First time reissue of this mega rare album by Angel Vásquez, versatile Colombian accordion master of Antillean shades, that comprises a muscular, rhythm-packed ride moving from pachanga to paseaito, passing through charanga, porro, son and cumbia. Here, direct lines are drawn between Colombian coastal folklore and Afro-Antillean sound. A must-have release! Angel Vásquez brought Antillean shades into the accordion tradition of a region overflowing with juglares, as the Colombian northern coast has always been. Vásquez built a monumental songbook where pachanga, charanga, son, cumbia, and even the Puerto Rican countryside, Boricua sound, played leading roles. His few recordings carried a remarkable stylistic range, making it difficult to put him into any single category-a quality that led to a style he himself called vasquesón. In the early seventies, he released through Discos Fuentes a single that would become one of the anthems of the Barranquilla Carnival: 'Pica pica en carnaval', a tropical, electrifying gem with a guarachero flow so unmistakable that it's still a staple in verbenas, neighborhood dances, and picó parties today.
This compilation brings together some of the best recordings by Los Indios from Bolivia, recorded during their brief time as a band, pioneers in blending beat sounds with garage rawness through a repertoire packed with covers of artists such as Deep Purple, Wilson Pickett, Eduardo Araujo (via Los Iracundos)_ The birth of Los Indios took place at a key moment for Bolivian music, in May 1968, during the "Festival de la Canción" held at the Félix Capriles Stadium. This event was a milestone for the so-called Bolivian new wave, featuring various groups from all over the country. A month later, Jorge Filipo Dalence, in association with Freddy Valdivieso, decided to launch their own band, Los Indios, ready to make their mark on the music scene. Their discography includes one LP and a handful of EPs released on the Caracol and Imperio labels. Their album not only showcases their musical talent but also represents an important moment in the evolution of rock in Bolivia. The combination of their unique style helped open new doors for other artists in the country's music scene. By 1969, the group was enjoying overwhelming success and widespread popularity. This is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history
Zum ersten Mal auf Vinyl erhältlich: "Bryan Adams - Live in Lisbon" ist ein mitreißendes, ausverkauftes Konzert aus dem Jahr 2005 im Pavilhao Atlântico in Lissabon. Ursprünglich als DVD-Konzertfilm veröffentlicht und später auch digital erhältlich, enthält diese neue Vinyl-Edition 18 der größten Hits von Bryan Adams, die neu gemastert und für Vinyl neu geschnitten wurden. Das bei Bad Records erschienene Set umfasst 18 Titel auf 2 LPs in einer Gatefold-Hülle.
Volcanic Sun Vinyl, limited to 500 copies. The Berlin-based power trio once more is driving their musical WEDGE in between many different genres: Garage rock turns progressive while psychedelic guitar lines are tripping over hard rocking riffs. Does this work together? Hell yes! For fans of Deep Purple, MC5, Led Zeppelin or Humble Pie this album is a sure shot. You like fuzz guitars? Hammond organ and vocals trough a swirling Leslie cabinet? More cowbell? You got it. But unlike our beloved rock records from around 1971, which we've heard a hundred times before "Like No Tomorrow" has one huge advantage: It's brand new and the 8 tracks, ranging from 3:00 to 9:00 minutes, deliver a fresh, unspent and unmistakably unique taste to the rock'n'roll menu. In the tradition of bands like The Raconteurs, The Hellacopters, Graveyard or Wolfmother, WEDGE are building on that vintage vibe we all know and love but evolve their very own thing and are able to connect it directly to here and now.
Zürich-based musician Angelo Repetto returns with his new album Between Worlds: Interference, released on Subject to Restrictions Discs. The record is the result of a unique collaboration with Argentinian visual artist Clara Grabowiecki, extending their immersive live project Between Worlds into a sonic and tangible form.
«This album is a continuation of the deep conversations Clara and I had about concepts of perception that led us to question silence, time, transcendence, and the future», says Repetto. «It’s not about finding answers, but about opening spaces where sound, image, and emotion can flow freely.»
Between Worlds: Interference oscillates between hypnotic rhythms, kraut-inspired synth layers, and psychedelic atmospheres – hallmarks of Repetto’s style that listeners may recognize from earlier releases such as Sundown Explosion and Kamiokande. At its core it is an invitation into an open dimension where disciplines, experiences, and realities dissolve into one another. It is both a deeply personal statement and a collective journey into new perceptual spaces.
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As the world sinks deeper into screens and algorithms blur the line between creation and imitation, Nubiyan Twist return with Chasing Shadows, a record that reclaims the pulse, warmth and spontaneity of human connection.
The band’s fifth studio album is a rich and restless blend of jazz, afrobeat, hip hop and electronic textures, exploring the space between the organic and the digital. It’s music that moves, sweats, and breathes, made by real people in real rooms with heavyweight features bringing together varied voices from the music community which they inhabit.
Bandleader and producer Tom Excel explains: “We wanted to make something that felt joyous and defiantly human — something that couldn’t exist without that connection between people. You can get an AI to write a fugue in seconds, but it can’t capture the chemistry and chaos that happens when musicians lock in together. Chasing Shadows is our way of holding onto that.”
Folowing 2024’s acclaimed Find Your Flame, praised by Roling Stone, Jazzwise, NPR and more, Chasing Shadows pushes the band’s sound further into new soulful territory under Exce l’s expert guidance, featuring bright new vocalist Eniola and a glowing cast of icons and innovators. Malian star Fatoumata Diawara lights up the title track on a powerful slice of Afrobeat, Joe Armon Jones leads the dub workout ‘Rhythm Of You’ and the band take it back to their hip hop roots on great colabs with The Pharcyde’s Booty Brown, Ghanaian MC M.anifest and London dancehal favourite, Mr Wi liamz.
On Chasing Shadows, Nubiyan Twist continue to look outwards with their music but keep the focus firmly on humanity and positivity. It is an album which crosses continents and which shamelessly celebrates our co lective strength.
Fifth album from UK-based co lective Nubiyan Twist led by bandleader & producer Tom Excel (Africa Express, Onipa)
Featuring Booty Brown, Fatoumata Diawara, M.Anifest, Mr Wi liamz and Joe Armon Jones.
Pressed on Yelow Vinyl LP, or Green & Yelow splatter Vinyl LP (exclusively for UK indies).
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Slow Process welcomes D3070 with ‘Crossing The Unknown’, a brisk six track collection of contemporary, inventive electro.
Track by track:
Opener ‘Interceptor’ is a concentrated blast of overdriven, swaggering energy, setting the tone for an immersive and hard- hitting joyride of a release. A pacy electro assault follows in the form of ‘CBRN’, before pulling the tempo back for the title track, an eight-minute swathe of dark acidic sequences and classic drums. ‘Aim High’ strikes a similar, albeit less dark chord, with some sweeter melodies on display. The introduction of ‘Quantum Leap’ is suggestive of a straightforward four to the floor workout, before evolving into something altogether more off-the-wall. Finisher ‘Our Galaxy’ is a slightly more subdued, minimal affair comprised of lucid melodic motifs, percussive zaps and sub basses.
The Cabildos remain one of the most enigmatic names to emerge from the 1970s library music scene. Little is known about the group, except that their name was inspired by Johnny Cabildo, an Italian keyboardist and composer who had relocated to Florida. Their recorded legacy is strikingly concise: just three albums—Yuxtaposición (1972, released under the name Cabildo's Three), Cross Fire (1974), and the later Where Is the Cat? (1979).
Entirely instrumental, the Cabildos' music is driven by deep grooves and a vibrant blend of Latin influences, funk, and jazz fusion, often enhanced by Afro-tribal percussion. Conceived primarily for use in films, documentaries, and advertising, their work naturally belongs to the world of synchronization music.
Cross Fire stands out as a particularly compelling chapter in their catalog, distinguished by an impressive range of textures and moods achieved through the minimalist interplay of bass, drums, and keyboards alone.
Now reissued by Redi Edizioni on clear red vinyl, this excellent record returns with a faithful reproduction of the original artwork, offering a renewed opportunity to appreciate one of library music's most elusive gems.
It was in about 2003 that Jazzman Gerald came on The OST Show and played this album. He played the track "Scherzi Pesanti" (translates roughly as Heavy Jokes) and I had no idea what was going on. This was jazz but taken to a non-jazz place, and it was a place I really really wanted to go to.
I realised the only way of getting there was to try and find a copy of the LP. It took about 12 months and one came up on eBay. And I bought it for about 20€. But this was back in 2004. This kind of thing doesn't happen any more. Copies of "Tempo Di Naja" do not appear for sale. And if they do, few can afford them. Maybe only a handful of originals actually exist, such was the nature of tiny Italian library companies back in the 1960s and 1970s.
Thankfully now you can visit that strange jazz place dreamed up and brilliantly composed by Remigio Ducros. You might like it there, especially if you like heavy jokes.
What or who is Arawak? It's the library music pseudonym of Italian pianist and composer Benito / Luciano Simoncini. Here, he was asked to produce a series of background cues for the Lupus label in 1974. So he began with a track called London 1965. Then proceeded to do what the hell he wanted, writing musical love letters, playing with strange noises, treated trumpets or keeping it simple with his piano and some heavy but controlled reverb.
The result is a consistently interesting album full of passion, joy and beautiful fun, and not a million musical miles away from a classic Morricone release. The original album was repressed five years later on the small Titian library label, and now, at last, there's this final commercial pressing.
It's great to know these near legendary and rare background recordings are moving slightly more into the important foreground.
The Final album by Music Legend Brian James ( Founder member and songwriter of both The Damned & Lords of the New Church and writer of the first British Punk single New Rose ) who sadly passed away earlier this year.
Brian was awarded The Pioneer award for lifetime achievements by Uk rock magazine Vive Le Rock last year and his song New Rose was voted best punk single of all time this year in the same magazine . Limited pressing on Yellow Vinyl with printed inner sleeves. Cover art by Graham Humphries famous for his horror poster artwork Evil Dead / …as well as designing Lp covers for Brian and Lords of the new church. Guest Vocalists include Dirty Al from the Dirty Strangers and Ramona from the Mo-Dettes
• Reviews in Record Collector , Vive le Rock , R2 & Shindig already confirmed
T.O.N.Y. 2 (Director's Cut) delivers a raw, unfiltered dive into Pounds448’s unique brand of underground Hip-Hop. 15 tracks packed with gritty storytelling, tight wordplay, and heavyweight energy. Completely produced by Spittzwell blending streetwise lyricism with vivid soundscapes, this project showcases Pounds448 honing his craft and carving out his own lane in the modern rap landscape. At just under 50 min, it’s a powerful listen that’s perfect for anyone hungry for authentic, no-nonsense hip-hop from one of Rochester’s most distinctive voices.
‘Moonlight Concessions’ goes back to basics, a return for Throwing Muses to their esoteric off-kilter best courtesy of Kristin’s pin-sharp sketches and their suitably abrasive musical arrangements. The album follows their acclaimed ‘Sun Racket’ from 2020, a heady set filled with tough and tender tales spiked with surreal imagery. Produced by Kristin Hersh at Steve Rizzo's Stable Sound Studio in Portsmouth, Rhode Island, ‘Moonlight Concessions’ is a collection of snippets from everyday life writ large - think Raymond Carver Short Cuts, overheard conversations, recounted happenings and telling one-liners, all sewed together to illustrate the times as they slowly mature, fully peppered with original Muses’ vim and vigour. ‘Drugstore Drastic’ is a kerbside soliloquy caught en route to a more alluring rendezvous. Built on a brisk acoustic strum with a guitar sub-melody underpinning proceedings, it’s an unfolding tale of social awareness from a blurred sub-conscious. ‘Summer Of Love’ began as a bet with a guy for a dollar that revolved around the idea that the seasons don’t change us. The album opener, it’s a haunting baroque overture, bowed and brooding. ‘Libretto’s strings offset the acoustic ambience, the hot and cold of longing at the very heart of it, a thematic driver filed with warmth in a safe haven lubricated by tequila. Written in the differing South Coast environs of The Gulf Of Mexico and Southern California, ‘Moonlight Concessions’ pulls from the star clusters that light both, generating optimism and hope in varying degrees. Hersh explains, “In New Orleans the stars look greenish-blue, as it’s below sea level and swamp-lit. But on Moonlight Beach, they glow icy white. All these songs were written in these two glowy places, which helped our sonic technique find itself.”
Includes demos of every track from the original album, stripped back to (mainly) guitar and voice. Originally a Norman Records exclusive, these are the last few copies available from a limited pressing of just 300. Mark Fry is a France- based, English singer- songwriter/ artist whose debut album, 'Dreaming With Alice,' released in Italy in 1971, became a much-bootlegged "acid-folk" classic three decades later. Fry returned to recording in 2008 and has since released 4 more acclaimed studio albums. These days, far less "acid" than in his youth, Fry still knows his way around a beautiful melody. This album of sketches is resplendent with love songs, the beauty of nature and the passing of time Fry is certainly no stranger to the preparatory sketch. An artist in the truest sense of the word, renowned equally for his decades- long career as a painter of vibrant abstracts and as a cult psychedelic minstrel turned intimate, evocative singersongwriter, his atelier, housed in a converted stable building at his Normandy home, literally doubles as his music studio. It was in this space that Mark's fifth solo album, 'Not On The Radar,' released back in May, was recorded in the summer of 2024, with the singer pushing back his easels to accommodate a four-piece live band and vanloads of miscellaneous accompanying paraphernalia.
Before that, the studio had been a considerably emptier space in which working versions of the album's ten languidly bucolic compositions were first demoed by the solitary songwriter (although some emergent tracks were also captured at Balintore - the home studio of Mark's regular guitarist, Iain Ross, housed on the latter's London-moored canal barge). With those sketches presented here in the same running order as on the mothership longplayer, this new album stands as a document of process - offering the opportunity for track- by- track comparison for those already familiar with Not On The Radar. Crucially, it also makes for a very fine standalone album in its own right, which, if nothing else, bears testament to the inherent robustness of Mark Fry's songwriting.
Love Wars is the 1983 debut album by Womack & Womack. The album charted at number 34 on the Billboard Top Black Albums chart.
Two singles from the album, "Love Wars" and "Baby I'm Scared of You", were hits in the UK, reaching number 14 and number 72 on the
UK Singles Chart, respectively. Album was ranked number 4 among the "Albums of the Year" for 1984 by NME, and the single
"Love Wars" was ranked as the year's number 1 song.
Love Wars is available as a limited numbered edition of 750 copies on silver coloured vinyl
limited edition of 750 individually numbered copies on silver coloured vinyl
Based on an unbelievable true story, Roofman follows Jeffrey Manchester (Tatum), an Army veteran and struggling father who turns to robbing McDonald's restaurants by cutting holes in their roofs, earning him the nickname: Roofman. The film's score was composed by Grizzly Bear multi-instrumentalist Christopher Bear, with contributions from The War on Drugs' Jon Natchez. Christopher Bear is a drummer and multi- instrumentalist member of the Brooklynbased indie-rock group Grizzly Bear. He continues developing his independent career, most recently working on arranging soundtracks for the HBO series High Maintenance, and scoring the 2023 film Past Lives alongside his bandmate Daniel Rossen.
Forever at Last - the debut EP by Melbourne’s HighSchool - is finally back in print on vinyl. Six brilliant tracks that introduced the world to an exciting new band, it’s been out of print long enough and is being reissued ahead of their 35-date World tour. Produced by Archie Shannon (Floodlights), the band’s ingenuity shines with them effortlessly mining myriad influences. Where first singles ‘Frosting’ and ‘New York, Paris and London’ delighted with their potent mix of sun-dappled indie pop and industrial post-punk, their next two ‘De Facto’ and ‘Sirens’ pointed to the dancefloor with the band infusing DFA / New Order / Future Islands sounds while the final pair saw ‘Jerry’ taking a darker turn, playing on the band’s gothic image before closer and title track ‘Forever at Last’ pushed the synth to the fore. A perfect record.
Leigh-Anne Pinnock is ready to reintroduce herself. After conquering the pop world with one of the biggest groups on the planet and stepping out as a solo artist, she has reached a new clarity: no more compromises, no more limits.
With the introduction of her debut album ‘My Ego Told Me To’, Leigh-Anne isn’t reinventing herself, she’s restoring the woman she always was. Bold, unapologetic and free, this album is the purest expression of her artistry to date and musically reflects every facet of Leigh-Anne Pinnock - unfiltered, independent and finally on her own terms. “Everything that has been in my heart, everything I’ve wanted to do, I’m doing now. It feels like freedom. It feels right.”
Leigh-Anne Pinnock is ready to reintroduce herself. After conquering the pop world with one of the biggest groups on the planet and stepping out as a solo artist, she has reached a new clarity: no more compromises, no more limits.
With the introduction of her debut album ‘My Ego Told Me To’, Leigh-Anne isn’t reinventing herself, she’s restoring the woman she always was. Bold, unapologetic and free, this album is the purest expression of her artistry to date and musically reflects every facet of Leigh-Anne Pinnock - unfiltered, independent and finally on her own terms. “Everything that has been in my heart, everything I’ve wanted to do, I’m doing now. It feels like freedom. It feels right.”
Nach zwei erfolgreichen Demo-Tapes, »Bloody Karnage« (1984) sowie »Surrender Or Die« (1985), begaben sich Torontos Slaughter im Februar 1986 erneut ins Studio, um ihre Debüt-Single »Nocturnal Hell« aufzunehmen, die aus dem Titeltrack, “One Foot In The Grave” und “Tortured Souls” bestand. Die Besetzung bestand aus dem Gitarristen und Sänger Dave Hewson, Bassist Terry Sadler sowie Schlagzeuger Ron Sumners. Die Originalpressung der 7“ Single erschien auf Brian Taylors Label Diabolic Force in einer limitierten Auflage von 1.000 Stück. Der hektische Death/Thrash Metal von Slaughter traf voll den Zeitgeist wurde von den Fans sofort ins Herz geschlossen. 1987 folgte auf »Nocturnal Hell« das legendäre Debütalbum von Slaughter, »Strappado« (ebenfalls auf Diabolic Force veröffentlicht). „Sämtliche Stücke von »Nocturnal Hell« wurden schon in der Session zum »Strappado«-Album mit aufgenommen“, erklärt Dave Hewson heute. „Die Aufnahmen und der Mix nahmen insgesamt ganze zwei Tage in Anspruch und kosteten lächerliche 500 US-Dollar. Eine 7“ war eigentlich nie geplant. Aber ich glaube mich erinnern zu können, dass Diabolic Force/Fringe Records in finanziellen Schwierigkeiten steckten und deswegen die Single vor der »Strappado«-LP herausbrachten, die dann ein Jahr auf sich warten ließ. Das Album wurde im Februar 1986 aufgenommen, kam aber erst 1987 heraus. Wir waren sehr froh darüber, wie die Scheibe geklungen hat, super heavy nämlich. Das Schlagzeug ist im Mix vielleicht ein wenig zu laut gewesen, aber insgesamt waren wir wirklich zufrieden mit dem Sound.“ Rechtzeitig zum 40-jährigen Jubiläum legen High Roller Records nun die inzwischen sehr gesuchte »Nocturnal Hell«-Single in ihrer ursprünglichen Fassung noch einmal neu auf.
After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.
BanBanTonTon review:
On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.
Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.
Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.
Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.
Like a crusader, Apollo Noir relentlessly pursues his noble cause: pushing modular and analog experimentation ever further while remaining irresistibly accessible. Here is CORE, his 4th studio album, fusing post rave techno Detroit à la Drexciya and Manchester early Autechre (Spiral), OPN’s most epic era (Nobody On The Floor), futuristic UK jungle (A Good Brainwash), letfield amen-breaked ambient (ça va), a mega massive cadaver exquis song (CORE) featuring Remi Sauzedde’s very close friends (Janis, Ley, Claude Violante, Silly Boy Blue, S Diamah, Serguei Spoutnik and Fly HQ), diving deeper - as a true obsessive lover of drum machines (TR909, TR808 and TR606) - in the raw deconstruction of techno rhythms (Déconstruire), unleashing a dark and heavy Bassline at 145 bpm with grime vocal samples (Patternity), heavy modular beats blending perfectly with soft and voicy Korg M1 pads (Shame)... Apollo Noir knows his classics and contemporaries inside out, forging his own path with deranged yet beautiful twists (Thedral, Arco Arca).
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Alchemist is the debut full-length album from Alexander IV, the jazz-influenced beat project of Dutch producer and multi-instrumentalist Joris Feiertag. Known for his club-ready solo productions under the name Feiertag, this project sees Joris stepping into a more introspective and cinematic space-merging beat culture with live musicianship, sample-based craftsmanship, and a deep love for soul and jazz.
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White Elephant announce their debut album "World Elephant Day", the sound of time, trust and total freedom. A project forged over ten years in Crazy P"s Nottingham studio, blending dancefloor DNA with intimate musicianship. White Elephant began as a no-agenda weekend in Crazy P"s Nottingham studio, where Chris "Hot Toddy" Todd, Jim "Ron Basejam" Baron and Ben "BJ" Smith discovered an effortless musical union. Over the next decade, their collaboration slowly evolved into a debut album shaped by warmth, trust and lived experience rather than deadlines. Blending Crazy P"s dancefloor DNA with tender musicianship, the record moves between glowing disco grooves, 80s-bright sparkling pulses and intimate acoustic moments. It"s reflective without being nostalgic, playful yet deeply human. White Elephant is three friends rediscovering the joy of making music simply because it feels good.
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Auf dem komplett unübersichtlichen Markt der Vinyl-Wiederveröffentlichungen rarer Aufnahmen aus dem im weitesten Sinne Rock & Roll/Rhythm & Blues/Popcorn-Umfeld hat sich die Serie DOWN AT THE UGLY MEN’S LOUNGE mit einer komplett eigenständigen konzeptionellen Farbe etabliert. Das authentische 10“-Format und die Covergestaltung mit obskuren und anonymen Musikerfotos der ersten fünfzig Jahre des 20. Jahrhunderts sind gleichermaßen unverkennbar wie unwiderstehlich.
Das stilistische Spektrum der neuen Auswahl rarer und rarster Trouvaillen aus dem legendären Archiv von Prof. Bop bleibt dem Ursprungskonzept treu: Zwischen Boogie und Mambo, zwischen Blues und Bop, zwischen Exotica und Egozentrik...weniger amateurhaft gespielter Teenager-Rockabilly, eher Rock & Roll etc. von musikalisch versierten und Jazz-geschulten Vollprofis. Allesamt Aufnahmen der goldenen Epoche 1950 – 1962.
Athens-based percussionist and sound artist Yorgos Stavridis makes a stark, physical debut for Heat Crimes with »Solo Percussion«, a set of one-take improvisations that approach percussion as a field of friction between body, objects, space, and sound. Working with membranes, metals, found objects, and feedback systems, Stavridis foregrounds timbre, texture, and spatial presence, collapsing distinctions between instrument, environment, and recording apparatus.
Microphones and speakers are treated as unstable instruments in their own right, introducing opaqueness, resistance, and feedback into the performative chain. Scrapes, low-end pressure, brittle metallic chatter, and sudden bursts of resonance emerge through close bodily engagement with surfaces and materials, each piece documenting a specific configuration of objects, gestures, and acoustic conditions. Performed and recorded live, »Solo Percussion« captures sound in its most contingent state; situational, physical, and irreducibly present. Eschewing narrative, pulse, or formal development, the record sits squarely in Heat Crimes’ lineage of process-led, uncompromising sonic research, where listening becomes an active, tactile act and sound itself is the primary event.
Nur wenige Alben haben eine Ära und eine Generation von Popmusik so sehr geprägt wie "Faith", George Michaels bahnbrechendes Solo-Debütalbum von 1987. Fast vollständig von George selbst geschrieben, arrangiert, produziert und interpretiert, enthält "Faith" die Hitsingles "Faith", "Father Figure", "One More Try" und "Monkey". Diese limitierte Doppel-LP mit 10 Titeln in Marmoroptik ist nun erstmals seit über einem Jahrzehnt wieder auf Vinyl erhältlich und enthält unter anderem "I Want Your Sex - Pts. 1, 2 & 3, The Monogamy Mix".Tracklist:Side A1. Faith2. Father Figure3. I Want Your SexSide B1. One More Try2. Hard Day3. Hand to Mouth4. Look at Your HandsSide C1. Monkey2. Kissing a FoolSide D1. I Want Your Sex (Monogamy Mix)
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L.A.-based soul singer Leela James started out singing backup vocals on Hip-Hop albums in the late 90s and early 2000s. In 2004, she recorded the song "No Tears" on Pete Rock's "Soul Survivor 2", shortly after she signed a deal with Warner Bros Records and released her debut album A Change is Gonna Come, named after her cover of the Sam Cooke song. A true soul singer, with a voice comparable to Mavis Staples and Betty Wright, Leela enlisted Commissioner Gordon to oversee production, which included tracks by Kanye West, Raphael Saadiq, Wyclef Jean, and Chucky Thompson. The lead single, "Music," is an ode to the soul singers of yesterday, with a Hip-Hop feel. She performs a soulful R&B cover of No Doubt's "Don't Speak" and alternates between funky uplifting tracks like "Good Time" and "Soul Food" with downtempo, soulful ballads like "When You Love Somebody" and "My Joy." Leela James departed from Warner after the release of her debut and went on to release seven more studio albums. It's been twenty years since A Change is Gonna Come was released in June of 2005, and Get On Down is proud to present this underrated gem for the first time on vinyl. The album is pressed on "Golden Pearl" colored vinyl and packaged in a gatefold jacket, limited to 1000 copies. It's been a long time coming, but this is a must-have for neo-soul and R&B music lovers.
Re-issued! 1993 nahmen PROPAGANDHI ihr erstes Album "How to Clean Everything" auf und veröffentlichten es über das damals noch junge Label Fat Wreck Chords. Es versteht sich von selbst, dass das Album nicht nur das Label bekannt machte, sondern vor allem PROPAGANDHI als eine der großen Kräfte in der Punkszene etablierte. "How To Clean Everything" war ein Start nach Maß und lehnte sich noch eher an die Skate-Punk-Tradition an als die folgenden Werke der Band. Trotzdem voller aggressiver Metal/HC-Riffs und jungenhafter, bissiger Texte über Menschenrechte, Gleichberechtigung und radikale linke Politik. Sänger/Gitarrist Chris Hannah erklärt seine Gründefür die Neuauflage (mit einem Hauch seines geliebten sarkastischen Humors): ,Vielleicht liegt es an den Badesalzen, aber ich bin zu der Überzeugung gelangt, dass es wertvoll ist, etwas zu haben, das einen bis zum Tod verfolgt. Ich präsentiere euch "How To Clean Everything". Die 2026 Neuauflage enthält wie die 20th Anniversary Edition das komplette Originalalbum plus die drei Outtakes, die Fat Mike für Fat Wreck seinerzeit für die Vinylveröffentlichung rausgenommen hatte. Natürlich wurde das Album auch von den originalen Analogbändern remastert. Schwarzes und farbiges Vinyl wieder erhältlich.
p SEEMED FUNNY THE FIRST TIME BONUS TRACK
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]
[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]
[p] SEEMED FUNNY THE FIRST TIME [BONUS TRACK]
[q] NOT TO BE GENDER SPECIFIC, OF COURSE [BONUS TRACK]
Soul of Anubis is a power duo formed in 2010 from the North of Portugal. Their music is a blast on stage with a ferocity of sound that goes from thrash to sludge, capturing doom and post-metal at same time, performing energetic and contagious live acts. "Ritual" represents the passage from life to death and rebirth into a new cycle. During these last years, we have lost beloved ones, we have lost the freedom to breathe, we have lost some companionship and we had to fight to lift our souls back on trial. In Egyptian mythology, Ra, God of the Sun, goes down to the underworld every night to help the dead cross to the other world and ensure that a new dawn would happen. So, "Ritual" is a memorial to our beloved ones who passed away, speaks for the mental struggle that everyone has to face to overcome their demons and glorifies the victory of rebirth. As we have our demons, this is our ritual to cross our pathway.
Red Vinyl. Soul of Anubis is a power duo formed in 2010 from the North of Portugal. Their music is a blast on stage with a ferocity of sound that goes from thrash to sludge, capturing doom and post-metal at same time, performing energetic and contagious live acts. "Ritual" represents the passage from life to death and rebirth into a new cycle. During these last years, we have lost beloved ones, we have lost the freedom to breathe, we have lost some companionship and we had to fight to lift our souls back on trial. In Egyptian mythology, Ra, God of the Sun, goes down to the underworld every night to help the dead cross to the other world and ensure that a new dawn would happen. So, "Ritual" is a memorial to our beloved ones who passed away, speaks for the mental struggle that everyone has to face to overcome their demons and glorifies the victory of rebirth. As we have our demons, this is our ritual to cross our pathway.n. So, "Ritual" is a memorial to our beloved ones who passed away, speaks for the mental struggle that everyone has to face to overcome their demons and glorifies the victory of rebirth. As we have our demons, this is our ritual to cross our pathway.
One of the last projects undertaken by the NETWORK label was the
60th Anniversary Blu-ray set for STINGRAY which was released in two versions - the Deluxe and Super Deluxe.
Each version was packed with extras but the Super Deluxe had a music item as part of the set – a 7” single of
Themes From Stingray containing cues for the original soundtrack as performed by Barry Gray.
But the 7” single was not included in the set, but to be posted separately to customers who had pre-ordered the Super Deluxe set.
When the single was manufactured, it was housed in a card envelope with a sticker placed on it with the title, catalogue number
and barcode so that all that needed adding was the address label before posting.
Although the Super Deluxe set sold out, there was some stock of the 7” single, still housed in its card envelope left
in the warehouse, NETWORK are no longer trading, and these singles have now been rescued from potential destruction!
