the album. Its arc is marked by soft, sometimes sudden oscillations between cacophony and euphony, day and night (listen for insects), and from sexual, visceral entanglements to more ephemeral, celestial ones. Front to back, it arouses expansion, unraveling. Of lightning, Vicki Kirby writes: “quite curious initiation rites precede these electrical encounters. An intriguing communication, a sort of stuttering chatter between the ground and the sky, appears to anticipate the actual stroke.” By all accounts, something similar seems to happen at Joyful Joyful shows, between those on the stage and those off it, between what’s earthly and what’s beyond. “A lightning bolt is not a straightforward resolution of the buildup of a charge difference between the earth and a cloud … there is, as it were, some kind of nonlocal communication effected between the two,” writes Karen Barad, extrapolating on Kirby’s thought. Cormac acknowledges that while they and Dave play a role in this mysterious charge that comes about, they’re not solely responsible. However ineffable it may be, it’s undoubtedly a form of communion—and a sensuously shocking one at that

Demon Music is proud to bring together a selection of popular and exciting classic Northern Soul Anthems on a new 2LP thirty-three track collection. These are the original recordings by some familiar names and one or two that may have passed you by.

As the Sixties came to a close and the initial success of labels like Atlantic and Motown began to wane, there remained a dedicated fanbase of Soul devotees who would rather be out on the floor than wearing flowers in their hair. They continued to seek out new and previously overlooked releases, many on small labels that had never enjoyed chart success, making surprise hits of a few in the process.

Northern Soul could easily have passed into music history as a fad, something on the fringes of mainstream popular music; instead its popularity has remained and even grown. It is no longer the preserve of venues in the north of England (who had always attracted coachloads of devotees from across the nation), with Soul clubs opening in Europe, Asia, Australia and even - in perhaps the ultimate example of "coals to Newcastle" – America

Every few years Northern Soul enjoys a resurgence in popularity and welcomes a new generation of younger fans, keepers of the faith. This collection is for those with a passing interest and fans both old and
new - music fashions may change but the quality, the infectious excitement and the urge to get up and dance has endured in these fantastic records.

Double black vinyl LP format of the 1994 OST from one of the all time classic films. Features 32 songs including Elvis Presley, Aretha Franklin, The Four Tops, Bob Dylan, The Beach Boys, The Mamas & Papas, Simon & Garfunkel, The Byrds, Lynyrd Skynyrd, The Supremes, Willie Nelson, Joan Baez and more. Marketing activity.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Seventies Collected features classic tracks and forgotten gems: Queen “Somebody To Love”, Billie Joel “Movin’ Out (Anthony’s Song)”, Lou Reed “Vicious”, Blondie “Atomic”, Paul McCartney & Wings “Mrs. Vandebilt”, Rodriguez “Sugarman”, Patti Smith Group “Dancing Barefoot”, Roxy Music “Dance Away”, Big Star “Thirteen”, Leon Russell “A Song For You”, 10CC “Dreadlock Holiday”, Grace Jones “La Vie En Rose”, Rush “Closer To The Heart”, Gerry Rafferty “Right Down The Line”, Minnie Riperton “Les Fleurs”, The Brothers Johnson “Strawberry Letter 23” a.o.

Various Artists - Seventies Collected is available on black vinyl and includes an insert.

American thrash metal band Flotsam & Jetsam originally released their second studio album No Place For Disgrace in 1988. It was their first album release on a major label, Elektra Records. The band was led by frontman and vocalist Eric “A.K.” Knutson and have been active since the beginning of the Eighties. The band has been known with their current name since 1984, but started off under the names Paradox, Dredlox and Dogz.

No Place For Disgrace is produced by Bill Metoyer, who also worked for Slayer, Hirax and Morbid Angel amongst others. The album includes the popular titletrack, “Dreams of Death” and “Saturday Night’s Alright”. Three of the included tracks (“No Place For Disgrace”, “N.E. Terror” and “I Live You Die”) were co-written by Jason Newsted (Metallica).

No Place For Disgrace is available as a limited edition of 1500 individually numbered copies on translucent red coloured vinyl

BIOHAZARD formed in Brooklyn in 1988 and soon after released their first demo. The band consisted of founding members Billy Graziadei (vocals, guitar), Bobby Hambel (lead guitar) and Evan Seinfeld (vocals, bass). After the release of their second demo in 1989, drummer Anthony Meo left the band and drummer Danny Schuler replaced him. BIOHAZARD released their combined the urban sounds of hard-core, metal and rap with scorching lyrics describing the forces at work in our modern urban lives. With an impressive career spanning over 20 years with 10 albums (on both indie and major labels), the band sold over 5 million records. In 1990, Biohazard signed a recording contract with Maze Records. The band's self-titled debut album was poorly promoted by the label and sold approximately 40,000 copies. The album's subject matter revolved around Brooklyn, gang-wars, drugs, and violence.

In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year.

This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer.

The relationship with Mercury Records soured quickly as the band felt betrayed and misunderstood by the label. They severed their ties with the label amidst the merger of Mercury Records, Island Records, Def Jam Records, and Polygram into the Universal Music Group. The following year, Biohazard signed two new record deals with SPV/Steamhammer in Europe and Sanctuary Records for the remainder of the world. Despite the new record deals, the band took some personal time in order to work on other projects. Graziadei and Schuler also collaborated in transforming the band's rehearsal Brooklyn studio into a digital recording studio, known as Rat Piss Studios and soon after changed the name to Underground Sound Studios. Re-investing into the band, Graziadei and Schuler honed their engineering and productions skills while recording and producing local acts and new Biohazard demos. The band then undertook the process of writing, recording, and producing their own music. Their studio work led to the band's sixth studio album, Uncivilization, released in September 2001.
The album featured several guest appearances by members of bands such as Agnostic Front, Hatebreed, Pantera, Slipknot, Sepultura, Cypress Hill, Skarhead, and Type O Negative. Shortly after the release of Uncivilization, guitarist Leo Curley left the band and was replaced by former Nucleus member Carmine Vincent, who had previously toured with Biohazard as part of their road crew. The band had to cancel scheduled European festival dates when Carmine Vincent underwent major surgery. The band did manage to find a temporary guitarist, Scott Roberts, formerly of the Cro-Mags and the Spudmonsters, in time to join the Eastpak Resistance Tour with Agnostic Front, Hatebreed, Discipline, Death Threat, Born From Pain and All Boro Kings. Biohazard completed their seventh studio album in seventeen days; Kill Or Be Killed was released in 2003. While touring North America with Kittie, Brand New Sin and Eighteen Visions, Biohazard announced that Roberts would remain as their permanent lead guitarist. The tour was curtailed when it was announced that Seinfeld had fallen ill. With more downtime due to Seinfeld's illness, Graziadei and Schuler collaborated to mix Life of Agony's live comeback album, River Runs Again: Live 2003. Once Seinfeld was healthy again, the band toured Japan and North America, headlining over bands such as Hatebreed, Agnostic Front, Throwdown, and Full Blown Chaos.

By the end of 2003, the band had begun recording its eighth studio album, Means To An End. The completed album was lost in a studio disaster, forcing the band to completely re-record the album, which was finally released in August 2005. In October 2004, Graziadei announced that Means To An End had been the final Biohazard album and that he would continue playing with his new band Suicide City as his main focus. One month later, on the Biohazard website, it was announced that there would in fact be a 2005 Biohazard tour. On December 15, 2005, Seinfeld and Graziadei participated in the Roadrunner United conglomerate event at the Nokia Theater in New York for an all-star event. The show opened with Biohazard's "Punishment," performed by Seinfeld, Graziadei, Sepultura's Andreas Kisser, former Fear Factory member Dino Cazares, and Slipknot's Joey Jordison. Graziadei and Schuler relocated their recording studio to South Amboy, New Jersey and renamed it Underground Sound Studios. The studio was renovated to include a live room with 20-foot (6.1 m) ceilings and 4,000 square feet (370 m2) of studio space. After Schuler's departure from the studio business, Graziadei relocated the studio to Los Angeles and changed the name to Firewater Studios. In January 2008, the classic lineup of Evan Seinfeld, Billy Graziadei, Danny Schuler and Bobby Hambel made the announcement that rehearsals had begun for a 2008 summer tour to commemorate the band's 20th anniversary. They toured Australia and New Zealand in April with Chimaira, Throwdown, Bloodsimple and headliners Korn to celebrate their newly declared reunion. The band also took part in Persistence Tour 2009, and announced at one of their shows that they were working on a new record. Biohazard brought in producer Toby Wright to work on the album and after several months at Graziadei's Firewater Studios in Los Angeles, the band completed their recording sessions. In June 2011, Biohazard announced that Evan Seinfeld had quit the band and Scott Roberts returned to replace Seinfeld for two UK dates but no decision regarding a permanent replacement was made. In January 2012, the band decided that Scott Roberts would remain with the band as a permanent member. The new album, Reborn In Defiance, was released worldwide, with the exception of North America, on January 20, 2012 through the Nuclear Blast label. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies in the latter half of January 2012. After touring the world in support of Reborn in Defiance, the band entered the studio to work on a new release and after a falling out, Roberts departed the band.

Biohazard remains as it’s core founding members of Graziadei, Shuler and Hambel. Graziadei has since ventured off onto a solo career as BillyBio and teamed up with Cypress Hill frontman Sendog to start Powerflo. Both groups are working on their second releases due out late 2021 and early 2022.

 A fascinating thing about jazz is what can arise through force of
circumstance rather than the result of planning. The drummer
scheduled to appear in a trio with Jan Lundgren at the Ystad
Sweden Jazz Festival had to cancel because of the pandemic,
which forced Lundgren to rethink the gig. The pianist - who is
also artistic director of the festival - quickly realised that things
could also work without a drummer. Serendipitously, the name
of Emile Parisien came to his mind... and a new trio was born.
The three musicians had never played together in this
configuration before; so, after a single day of rehearsals, the
band took to the festival’s main stage on 1 August 2020.
 Jan Lundgren is one of those pioneers who gave European jazz
its distinct identity and freed it from American jazz. The Ystadbased pianist combines virtuosity, an acute sense of tonal
colour, awareness of form from European classical music and
his own folk music tradition. For him, to make music where
many different genres coalesce is both inevitable and natural.
 Lars Danielsson’s bass playing is unmistakably melodic and
lyrical. He is one of just a handful of bassists who stand out
both as creative composers and as distinguished band leaders.
Technical brilliance, outstanding musical imagination and an
almost telepathic understanding of his fellow musicians - his
presence is ideal in this trio.
 Soprano saxophonist Emile Parisien found his way into this
band practically out of nowhere. The vivacious Frenchman lives
jazz with body and soul and his honesty and authenticity ring
true in every note he plays. Parisien is a visionary of jazz,
aware of its legacy but always looking forward in an innovative
way.
 This unique performance leaves the listener begging for more.
Having started this new venture so auspiciously, Jan, Lars and
Emile are surely going to want to aim even higher.
 Recorded live in concert by Mattias Dalin (Eurosound AB) at
Ystad Sweden Jazz Festival, August 1, 2020. Mixed by Bo
Savik, Jan Lundgren and Lars Danielsson at Tia Dia Studios,
Mölnlycke, Sweden. Mastered by Bo Savik.

* Pressed on special RSD color wax.
* Includes bonus limited edition flexi of an ultra rare recording performed by Roky Erickson.
* Pressed at RTI.

Texan Roky Erickson was one of the true mind-blowing pioneers of psychedelic music. The original leader of the Austin-based 13th Floor Elevators formed in 1965, Erickson and band invented a brand new style or rock & roll, one that was slightly unhinged while it explored the consciousness-expanding influence of LSD on music. After three years, the group imploded with mental issues and legal challenges, ending with Erickson being incarcerated for several years in the Hospital for the Criminally Insane in Rusk, Texas. When he was released in the early '70s the musician continued on his own trail, recording songs that had come to him in his far-flung cerebral wanderings. Erickson, who passed away May 31, 2019, is now celebrated on this 12-track tribute to one of the most original rockers ever.

The participants range the whole world of modern music, and each chose one of Erickson's originals to stamp their own imprint on. They include Billy F Gibbons, Lucinda Williams, Mosshart Sexton (a/k/a Alison Mosshart & Charlie Sexton), Neko Case, Mark Lanegan & Lynn Castle, Jeff Tweedy, Margo Price, Gary Clark Jr & Eve Monsees, Ty Segal, Chelsea Wolfe, The Black Angels and Brogan Bentley. The album is co-produced for release by Bill Bentley, executive producer of the 1990 Roky Erickson tribute album Where The Pyramid Meets The Eye on Sire Records, and Matt Sullivan, co-founder/owner of Light in the Attic Records.

The songs range from Erickson's debut iconic original, "You're Gonna Miss Me," recorded when he was a member first in The Spades and then the 13th Floor Elevators during the early '60s in Austin, to some of Erickson's later songs, like "If You Have Ghosts," which heard him exploring some of the outer limits of the human psyche. Each new recording is a stunning modern take on the sound that Roky Erickson gave the world over a half-century of writing, recording and touring. No one has ever equaled those explorations.

This truly is the music of the spheres, as Erickson once sang about his sound, as seen through the eyes and ears of those who are united in their love and respect for a person who dedicated his life to rock & roll. Roky Erickson, through the trials and tribulations of a man both imbued with greatness and haunted by darkness, never quit in his quest to share with others what he heard and saw. As he sang on the 13th Floor Elevators last recording, "May the circle remain unbroken."

"These Exit Times" is the name of a newsletter sent by an environmental organisation advocating the extinction of the human race as a solution to save the planet. When Victor Ramirez first came across the group on the internet a couple of years ago, it brought a smile to his face. But after some pondering on the subject, he decided that "Exit Times" would be the name of his sensational third album as Ramirez Exposure.

The record started to take shape in early 2020, after a musical hiatus that had lasted a year. It had been somewhat of a dark period, and Victor felt it was time to go back to recording songs. It would be the first time he would be doing so at home. He had managed to set up a small studio that would allow him to make some proper recordings, and without having to use a computer. He'd also started a new job, as an orderly in a hospital, which gave him time to record and cash to pay the rent.

Victor was ready to take on the task of making the album with the help—albeit from a distance, this time—of Ken Stringfellow (Posies, Big Star) and Brian Young (Jesus & Mary Chain, Ivy, Fountains of Wayne), both regular accomplices of the Valencian in production and instrumentation. Working with the two of them feels very natural for him, even though they are in three different countries.

Looking back, it seemed as if he'd prepared himself for what was coming.

And so, the pandemic happened, and Victor found himself turning the ideas he had outlined on his phone into the songs for Exit Times. He was in a good place, personally and, despite the situation, he was happy to be able to contribute to society through his job at the hospital and, after coming home, to concentrate on his music and isolate himself from everything else.

Gradually, the sketches turned into luminous songs, with bright harmonies and lyrics that exude a fine irony. Victor admits that he strives to be a good pessimist every day, and the songs reveal a way of understanding life that relativises almost everything in order to stick with what's really important. This subtle sense of humour in the lyrics, like the luminosity of his music, is vintage Ramirez, and is present throughout the album, and even on the cover. The artwork is a painting by German painter Angela Dalinger, depicting Victor himself, their dog, Colombo, and some meaningful objects. The vinyl record featured is George Harrison's Brainwashed.

Exit Times is a shiny collection of songs with a universal vocation, bathed in sunshine pop with touches of new psychedelia. All simmered under the Mediterranean sun—the same sun that illuminates the entire planet.

Ampoule, doing things their own way since 1998. After repressing two classic Pub records, they now shine a light on the Lucky & Easy archives.

Lucky & Easy's take on IDM and deep techno took in influences from The Black Dog, Torsten Profock and Detroit. Rather than operating out of London, Manchester or Berlin, this stuff was coming from East Kilbride, a new town next to Glasgow thats probably best known for its roundabouts and being the home of Jesus & Mary Chain and Rubadub's very own Mother Mark. Back then it sounded like nothing else and today it still sounds just as vital.

'Cheeky' Speaker' compiles long out of print rarities taken from early Ampoule 12's and their Talent Hoover sub-label and previously unheard mixes.

All remastered and cut by D&M

Some info on the tracks from Lucky & Easy

A1. Bully Swimmer
A2. Kiss It Better
A3. Night Rainbows
B1. Wigged
These are from AMP01EP - Ampoule Records first release, only 480 copies were made never been repressed since. And that master cut was pretty terrible to be fair.

B2. Don't Play With Tractors
Taken from 'Electro Lix Sick' a limited edition 50 x 3"cd on Talent Hoover Discs.

B3. Puddle Pup
Is an exclusive mix of the original 'Puddled Up' which was released on the cd compilation on Ampoule 'Hookahs'

C1. Pimp Soul Sisters
Is an exclusive mix of 'Pimp Sole Blisters' Taken from 'Electro Lix Sick' a limited edition 50 x 3"cd on Talent Hoover Discs.

C2. Kitefinger
Remastered from the original release on the cd compilation on Ampoule's 'Hookahs'

C3. In 3 Minds
Is an exclusive mix of 'In Three Minds' Taken from 'Triple Warmer ep' on Earplug.

D1. Titswing
Titswing was recorded at Rubadub's infamous 69 party in Paisley, Scotland

D2. Pericardium Eight
Pericardium 8* Is an exclusive mix of 'Pericardium Eight' Taken from 'Triple Warmer ep' on Earplug.

‘Archive Series Volume no. 5: Tallahassee Recordings’ is the lost-in-time debut
album from Iron & Wine. A collection of songs recorded three years prior to his
official Sub Pop debut, ‘The Creek Drank the Cradle’ (2002). A period before the
concept of Iron & Wine existed and principal songwriter Sam Beam was studying
at Florida State University with the intent of pursuing a career in film.
‘Archive Series Volume no. 5’ documents the very first steps on a journey that
would lead to a career as one of America’s most original and distinctive singersongwriters. ‘The Creek Drank the Cradle’ arrived like a thief in the night with its
lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee
comes with a strange sense of confidence. Perhaps an almost youthful discretion
that likely comes from being too young to know better and too naïve to give a
shit.
The recordings themselves are more polished than ‘The Creek Drank the Cradle’
and give a peak into what a studio version of that record might have offered up.
‘Archive Series Volume no. 5’ was recorded over the course of 1998-1999 when
Beam and future bandmate EJ Holowicki moved into a house together. Beam
had not been performing publicly however, he was known for playing an original
song or two in the early morning glow of a long night. Holowicki - also in the film
program and who would go onto a career as a sound designer at Skywalker
Sound - had a mobile recording device and after some prodding convinced his
friend to record these late-night meditations.
Together they would record close to twenty-four songs, ideas and sketches, with
EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings -
all captured in the house where they lived - have a ‘live in the room’ feel akin to
say Neil Young’s ‘Harvest’ or Nick Drake’s ‘Five Leaves Left’, rather than the
homespun lo-fi 4-track home recording experiment taking place at the time.
These recordings, minus one track, have never been made available and were
instead left preserved on a hard drive for the last twenty years. The one track
that floated out there, called ‘In Your Own Time’ was shared without a title to
childhood friend Ben Bridwell (Band of Horses) at some point. The song became
known as the ‘Fuck Like A Dog’ song and Ben shared it with more than a few
folks during the golden era of mix CDs. Two of those folks were Jonathan
Poneman from Sub Pop and journalist Mike McGonigal, who included it on his
best songs of 2001 mix CD, passed out to friends and acquaintances. And for
many that is where the Iron & Wine story begins, until now.
‘Archive Series Volume no. 5’ is the foreword to your favourite book that you’ve
somehow skipped over time and time again. It’s an alternative history mixed with
some revisionist history told over the course of eleven songs. It’s also the debut
record by Iron & Wine some twenty years after the fact.

- Rare P-Funk album from 1983 - Funkadelic/Parliament All-Star Line-Up - First ever vinyl reissue - Comes with a repro of the original insert - 180g Black Vinyl Edition - Limited to 500 copies, comes with obi strip // Jerome "Bigfoot" Brailey is an American drummer who started performing in the early 1970s with several R&B groups from the likes of The Unifics, The Chambers Brothers and The Five Stairsteps where he developed his unique style and finesse on drums. Later in 1975 he joined George Clinton's P-Funk collective and has appeared on many of Parliament & Funkadelic's most popular recordings (some of which he also co-wrote). Brailey played on classic albums like `Mothership Connection' and `One Nation Under A Groove'. Samples from that body of work (and his drum arrangements) have since then appeared on hundreds of hip hop and contemporary R&B songs by renowned artists such as Kendrick Lamar and Childish Gambino. Jerome Brailey is a member of the Rock and Roll Hall of Fame (inducted in 1997) and part of their `50 greatest drummers in the Hall' list (stating that his drum style kept Parliament-Funkadelic rooted in the old-school `James Brown-style funk')_next to this achievement, he was proclaimed by Rolling Stone as one of the `100 Greatest Drummers of All Time' for his steady kick drum, shifty hi-hat action and intricately unpredictable snare patterns. Brailey earned numerous Gold and Platinum records with the P-Funk Organization and has worked as a session drummer for many talented artists such as Herbie Hancock, Buddy Miles, Snoop Dogg and Pharoah Sanders. George Clinton's funk empire was not without its disagreements and Jerome Brailey's `Mutiny' project was a direct result of just such a disagreement (as well as one of the more notable offshoots of the P-Funk axis). Mutiny performed in a style not far removed from the classic P-Funk style and with a lot of emphasis on the dual lead guitar work, but what makes them unique compared to their contemporaries is that at times their recordings also emit a darker, more sinister feeling. Besides Brailey on drums (and on most of the lead vocals) Mutiny featured a funk-alumni line-up and released three amazing and collectible albums: `Mutiny On The Mammaship' (CBS, 1979), `Funk Plus The One' (Columbia, 1980) and `A Night Out With the Boys' (J. Romeo, 1983)_these were followed by two comeback albums: `Aftershock' (Rykodisc 1995) and `Funk Road' (Catbone, 2013). The `Mutiny' album we are proudly presenting you today (A Night Out With The Boys) is an underrated gem made by musicians who defined the funk scene of the '70s and '80s! Featuring an all-star line-up that includes Rodney Curtis (Fred Wesley, Maceo Parker), Michael Hampton (Funkadelic-Parliament, Deee-Lite), Kenni Hairston (Cameo) and Maceo Bond of Osiris/Afrika Bambaataa fame! `A Night Out With The Boys' has it all: Jerome's trademark drumbeats, funky bass grooves, driving riffs accented by stinging synth parts, slow spacey (and prominently featured) guitars, top-notch lead vocals and chants that recall Sly Stone's "Loose Booty". The whole album is a hot dance jam with crisp percussion_an extremely infectious, locked-in-the-pocket bass-heavy monster-funk-bomb that any serious self-respecting funk fanatic must have in his/her collection!

Favorite Recordings presents Jazz Traficantes by LE DEAL, a new musical adventure from the finest French jazzmen with Florian Pellissier (Piano & Fender Rhodes - Camaraõ Orkestra, Cotonete,
Aldorande, Setenta), Yoann Loustalot (Flugelhorn – Bruit Chic, Old & New Songs, Aerophone, Lucky Dog), Théo Girard (Upright Bass – Pensée Rotatives, Discobole) and Malick Koly (Drums - The Wallace
Roney Quintet). Needless to say, they’re used to play all over the globe and quite often to New York. During one of these
trips to the Big Apple, they discovered that the legendary Van Gelder studio (where most of Blue Note, Verve and CTI albums were recorded) was still active and opened so they decided to book a few days session.

Here is the story told by Florian Pellissier: “The tracks had been written the night before. We were going to run through them and then record. A simple plan. Van Gelder had passed a while back, but he left the keys and secret codes with his faithful assistant Maureen before heading off to create the right sound up in heaven. Nothing had changed in the atmosphere or configuration, not even the way the mics were placed. The studio and its wooden beams still exuded New York’s sixties jazz, dimly lit streets and clubs where anything might happen past midnight. Maureen knew just how to capture the ambiance of the sessions and bottle the energy without spilling a drop, taking infinite care to collect each cymbal tone, drum roll and trumpet phrase, without losing a single vibrating bass string or the slightest keyboard pause.”

Indeed, the four contrabandists succeeded to deliver an outstanding album, filled with themes that’ll get stuck in your head, just like in the 19 minutes long performance “Mexican Junkanoo Suite” and its three
parts. But more than just beautiful melodies, LE DEAL truly managed to bring a sense of drama to their compositions, going into the deepest emotions through gutted arrangements, improvising with great attention to the articulation of their ideas. From the beginning to the end, musicians and engineers did their best to emulate the proper vintage sound. Jazz Traficantes could prove once and for all that
French Jazz can indeed cross the borders. The album will be available as Tip-On Deluxe Vinyl LP but also on CD & Digital with a bonus track, “Noche en la Carcel”

Warehouse Find!

Danish producer Paxton Fettel joins Delusions for his debut EP for the label entitled Night Waves. Despite his youth, he has notched up an enviable catalogue of original, eclectic releases including two LP's for Greta Cottage Workshop as well as EP's for Plumage, Kolour LTD and Apersonal. Paxton's unique sound and audiophile approach to production has led to remixes for Uffe on Tartelet, Chocky on Secret Reels and most recently Sunrom on edgling vinyl-only label The Bricks.

For his Night Waves EP we get a snapshot of the mans diversity across three original tracks. The opener sees Paxton in his most raw, jacking, dance oor focussed mood to date and the result is a high energy house track which punches hard on a big system. Featuring his own bass playing, snipped and squeezed through the sonic mangle, Night Waves steams along with big bold pianos, swinging hats and just the right amount of oating synths. Simple elements which combine to be so much more than the sum of its parts and one of those stand-out cuts that will be stuck in your head long after you've left the danceoor.

Flipping over we have Paxton going full-on jazz mode in Pacica 399 To Freedom. A track which once again has his beloved Sandberg California live bass part pushed to the fore, pianos, strings and synths building around the driving disco groove. Feel-good sunshine vibes oozing from the speakers as little melodies dance around the sizzling hi hats and encompassing pulse of the kick drum.

Finally we have a deeper note to close on with It's Clear. A repeating vocal hook runs throughout the intro while intricate drum programming gives a nod to the sounds of broken beat and live jazz sensibilities. The end result is a warm, loose and dubby jam which completes the package in ne style and leaves us looking forward to hearing more from this talented young producer from Copenhagen.

Warehouse Find!

Time flies when you're having fun and we can't fathom how this can be Ben Sun's 5th EP for Delusions Of Grandeur but it's true enough and once again he comes up trumps in the form of the Place Of Worship EP. Having previously graced such esteemed imprints as Royal Oak, Tru Thoughts, Razor n Tape as well as his own vinyl-only label Voyeurhythm the London based Australian producer continues to be both highly regarded, yet somewhat under the radar but we're sure that's about to change with this incredible new three tracker.

Opening up we have See It Come Shining, just the kind of life-affirming club track which seem to be in such short supply these days, but that we need now more than ever. Gospel flavoured piano chords tug on the heart strings whilst a simple, raw disco groove with added 909 punch creates a warmth and energy that transcends the dance floors that it's destined to liberate.

Flipping over we have Oceanways T150, a deep, analogue jam that harks back to simpler times when breakbeats collided with a house thump, uplifting pianos meld into punching basslines and discovering music through muffled old cassette mixtapes or patchy pirate radio reception was all we knew.

Rounding off the EP we have the perfect closer Atlantis Transfer. Here Ben puts more early influences into the mixing pot with ambient washes cascading down over a sublime 90's deep house bassline. Analogue hats and tripped-out sound FX skirt around a naive synth melody making for a heady late night treat to get lost in.

Time for some completely fresh business from a relative newcomer to the scene, though we're sure the name Cosmonection will be on your radars soon enough. The Parisian producer knocked us off our feet with a beautiful debut back in March this year on the fledgling Pont Neuf imprint. His '10 Feet Before The Horizon EP' was loaded with the just the kind of spaced- out, synth-heavy deep late night house that gets us all aquiver over here, so when a demo popped into the inbox we were all over it like a donkey on a waffle.

Here we present you with the Menorca EP; three blissed-out synth jams which explore the space between Balearic euphoria and Detroit futurism. On the title track a mournful Moog lead takes centre stage floating over a rising chord progression whilst punchy 909 drums bring the groove to the dance floor.

Next up, You picks up the pace for a deep and dubby house workout where soft focus pads converge with clattering percussion. Fragments of chiming melody bouncing around the stripped back groove.

Flipping over we have Light which shows Cosmonection at his most musical, layering up arpeggiating synths lines through a slowly building intro until a heavy groove with hefty kick joins the scene. The arrangement ebbs and flows as the rhythm drops out, rising synths creating anticipation and tension. This track feels like an ambitious fusion of musical styles and textures with 90's ambient colliding with Underground Resistance and coming up with a fresh sound for 2018 in the process.

Rounding off the record we have Delusions regulars, DJ supremos and all- round good guys Session Victim taking the reins on a remix of You. Keeping the warm, feel-good pads, the German duo inject a new found shuffle to the groove, bringing a wide-screen sensibility which adds a sublime yet dance-floor pleasing dimension to the release.

The debut release from new Scottish producer North Sea Dialect, Local Guide is a dense musical world made of uneasy ambience, shimmering distortion, subdued rhythm and propulsive melody.

Buried in its soundscapes are the echoes and surrealness of alienated life - expectant youth, distant voices and broken folklore. It's industrialised music tied together with found sound, adrenaline fuelled synthesis and the depths of late night solitude. Conceived during a move from Glasgow across Scotland and composed in isolation, a blistering sense of reality creeps through the recordings.

Local Guide is accompanied by three videos for the tracks Mossy Cyphol, Subarctic Baltasound and Gloup. The short films are haunted and illuminated by the serenity of rural freedom, the power of the sea, and the collapse of industry.

Released in solidarity with Tiga's anti-tech house crusade, a silent campaign fought everyday on the streets of your hometown, 'Blaze' finds Russian crypto-whiz Dimitri Veimar still dancing with the rawer-than-the-rawest-dog electro that's brought him to the dizzying heights of the mid-tier crags of Mt. Turbo Mountain. Throwing his weight behind what some in the media are probably already calling 'Tiga's War' was absolutely necessary following the events of a recent gig in Moscow. Veimar opened the night by playing no fewer than three Tiga tracks, which anyone who's read Tiga's Taboos can tell you is definitely a Tiga Taboo. Deeply immersed in the practice of pouring his own mineral water, Tiga ignored the hootin' and hollerin' of the VIPs crowding the DJ booth (including Dennis Miller and Diego Maradona), and proceeded to play a set entirely comprised of recordings of every embarrassing thing Veimar had ever said in his life. Four hours later, an emotionally-shot Veimar collapsed into Tiga's arms, with the magnanimous label boss whispering, 'I forgive you, Dimitri' into his ear. The release also features a 'broken techno' remix from mysterious European producer Florian Kupfer, who made us sign a Non-Disclosure-Agreement dictating that we can only describe him as 'mysterious,' 'enigmatic,' and/or 'European,' so we'll have to let the music do the talking.