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Yes! Tommy Guerrero’s revered Return Of The Bastard gets its first ever vinyl reissue. Endearingly simple but beautifully beguiling, it's lo-fi dusty break business with the most elegant guitars this side of Vini Reilly and Gabor Szabo. Tommy's breezy drum-machine guitar-soul should be prescribed to soothe an aching world. By rights, he should also be a Balearic god. Here's 14 tracks of drop-dead laconic beauty, all of them combining to create this unheralded masterpiece. Working with Tommy directly, the LP has been fully remastered and sounds as dazzlingly, heartbreakingly beautiful as it did back in 2007.

Coolly opening the album, "And The Folklore Continues" can be said to be both a titular and actual nod to his past work. As ever, there's heavenly Latin guitar stylings that make you swoon and the melancholic vibe is accentuated by the addition of some melodic wordless vocals from Tommy. Just divine. The sparkling "La Califas Perdido" follows, all dreamy melodic guitars and twinkling vibes over dusty drums and a fine bassline. The shuffling, conga-assisted "I Would Go With You" is a gentle, romantic gem whilst the brief but beautiful "No Time For Time" feels in a hurry to let us know that Tommy can work with more propulsive rhythms. In this case, they underpin Tommy's gorgeous, shimmering guitars wonderfully well.

The head-nod funk of "Calling For Ya!" (get it?) features Curumin delivering the clever title as a hypnotic vocal refrain peppered throughout, all hung around some buried spoken word vocals and gorgeous cello work from Lenny Gonzalez. "Bloodinthemud" is a low-down gritty funk workout whilst "Zapata's Boots" is a total low-key groover, all Latin percussion and Morricone muscle aided by a whistled Spaghetti Western melody. The startling instrumental "Mosaic Man" closes out the side with a lean slice of mellifluous, virtuoso guitar bliss.

The reflective "What Have I Been Doing Since I Was Gone?" opens the B-side in glorious fashion, the type of melancholic melodic head music that should soundtrack a bright walk on a cold winter's day. The hypnotic groover "Paper Switchblade" is a razor-sharp fuzz-funk whilst the beautifully downbeat "Never Forget To Remember" is a kaleidoscopic kalimba-koolout. Galloping cop-funk breaks workout "Run With The Hunted" is a rollicking ride and it's followed by the fresh chiming guitar funk of "New Terrain".

The upbeat and bright "40 Summers", featuring congas from Alfredo Ortiz, is as clean and poppy as Tommy gets and it really is a look he wears incredibly well. Just straight up guitar pop. "The Simple Man" a gorgeous, melancholic ballad, closes out the record with deeply yearning vocals from Tommy, a rarity and a treasured one at that.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Released in July 1994 by Atlantic Records, Cracked Rear View is Hootie & the Blowfish's most successful album, reaching No. 1 on the Billboard 200 five times during the course of 1995. It was also the best-selling album of 1995 in the United States, selling 7 million copies, and since then has gone on to sell more than 10.2 million copies, making it one of the best-selling albums of all time.

AllMusic's Stephen Thomas Erlewine says Hootie & the Blowfish, on Cracked Rear View, "...deliver the goods, turning out an album of solid, rootsy folk-rock songs that have simple, powerful hooks."

The album played a pivotal role in shaping the career of its lead vocalist, Darius Rucker, who transitioned to country music in the mid-2000s as a solo artist. Cracked Rear View was an instant sensation, with chart-topping hits such as "Hold My Hand," "Let Her Cry," and "Only Wanna Be with You." The album has a distinctive sound, blending rock, pop, and a hint of folk, using Rucker's soulful, raspy baritone as its emotional core, and his heartfelt delivery to win over audiences.

This Analogue Productions (Atlantic Series) reissue of Cracked Rear View has the essential elements that make it a standout for your collection. We turned to Ryan K. Smith at Sterling Sound in Nashville for an exemplary cut direct from the master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Cracked Rear View's emotional depth and Rucker's distinctive voice left an indelible mark on the music industry, making Hootie & the Blowfish's debut album a timeless piece of musical history.

After a successful career in the corporate world, marketing guru and full-time mom Cristina has taken a bold step into the music scene, inspired by the minimal grooves emanating from Romania.

Her Satya debut EP, titled "Plan B," showcases a unique and tasteful fusion of drum-based dance floor beats and hypnotic melodies.

Growing up composing on the piano and studying harmony, Cristina's musical roots strongly influence her creative process, resulting in tracks that offer a perfect balance between rhythm and musicality. With a focus on key themes such as family, music, and life philosophy, "Plan B" is a strong musical package filled with intention.

Her collaboration with friend and fellow artist Francesco Mami - "Les Filles” - a peak-time jam dedicated to their respective daughters - adds spice to the already flavorsome solo concoctions.

Sepp’s remix of the title track, infused with his Romanian and Macedonian folk roots, rounds the EP in a wonderfully playful manner.

Scheduled for release on May 17, 2024, "Plan B" is poised to make waves and gain attention from house music connoisseurs! Cristina's transition from the corporate world to the dance floor promises a refreshing and dynamic addition to the ever-evolving music landscape.

Warehouse Find!

Toby Tobias coming through with the fresh raw s**t for Delusions! Two original tracks here absolutely loaded full of old school analogue machine funk and crazy dub tricknology. It's Burning builds around a beautiful chiming synth while a filtering acid bass line and 808 snares add a distinct bit of B-Boy to the mix. I Give You love heads for a more rugged house vibe complimenting the intense, loosely timed vocal hits perfectly. On the flip we have London Housing Trust bringing serious heat on their remix, jacking up the tempo but adding some decidedly tripped-out synth tweaks resulting in a show stopping reworking primed for freaking people out on the dancefloor. Finally we have that man Lauer working his magic on It's Burning, building up the track around some beautifully euphoric synth stabs and bassline. The perfect close to an EP in which it's very difficult to try and find words to justify. We think Toby Tobias has turned in some of his best ever work here and absolutely love this whole record so really hope you share the same admiration for the release as we do!

It's the year 2003. the world is bad and it would only be your fault if it stays that way. but the ärzte are doing what they've never done before: a double album. Everything has to be included! Punk, jazz, rumba, hard rock ... so many ideas, so many songs ... Even "Als ich den Punk erfand..." (When I invented punk ...) clarifies some aspects of human cultural history that have been clearly neglected up to now. The light-heartedly silly "Jag Älskar Sverige!" is a crowd favorite, "Geisterhaus" plays in the league of the great goth rock anthems, "Deine Schuld" provides the soundtrack to the clenched-fists-in-the-air resistance that is as permanently valid as it is double-edged, while "Die klügsten Männer der Welt" is more of a subtle dialectical critique. "Nothing in the World" is the official heartache cracker. There's also the bundle of pitch-black, cynical "Der Tag" with the blazingly amorous "Die Nacht" and two of the most good-humored zombie homage rock smashers of all time. And the absolutely compelling "Unrockbar" is instantly one of the signature hits of the best band in the world.

Recorded in the past 25 years in different parts of the world, Encyclopedia Sónica Vol. 1 compiles the music and sounds of Leo Heiblum. Comes with insert.

Since Leo Heiblum was a little boy, he always found music everywhere. Listening to the engine of his mother's car and hearing incredible rhythms. He always thought every sound we hear can be made into music, every sound that we hear can be heard as music and it can be felt and understood as music. Every sound has an attack, a decay; some have a pitch. What is more beautiful, the sound of a flute, a bird, a trumpet, a car horn, a violin or a mosquito buzzing? They can all be used to make music.

Leo Heiblum believes that If we learn to hear all sounds as “musical” or at least to have the potential to be used to make music, we might look at the world and listen to the world more lovingly. That car passing by had a beautiful crescendo. That dog barking in the distance created a fantastic melody with an impossible-to- transcribe rhythm. Is there no creative intention behind those sounds? Can the listener give them an intention, can the listener transform them into art? Leo Heiblum is trying to organise them and use them in a way that will be musical for us. He hopes that the next time we hear an ocean wave breaking a bond, fire crackling, or a fly flying, we can enjoy the notes and the rhythms they are making. They are being created by something; who knows what the intention is, but some of the most unique beats he's heard come from rocks falling in cenotes or ice breaking down in a glacier. And the melodies he's heard from bats, dogs fighting, or a newborn dog are both haunting and beautiful. The timber from sounds such as the thorn of a cactus, the voice of a homeless person in the street or a mosquito buzzing can be used to create instruments as beautiful as any instrument. And they have a new sound or a familiar old sound used differently. A way that invites us to hear the music created by this planet.

Earth, Our Planet?”: A call for environmental awareness. This time, Pedro Vian - the founder of Modern Obscure Music - presents his fourth solo album (following his 2020 release, "Ibillorca"). Due for release in spring 2024, "Earth, Our Planet?" promises to immerse us in a moving odyssey, crossing the boundaries of musical genres to provoke an urgent meditation on the protection of our planet. On this occasion Vian has composed the album influenced by the myth of the eternal return, the compositions are long and repetitive, generating states of pure trance.
Pedro Vian, singular for his fusion of genres and styles, ventures into even more complex territories in "Earth, Our Planet?". From the first listen, it is evident that this work treads the line of convention and breaks the boundaries of electronic and experimental music with artistic dexterity. The album weaves together texture, hypnotic rhythms and melody. Each track reveals his distinctive ability to create immersive landscapes, guiding the listener into deep emotional introspection. This is not just music; it is a transformative experience.
The beauty of this album lies not only in the musical vision. The album features high-calibre collaborations that add layers of creativity and elegance. Trumpeter Pierre Bastien, whose early productions left an indelible mark on Aphex Twin's Reflex label, infuses "A Day in Rotterdam" with a unique emotional resonance. Violinist, Asia, renowned for her avant-garde approach and ability to conjure unique landscapes, elevates the album's opening tracks "Urobóros" and "Les Tambours Subterraniens". Their skill and sensitivity intertwine perfectly with Vian's artistic vision. In addition, Italian producer Daniele Mana, with whom Pedro Vian collaborated closely on his previous album "Cascades", known for his experimental approach and talent for creating extraterrestrial atmospheres also contributes to "Les Tambours Subterraniens". His artistic perspective adds more complexity and texture to the piece, pushing the boundaries of contemporary electronic music. There is also a collaboration with Raül Refree, an artist with whom Vian worked with last year, presenting “Font De la Vera Pau”, an album that The Guardian defined as "a wonderful piece of electroacoustic music, a captivating mix of strings and analogue synth drones which sometimes flirts with Alice Coltrane-ish spiritual jazz". With "Earth, Our Planet?", Pedro Vian not only offers up some of his best work to date, but it is also a call to reflect on our relationship with the natural world. As a part of a planet where environmental awareness is more crucial than ever, he urges us to protect and preserve our world as an extension of ourselves. This extensive work is a statement, Vian addresses the notion that too often we prioritise immediate needs over the well-being of the planet. It highlights the fact that we often consider the Earth as a possession when, in reality, we are but a part of it.

Renowned for their boundary-pushing sonic explorations, Klein Zage and Joey G ii join forces to deliver a captivating fusion of spoken word and electronic beats in their latest collaborative EP, ‘From New Cross To Ridgewood’ inspired by their time living together in South London. The EP promises an immersive auditory experience that transcends genre boundaries featuring remixes from Local Artist, DJ Python and Ariel Zetina.

The EP marks a return to the stripped back musical style Sage became known for early in her career on Orphan Records, such as Womanhood EP and the sensational ‘The Sayers’ on the 2022 edition of Shouts.

The record effortlessly blends the ethereal spoken word prowess of Klein Zage with the electronic breaks wizardry of Joey G II. The duo's ability to seamlessly merge spoken word poetry with innovative electronic soundscapes creates a unique and compelling listening journey that captivates from start to finish. Adding to the allure of the EP are the remix contributions from three distinct artists, each bringing their own perspective to the project.

Genesis' album Nursery Cryme, released in November 1971, marked a significant moment in the band's evolution and showcased the burgeoning talents of their new drummer and vocalist, Phil Collins, plus guitarist Steve Hackett.

Nursery Cryme saw the band take a more aggressive direction of some songs, with substantially improved drumming. The opening piece, "The Musical Box" combined the band's trademark mix of twelve-string guitars with harsh electric guitars and keyboards. The song, a macabre fairy story set in Victorian Britain, became the inspiration for the album cover, and went on to be a live favorite.

This album played a pivotal role in establishing the band's progressive rock sound and laid the foundation for their future success.

Although Peter Gabriel remained the band's primary vocalist, Collins' distinctive voice began to shine through on tracks like "For Absent Friends" and "Harlequin." Collins' vocals added a new dimension to the band's sound, blending seamlessly with Gabriel's, and hinting at the vocal prowess that would later define his solo career. His emotive and versatile singing style contributed to the album's overall charm.

Nursery Cryme is regarded as a crucial stepping stone in Genesis' discography, and with time, became recognized as a progressive rock classic. The album received acclaim for its adventurous and intricate compositions, combining elements of folk, rock, and classical music. Genesis' signature storytelling lyrics, often filled with surreal and whimsical imagery, captivated listeners and added depth to the music.

Critics praised the band's musicianship, with particular attention to the intricate guitar work of Steve Hackett and the melodic basslines of Mike Rutherford.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Nach fünf langen Jahren seit ihrer letzten Veröffentlichung sind die finnischen Metaller Suotana mit ihrem neuen Album ''Ounas I'', das am 17. März 2023 erscheinen soll, aus dem ewigen Eis erwacht!

Diese Full-Length-Veröffentlichung ist eine epische Fortsetzung
der Reise, die der Vorgänger ''Land of the Ending Time'' im Jahr 2018 begann, und katapultiert die Band zu einem neuen Höhepunkt.

''Ounas I'' enthält 41 eisige Minuten Musik, darunter fünf brandneue Suotana-Tracks und eine "suotanisierte" Version von Summonings "Land of the Dead".

Musikalisch führt das Album neue Nuancen ein, bleibt aber fest im vertrauten SuotanaSound verankert, einschließlich melodischem Death Metal, melodischem Black Metal und einer Prise Power Metal.

Die bemerkenswertesten Unterschiede sind die Gäste auf dem Album. Keyboarder Veli-Matti Kananen (Kalmah) und Sängerin Mora steuern
ihre eigenen Talente bei.

"Memorie d'Inverno" is the first collaboration album from Original Krash (Producer) & Casco aka Helmet (Performer) with the partecipation of various dope mc's and singers also the vynil exclusive include two remixes from leggendary prodcuers Dj Skizo (from Alien Army) and The Next One (from Zulu Nation and Rock Steady Crew).

"Memorie d'Inverno" is a concept album released for Outboard Music in June 22 and the title in italian stands for "Winter Memories".
The LP it's worked and founded on the classic style of Hip Hop where bassline, cuts and drums reign on the productions all made with the MPC5000 sampling original vynils. The songs are concived as a phootage of a memory, so made too survive forever in the ear of the listener. All the tracks has been mixed analogically by Matteo "Nost" Nolli at Nost Studio (excluded the two remixes made directly by the producers) with the supervision of Original Krash and the work on the sound it's an essential part of the LP and melted with the fact that most of the beats are sampled from Jazz and Soul defines the Hip Hop flavour of the album.

Thw philosophy and the work ethic behind "Memorie d'inverno" it could be perfectly resumed in the titles of the intro (True Knowledge Is The Future) and the outro (Today, Not Tomorrow) as a perfect closing circle. The message is don't waste your time around unuseful stuff and keep focused on what you like and really desire to reach, so you better tie the laces to your shoes, bust your back and study to obtain what you deserve beacuse no one is gonna do that for you.
Krash and Helmet thaks everyone who will support our business remebering to the one who hasn't already purchase the order that they really should beacuse... Italians Do It Better .

Ruutu Poiss with his second album “II” after his 2021’s debut full length “Palav Aed“, a welcome return to Wake Dream. Recorded in a concentrated period of time during the dark winter days of late 2022 and early 2023, “II” now finds it’s way to the public’s ears in the brighter days of the year.

An album as conceptual as it is emotional, with feelings of transformation and dreaming, hope and arrival, and an aesthetic that is both cinematic and hypnagogic, nostalgic and futuristic, it turns contradictions into harmonies, brings together the dark and the light, spinning and whirling freely around a steady core.

Recorded mainly with one synth and a collection of old drumcomputers, Ruutu Poiss once again shows his futuristic sonic virtuosity within the boundaries of a compact studio setup.

Es ist fraglich, ob unter den Pionieren der ersten britischen Punkrock-Welle noch jemand zu finden ist, der in der Gegenwart so aktiv und relevant ist wie TV Smith. Seine Band The Adverts galt 1976 bis 1979 als eine der wichtigsten Gruppen der Szene und hatte mit "Gary Gilmore's Eyes" einen veritablen Hit. Doch während es um viele der damaligen Protagonisten mit den Jahren still wurde und einige unter die Räder kamen, durchlief TV Smith eine eindrucksvolle Entwicklung und macht bis heute einfach immer weiter.

In Season 5, the long-awaited fifth full-length by beach-pop project The Tyde, frontman Darren Rademaker unveils his vision of an ’80s-inspired Suave Nouveau, with a clutch of sweet, melancholic love songs evoking lush mustaches, mellow macho, the ghost of Jimmy Buffett, white sand beaches, flamingos swooping across a cerulean sky, speedboats cutting through the bay and pastel linen suits billowing in the breeze as the sun dips beneath the horizon. “Spanish conquistador Juan Ponce de León ‘discovered’ Florida in 1513, naming the peninsula La Florida, the flowering land. In Season 5, Rademaker reflects on his own return to the flowering land, and the artistic diaspora that caused him to quit California in 2020 in search of a New World of his own. ‘I lived in Florida from the ages of ten to twenty-five, but never really got to explore it,’ he says. ‘When I came back, I decided to really embrace the whole Florida aesthetic. I moved into an art deco home in Sarasota with pink seashell lamps. I visited Key West, like seven times. I also quit smoking weed and cigarettes, and stopped saying shit like LOL and amazeballs. It felt different. It felt good.’ “The record features the talents of many good friends, including Dan Horne, Colby Buddelmeyer, Matt Correia (Allah-Las), Clay Finch (Mapache), Albert Hickman, Derek James (The Entrance Band), Alex Knost (Tomorrow’s Tulips) and Adam MacDougall (Circles Around The Sun / Black Crowes), with artist / musician Matt Fishbeck (Holy Shit) designing the deco-inspired album artwork. “And as much as they are inspired by the past, these songs are keenly aware of an uncertain future—because there is no such thing as a time machine, and there is no going back. Ultimately, Season 5 asks the question—where do we go after the sun sets on our dreams? Where the fuck is the New New World? In Rademaker’s eyes, it no longer exists in any specific American geography—rather, all hope remains in the timeless, unending power of music, and its power to take us to the places we wish we could be. Even if they don’t exist anymore.” — Caroline Ryder

Kaito Cuts: Revert / Sequoia b/w Trek / Wait Up/ Sloan by Kaito | Galaxy Sound Co. — GSC45-042, Test Pressing | With their 42nd donut in the always-on-point 45 edit series, @galaxy_sound_company drops a new batch of lo-fi hip-hop beats instrumentals. This time out GSC is showcasing a newcomer to the head-nodding beat maker scene — @kaitoian.


Kaito, an out cold skater as well, has a couple of self-releases you can find on his Bandcamp page, which are solid & sound at home alongside his pop’s ( Todd Osborn) Ghostly International releases. This 7” EP outing spins at 33 1/3 to pack in as much as GSC can squeeze in & is straight up beatloverz heaven. What is impressive, for this old timer, is how clearly deep Kaito’s musical knowledge goes. He clearly has learned well from his father & all the good music he certainly has had at his fingertips. From Madlib to Os Mutantes to Fela Kuti to J Dilla & other artists who were not afraid to dig deep & unearth beats & melodies to tickle your fancy, Kaito’s tastes are as refined as anyone in the game. I know a number of the original source materials that comprise each track, but that I leave to you to dig out for yourself. Here I encourage you to open your eardrums & listen deep with your fav pair of headphones & let each track wash over you. From straight forward head-nodding hip-hop thumpers to beautiful Brazilian femme fatale vocals that lure you into the loop, to a Afrobeat driver that’ll break ya neck, to a mellow, soulful MPC hopper that will lovingly recall a Arlo Parks joint, to then closes out with a synth-laden spaced-out dreamy loop to end credits.

First time on vinyl

The first volume of a series in which ProleteR brings the fun by giving modern arrangements and his own distinctive signature sound to all time classics.

First time on vinyl

The follow up to the vol.1, revisiting classics such as 'hit the road' or 'my girl”.

Welcome to the sweet-but-savory, suspiciously sticky, and slightly sinful world of old-school movie theater intermission messages. It’s where big-band jazz, psychedelic rock, sequin-bedecked disco, virgin vanilla orchestrated pop, and more are pressed into service, with your satisfaction as the solitary goal! Features CD only bonus tracks!

Hey Folks! It's Intermission Time! by Something Weird includes the following tracks: "Popcorn And Candy, Yum Yum", "Lots Of Pretty Pickles", "Oh The Time Is Now, The Time Is Here", "James River Smithfield BBQ" and more.

This version comes as a 1LP on brown vinyl.

Although one could imagine that by 1993 any Italo Disco nuances would have been vanquished from sophisticated Italian production setups of the time, it is hard to ignore its presence in this particular work of Italian DJ and producer Gianpiero Pacetti. Much more so than in the work of his contemporaries at the time who would have shifted into full on early progressive trance in pursuit of novelty. Resulting in a refreshingly playful exploration of melodic themes, an aesthetic only to be heard again more than 10 years later with Dutch works like Alden Tyrell. With exception of Alvorada which distinguished itself as completely detached from any of the previously mentioned influences, diving deep into percussive samba elements adjoined by alluring arpeggios and other subtle melodic ornaments characteristic of early progressive trancey movements of the time. Includes new remix of “Alvorada” by Berlin's E-Talking. Remastered with new artwork.

OLUMA wurde 2021 von dem Bassisten Gregor Nicolai, dem Schlagzeuger André van der Heide und dem Saxophonisten Roman Polatzky gegründet. Die instrumentalen Kompositionen der neunköpfigen Band lassen sich dem Global Groove zuordnen. Sie schaffen dichte Grooves, die von energetischen Brass-Lines bespielt werden und in virtuose Improvisationen münden. Die vier Bläser können das Publikum aber auch schwebend und leicht in eine träumerische Welt begleiten. Die multikulturelle Szene Berlins mit ihren unterschiedlichsten musikalischen Einflüssen haben André und Gregor geprägt und zusammengebracht. Dazu kommt die Liebe zu handgemachter Groove-Musik, die Leidenschaft zu tanzbaren Beats. Roman trafen sie im Dunstkreis der Musikhochschule Leipzig, wo sich die internationale Band gefunden hat. Der Albumtitel Cooking Time entstand nicht zufällig: Die Musik entsteht in gemeinsamen Songwriting-Sessions, bei denen Beats gebastelt und Ideen eingesungen werden. Die Band gewann den Delay-Nerd und Afrobeat-Liebhaber Umberto Echo für ihre Aufnahmen, der mit Verwendung alter analoger Technik einen nostalgisch anmutenden Sound schafft, welcher auf moderne Produktion trifft. Mit ihrem Debut-Album möchte OLUMA die Idee teilen, dass Musik einen Beitrag zur globalen Verständigung leisten kann und Menschen verbindet. Carolina Vallejo vom Label One World Records hat dafür genau die richtige Umgebung bereit gestellt. OLUMA präsentiert ein klangvolles Zeugnis für die universelle Sprache der Musik. Ihre mitreißenden Auftritte und ihre künstlerische Vielfalt machen sie zu einer der aufregendsten Bands der gegenwärtigen Musikszene.

Scottish rock heroes GUN are delighted to announce their ninth studio album, Hombres, via a new label deal with Cooking Vinyl. It is the first album of all new music from the group since 2017"s Favourite Pleasures and also features new full-time guitarist, Ru Moy, adding further heft to their rock ballast. GUN were formed by guitarist Giuliano Gizzi. During their career GUN achieved 3 UK top 20 albums and 8 UK top 40 singles including a cover of Cameo"s "Word Up" which reached the UK top 10 and charted all over Europe. GUN has toured extensively over the years most notably with The Rolling Stones on their Steel Wheels & Urban Jungle tours. The thirteen tracks on Hombres were recorded and produced by Simon Bloor (Trevor Horn) with mixing by Daryl Thorpe (Foo Fighters).

Scottish rock heroes GUN are delighted to announce their ninth studio album, Hombres, via a new label deal with Cooking Vinyl. It is the first album of all new music from the group since 2017"s Favourite Pleasures and also features new full-time guitarist, Ru Moy, adding further heft to their rock ballast. GUN were formed by guitarist Giuliano Gizzi. During their career GUN achieved 3 UK top 20 albums and 8 UK top 40 singles including a cover of Cameo"s "Word Up" which reached the UK top 10 and charted all over Europe. GUN has toured extensively over the years most notably with The Rolling Stones on their Steel Wheels & Urban Jungle tours. The thirteen tracks on Hombres were recorded and produced by Simon Bloor (Trevor Horn) with mixing by Daryl Thorpe (Foo Fighters).

HIGHLIGHTS We are happy to present here two Tropical versions of massive disco hits that retain all the party spirit of the originals. 'Da Ya Think I'm Sexy' (Rod Stewart) by La Cumbia Moderna de Soledad is a playful mix of the old and the modern that guarantees some dancefloor heat each time the needle hits the surface of the vinyl, and the Machuca Cumbia rendition of Bee Gees 'Stayin' Alive' becomes a dancefloor winner full of hypnotic percussions and guitars. A perfect follow-up to the acclaimed previous singles in our 'Tropical 45s series' that so far has included recordings by the likes of Jimmy Salcedo or Sebastiao Tapajos/Pedro Dos Santos. DESCRIPTION Few melodies have been played so many times on radio, movies or TV commercials as these two compositions from the golden age of mainstream disco music. Top international hits and iconic milestones of an era, both songs are immediately recognizable after just a few chords by almost anyone on this planet. These two compelling tropical versions retain all the party spirit of the originals, guaranteeing some dancefloor heat each time the needle hits the surface of the vinyl. A perfect follow-up to the acclaimed previous singles in our 'Tropical 45s series' that so far has included recordings by the likes of Jimmy Salcedo or Sebastiao Tapajos/Pedro Dos Santos. In the rendition of Rod Stewart's 'Da Ya Think I'm Sexy' we find a playful mix of the old and the modern made by Pedro "Ramayá" Beltrán, signed under his project La Cumbia Moderna de Soledad; a group from Barranquilla, Colombia, that recorded a set of songs that exudes both tradition and innovation. Machuca Cumbia, a Colombian studio band under the direction of "Cachaco" Brando, add some unexpected cumbia arrangements to the Bee Gees 'Stayin' Alive ', resulting a dancefloor winner full of hypnotic percussions and guitars that, at times, even recall other genres such as surf.

Necrot continue their ascent to the forefront of American aural extremity, pushing the boundaries of style and continuing to recast metal in their image. Founded by bassist, vocalist and principal songwriter Luca Indrio and drummer Chad Gailey in 2011 – guitarist Sonny Reinhardt joined the next year – the Oakland, California, trio offer Lifeless Birth (in continued collaboration with Tankcrimes) as a culmination of their to-date efforts to encapsulate and push forward the deathly stylings of 2020’s Mortal and their 2017 debut, Blood Offerings. It’s not about giving up a ferocity that’s helped make them a household name among the converted. Instead, Necrot use that same, by-now-characteristic intensity as the backdrop for an expanded songwriting palette. They’ve always been a band who stood out. The maturity they show on Lifeless Birth confirms that’s been the plan all along. It is a vision of what metal can be and do in 2024, tearing down old barriers and keeping those traditional elements that make it stronger. Recorded with Grammy-winning producer Greg Wilkinson (who has helmed all three Necrot albums) and mastered by Brad Boatright at Audiosiege, Lifeless Birth pivots fluidly between technical intricacy, progressive poise and all-out brutality. Scouring lead work will have thrash heads nodding knowingly, and an overarching groove reaches out across the metal microgenres with a righteous call to worship. Its songs are memorable and varied, unpretentious but able to rear up with statelier violence. At the same time, “Drill the Skull,” “Cut the Cord,” “The Curse” and others prove that just because a song is beating you into the ground doesn’t mean it can’t also be forward-thinking. Or catchy. After having their Mortal tour plans scuttled owing to the covid pandemic, family health issues that led Luca, who became a US citizen in 2016 and currently lives in Mexico, to return to Italy for a time canceled what would have been their first tour post-plague. Still, despite this and Chad suffering a broken back, requiring multiple surgeries and intense physical therapy to be able to drum again, period, Luca being struck with Bell’s Palsy the night before he was originally due to fly to the studio to record, and Sonny requiring multiple surgeries on his hands in the months since they finished, Necrot charge forward with material distinguished in its real-world point of view and willingness to look beyond extreme metal tropes in lyrics, the melodies of its guitar solos, and unbridled audience engagement. For a collection of songs that feel so much written for the stage, it should be no surprise tours early in 2024 and summer festivals are to be announced. Mortal (2020, Tankcrimes) was #2 on Billboard's Top New Artist chart, #30 on the Top Current Albums chart, #4 on the Current Hard Music, and #10 on the Heatseeker Albums chart for week of release. Necrot have toured in North America, Europe, Australia and Japan, and shared the stage with Cannibal Corpse, Immolation, The Black Dahlia Murder, Suffocation, Morbid Angel, and hundreds of others. Expect no letup as Lifeless Birth brings Necrot all the more to their own place among metal’s superlatively aggressive proliferators. – JJ Koczan

With time, we come to understand the way the joy of connection is mirrored by the void of loss, how the constancy of love is matched only by the impermanence of life, the simple idea that we could not create light if we did not risk the dark - we'd never need to. So it is with METZ, a band once known for blowing out eardrums with songs of joyous rage who have, over their past few records, begun exploring ways to turn abrasiveness into atmospherics, the evolution of their sound not only a reflection of the maturing of the band themselves but also of a changed world that demands nuance and compassion to comprehend and to survive. It was a journey already underway on 2020's Atlas Vending, but one that reaches new heights on Up On Gravity Hill, where the Canadian trio creates a kaleidoscopic sonic world as tender as it is dark, aided once again by engineer Seth Manchester (Mdou Moctar, Lingua Ignota, Battles, The Body). Deep, detailed, and unyieldingly personal, it is not only METZ's most powerful record to date but also their most beautiful. Still three punks from Ontario at heart, guitarist and vocalist Alex Edkins, drummer Hayden Menzies, and bassist Chris Slorach waste no time as opener "No Reservation/Love Comes Crashing" sweeps in like a wave, sonically and thematically setting the scene for the record to come. A dynamic song about feeling suspended in stasis, layers of dissonance melt into a restlessly heady outro marked by escalating crescendos of shimmering noise that reach for the stars - and is that a violin quivering brightly beneath those elegant swells of guitar, those charging drum fills, those intricate bass lines? It is indeed, courtesy of composer Owen Pallett; his presence an immediate indicator that METZ are thinking more cinematically than ever before. The change is partially inspired by Edkins' work as a scorer for film and television and his pop-leaning solo project, Weird Nightmare, where, he says, he learned to write more intuitively, letting his emotions lead the way. But make no mistake: Up On Gravity Hill is a total band effort, the work of three musicians who have been playing together for over a decade, with all the trust that entails. For those who believe in the power of the rock band to exemplify the highest resonance of human connection, there is much on Up On Gravity Hill to lift the spirit, a puzzle worth repeated listening to unlock or just to get lost in again and again. Rather than the music being flattened into a single plane, the band explores "the space above the cymbals," resulting in some of the most spacious, sympathetic, and accessible songs - could we call them pop? - of their career. If this seems contradictory, well, METZ has always been something of a contradiction. "We've never been heavy enough for metal or hardcore purists, but we're way too heavy for indie rock. We just don't have a lane - and that's okay. We exist outside the lines of delineation. I think this record is even more like that," says Edkins.

"When I moved to Minnesota from Pittsburgh in 1994 all I brought with me was a big duffle bag and an acoustic guitar. I was 19. In that bag was a Radio Shack cassette recorder. I spent that time writing and filling up a tape with new songs. A few years later I earned enough money from my restaurant jobs to buy an old reel-to-reel 4-track recorder and some other instruments which allowed me to slightly expand my production ideas. More songs kept flowing and I made my self-titled album adding drums and bass. Over the next few years, as things grew, those sparse cassette songs fell on the back burner until 2002 when I decided to re-record a bunch of them at a higher quality. To keep with their original vision, I asked engineer Tom Garneau if he could record me playing them live in his living room. We left the production minimal and rough which I think serves these particular songs well. No overdubs. Just solo acoustic guitar and vocals. I called the album Simple Life. It was originally just a limited release. Until now. I hope you enjoy it."

"Message From The Country was the fourth and final studio album by The Move, a British rock band that consisted of Roy Wood, Jeff Lynne, and Bev Bevan. After the release of this final studio album, the trio went on and founded Electric Light Orchestra. The influence of The Beatles runs through most of the songs stylistically, while still sounding like the first ELO album, which was recorded during the same lengthy recording sessions as Message From The Country. The Move generated what was, song for song, their most complex and challenging album. Message From The Country is available as a limited edition of 1000 individually numbered copies on white coloured vinyl. "

Message From The Country by The Move, released 12 April 2024, includes the following tracks: "No Time", "Until Your Moma's Gone", "The Minister", "The Words Of Aaron" and more.

This version of Message From The Country comes as a 1xLP.

The vinyl is pressed as a white disc.

The nineties are often described as a hedonistic decade, a party decade when all arrows pointed upwards. In music culture, first things that comes to mind is the peak of club music, big-mouthed and drunken British rock bands, extreme Black Metal, and the high-energy "Scandi-rock" - a scene that the Euroboys members themselves were part of, in bands like Gluecifer, Team Spirit, Fair Fuck and Turbonegro. "Soft Focus" broke out from the noise after the nineties, and started introducing new vibes in the rock genre. With inspiration from the music scene that grew out of Laurel Canyon and California in the early seventies, Euroboys came up with a rock album that was soft on the edges, warm sounding with bittersweet melodies. Today, names like Fleetwood Mac, Eagles and David Crosby are of course gods on the retro sky, but it wasn't like that in 2004. This first time on vinyl reissue of "Soft Focus" has been remastered from the original tapes, and also features two bonus tracks that resurfaced in the process, mixed and released for the first time.

In 1975, Joyce Moreno, who had just wrapped up a tour with legendary Brazilian composer Vinicius de Moraes, found herself in a studio with producer Sergio Bardotti in Rome, Italy. She had been taking a break from writing and she decided to pick up a selection of her favorite compositions from contemporary Brazilian writers who‘s songs were beacons of hope in times of an ongoing intense Military leadership in her home country. Unlike their previous albums, these recordings live from their reductiveness and intimacy. For a long time, Passarinho Urbano was considered a secret masterpiece and was highly sought after by record collectors, now Week–End Records is glad to be making it available internationally on vinyl for the first time ever.

In 2004 Sarkom released their only demo before signing to a label. Now, 20 years, several albums and EPs later, this hidden gem will be released on vinyl for the first time ever! This will be a one time pressing, limited to 250 hand numbered copies, just like the original demo back in the days! In addition to regular black vinyl, it will also be released as picture disc, limited to only 100 copies! No remixing, editing or remastering - the songs on the vinyls will sound exactly as cold, grim and necro as for 20 years ago!

"Demo 2004" by Sarkom includes the following tracks: "Passion for Suicide" and more.

2024 Repress

Rotterdam based artist ''Ben Buitendijk'' has been around for quite a while now. With a string of releases of labels such as ''Ogun Records'', ''Eshu Records'' and appearances on the mighty ''Field Records'', the time has come for Ben to launch his own imprint. Inspired by the city of Rotterdam and his love for anything architectural, Oblique was founded. A label that is designed to cater to Ben's vision on the overall electronic landscape and to display his love for well thought out drum patterns with dense long-stretched builds and strained atmospheres.

''Venomous EP'' comes in a package of three extended techno cuts with a certain corresponding theme. As the title might suggest, all cuts have a certain
touch of hazardousness to them.

''Black Mamba'' is best explained as the experience of poison slowly creeping through one's veins and leaving an irreversible trail of destruction.

''King Cobra'' feels more boisterous than it's predecessor. Again, a long repetitive build keeps on changing into a slightly psychotic state of being while razor-sharp bits of synthesis tickle the listeners brain like when undergoing acupuncture.

''Stingray'' is the final cut of this first ''Oblique'' effort. Whilst maintaining the corresponding ''Venomous'' theme, the last endeavour is a thumping outcry of muscular drums, a ponderous bass shot, and haunting pad sounds that together create a dystopian character. As an extra, Ben has thrown in an ominous locked groove that should be useful in adventurous club settings.

repressed !

Regular Offcial Authorised Vinyl Version, Original Soundtrack, 350g Sleeve, Black Inner, Sticker, 12 140g Vinyl - The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii's legendary science fiction anime film GHOST IN THE SHELL (1995). - LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork

We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii's critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow's groundbreaking manga series of the same name. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon), the album comes as a LP accompanied by a bonus one-sided 7 housed in official Ghost in the Shell artwork sleeve with silver gilt printing and a Japanese obi, and contains extensive 24-page liner notes. The haunting score is composed by Kenji Kawai, one of Japan's most celebrated soundtrack composers, alongside Joe Hisaishi and Ryichi Sakamoto, whose work includes Hideo Nakata's Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai's compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook. For its iconic main theme 'Making of Cyborg", Kawai had a choir chant a wedding song in ancient Japanese following Bulgarian folk harmonies, setting the standard for a time

2024 Repress

Three emotional years in the making, Be With and Efficient Space finally present Steve Hiett’s Girls In The Grass. Pressed alongside the long awaited reissue of his one-shot masterpiece Down On The Road By The Beach, these ten balearic soul instrumentals are of equal necessity; unrivalled beauty rescued from the fashion photographer-guitarist’s Paris Tapes (1986-1997).

While recordings unintended for release should often be approached with caution, this is a rare case of unheard material being assembled as an indispensable and coherent piece. Girls In The Grass is something super special. The light and shadow that defines Hiett’s music is arguably more compelling here. It speaks to us in a language that feels profound, yet entirely comforting and familiar.

Girls In The Grass reintroduces Hiett’s languid electric blues boogie, crafted on Saturday afternoons with fellow art director Simon Kentish. Kentish would cook, pour some wine and then utilise his arsenal of technology. He’d dial up a chugging rhythm, together with some ambient pads or keyboard textures, and anchor the weightless gauze of Hiett’s six-stringed touch.

Hiett’s guitar sings with the same clean, crisp tone as Down On The Road, animated by a carefree weekend groove. Unlike his defining album which was boiled under pressure, these subsequent sessions have all the time in the world. The naïve melodies chart a missing link between Vini Reilly’s ventures into electronica and Booker T, sounding like sun-warped takes on wordless, fractured non-hits from his heroes The Beach Boys.

Remastered for public pleasure by Simon Francis, these private moments are adorned with Hiett’s singular photography and feature typically idiosyncratic liner notes from Mikey IQ Jones

Harold Land, one of the greatest West Coast tenor saxophone voices of all time. A strong player rooted in Bop language, famous for his role in the legendary Max Roach and Clifford Brown quintet and later as part of another great Los Angeles based combo such as bassist's Curtis Counce group. The Fox is a 1960 album originally released on the Hifijazz label and reissued by Contemporary in 1969. Here Land is at the head of a marvelous quintet, some sort of who's who of the LA jazz scene: Dupree Bolton - trumpet, Elmo Hope - piano, Herbie Lewis - bass, and Frank Butler - drums. Besides the well known instrumental skills of these musicians, the album displays four superior compositions by the great pianist Elmo Hope and two Land's originals. Music that combines a deep feeling for the Blues and a highly sophisticated West Coast sound approach.

This is high-quality hard bop, easily recommended to fans of straight-ahead jazz. (Four and a half stars) Scott Yanow - Allmusic Guide

The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.

This album was the first from a man who quite simply changed the face of music. Originally released on Chess Records in Chicago in 1957, it underlined the value that the company placed on him. They realised that they had a star on their hands, and they were most certainly right. Hard to credit, but this ground breaking album was never issued at the time in England, though Chuck's second album 'One Dozen Berrys', was. Both albums are extremely collectable on both sides of the Atlantic and together command high prices for they represent the very best of his early material, the songs that he is best remembered for. This is certainly one to love andtreasure.

Repress!

This is Love & Resistance by Crooked Man.
His first single on Vicious Charm and now available on vinyl.

Love & Resistance is 9:59 of beautiful electronic soul music. The dreamy vocals come courtesy of Carmen Squire. A perfect combination.

While the A-side oozes class & sophistication - the B-side is a different beast entirely. Nemesis is a dirty, sweaty mid tempo club track that is hard to resist.
Nemesister is the more dubbier sibling.

Released digitally in January the record was loved & admired across the DJ spectrum.

Honey Dijon, The Blessed Madonna, Luke Unabomber, Tim Sweeney, Luke Solomon, Gilles Peterson, Roisin Murphy, Nick Fanciulli, Fred Everything, Colleen Cosmo Murphy, Andreas Baumecker & Bill Brewster all showed it some love…