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Das zweite Album der österreichischen Band Minisex erschien ursprünglich 1982 - inkl. dem Hit "Du kleiner Spion". jetzt ist der Longplayer als limitierte Ausgabe auf farbigem Vinyl wieder erhältlich.

Supermax war ein Projekt (Reggae, Funk, Disco, Rock) des österreichischen Musikers und Produzenten Kurt Hauenstein (1949-2011) - das Album "Something in my heart" erschien ursprünglich im Jahr 1986 und ist jetzt wieder als limitierte Neuauflage auf transparentem Vinyl erhältlich.

Emil Brandqvist hat sich mittlerweile in der Elite europäischer Jazz Musiker einen festen Platz erspielt. Der Schlagzeuger aus Göteborg hat vor allem mit seinem Trio gemeinsam mit Pianist Tuomas A. Turunen und Bassist Max Thornberg für Furore gesorgt, unlängst wurde das Trio für 50 Millionen weltweite Streams ihrer Musik ausgezeichnet und das letzte Album 'Layers Of Life' stieg bis auf No.2 der Deutschen Jazzcharts. Mit 'Interludes' bietet er jetzt eigene Kompositionen in vielfältigen Instrumentierungen an, wobei diese Sammlung von Stücken insgesamt neun Werke zusammenfasst, die bereits als Songzyklus "Three Songs Part 1 - 3" ausschließlich digital verfügbar waren. Entstanden in den letzten vier Jahren hören wir unter anderem Instrumente wie Lap Steel Gitarre, Pumporgel, Bass Klarinette, Violine, Stimmen oder Tastenfidel. Emil Brandqvist selbst spielt auf dem Album neben Schlagzeug und Percussion auch Piano und Rhodes, tritt allerdings bei einigen Stücken auch nur als Komponist auf. Die gemeinsame Grundstimmung des Albums ist sehr ruhig und eine wunderbare Reise in gedankenverlorene Stille des Nordens. Erwähnenswert ist auch die Tatsache, dass das Album ein wahres Familienprojekt ist: neben seiner Frau Nina Ewald und dem Bruder Martin Brandqvist, welcher diverse Blasinstrumente beiträgt, beschließt Vater Hakan Brandqvist an der Orgel im Stück 'Honeysuckle' das Album. Das Artwork steuerte Emils zweiter Bruder Jakob Brandqvist bei.
'Interludes' erscheint zur Frühjahrstour des Emil Brandqvist Trios als 180g Vinyl Edition in limitierter Auflage!

Heavee is a Queer Chicagoan DJ & producer with a long history in footwork. His 2022 'Audio Assault' EP on Hyperdub showcased synth-driven, melodic footwork, but ‘Unleash’ goes much further into audio world-building, with a fresh, spongy and citrus-y sound palette and rich, bright chord sequences.

It's minimal, airy, balancing light and dark, sometimes breezy and sometimes clinical. Heavee works simultaneously outside and inside the box, rebuilding footwork's framework and vibe to his own unique specification. Rhythmically, it's dance floor ready, using footwork's 160 template as a springboard for building new drum sounds to express these rhythms, and draws from R&B, rap, jazz and grime, with a sprinkling of bitter-sweet vintage Detroit techno.

‘Unleash’ takes footwork’s “eats all” approach to music and leads it in a fresh direction with a freedom of spirit. It's a strong addition to the footwork cannon and shows that experiments in dance music can be fun.

Ivan The Tolerable is the alter ego solo project of Middlesbrough based musical wizard Oli Heffernan. Aside from his solo work as ITT, Oli has played in numerous bands over the years including Year Of Birds, King Champion Sounds with members of the Ex, Detective Instinct, and Shrug, and has collaborated with icons like Mike Watts of the Minutemen, and J Mascis of Dinosaur Jr.

Ivan The Tolerable started by accident in 2013 when Heffernan recorded a bunch of songs for his band at the time (Year Of Birds). These were a bit too left-field for a speedy garage band, so Oli decided to put them out on tape himself, and hasn’t looked back since with releases on Up In Her Room, Stolen Body Records and Library of the Occult to name just a few.

We are delighted to bring you our next entry from the Ivan The Tolerable archive reissue series, 2019’s ‘Wild Nature!’ Originally released on CD by Ack Ack Ack Records back in 2019, the album has now been remastered and repackaged, and will be released on super ltd edition orange wax. Here’s a bit about the album in Oli’s own words.

‘Wild Nature was originally recorded sporadically during the first half of 2019. It started life in one house, then I moved and it was finished in another. I remember screenprinting the original CD artwork on the sly at my old job during my lunch breaks and hand-assembled a small run of about 50 that are all long gone. I also remember walking around Albert Park early one morning in thick fog with a field recorder to capture the sounds that were then processed to form 23 Minutes Over Albert Park (condensed to 4 mins for the reissue due to time constraints). I think this was also the last album I recorded vocals on and also the last one I recorded completely by myself - all instruments, recording, mixing, mastering and artwork done by me at home. I know the first and last tracks were recorded as a birthday present for someone but I cant remember much about the other songs i'm afraid - 4 years is a long time in my speedy world. I've been asked a bunch over the years about a vinyl edition of this one - so here it is. Enjoy - especially everything that went through the delay pedal, which is sadly no longer with us.’

ORANGE VINYL

Daniel Boeckner understands the grit and gravel that accumulates in the heart and that it takes an unwavering courage to crack through that clutter and burrow to the other side. And in Boeckner's hands, that quest comes via post-apocalyptic synth and guitar heroism, a rallying cry for those always coming home through the scorched clouds. Throughout his work with Wolf Parade, Handsome Furs, Divine Fits, Operators, Atlas Strategic, and more, the iconic Canadian indie rocker recognizes that few feelings are more gratifying-more memorable, more generative, more abundant-than hope. But it takes getting the hell out of your own way. A culmination of that deep library of musical reference, Boeckner is set to release his first album under his own name: Boeckner! No matter where his genre exploration has taken him, there's something about growing up in punk and DIY spaces that puts collaboration in Boeckner's blood. Composed of a collection of intimately familiar elements, Boeckner! elicits the same thrill of young passion and discovery. It's a jet-powered chase through a tech-noir cityscape-fueled by a dream and that special someone in the passenger seat. That urgency and passion have always been a trademark of Boeckner's, and writing on his own pushes those feelings further into the center of the scope. But while Boeckner may be the clear driving force behind the album, he's not without collaborators for his solo debut. After meeting producer Randall Dunn while contributing to the soundtrack to the Nicolas Cage-starring psychedelic horror film Mandy, Boeckner knew he'd found the perfect counterpart for his solo debut. "I'd been a fan of his forever, especially the Sunn0))) records he produced," Boeckner says. "Working with Randall really unlocked some suppressed musical urges, things that I enjoy in my private life but don't normally weave into what I'm releasing-like occult synth, pseudo-metal, krautrock, and heavy psych influences." That base allows Boeckner to thoughtfully weave between emotional imagism and more grounded storytelling. Throughout the record, his imagery delves into science fiction, but it's charged first and foremost by experience. The trio of Boeckner, Dunn, and drummer Matt Chamberlain (Pearl Jam, David Bowie, Fiona Apple) formed a sort of dark engine for the album, and Chamberlain's ingenious approach of triggering a vintage Arp synthesizer simultaneously with each drum track helped Boeckner shape the record's atmosphere. That tense futurism was influenced by Boeckner's time staying in Dunn's Circular Ruin studio, a dusky, electronic aura burned into every track. By the end of the album, Boeckner! eases from sci-fi epic into something more akin to a torched VHS copy of a John Cassevetes film, the chemtrails and nuclear fallout fading long in the distance. Like all good sci-fi, the emotion and pain hits home for the author and listener alike, and the genre flourishes bolster the human experience. In revealing more than ever before, Boeckner! ratchets up the musical intensity to unforeseen levels and hopes to find some peace at the end of the journey.

Bass player Ron Carter’s debut album Where? features Eric Dolphy (clarinet, sax, flute) and Mal Waldron (piano). The album was originally released in 1961 having been recorded at Rudy Van Gelder Studios in New Jersey. This new edition of the album is released as part of the Original Jazz Classics Series and is pressed on 180-gram vinyl at RTI with all-analogue mastering from the original tapes by Kevin Gray at Cohearent Audio and presented in a Tip-On Jacket. US import.

Nur wenige Wochen nach seinem Kollaborationsalbum mit der langjährigen Thievery Corporation-Sängerin Natalia Clavier liefert Thievery-Mitbegründer Eric Hilton mit dem neuen Solowerk 'Sound Vagabond' eine atemberaubende 14-Track-Klangreisereportage ab. Für Hilton, der Jahrzehnte damit verbracht hat, verschiedene globale Genres zu einer einzigartigen Musikvision zu verschmelzen, ist 'Sound Vagabond' die ultimative Umsetzung dieses Ethos, bei der jeder Titel eine Audio-Fotopostkarte eines realen oder imaginären Ortes ist.

Parallel zu seinem neuen Album 'Sound Vagabond' veröffentlicht Thievery Corporation-Mitbegründer Eric Hilton drei 7inch-Singles auf farbigem Vinyl mit je einem Albumtrack plus je einem unveröffentlichten und exklusiven Track auf der B-Seite, der sich nicht auf dem Album befindet.

Smallville Record sub-label Fuck Reality returns in March 2024 with Fossar’s ‘Make Me Feel’ EP.

The Fuck Reality imprint founds it origins in 2015 as a sub label of the widely lauded Smallville label with a heavy focus on classic House music. The label kicked off with the reissue of Westbam and Nena’s iconic ‘Oldschool Baby’ with remixes from Smallpeople and Gerd Janson before going on to release music from Smallville staple Moomin, Frantzvaag – who also release the first album on the label last year - and more. Here the label welcomes Fossar, co-founder of the Feuilleton imprint, onto the imprint with his new EP.
‘Good 2 Me’ opens with airy chords, robust toms, flickers of resonant synth stabs and soulful vocals running atop snappy drums before ‘Free’ embraces a classic 90’s New York aesthetic with heavily swung percussion a jazzy bass groove, emotive piano lines and warm vocal chants.
The B-side is then kicked off with ‘Make Me Feel’, diving deep with shimmering, expansive leads, looped vocal, swirling string melodies and a classic bumpy bass and snare combination. The ‘Aeriel (Windy City Version)’ then rounds things out, as the name would suggest nodding to the Chicagoan roots of House and employing all the classic tropes from slick flutes, intertwined keys, glistening piano melodies and shuffled 909 drums.


All tracks written, produced and mixed by Pchris Gruber
Mastering by Lopazz / Mixmastering, vinyl Cut by Helmut Erler / Lathesville
Artwork and Typography by Stefan Marx
Distributed by Wordandsound

Color Vinyl

Das Jahr 2024 steht für Il Civetto im Zeichen eines neuen Albums mit neuer Single und einer Tour: »Liebe auf Eis«. Im April und Mai 2024 begeben sich Il Civetto dann auf ihre bislang größte Tour. Schon immer ging es in der flirrenden Pop-Internationale von Il Civetto um Fernweh, Sehnsucht und das Gefühl, unterwegs zu sein. Die Musik dieser Band imaginiert gleichzeitig den Vibe einer lauen Sommernacht und den Kater danach. Mit ihrem letzten Album »Späti del Sol« hatten sie diesen Möglichkeitsraum bis in die letzten Winkel ausgelotet, mit »Liebe auf Eis« geht die Berliner Band noch einen Schritt weiter. So kann man den Titel als Symbolbild für alles verstehen, um das es bei dieser Band geht. Euphorie und Melancholie sind bei Il Civetto kein Gegensatzpaar, wo Licht ist, ist auch Schatten. Gesellschaftlich, privat, auf allen Ebenen - darin liegt der besondere Zauber dieser Gruppe von Freunden. Es geht in ihrer Musik darum, Widersprüche auszuhalten, Gräben zu überbrücken, die gesellschaftliche Kälte in polarisierten Zeiten mit Liebe zu überwinden - »Liebe auf Eis«. Überhaupt sind Il Civetto auf dem neuen Album persönlicher geworden, noch näher an ihren Themen. »Es wird einen Song über meine Jugend geben, einen anderen für meinen Vater und auch die Liebeslieder sind noch von eigenen Erfahrungen geprägt«, sagt Keiditsch. Aufgenommen haben sie »Liebe auf Eis« erneut mit dem Produzenten Ralf Christian Mayer (u.a. Clueso, Cro, Zimmer90, F4), der die Vision dieser Band schon immer am besten verstanden hat. Produkt-Nachhaltigkeit: FSC zertifiziertes Material, Umweltfreundliche Farbe & Lacke, Nutzung erneuerbarer Energien bei Herstellung.

"""Volume 2"" is an album by the renowned trumpeter Miles Davis, recorded for the Blue Note label. Released in 1953, this recording is a bold continuation of Davis's exploration of modern jazz. Accompanied by talented musicians such as Sonny Rollins and Art Blakey, the album showcases energetic improvisations and original compositions. ""Volume 2"" is a captivating testament to Miles Davis's musical innovation and enduring influence on jazz. 180GRAM VINYL - LIMITED EDITION 1,000 UNITS - ONE TIME PRESSING."

High Roller Records, reissue 2024, black vinyl, ltd 300, lyric sheet, remastered by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2024, transparent deep purple vinyl, ltd 200, lyric sheet, remastered by Patrick W. Engel at Temple of Disharmony

Celebrated new wave compilation from Japan reissued for the first time on Glossy Mistakes.

A much-cherished gem from the 1980s underground Japanese music scene returns as Soft Selection 84 is reissued by Glossy Mistakes for its 40th anniversary. Originally released on DIY label Soft, the compilation sees 13 tracks from nine acts spanning minimal, ambient, zolo and more for a beguiling listen.

The result is a charming time capsule of eclectic creativity in which nothing sounds dated. Take La Sellrose Can Can, whose two party jams predate Kero Kero Bonito's hyperpop by decades. In addition, an impeccable remastering from the original master tapes adds to the "could have been recorded yesterday" feel of the collection.

Soft Selection 84 also includes the eccentric Picky Picnic. One of the few featured artists with recordings beyond the anthology, the trio is an essential act for those curious about Japanese art pop of the era. There is also new wave introspection from Name, whose "Do We All Need Love" plays out as a sensual nod to John Lennon. In a similar vein is Clä-Sick, the recording name of Goro Some, the compilation's original producer and founder of Soft.

The record's rerelease comes with Some's blessing, along with his original artwork and photography. Ultimately, the listener is left tantalised by his selection and its bold excursions into no wave, synth pop, radioplay and bizzaro house. Most of the artists on this release would fade into obscurity, but the transient nature of the potential showcased has helped cement the compilation's reputation over the years.

Soft Selection will be released on vinyl LP by Glossy Mistakes on March 2024, with a remastering from the original master tapes.

"Brothers Jackie, Tito, Jermaine, Marlon, and Michael Jackson formed the R&B pop band The Jackson 5 in 196Originally released in 1979, Boogie is the compilation album of both previously released and unreleased songs by The Jackson Included on the album are ""ABC"" and Grammy Award nominated ""Dancing Machine"" (sampled by MC Hammer's in his hit ""Dancing Machine""), ""Never Can Say Goodbye"" and seven more songs. Boogie is considered as one of the rarest Jackson 5 albums, as it was released on the Motown subsidiary record label Natural Resources. Boogie is being reissued for the first time since its original release in 1979."

Boogie by Jackson 5, released 15 March 2024, includes the following tracks: "ABC", "One Day I'll Marry You", "Oh, I've Been Blessed", "Just Because I Love You" and more.

This version of Boogie comes as a 1xLP.

Belgium based Boskat is a super-energetic duo that seamlessly blends seriously impressive riffs reminiscent of Rage Against The Machine and Billy Talent with a crushingly virtuosic live show and a great sense of humor. Now, it's time for their debut album 'Welcome to Planet Urmit,' set to release on March 15, 2024 on Suburban Records.

Although known for their energetic virtuoso rock duo performances, their first full-length album also explores various vibes and genres. "The goal was to create a record that doesn’t get boring - I think we succeeded! You can hear characteristics from (post)grunge, hip-hop, nu-metal, punk rock, prog rock… and more. There are Easter eggs for every rock fan!" frontman Vincent explains.

Los Angeles duo crushed announce their signing to Ghostly International and the first vinyl pressing of their 2023 debut EP, extra life. A love letter to `90s radio, the first collaboration from musicians Bre Morell and Shaun Durkan finds them tuning a shared taste for maximalist dream pop. Open-hearted hooks and melodic riffs move through a haze of breakbeats, spliced sound design, and distortion. Faithful yet fluid in its channeling of golden age alt-rock, Britpop, trip-hop, and electronica, there's a refreshing freedom to the sound, which quickly resonated with fans and critics upon initial release. Pitchfork called it "effortless, widescreen dream pop that's serene without being sentimental," and NPR cited its "deep sense of place and time." The music also struck Ghostly, and the first measure for crushed and their new label home is to give extra life a wider physical release paired with remixes from band favorites Real Lies and DJ Python. The story of crushed is written across midnight transmissions. In the early 2010s, Morell, who fronts the band Temple of Angels (Run For Cover Records), hosted a graveyard shift college radio show and used to play music from Durkan's former band Weekend (Slumberland Records). In 2020, Durkan, having focused on production work (Tamaryn, Young Prisms) following Weekend's run as a formidable shoegaze act, hosted a late-night program on a community radio station in San Francisco. Driving one day, he heard Temple of Angels by chance and was immediately drawn to Morell's voice. He added a song that night to his on-air tracklist. Morell saw it and reached out to thank him and point to that connection made a decade earlier. The exchange sparked a long-distance project. First, they filled an audible moodboard with `90s classics from the likes of Natalie Imbruglia, Sneaker Pimps, and The Sundays. Songs that transported them back to places of comfort and discovery; Morell's memories of a metallic, lavender boombox that dispatched past sounds from a world beyond her Houston suburbia, and Durkan, in his mom's car on the way to band practice. These touchpoints provided a palette for crushed to experiment without expectations, purely for the fun of it. A creative intimacy emerged; stepping outside the reverb walls of her full band, Morell embraced more clarity and a range of emotions in her vocals, while Durkan looked inward as a producer, collaging fragments from their everyday lives: voice memos, piano recordings, even the panting of Morell's late dog on "milksugar." The wistful ballad embodies extra life's feeling as a whole. "I am home again," sings Morell; her refrain cycles above a drum machine beat as Durkan colors their universe with star-lit strums, synth swells, and the crackle of fireworks in the distance. Elsewhere, the duo's uptempo mode is equally effective, like the super-charged duet "coil" or the propulsive opener "waterlily," which sets a cinematic tone for the set. Bold, bright, and replayable, extra life presents crushed as a project of immense promise, two artists unlocking something special within themselves, a space to hold both melancholy and bliss. Durkan adds, "To me, extra life is true and pure - in a way I haven't felt about music in a really really long time."

John Coltrane's landmark 1961 jazz album My Favorite Things was born of the same recording sessions that yielded a majority of the albums Coltrane Plays the Blues (1962), Coltrane's Sound (1964), and Coltrane Legacy. That My Favorite Things was recorded in less than three days was in itself, remarkable. This record marked a significant turning point in Coltrane's career and showcased his distinctive playing style, which continues to inspire and influence musicians to this day. Coltrane's playing on My Favorite Things can be described as innovative, exploratory, and deeply emotive. The unforced, practically casual soloing styles of the assembled quartet — which includes Coltrane (soprano/tenor sax), McCoy Tyner (piano), Steve Davis (bass), and Elvin Jones (drums) — allow for tastefully executed passages à la the Miles Davis Quintet, a trait Coltrane no doubt honed during his tenure in that band, notes AllMusic. Coltrane was known for pushing the boundaries of jazz and expanding the possibilities of the saxophone as an instrument. Throughout the album, Coltrane's improvisations are characterized by their intensity, virtuosity, and sheer creativity. The title track is a modal rendition of the Rodgers and Hammerstein song "My Favorite Things" from The Sound of Music. Coltrane's use of modal playing made him a pioneer — modal jazz emphasizes improvisation over specific chord progressions. Coltrane's modal approach allowed him to explore a broader range of tonal colors and to create more open and expansive musical landscapes. Each track of this album is a joy to revisit. The ultimate listenability may reside in this quartet's capacity to not be overwhelmed by the soloist. As a soloist, the definitive soprano sax runs during the Cole Porter standard "Everytime We Say Goodbye" and tenor solos on "But Not for Me" easily establish Coltrane as a pioneer of both instruments. In 1998, My Favorite Things received the Grammy Hall of Fame award. The album attained gold record certified status in 2018, having sold 500,000 copies. We've given this definitive reissue of such a landmark album the presentation it deserves: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.



Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

Die verdammt allergrößte Band des Universums ist zurück mit ihrem zweiten Album, offenbar direkt aus der Andromeda-Galaxie reingeschlittert! Intergalaktischer Lo-Fi-Garagenpunk! Bone (The Anomalys, Gitarre) & Jackie (The Jackets, Gesang & Schlagzeug) aka Plush Stuffed Huge Penis & Hungry Oversized Vagina veranstalten dieses Super Lo-Fi Trash Rock'n'Roll Bad Taste B-Movie Horros-SciFi-Sex-Märchen! Seit zehn Jahren verbreiten THE SEX ORGANS mit Hilfe ihrer menschlichen Sklavenfirma VOODOO RHYTHM RECORDS gnadenlos ihre Weltraum-Botschaft! Diesmal sind sie zu dem Schluss gekommen, dass die ganze Erde am Abgrund steht und es keine Hoffnung mehr gibt ... außer sich den Machenschaften der 'Sex Organs' überhaupt zu unterwerfen. In den 12 Manifesten dieser einzigartigen Platte zeigen sie uns, wie es richtig geht: "The ultimate soundtrack to the downfall" - Sex ist unvermeidbar... Als tiefschwarze Vinyl-LP mit bedrucktem Insert und DLC oder Gatefold-Sleeve CD mit 12seitigem Booklet erhältlich! Geschichte: The Sex Organs wurden 2014 von Bone (NL/The Anomalys) und Jackie (CH/The Jackets) gegründet und wurden sofort zu einem Kult-Act, der in ganz Europa auf den besten Garagenfestivals und Clubs spielte und eine Welle von Rock'n'Roll "Sexcitement" auslöste - genau dann, wenn es nötig war! Sie spielten auch in etablierten Museen, auf Film- und Comicfestivals, gingen auf Tournee in Kanada und wurden (stolz) aus dem Schloss Dracula in Transsylvanien verbannt (wahre Geschichte)! Die Sex Organs zu sein, mag eine Herausforderung sein, aber niemals langweilig!Die Sex Organs spielen wilden, schweißtreibenden Trash and Roll, der den Zuhörer Song für Song zu einem explosiven Höhepunkt treibt! Das ist so primitiv wie es nur geht - ein Stehschlagzeug, eine Gitarre und Texte über den sexuellen Zustand der modernen Zeit, in der wir leben!

Dark Horse Records is re-releasing the legendary Joe Strummer & the Mescaleros live concert at Acton Town Hall, remastered by Grammy award-winner Paul Hicks (The Beatles, The Rolling Stones, George Harrison) on double black vinyl. The concert, recorded on November 15, 2002, was a benefit for striking firefighters and was one of Joe's last performances (he died a month later).

Part of the performance was a reunion with Mick Jones, Strummer's former bandmate from The Clash, who reunited with Strummer on stage for three songs for the first time in almost twenty years. It was also the last time they were on stage together.

This is a charity recording of Mark Knopfler's instrumental "Going Home (Theme From Local Hero)", produced in aid of Teenage Cancer Trust and Teen Cancer America. The recording features today's biggest and best-known guitarists, accompanied by an all-star band. Artists: Joan Armatrading, Jeff Beck, Richard Bennett, Joe Bonamassa, Joe Brown, James Burton, Jonathan Cain, Paul Carrack, Eric Clapton, Ry Cooder, Jim Cox, Steve Cropper, Danny Cummings, Duane Eddy, Sam Fender, Guy Fletcher, Peter Frampton, Audley Freed, Vince Gill, David Gilmour, Buddy Guy, Tony Iommi, John Jorgenson, Mark Knopfler, Joan Jett, Albert Lee, Greg Leisz, Hank Marvin, Brian May, Robbie McIntosh, John McLaughlin, Orianthi, Nile Rodgers, Mike Rutherford, Joe Satriani, John Sebastian, Connor Selby, Slash, Bruce Springsteen, Ringo Starr and Zak Starkey, Sting, Susan Tedeschi and Derek Trucks, Ian Thomas, Pete Townshend, Keith Urban, Steve Vai, Waddy Wachtel, Joe Louis Walker, Joe Walsh, Ronnie Wood, Glenn Worf and Zucchero.

Jazz snare & ride cymbal meet classical Indian tabla & pakhawaj! What happens when one of the best jazz drummers of all time combines efforts with one of India’s most renowned tabla players? Voilà! Rich À La Rakha. Calypso-flavored compositions, spontaneous jams, and a genuine instrumental dialogue between the two greats truly makes this a one-of-a-kind listen. Cut all analog and pressed on colored vinyl!

THE YUM YUMS have been Norway's leading power pop ambassadors for nearly 20 years, and still going strong with a solid following outside of Norway. Power-pop, with 70's punk and glam rock influences, played fast with sweet harmonies that would give The Beach Boys cavities. "Sweet As Candy" was originally released in two different versions. First in 1997 by german label Screaming Apple, then, a year later on Universal Music in Norway. This here is the Norwegian version on vinyl for the first time.

"For a long time, I'd come across these discs without really understanding what connected them, apart from a button and that famous logo designed by René Dessirier. Then, with a little more digging, I discovered the "self-production" link. For choirs, schools, folk singers, young pop groups, popular homes and even great composers who engraved unique copies of certain recording sessions...

The French equivalent of the English "Derby Service", the Kiosque d'Orphée, formerly at 7 Rue Grégoire de Tours in the 6th arrondissement, was taken over by Georges Batard in 1967 and moved to 20 Rue des Tournelles in the 4th arrondissement of Paris. The adventure lasted until 1991. Georges Batard was a sound engineer who used a Neumann tube engraver to engrave acetates from the tapes he received, before printing the precious vinyls in the press factories of the day, where he was able to produce very small runs of between 50 and 500 copies.

Of course, there were other structures for releasing his records, such as Voxigrave or, later, FLVM, but none of them had so many records in their catalog. Le Kiosque d'Orphée was neither a label nor a publisher, but a structure that allowed you to press your own vinyl, at a time when it was quite an adventure to get your first 45 rpm or 33 rpm album released!

Georges Batard was described as passionate and conscientious. His son, bassist Didier Batard, wrote of him:
"Georges was passionate about recording and reproducing the stereo sound of his great passion, music. He paid close attention to distortion rates, signal-to-noise ratios, response curves, rise times and other damping factors in audio equipment. He was looking for the exact reproduction of concert hall sound in his living room (with the same sound level, if possible...). In the late '50s/early '60s, he found other sound enthusiasts in AFDERS (Association Française pour le Développement de l'Enregistrement et de la Reproduction Sonores). He became its honorary president. Every Saturday afternoon, its members met to test au- dio equipment. Their opinions were published in the monthly Revue du Son.

All you had to do was send in your tapes and choose the number of record copies you'd like to take home with you, so you could finally share your creations and, in a way, exist. You could opt for a generic sleeve, available in several colors, directly customizable with your name and credits, or you could design your dream sleeve yourself in your living room or at a printer's.

This "Do It Yourself" temple gave birth to some superb pouches. Stencilled, hand-written, illustrated with paintings, drawings, illustrations by friends or girlfriends of the time, photo prints hastily stuck in the middle of a blank, white sleeve, on which the traces of time would leave their imprints, so that collectors and the curious would come and buy them decades later, with the promise of a musical discovery, unfortunately not always fulfilled...

What most of these records have in common is the youth of their songwriters, whether or not they've had a career. Stories of buddies, of getting by and dreams of glory made up this catalog. Most of them were amateur productions, both in terms of the level of the musicians and the quality of the recordings, made on a two-track or, the ultimate luxury, a 4-track in a teenager's bedroom or parents' living room.

It was the beginning of the home studio, thanks to the advent of the Revox portable tape recorder. A bit of a shaky DIY system, but, in return, the luxury of setting no limits: one-sided tracks, no outside censorship, no artistic director, no manager, no Barclay or EMI/Pathé Marconi logos...

When you finally had your own record, you could give it away or sell it to friends, family or after concerts. You could also drop it off at the nearest record shop, with undisguised pride.

It was also a calling card that could be sent to radio stations or music labels, in the hope of launching a career...

Many of the protagonists in this story tried to sign with labels, but in those days, bridges were not so easy to build between one's hometown, or even one's village, and the major or more specialized label that might have released these records. At the time, the advertisements published in the press by the Kiosque d'Orphée opened up the field of possibilities for provincial composers. It was now possible to make their own record, without having to go through the process of signing with a label.

Some of the composers who have gone on to make a career have used this channel to release their first record or parallel projects (Claude Engel, Dominique A, Andy Emler, Michel Deneuve, Claude Mairet, Mick Piellard, Tristan Mu- rail...) and sometimes even single or very limited pressings of work or promotional copies (Bernard Parmegiani, Jef Gilson...).

This album is the conclusion of a long investigation, begun six years ago. It took a long time to find the records, scattered all over the place, in the homes of collectors and sometimes the musicians themselves, and then to listen to them, sometimes painstakingly, to unearth these moments of grace.

From this work, 23 tracks remain, but there are dozens of others that could have been included, so we had to choose, and the choice had to be as universal as possible. This selection is obviously not objective, but I hope you'll like it.

Today's music is raw, touching and powerful. "

Jean-Baptiste Guillot - Born Bad Records

Hinter dem Bandnamen Potato Beach versteckt sich ein Wiener Indie-Surf Kollektiv rund um Mastermind Jannik Rieß. Bislang gab es eine EP, die als Tape erschienen ist. Der Strand ist für alle da! "Back on the road, driving slowly, sipping coke" - Mit den ersten Zeilen auf "DIP IN" legt Jannik Rieß direkt ein Geständnis ab. Der deutsche Wahlwiener und Multiinstrumentalist hinter dem Musikprojekt Potato Beach, bekennt sich mit seinem Debüt zum Softdrink bei Einhalten des Tempolimits - und damit zur eigenen Kartoffeligkeit. Sympathisch! Potato Beach's durchaus nostalgischer Garage-Rock versucht gar nicht erst, dem Bravado und Machismo alter (The Kinks) oder neuer (Foxygen) Inspirationen nachzueifern. Rieß erzählt lieber seine eigenen Geschichten in der lähmenden Sommerhitze Wiens, irgendwo zwischen zu lang jung bleiben und zu früh alt werden. Die Platte braucht keine waghalsigen Salti vom Zehner schlagen, um in die Tiefe zu gehen. Vielmehr lädt sie uns dazu ein, mit baumelnden Füßen am Beckenrand tief ins Rot-Weiß der Freibadpommes zu tauchen. Schmeckt vertraut - und ziemlich lecker. So wabern simple, aber sorgfältig arrangierte Vintage-Riffs und schrullige Orgeln wie Hitzeschlieren am Horizont, wenn Rieß "Why are we feeling guilty for not doing anything?" oder "How can anyone go to work?" die blöden Fragen stellt, über die wir alle rätseln. Potato Beach's Selbstreflexionen sind am Puls der Zeit getaktet und sprechen dabei ganz ungezwungen 0,5 bis 2,5 Kartoffelgenerationen von der Pelle. So handeln sie nicht etwa von Heroin und Manic Pixie Dream Girls, sondern von Ghosting, Fernbeziehungen oder dem Gefühl der Einsamkeit unter Vielen. Potato Beach befreit den Küstenrock der 60er vom alten Rost und verleiht ihm mit ehrlichen, nachdenklichen und bodenständigen Anekdoten einen zeitgenössischen Anstrich. Dass Potato Beach mit "DIP IN" nicht dem Mackertum seiner Blaupausen folgt, ist kein Zufall. Nachdem Rieß' musikalische Vorbilder durch ihren Sexismus unhörbar wurden, sah er sich gezwungen, seine Lieblingsmusik selbst neu zu schreiben. Dass er das komplette Instrumentarium und den Gesang der 11 Tracks im Alleingang aufgenommen hat, zeigt: Dem ist das wirklich wichtig. Hingabe, Leidenschaft und Weltschmerz hallen jedenfalls deutlich hörbar aus dem Röhrenverstärker. Nur vereinzelt tauchen Vertraute Musiker:innen der Schwesterbands Peter the Human Boy oder Gardens auf, um ein Cello hier oder ein Keyboard dort einzuspielen. Die sind auch dabei, wenn die Freibäder Wiens warm genug werden, um die Platte live zu performen. Bis dahin sorgt "DIP IN" mit seiner warmen Melancholie für süße Tagträume vom Sehnsuchtsort Strand. "DIP IN" erinnert uns: Ob Potaetoe oder Potahtoh, every Body is a Beach Body!

Der Dark-Ambient-Pionier, die stygische Drone-Legende und das fast schon mythische Wesen LUSTMORD durchstößt mit "Much Unseen Is Also Here" einmal mehr den Schleier - die neueste Solo-Veröffentlichung des Künstlers in einer beeindruckenden, 40-jährigen kreativen Karriere an der Spitze der Industrial-Musik. Auf Drängen von Cosey Fanni Tutti und Chris Carter von Throbbing Gristle, Musik zu machen, die seine unverwechselbare Aura einfängt, übernahm Brian Williams 1980 Lustmord und begann mit Sounds zu arbeiten, weil die Musik, die er hören wollte, einfach nicht existierte. Lustmord veröffentlichte 1989 sein drittes Album "Heresy", das zu einem Meilenstein in der Industrial-Szene wurde und heute allgemein als Ursprung des Dark-Ambient-Genres gilt. 35 Jahre später führt Much Unseen Is Also Here" das Vermächtnis von Heresy" fort und knüpft an dessen fesselnden Erzählbogen an. "Much Unseen Is Also Here" besteht aus drei verschiedenen Teilen und ist dazu gedacht, in einer einzigen, ununterbrochenen Durchgang angehört zu werden; es entführt den Hörer in eine kompromisslose Parallelwelt, die nur in der Musik existiert, bevor es ihn am Ende für immer verändert wieder hinauswirft. Lustmord, der seit 1994 in L.A. lebt, hat auch als Komponist und Sounddesigner an der Musik für ikonische Film- und Fernsehproduktionen mitgewirkt, darunter "The Crow", "Strange Days", "From Dusk Till Dawn", "Underworld" und in jüngerer Zeit die FX-Serien "Fear The Walking Dead" und "First Reformed"von "Taxi Driver"-Autor Paul Schrader aus dem Jahr 2017. Immer noch entschlossen, die Grenzen von Sound, Genre und Medien zu erweitern, hat Lustmord auch zu den Soundlandschaften von Videospielen wie Assassin's Creed, League of Legends und, passenderweise, dem von H.R. Geiger inspirierten Survival-Horror-Spiel Scorn von 2022 beigetragen. Other Woes Are Yet To Come Edition (single colored (pink) vinyl, ltd to 220 copies ww)

THE COMPLETE DILLA INSTRUMENTALS FROM THE CLASSIC ALBUM PRESSED ON RANDOMLY MIXED COLORED VINYL

The contributions of the late Detroit producer James DeWitt Yancey - better known to the world as J Dilla- to the world of hip-hop can’t be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the groups distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. After the success of Slum’s 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in ‘98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit, Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Volume II had fans and many critics saying that Slum Village, and Dilla in particular, may single-handedly save rap music. Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village’s, and J Dilla’s, finest work ever. Ne’Astra now presents the complete Dilla instrumentals from this landmark release.

Am 31. Dezember 1973 spielten AC/DC ihre erste Show im Chequers Nightclub in Sydney. Heute, 50 Jahre nach diesem Gig, sind sie veritable Rocklegenden, die Millionen von Tonträgern verkauft haben, aber nicht im Entferntesten daran denken, sich aufs Altenteil zurückzuziehen. Erst vor kurzem hat die Band ihre unzähligen Fans mit der Ankündigung der ‘POWER UP’-Tour, die sie im Sommer 2024 durch Europa führen wird, wieder in einen Freudentaumel versetzt.

Um das 50-jährige Thronjubiläum der Rock’n’Roll-Könige angemessen zu feiern, veröffentlicht Columbia Records/Legacy Recordings den Backkatalog der Band in wahrlich royaler Ausstattung: als goldene, limitierte Vinyl-Edition. Jeder LP dieser Sonderedition liegt ein Druck (30cm*30 cm) mit brandneuem AC/DC-Jubiläums-Artwork bei.



HIGH VOLTAGE – Das internationale Debüt-Album enthielt Tracks der ersten beiden in Australien erschienenen LPs.

Am 31. Dezember 1973 spielten AC/DC ihre erste Show im Chequers Nightclub in Sydney. Heute, 50 Jahre nach diesem Gig, sind sie veritable Rocklegenden, die Millionen von Tonträgern verkauft haben, aber nicht im Entferntesten daran denken, sich aufs Altenteil zurückzuziehen. Erst vor kurzem hat die Band ihre unzähligen Fans mit der Ankündigung der ‘POWER UP’-Tour, die sie im Sommer 2024 durch Europa führen wird, wieder in einen Freudentaumel versetzt.

Um das 50-jährige Thronjubiläum der Rock’n’Roll-Könige angemessen zu feiern, veröffentlicht Columbia Records/Legacy Recordings den Backkatalog der Band in wahrlich royaler Ausstattung: als goldene, limitierte Vinyl-Edition. Jeder LP dieser Sonderedition liegt ein Druck (30cm*30 cm) mit brandneuem AC/DC-Jubiläums-Artwork bei.



DIRTY DEEDS DONE DIRT CHEAP – Dieser Longplayer war fünf Jahre lang nicht in den USA erhältlich. Als er dort schließlich auf den Markt kam, kletterte er auf Platz 3 der Billboard Charts und verkaufte sich mehr als 6 Millionen Mal.

Am 31. Dezember 1973 spielten AC/DC ihre erste Show im Chequers Nightclub in Sydney. Heute, 50 Jahre nach diesem Gig, sind sie veritable Rocklegenden, die Millionen von Tonträgern verkauft haben, aber nicht im Entferntesten daran denken, sich aufs Altenteil zurückzuziehen. Erst vor kurzem hat die Band ihre unzähligen Fans mit der Ankündigung der ‘POWER UP’-Tour, die sie im Sommer 2024 durch Europa führen wird, wieder in einen Freudentaumel versetzt.

Um das 50-jährige Thronjubiläum der Rock’n’Roll-Könige angemessen zu feiern, veröffentlicht Columbia Records/Legacy Recordings den Backkatalog der Band in wahrlich royaler Ausstattung: als goldene, limitierte Vinyl-Edition. Jeder LP dieser Sonderedition liegt ein Druck (30cm*30 cm) mit brandneuem AC/DC-Jubiläums-Artwork bei.



POWERAGE stammt aus dem Jahr 1976. Hier ist mit ‘Rock And Roll Damnation’ der erste Hit zu hören, den AC/DC in Europa landen konnten.

Am 31. Dezember 1973 spielten AC/DC ihre erste Show im Chequers Nightclub in Sydney. Heute, 50 Jahre nach diesem Gig, sind sie veritable Rocklegenden, die Millionen von Tonträgern verkauft haben, aber nicht im Entferntesten daran denken, sich aufs Altenteil zurückzuziehen. Erst vor kurzem hat die Band ihre unzähligen Fans mit der Ankündigung der ‘POWER UP’-Tour, die sie im Sommer 2024 durch Europa führen wird, wieder in einen Freudentaumel versetzt.

Um das 50-jährige Thronjubiläum der Rock’n’Roll-Könige angemessen zu feiern, veröffentlicht Columbia Records/Legacy Recordings den Backkatalog der Band in wahrlich royaler Ausstattung: als goldene, limitierte Vinyl-Edition. Jeder LP dieser Sonderedition liegt ein Druck (30cm*30 cm) mit brandneuem AC/DC-Jubiläums-Artwork bei.



HIGHWAY TO HELL erschien im Jahr 1980 und war das erste US-Hitalbum der Band.

Am 31. Dezember 1973 spielten AC/DC ihre erste Show im Chequers Nightclub in Sydney. Heute, 50 Jahre nach diesem Gig, sind sie veritable Rocklegenden, die Millionen von Tonträgern verkauft haben, aber nicht im Entferntesten daran denken, sich aufs Altenteil zurückzuziehen. Erst vor kurzem hat die Band ihre unzähligen Fans mit der Ankündigung der ‘POWER UP’-Tour, die sie im Sommer 2024 durch Europa führen wird, wieder in einen Freudentaumel versetzt.

Um das 50-jährige Thronjubiläum der Rock’n’Roll-Könige angemessen zu feiern, veröffentlicht Columbia Records/Legacy Recordings den Backkatalog der Band in wahrlich royaler Ausstattung: als goldene, limitierte Vinyl-Edition. Jeder LP dieser Sonderedition liegt ein Druck (30cm*30 cm) mit brandneuem AC/DC-Jubiläums-Artwork bei.



BACK IN BLACK ist das meistverkaufte von einer Band eingespielte Studioalbum aller Zeiten. Es featurt die Songs ‘You Shook Me All Night Long’, ‘Shoot To Thrill’ und natürlich den legendären Titeltrack.

Am 31. Dezember 1973 spielten AC/DC ihre erste Show im Chequers Nightclub in Sydney. Heute, 50 Jahre nach diesem Gig, sind sie veritable Rocklegenden, die Millionen von Tonträgern verkauft haben, aber nicht im Entferntesten daran denken, sich aufs Altenteil zurückzuziehen. Erst vor kurzem hat die Band ihre unzähligen Fans mit der Ankündigung der ‘POWER UP’-Tour, die sie im Sommer 2024 durch Europa führen wird, wieder in einen Freudentaumel versetzt.

Um das 50-jährige Thronjubiläum der Rock’n’Roll-Könige angemessen zu feiern, veröffentlicht Columbia Records/Legacy Recordings den Backkatalog der Band in wahrlich royaler Ausstattung: als goldene, limitierte Vinyl-Edition. Jeder LP dieser Sonderedition liegt ein Druck (30cm*30 cm) mit brandneuem AC/DC-Jubiläums-Artwork bei.



Welcher Rockfan kennt es nicht, das ikonische Cover zu FOR THOSE ABOUT TO ROCK (WE SALUTE YOU)? Die mächtige ‘Twelve-Pound-Cannon’ aus dem 19. Jahrhundert, die darauf zu sehen ist, ist bis heute fester, ohrenbetäubender Bestandteil der AC/DC-Liveshows.

Am 31. Dezember 1973 spielten AC/DC ihre erste Show im Chequers Nightclub in Sydney. Heute, 50 Jahre nach diesem Gig, sind sie veritable Rocklegenden, die Millionen von Tonträgern verkauft haben, aber nicht im Entferntesten daran denken, sich aufs Altenteil zurückzuziehen. Erst vor kurzem hat die Band ihre unzähligen Fans mit der Ankündigung der ‘POWER UP’-Tour, die sie im Sommer 2024 durch Europa führen wird, wieder in einen Freudentaumel versetzt.

Um das 50-jährige Thronjubiläum der Rock’n’Roll-Könige angemessen zu feiern, veröffentlicht Columbia Records/Legacy Recordings den Backkatalog der Band in wahrlich royaler Ausstattung: als goldene, limitierte Vinyl-Edition. Jeder LP dieser Sonderedition liegt ein Druck (30cm*30 cm) mit brandneuem AC/DC-Jubiläums-Artwork bei.



Wer THE RAZORS EDGE sagt, denkt natürlich zuerst an die Single ‘Thunderstruck’. Das Video zum Track wurde auf YouTube über eine Milliarde Mal aufgerufen.

Am 31. Dezember 1973 spielten AC/DC ihre erste Show im Chequers Nightclub in Sydney. Heute, 50 Jahre nach diesem Gig, sind sie veritable Rocklegenden, die Millionen von Tonträgern verkauft haben, aber nicht im Entferntesten daran denken, sich aufs Altenteil zurückzuziehen. Erst vor kurzem hat die Band ihre unzähligen Fans mit der Ankündigung der ‘POWER UP’-Tour, die sie im Sommer 2024 durch Europa führen wird, wieder in einen Freudentaumel versetzt.

Um das 50-jährige Thronjubiläum der Rock’n’Roll-Könige angemessen zu feiern, veröffentlicht Columbia Records/Legacy Recordings den Backkatalog der Band in wahrlich royaler Ausstattung: als goldene, limitierte Vinyl-Edition. Jeder LP dieser Sonderedition liegt ein Druck (30cm*30 cm) mit brandneuem AC/DC-Jubiläums-Artwork bei.



WHO MADE WHO – Dieses Album ist der offizielle Soundtrack zur Stephen-King-Verfilmung ‘Es begann ohne Warnung’ (OT ‘Maximum Overdrive)’. Es enthält neben Songs früherer AC/DC-LPs auch drei brandneue Tracks, darunter den Titelsong.

2LP. In celebration of the album's 20th anniversary, it is now available on vinyl for the first time!Including the classics 'Scared Of Yourself', 'Goodbye', and 'Believe In Me'.

10 year anniversary edition of MØ’s acclaimed debut album, ''No Mythologies To Follow'', which includes x4 previously unheard tracks from the original recording session. Reissued on red translucent vinyl and contains an A3 art poster and 12” insert. Stock is limted & will be allocated.