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BBE Music is proud to present the latest J Jazz Masterclass Series reissue, 1978 soul/jazz tour de force album ’Push’ by Noriko Miyamoto. For the first time, this critically acclaimed series that delves deep into the history of Japanese Jazz will be releasing an album by a Japanese female singer, Noriko Miyamoto produced by one of the legendary figures in Japanese Jazz, Isao Suzuki. The release of her incredible debut album, ‘Push’, coincided with a surge in popularity for local female jazz singers such Kimiko Kasai, Yasuko Agawa, etc. that crossed over into the pop market. It was originally released by the now-defunct label, Yupiteru Records in 1978. Since then, it has been reissued a few times in Japan but recently, along with a surge of worldwide interest in old Japanese music, ‘Push’ has been gaining a cult status among foreign music heads, with the price for an original pressing skyrocketing in the second hand record market. This reissue of ‘Push’ will be the first time ever that this album will be officially released worldwide. Long before R&B music went onto enjoy mainstream success in Japan, a soul music and disco loving lady, Noriko Miyamoto who started her music career working as a dancer at the legendary Tokyo disco, ‘Mugen’, was inspired by Tina Turner’s performance there and decided to became a soul singer. It was at a time in the early 1970s when there were only a handful of female songstresses who sang soulfully in Japan. In 1977, Miyamoto was scouted by Isao Suzuki to join his band, Soul Family and subsequently, with their backing, he produced Push, an album that kickstarted her career. It is an album that exquisitely combines her jazzy and soulful vocals with Suzuki’s acoustic bass and precocious playing from his youthful and vibrant group at the time. Along with Sadao Watanabe, Terumasa Hino, Masabumi Kikuchi and George Otsuka, bassist, cellist, multi-instrumentalist, composer, arranger, producer and band leader, Isao Suzuki was considered to be one of the most influential figures in Japanese jazz history. Beloved by many in the Japanese jazz scene as “Oma-san”- Suzuki was renowned for developing young talent.

Transparent Purple vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

Aufgewachsen in der Soundsystem-Kultur des englischen Leeds, kaufte sich George für einen Fünfer - mit freundlicher Genehmigung seiner Mutter - eine alte, ramponierte Lautsprecherbox, die er "Echo45" nannte. Über diese Box lernte er Kevin Harper kennen, ein Gründungsmitglied von Nightmares on Wax – eine zufällige Begegnung, die sein Leben verändern sollte. Mit dem neuesten Nightmares On Wax-Release "Echo45 Sound System" führt er diese Tradition nun einen Schritt weiter und liefert ein Mixtape ab, das sich wie eine Feier und ein Bekenntnis zugleich anfühlt. Ein lebendiger Soundsystem-Trip, inspiriert von der originalen Echo45-Lautsprecherbox, der mit furchtlosem Spirit Soul, Roots, Hip-Hop, Dub und elektronische Texturen verbindet. Mit einem sorgfältig zusammengestellten Ensemble von Kooperatoren – darunter Yasiin Bey, Greentea Peng, Sadie Walker, Oscar Jerome und Liam Bailey – spiegelt die LP nicht nur die Vergangenheit von Nightmares On Wax wider. Obwohl es tief in seinen Ursprüngen, der Soundsystem-Kultur und dem Piraten Radio verwurzelt ist, verkündet es mutig, wohin George geht. Limitierte Auflage auf goldfarbigem Doppelvinyl.

Miraculous reissue of "Ai No Volare" by Chico & The Gypsies and our own Shigeru Matsuzaki, originally released on 7" in 2014!

Chico & The Gypsies, formed by former Gipsy Kings member Chico Bouchikhi, is France's premier gypsy band, and this is the duo cover album "Love and Passion Gypsies", which was produced to celebrate the group's 20th anniversary. Ai no Bolare" featuring Shigeru Matsuzaki on vocals is a 7-inch cut from the duo cover album "Gypsies of Love and Passion," produced to commemorate the group's 20th anniversary. The B-side couples "Ai No Volare (Japanese Ver.)" sung in Japanese by Shigeru Matsuzaki, which was included only on the Japanese edition of the above album. The song is a great cheer for life, blending the passion and the original Gypsy spirit of Shigeru Matsuzaki, who was asked by some to wonder if he is really Japanese.

Zur Feier ihres Debütalbums „Identity Crisis“ aus dem Jahr 2000 veröffentlicht Thrice das Album erstmals
seit über einem Jahrzehnt wieder auf Vinyl. Diese einzigartige Pressung enthält ein spezielles Album mit
exklusiven Fotos aus dem ursprünglichen Albumzyklus, die die Band aus ihren Archiven ausgegraben hat.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vols.
1 & 2: Fire & Water“. Diese einzigartige Pressung enthält den „Fire“-Teil des Albums auf transparentem
12-Zoll-Vinyl in Orange Crush und den „Water“-Teil auf transparentem Sea Blue-Vinyl.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vol. 3 &
4: Air & Earth“. Diese einzigartige Pressung enthält den Air-Teil des Albums auf transparentem, milchigklarem 12-Zoll-Vinyl und den Earth-Teil auf transparentem, hellbraunem Vinyl.
Diese Veröffentlichung ist Teil des ersten Band-Events mit speziellen Katalogveröffentlichungen, genannt
„Thrice-giving“, in der Weihnachtszeit.

Zur Feier ihres Debütalbums „Identity Crisis“ aus dem Jahr 2000 veröffentlicht Thrice das Album erstmals
seit über einem Jahrzehnt wieder auf Vinyl. Diese einzigartige Pressung enthält ein spezielles Album mit
exklusiven Fotos aus dem ursprünglichen Albumzyklus, die die Band aus ihren Archiven ausgegraben hat.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vols.
1 & 2: Fire & Water“. Diese einzigartige Pressung enthält den „Fire“-Teil des Albums auf transparentem
12-Zoll-Vinyl in Orange Crush und den „Water“-Teil auf transparentem Sea Blue-Vinyl.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vol. 3 &
4: Air & Earth“. Diese einzigartige Pressung enthält den Air-Teil des Albums auf transparentem, milchigklarem 12-Zoll-Vinyl und den Earth-Teil auf transparentem, hellbraunem Vinyl.
Diese Veröffentlichung ist Teil des ersten Band-Events mit speziellen Katalogveröffentlichungen, genannt
„Thrice-giving“, in der Weihnachtszeit.

Zur Feier ihres Debütalbums „Identity Crisis“ aus dem Jahr 2000 veröffentlicht Thrice das Album erstmals
seit über einem Jahrzehnt wieder auf Vinyl. Diese einzigartige Pressung enthält ein spezielles Album mit
exklusiven Fotos aus dem ursprünglichen Albumzyklus, die die Band aus ihren Archiven ausgegraben hat.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vols.
1 & 2: Fire & Water“. Diese einzigartige Pressung enthält den „Fire“-Teil des Albums auf transparentem
12-Zoll-Vinyl in Orange Crush und den „Water“-Teil auf transparentem Sea Blue-Vinyl.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vol. 3 &
4: Air & Earth“. Diese einzigartige Pressung enthält den Air-Teil des Albums auf transparentem, milchigklarem 12-Zoll-Vinyl und den Earth-Teil auf transparentem, hellbraunem Vinyl.
Diese Veröffentlichung ist Teil des ersten Band-Events mit speziellen Katalogveröffentlichungen, genannt
„Thrice-giving“, in der Weihnachtszeit.

Nach einem erfolgreichen Jahr 2025, in dem Sam Fender Konzerte im London Stadium und dreimal im St
James’ Park in Newcastle ausverkaufte, neben einer Nominierung für den Mercury Music Prize und dem am
schnellsten verkauften britischen Album des Jahres, erscheint am 5. Dezember „People Watching Deluxe“.
Die Deluxe-Version enthält acht zusätzliche Songs, darunter „Rein Me In“ (mit Olivia Dean) und die neue
Single „Talk to You“ (mit Elton John).
Das Deluxe Album von ”People Watching” erscheint auf CD und Vinyl.

After Hours ist ein Album aus dem Jahr 1957 von den Prestige All Stars unter der Leitung des Trompeters
Thad Jones. Mit dabei sind außerdem Frank Wess (Flöte, Tenorsaxophon), Mal Waldron (Klavier), Kenny
Burrell (Gitarre), Paul Chambers (Bass) und Art Taylor (Schlagzeug). Das Album enthält vier Titel, die
alle von Mal Waldron komponiert wurden. Diese Neuauflage des Albums erscheint als Teil der Original
Jazz Classics Series auf 180-Gramm-Vinyl, gepresst bei RTI, mit vollständig analogem Mastering von den
Originalbändern bei Cohearent Audio und einem Stoughton Tip-On-Cover.

Born out of the Northern California DIY scene, Moms With Bangs started as a ragtag group of high schoolers looking to build a musical community filled with loud, chaotic, unfiltered energy. Quickly becoming known for their loud experimental sound and unhinged live shows. Moms With Bangs become legendary for being high-volume, high-energy, and having zero barrier between them and their audience. It was these qualities that caught the attention of Jello Biafra
himself, who was so impressed he signed them to his label Alternative Tentacles Records, making Moms With Bangs the youngest signing in the history of the label. Recorded at Tiny Telephone in Oakland, CA over the course of two days in January of 2024, Leo Hirsch, Michael Cook, Austin Kennedy, Axel Sanchez, and Oliver John live-tracked these songs in one large recording room, recording at the same time facing each other, to make sure the recording captured the unfiltered energy of the live show as much as possible. As for the name of the 7”? “Do What’s Delicious” came from a suggestion from Jello Biafra himself, while the band was in the studio, as a name he once considered for a Dead Kennedys release. The two tracks on “Do What’s Delicious” capture the throttling high energy rhythms of bands like Thee Oh Sees. Showcasing an affinity for the off-kilter groove of bands like Deerhoof or Black Midi. Moms With Bangs aims to disgust and delight with no limits! We couldn’t be more excited.

The former conscientious objector has long used his music to denounce the abuse of power and advocate for humanity and peace. Now, at a time when war has once again become part of our daily lives - at least in the news - the successful singer-songwriter dedicates an entire album to the subject: Fra guerra e pace (Between War And Peace). " War is a dimension from which humanity has never truly freed itself. A place where destruction and annihilation intersect with other aspects of life - love, birth, hunger, or thirst," writes the artist in the foreword to the album booklet. With this musically and thematically rich album, Pippo Pollina brings us closer to the people behind the headlines, giving life to what we only hear in the news. We are confronted with fear, pain, and grief - but also with hope, love, and poetry

Hip-Hop history comes full circle with the reunion of Chip Fu, lyrical powerhouse of the Fu-Schnickens, and NBA legend Shaquille O’Neal, famously known in music as Shaq Fu. The duo first made waves in the 90s with the multi-platinum single “What’s Up Doc? (Can We Rock),” a cultural crossover moment that cemented their place in Hip-Hop history.
Now, they return with “Warning” - pressed for the first time ever on limited edition 7-inch vinyl. The record captures the raw, high-energy chemistry between Chip Fu’s rapid-fire delivery and Shaq Fu’s commanding presence, proving that their dynamic still hits just as hard today.
More than a single, this release is a celebration of two icons reunited, bridging the worlds of Hip-Hop and basketball once again. A must-have for collectors, DJs, and fans who lived the moment — or are ready to experience it for the first time

It was December 2015 when Simon Weiss delivered his first EP for Voyage Direct, an impressively intergalactic affair full of supersonic synthesizer arpeggio lines, Motor City influences and robotic drum machine hits. Two years on, the experienced Dutch producer returns to action for the first time since, in the process delivering another quartet of starry-eyed productions.
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Through releases on Deepermotions, Rush Hour and Hometaping is Killing Music, Weiss has established a reputation for combining a deep understanding of dancefloor dynamics with a sci-fi inspired futurist aesthetic. Both of these complimentary traits are much in evidence on his second outing for Voyage Direct.

Weiss blasts off via Brain Fever', where raw, mind-altering arpeggio bass, fuzzy drum machine hits, spacey chords and alien electronics thrust our hero skywards. Think of it as techno for funk-fuelled, Italo-disco loving astronauts whose journey to the end of the universe is only just underway. This intergalactic funk blueprint is explored further on the deeper and more melodious You Want A Cigarette', where Weiss's vocoder vocals wrap themselves around mutant TB-303 lines, rush-inducing chords and clattering machine percussion.

On Space Ghetto (Booty)', our hero celebrates the discovery of previously unknown worlds in the only way he knows how. With kaleidoscopic, full-throttle electronic motifs and funk-fuelled synth-bass to the fore, Weiss offers his own unique take on electrofunk. Pleasingly fuzzy and tightly wrapped in the syncopated drum machine handclaps of ghetto-house, it's a typically far-sighted and attractive proposition.

With just two minutes to go until his spacecraft touches down on alien territory, Weiss rounds things off via the melancholic chord progressions and heartfelt vocoder vocals of Intro', a beat-free excursion just tailor made for dramatic set openings and spine-tingling mix endings. He may be stepping into unknown territory, but it won't be the last you'll hear from Simon Weiss.

From 1968 through to the mid 1970’s the reggae beat began to slow down,some say due to the extreme heat hitting down onto Kingston Town and its surrounding enclaves. People needed something less strenuous to dance to. The Ska and Rocksteady Sounds (see 101 Orange Street KS007) that rocked Jamaica previously, had now found a slower tempo and become more ‘Dread’ lyrically to suit the times. Reggae music has always moved within the social climate it found itself in and this set here, as we ‘Return To Orange Street’ was ROOTS ROCK REGGAE TIME....

The Rastafarian message that runs through this collection of ‘Reality’, sometimes labelled ‘Sufferers’ music,is strong and works on many levels. It can come across on a heavy rhythm and vocal cut. Its example represented here by Prince Jazzbo’s ‘Dread in a Earth’ and ‘I Roy’s ‘Roots Man Time’, moving through to the popular new sounds of the DJ’s working over an old rhythm and alongside its existing vocal. As with Busty Brown working with Delroy Wilson's ‘Know Your Friend’ and Mr Jah Stitch working over Johnny Clarke’s ‘Roots Natty Roots’ to produce an even more dreader ‘True Born African’. The heartfelt lyric can also convey this message as we can see when Horace Andy laments ‘Where is the Love’ and Delroy Wilson again shows us on his ‘Who Cares’ cut. The great Twinkle Brothers also put the message across on their two cuts we have here, ’Too Late’ one of their lost classics if ever there was one and the thoughtful ‘It’s Not Who You Know’,being another prime example.

Orange Street itself is always at the heart of all reggae's musical changes and some singers also ride these waves as Mr Cornell Campbell shows us here with two cuts. The mournful ‘Too Be Loved’ and his uplifting ‘Girl of My Dreams’, which uses the same rhythm as our previously mentioned Prince Jazzbo’s 'Dread in a Earth’. Showing us that firstly you can’t keep a good rhythm down and secondly that two if not more great songs can work from the same source point. The light hearted ‘Vengeful’ lyric also worked in this period when artists spared off to each other on records to vent their frustrations. As we can hear here with Mr Lee Perry’s ‘You Funny Boy’. The song snipping back at a previous employer over what he felt were his misdoings to an under appreciated Mr Perry. We have culled these tracks together to show that the Dread Roots feel of the 1970’s came across in many guises and even in earlier songs these sentiments were also prevalent. As represented in Slim Smith’s almost bluesy feel in ‘Trying To Find a Home’, never a truer statement in Kingston's ghetto areas.

Well we hope you enjoy this musical journey and make a connection with messages portrayed here, as Mr Monty Morris points out on his contribution to this collection ‘Times Are Dread’.... Dread indeed.....

140 gram purple colored vinyl (with download code) "I've seldom allowed myself to stay in one place for very long," Glen Phillips says, explaining the genesis of his new album, 'There Is So Much Here' "I was lucky during the COVID lockdown to move in with my girlfriend, now fiance , and to stay home for the longest stretch I've had since the birth of my daughter, 20 years ago. After a life of travel and seeking out peak experiences, I began to appreciate the subtle beauty of sitting still."

The 11 tracks on Phillips' new album are informed by the time that the pandemic shut down allowed for reflection, moving between quiet love songs and rockers that consider the multi- faceted meanings hidden in our everyday lives. Glen Phillips has been making music for over two decades, with a career that began as the 14- year- old frontman for Toad the Wet Sprocket. Since then, he's accumulated an esteemed body of work comprising eight albums with Toad (which collectively have sold close to 4 million units) and three as a solo artist.

After Hours is a 1957 album from the Prestige All Stars – led by trumpeter Thad Jones. Also including Frank Wess (flute, tenor sax), Mal Waldron (piano), Kenny Burrell (guitar), Paul Chambers (bass), and Art Taylor (drums), the album features 4 cuts, all composed by Mal Waldron. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Muddy Monk's Ultra Tape is being released on vinyl for the first time



Originally released in 2020, this project, conceived as a mixtape, condenses five tracks that are both radical and raw, for a quarter of an hour of a ghostly and thrilling ride. Compressed and melodic, dark and iridescent, lyrical and modern, Ultra Tape offers, according to the artist, ‘a somewhat desperate view of life and the world, with a little note of hope added’.



The cover, designed by Swiss illustrator Dexter Maurer, extends Muddy Monk's unique visual universe. Created at a time when Dexter was beginning to get involved in musical projects, this collaboration was a seminal encounter between two Swiss sensibilities that are both melancholic and futuristic.

Indignation Meeting präsentieren ,Murder On The Santa Express", einen brandneuen Song, der die zur Jahreszeit passende Geschichte eines verärgerten Eisenbahnarbeiters erzählt. Zu einem eingängigen Punk-Riff und einem Refrain, den man mitsingen kann, erzählt der widerwillige Weihnachtsmann von seinen Erfahrungen mit den jährlichen Santa Specials, wobei seine Frustration immer größer wird, bis der Satz ,it was murder..." (es war Mord...) von einer klischeehaften Metapher zur grausamen Realität wird. ,Murder..." ist die freche Seite der Single; um die Stimmung ein wenig aufzulockern, gibt es mit ,Christmas Train" die nette Seite, eine neue Version des ältesten Songs von Indignation Meeting, der geschrieben wurde, als Frontmann Peter gerade einmal sieben Jahre alt war! Die neue Single ist bei Damaged Goods Records auf kohlefarbenem 7"-Vinyl (ok, das ist schwarz!) mit vollfarbigem Insert erhältlich. Dies ist die zweite Single von Indignation Meeting nach ,That Leeds Feeling" (Eigenveröffentlichung 2023), wobei die Alben ,Trouble In The Shed" (2023) und ,A Model World" (2024) ebenfalls in allen Formaten erhältlich sind.

Split-7"-Single auf rotem oder grünem Vinyl (wird nach Zufallsprinzip ausgeliefert)! Diese limitierte 2025er Weihnachts-Edition ist eine spezielle 7"-Single mit zwei A-Seiten, die zwei Damaged Goods Lieblingsweihnachtslieder der letzten 30 Jahre feiert. The Courettes präsentieren eine Remix-Version ihres Klassikers ,Christmas (I Can Hardly Wait)", der schon lange nicht mehr erhältlich ist, und Thee Headcoatees, die nach 26 Jahren Pause gerade mit einem brandneuen Album zurück sind, haben die andere Seite mit ihrer Version von ,Santa Claus" von The Sonics, komplett mit einem Spoken Word-Intro von Billy Childish. Die Platte erscheint in zwei verschiedenen Farben: Weihnachtsbaumgrün und Rudolphs Nasenrot. Schnell zugreifen!

Coke Bottle Clear vinyl. Jun 25, 2021 (EST) CD MRG755cd 673855075525 $6.00 Jun 25, 2021 (EST) LP - Black MRG755lp 673855075518 $11.00 Dec 02, 2022 (EST) LP - Coke Bottle Clear MRG755lp-dlx-C1 673855075556 $12.50 TOTAL Quietly Blowing It was written and arranged by Taylor in his home studio_his 8' x 10' sanctuary packed floor to ceiling with books, records, and old guitars_as he watched the chaotic world spin outside his window. "Writing became a daily routine," he explains, "and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of flow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs." Between March and June, Taylor wrote and recorded upwards of two dozen songs_in most cases playing all of the instruments himself_before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. "We all needed to be making that music together," he recalls. "We've all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometown."

15th Anniversary Edition. Black Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

It's been 10 years since Pomegranates - Nicolás Jaar's unofficial/alternative soundtrack to Sergei Parajanov's 1969 film The Color of Pomegranates - was first released, and to highlight this occasion we are reissuing the album on vinyl, with the first edition (a collaboration with the label Mana) having long been out of print.

Longer and slower-releasing than his other albums, Pomegranates often parallels the cinematic epic on which it’s based, with ideas pursued over long timelines and across dark landscapes, assembling elements and moods from the aesthetic and folkloric landscapes of Armenia. Jaar’s identity is perceived within this, folding in his heritage as Palestinian and Chilean as he attempts to build a musical architecture outwards that frames as much of the mess and sprawl of life as possible; using a language that investigates the movement and fluctuation of his own artistic career and character similarly to the film’s tracing of the coming of age of the young poet, Sayat-Nova.

At times, Pomegranates feels profoundly intimate, as though looking through the archive of a friend’s music and discovering the accent and common currency that lives within each of these tracks. Much of Jaar’s most elegant and touching melodic work is nestled here, its power residing in its simplicity and willingness to speak to the heart and not the mind of the listener.

In the text document included in the first freely distributed version of the album in 2015, Jaar writes that the album was conceived during a moment of change, and that the pomegranate became an icon that heralded that passage of time. The physical publication of Pomegranates closes one door whilst opening another, keeping promises and marking a significant point in the career of an artist who restlessly reinvents himself, with a document that illustrates a common language of lyricism, freedom, and emotional resonance linking his many paths and projects

„Tell ‘Em I’m Gone“ wurde in Zusammenarbeit mit der Legende Rick Rubin produziert und zeigt Yusuf,
wie er einige seiner bluesigeren Einflüsse erkundet. In vielerlei Hinsicht knüpft das Album an „Foreigner“
und „Numbers“ an, da er seinen bekannteren Folk-Sound vorübergehend beiseitelegt, um sich anderen
musikalischen Traditionen zuzuwenden, die ihn maßgeblich geprägt haben. Eingefleischte Fans wissen
vielleicht, dass Leadbelly schon immer einer von Yusufs Lieblingskünstlern war, und zum ersten Mal wird
dies in seiner Musik deutlich spürbar.
Neben Eigenkompositionen enthält „Tell ‘Em I’m Gone“ eine Reihe von Coverversionen von Songs, die
Yusuf am Herzen liegen, wie Edgar Winters „Dying to Live“ und Luther Dixons/Al Smiths „Big Boss Man“.
Sogar eine bluesige Neuinterpretation von Jimmie Davies/Charles Mitchells „You Are My Sunshine“ ist
dabei.
(Eingeweihte Fans wissen, dass Leadbelly schon immer einer von Yusufs Lieblingskünstlern war, und zum
ersten Mal wird dies in seiner Musik deutlich.) Klanglich besticht das Album durch kraftvolle Grooves und
schlichte Arrangements, die authentisch für das Blues-Genre wirken, doch Yusufs einzigartige musikalische
Handschrift ist unverkennbar.
Das Albumcover wurde von Yusuf entworfen und vom Künstler William Stout illustriert. Es unterscheidet
sich von der Sony Legacy-Veröffentlichung, die ein Foto von Danny Clinch verwendete.

Das 1967 veröffentlichte Album "Jazz Raga" ist mehr als nur ein Album - es ist ein furchtloser Sprung in unbekanntes musikalisches Terrain. Gábor Szabó, der ungarische Jazzgitarrist, der für seinen grenzüberschreitenden Stil bekannt ist, liefert mit diesem Meisterwerk eines der faszinierendsten Alben seiner Karriere in diesem Genre. "Jazz Raga" vereint Jazz, Rock, psychedelischen Folk und östliche Einflüsse - mit Sitar-Melodien und lateinamerikanisch angehauchten Rhythmen, die dem legendären Funk-Schlagzeuger Bernard Purdie zu verdanken sind - und lässt sich keiner Kategorie zuordnen. Es ist eine hypnotische Fusion, in der europäische Tradition auf den Gegenkulturgeist der 60er Jahre trifft, alles verbunden durch Szabós unverkennbaren Gitarrensound. Vom verträumten Groove von ,Walking On Nails" über die wirbelnde Mystik von ,Mizrab" bis hin zu seiner eindringlich originellen Interpretation von ,Paint It Black" der Rolling Stones schafft Szabó eine Klanglandschaft, die sowohl gewagt als auch zutiefst gefühlvoll ist. Sein Spiel ist elektrisierend - voller ungewöhnlicher Akkorde, fließender Improvisationen und einer ganz eigenen Stimme. Auch Jahrzehnte später ist ,Jazz Raga" noch immer ein Meilenstein kreativer Freiheit und globaler Einflussnahme - ein Muss für alle, die Musik suchen, die Grenzen und Erwartungen überschreitet. Wenn Sie diesen Kultklassiker noch nicht kennen, ist es jetzt an der Zeit, dass Gábor Szabó Ihren musikalischen Horizont erweitert. Neuauflage auf 180-g-Vinyl.

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

London-based experimentalist Luke Younger (a.k.a HELM) returns to PAN with ‘Olympic Mess’.
Where his previous effort, 2014’s ‘The Hollow Organ,’ dealt in dense, distressed sonics, ‘Olympic Mess’ is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.
Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in “I Exist In A Fog” and “Outerzone 2015,” where visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of “The Evening In Reverse” and “Fluid Cloak” offer no such relief, while the title track and “Don’t Lick The Jacket” are mineral, multilayered abstractions twisting around a brittle pulse.

"An immersive & fantastic experience that exists, fittingly, deep within its own musical bubble" - CLASSIC ROCK From its inception, TesseracT's 2024 Radar performance was about pushing boundaries - expanding the dimensions of what a TesseracT show could be. In their own words "The 90 minutes, or so, on stage, were proceeded by 2 full years of talks. Wild creative chats about ideas & an ever increasingly ridiculous level of ambition from both Joe at Radar & Mos in TesseracT. Venue changes, schedule changes, album touring, none of these impeded the momentum once the ball was rolling". The performance soars even higher with the addition of Choir Noir, led by the indomitable Kat Marsh, whose imprint was vital in shaping the vocals on 2023's landmark 'War Of Being'. The setlist of 'RADAR O.S.T.' is a ferocious journey through career- defining anthems including 'War Of Being', 'Legion', 'Nocturne' & 'Natural Disaster'. This 2LP edition of 'RADAR O.S.T.' is presented on Special Edition Transparent Orange vinyl in a gatefold sleeve with audio remastered at half-speed at Abbey Road Studios.

Featuring the otherworldly vocals of the legendary jazz singer Norma Winstone whose vocals were recently sampled in Drake's 2023 chart topping single IDGAF (feat. Yeat) and Leo Taylor (Floating Points, Hot Chip, Joy Crookes) on drums, the EP is the amalgamation of Barrott's long term fascination with sunset music, and the ways the change of seasons impact the way we co-exist with the sun. As winter draws closer and we move on from the Autumn equinox to Winter solstice, Barrott's latest release captures the transformative yet paradoxical feeling of melancholy over the end of Summer and the start of winter while creating an eerie sensation of serenity.

The EP follows from the release of Barrott's critically acclaimed and deeply personal 2024 album Everything Changes, Nothing Ends.

The new EP sees Barrott return to his beloved sunset music, as he continues his eternal quest to find new ways to soundtrack this sacred Ibiza moment.



Crowned as the"master of sunset music"by Pitchfork, Barrott's new EP is filled with celestial grandeur that stops you in your tracks. A profound musical meditation and an homage to the sunsets of the Autumn months, the EP captures the sonic poetry of the changing skies and the seasons.

The haunting combination of Barrott's production & arrangement skills, Taylor's jazz drums and Winstone's endlessly ethereal vocals soar in a harmonious union across the title track of the EP while the openerI Am The Starssummons you in for a brief respite from the cacophony of the modern world. The wistful second trackMy Blue Heartlingers with you with its melancholic jazz horns swelling side by side with Winstone's vocals while the closing trackI Am The Airfloats through your ears with its sublime contemplativeness. I Am The Sun, You Are The Moonsees Barrott returning to his sonic ruminations on sunsets, however they are more profound and life affirming than ever.



"At the end of the summer, on a clear bright starry night I climbed to the top of a mountain in Ibiza with a pair of headphones and listened to these tracks and lost myself in the vastness of the night sky and the endlessness of Norma's voice. At that moment everything made sense in my world for the first time in a long while and it just felt right",Mark Barrott says.

"I was surprised and delighted to be asked to participate in this very musical project and to be given such a free hand. Trying to integrate the voice into what were already beautifully formed pieces was creatively very interesting", Norma Winstone says

Their original pop-infused songs blend rock, punk, and garage rock, and--together with their wild stage presence--have made them unforgettable to anyone who sees them live. Last year, the power trio even provided the soundtrack for a Ryukyu Nissan commercial--appearing in it themselves. Now, it's time for their debut LP: "Best Answer"! The album is incredibly catchy and versatile. From wild, lo-fi punk instrumentals like "Beehive!!" and "Howling Bowl", to cool pop- punk tracks like "I Want You", "45", and "Questions- theme".

There are also danceable garage punk songs like "Brighton Beach", "Koi no yokan", and "Yoakenotori ga naita". The track "I am I" references the SONICS' guitar sound and adds cool Japanese female vocals, screams, and harmonies. The album also includes two wild, punky cover versions: the R&B classic "I Got My Mojo Working", and a charming yet incredibly cool take on Jacques Dutronc's "Les Cactus". And with "Honey Pye", they even deliver a catchy off- beat tune with a feelgood pop-punk attitude. This album is top-quality Japanese rock--from beginning to end!

With great albums you can enjoy them many times and still hear new things. So how about when a great album is re-imagined and you can hear even more new twists? Chris Pope has taken the classic 1980 album by The Chords and taken a new slant on the amazing songs he wrote on it which will see the album in a new light. When re- working older songs in your back catalogue you musn't miss any of the energy and swagger that made the songs so exciting to hear the first time around and Chris, along with the other members of the band: Sandy Michie on guitar, Mic Stoner on bass and Ken Cooper on drums, have brought a new power to the songs that energised a Fred Perry wearing movement in '79 and '80. Enjoy this album and the clever way it looks at each moment on that record and a few other choice cuts

Tuk Smith is the kind of rock 'n' roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. "I want to do something that means something to people," Tuk says, "because a lot of shit nowadays is so disposable and so plastic. I just don't connect with that. I'd like to do things that impact people positively. It's a weird time on the planet, so to have songs about hope, but not be cheesy about it, it's something I think we need with songwriting. That's the kind of music I want to hear." Again, there's that dichotomy he speaks of. "Rock 'n' roll is essentially the illusion of not giving a fuck, right? Like, you know Axl Rose was doing sit-ups and jump rope, and Paul Stanley was on a cardio machine, and they come out and act like it just happens. The point is I sit at that piano many hours, working on this stuff."

What We Do When in Silence is the trio of Nicola Ratti, Alessandra Novaga and Enrico Malatesta.

Imagine a series of small movements in an empty space. Imagine their shadows on the floor, there’s a natural light sliding in from the 3 windows on your right side. There’s no silence here. There are people outside waiting for others, waiting for the people since what we do is not visible, since we do it when in silence and there is no silence here. Synthesizer, piano, whistling, electric guitar and percussions.

Nicola Ratti is a versatile musician and sound designer who has long been active across diverse experimental fields. His sound production creates systems shaped by repetition and expansion, with a particular focus on building environments that resonate with the spaces and architectures we inhabit, and on balancing the emotional and perceptual orientations to which we are accustomed.

Alessandra Novaga is a guitarist who has been exploring, for years, the possible territories her instrument can lead her to. She has crossed through the most classical worlds, reaching into intangible abstractions without setting boundaries between the two. Sound, meanings, encounters, and narratives are the elements that guide her path.

Enrico Malatesta is a percussionist and independent researcher working within experimental contexts that intersect music, performance, and territorial investigation. His practice explores the relationship between sound, space, and movement, and the vitality of materials, with a particular focus on surfaces, listening modes, and the articulation of multiple layers of information through an ecological and sustainable approach to percussion instruments.

Uzed is the fourth album by Belgian band Univers Zero. It was released three years after 'Ceux du Dehors', due to a change in line-up and a new repertoire, although the EP 'Crawling Wind' had been released in the meantime.

The album marked a turning point for the band. Univers Zero explored new electric colors, giving it a more rock feel with the addition of new musicians such as Jean-Luc Plouvier, who introduced the synthesizer, guitarist Michel Delory, who played a memorable solo in 'Célesta (For Chantal)', and André Mergen on electric cello and alto saxophone, who enriched the orchestral texture. Dirk Descheemaeker on clarinet and soprano saxophone, the return of Christian Genet on bass, this evolution can also be explained by the arrival of new musicians. UZED'is entirely composed and arranged by Daniel Denis

The recording and mixing were done at Daylight Studio in Brussels in 1984, but to bring out UZED, the sound had to be improved by giving it more dynamic range, which was done at ICP Studios in 2024.

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

Paul Murphy’s Claremont 56 label welcomes a genuine legend of UK music to its roster – Chaz Jankel, the man whose dizzying musicality and love of soul, funk and disco did much to shape the sound of Ian Dury’s Blockheads band in the late 1970s and early ‘80s.

A virtuoso keyboardist with a deep love of Black American music, Jankel’s arrangements and compositional skills were key to the success of their records, the funkiest of which not only became crossover pop hits – see ‘Hit Me With Your Rhythm Stick’ and ‘Reasons To be Cheerful, Part 3’ in particular – but also saw heavy rotation in now iconic New York clubs including the Paradise Garage and Studio 54.

This continued during the formative years of his solo career, with ‘My Occupation’, ‘Questionnaire’ and ‘Glad To Know You’ (later famously re-edited and dubbed out for nu-disco dancefloors by Todd Terje) all becoming club hits. The great Quincy Jones also covered Jankel’s infectious single ‘Ai No Carrida’, while experimental, club-ready synth-jam ‘3,000,000 Synths’ was also influential during the early years of the electro movement.

For his Claremont 56 bow, Jankel has delivered an all-new workout recorded earlier this year, the simply titled ‘Rhumba Jam’. A typically warm, groovy and rolling affair, it features Jankel delivering infectious, stretched-out Rhodes electric piano solos over toasty bass, clipped guitar licks, warm bass, accordion-style synth motifs and a densely layered Rhumba rhythm. While relaxed and sun-soaked, it also has bags of Balearic dancefloor potential.

Murphy remixes under his now familiar Mudd alias, leaning into the track’s languid Balearic vibe while keeping a firm focus on the dancefloor. Beginning with an enticing mix of metronomic drums and jangly acoustic guitars, Murphy slowly layers up key elements of Jankel’s original – think rubbery bass, rhythmic handclaps, mazy synth sounds and those wonderful, stretched-out solos. It’s a version that pays due reverence to the quality of Jankel’s musicianship, production and arrangement while subtly extending it and reframing it for 21st century Balearic dancefloors.

Since its inception in 2011 the Fuse label has grown to be one of the leading voices in the dance music underground, originally kicking off with co-founder Enzo Siragusa's 'The Sagamore EP', subsequent releases were kept strictly in-house with productions from the roster of resident DJs that feature at their London based daytime raves (Seb Zito, Rich NxT etc). In 2013 offshoot label 'Infuse' was initiated as a way of harnessing production talent from around the globe.

As a celebration of reaching 5 years of releases, a three part vinyl only EP is to be released featuring tracks from the established Fuse roster as well as a few new additions.

EP one features tracks from Enzo Siragusa, Dan Farserelli, Ferro & Makcim and Fabe. Seb Zito, Romanian talent Iuly.B, Ben Rau and Joseph Williams feature on EP two whilst Rich NxT, Rossko (making his production debut), Archie Hamilton and Sam bellis round things off with the EP 3...

STRICTLY VINYL ONLY!

Since her debut in 1983, Madonna has been one of the most important and revolutionary artists within pop music, influencing fashion and freedom of expression.
Bedtime Stories, Madonna's sixth studio album, was released in 1994 and saw collaborations with Babyface and Bjork. The lead single from the album, "Secret", gave Madonna her record-breaking 35th consecutive top ten single on the UK Singles Chart, while "Take a Bow" spent seven weeks at number one on the US Billboard Hot 100.

Another side of Steve Rachmad. Preceeds and album of archive tracks that shows the far reaching talents of this master producer.. TIP!


Some things are just too good to be hidden from view. That's certainly the case with 'Things To Think About', the first album from Dutch electronic music legend Steve Rachmad's lesser-known Sterac Electronics project.

Rachmad first rose to prominence in the late 1990s, spearheading a surge in Dutch techno that was heavily inspired by the futurist intent and machine soul of Detroit. Since then, he has continued to successfully explore a wide range of dancefloor-centric electronic styles under a dizzying array of aliases.

It's a while, though, since the public has been treated to a heavy dose of Sterac Electronics
material. He first established the alias at the turn of the millennium, primarily as an outlet for hardware-driven electro music shot through with funk and soul.

A handful of highly regarded 12' singles were released on Music Man and Interpersonal XP, before Rachmad began focusing on other projects. When inspiration struck, he returned to the project, jamming out tracks using a mighty collection of vintage synthesizers and drum machines.

Recently, Rachmad and Tom Trago decided to revisit the Sterac Electronics archive, discovering a killer collection of cuts created at different points over the course of the last 15 years.

Now 9 of those spellbinding hardware jams have been gathered together for the first time on 'Things To Think About', a warm, rich and evocative collection of electro-fuelled workouts that giddily pay tribute to the music of Rachmad's youth.

'Things To Think About' will be released as a limited-edition double album, preceded by this 12' single featuring another previously unheard gem from the vaults.