Buscar:y no

What the listener might encounter on this album goes all the way down to the sound of a neuron transmitting pain, beatitude or any one of the countless senses and impressions we feel on any one day of life. N E U R O is the debut album by CURA MACHINES, a new project by Daniel Lea whose tracks are at once scientific in their capturing of the morphing of body cells as well as the larger expanses of a poetic filmscape of the contemporary metropolis.

The name CURA MACHINES comes from a sign Lea saw on a trip to Ancona, Italy at an abandoned hospital: Prima E Dopo La Cura (Before and after the cure). The sound in between, of what was lost or found, transmuted in the heavily manipulated and pulsating synthesisers, is the restoration here. With a physically visceral mix by Ben Frost and soaring re-amped bass textures from Yair Elazar Glotman, the album is lush with trans-morphing apeggia that shudder, quack and soar into ashen sparks.

Back in the turn of the 20th century the poet Rilke posited that the suture patterns of fused skull plates could potentially be played by the then-new technology of the gramophone, with each of us having our own personal tonal source code or anthem etched onto our skulls. And with a track like 'Suture' we have such an embodied sound: the close-up exhumation of the neural brain casing, stitched and sewn together in fleeting pulses of whisper and alarm.
The individual is exposed and isolated, but not without the promise of succour.

Or one also has the soundtrack to the loneliness of a morose private eye – a pulp novel set in a future time of neurosis or washed out euphoric beauty. It is here in tracks such as 'Terminal Zone' or 'Inversion Layers', music that is blinking in celluloid frames. The plot could easily be a sci-fi, paranoid tale of brain emulation, transhumanist crimes against humanity itself. After all this is Lea's soundtrack to Los Angeles, the city of angels that has been captured in countless movies: the racing tracking shot of the 2nd Street Tunnel at night, the freeways spreading out in a glorious sprawl of lit up veins and arteries. The last track 'Zosa' marks out the boundary line that delineates between day and night, when the lunar strains wane, the tides subside and the city comes to life.

"BI-CENTENNIAL - 1976" has been comped on the fourth volume in the "CAN YOU FEEL IT" compilation series. The flip side, "LOVE ONE ANOTHER", was featured on "COUNTDOWN TO... SOUL 2". Now available on a good old 45 RPM single re-issue.

schwarz, Gatefold, limitiert und mit Wende-Poster

Wo ein Krater liegt, muss es einen Vorfall gegeben haben. Etwas ist eingeschlagen oder ausgebrochen, wo jetzt Ruhe ist. 2012 spien Messer das fiebrige Debüt "Im Schwindel" in die brodelnde Begeisterung für Punk aus Deutschland und wuchsen zu einer prägenden Stimme im Post-Punk-Revival der Zehnerjahre. Was auf den letzten beiden Platten "Jalousie" (2016) und "No Future Days" (2020) noch wild wucherte, ist nun auf "Kratermusik" stärker begriffen und gibt zugleich Sicherheit für weiterführende Expeditionen. Die einzelne Idee ist jetzt schärfer konturiert als zuletzt, Kratermusik ein Album im Wortsinn: Jede Seite ein anderes Bild, eine andere Szene mit anderen Figuren, zusammengehalten von einem Einband, einer Motivwelt, einem Sound, der dieses Mal dicht, aber umso detaillierter ausfällt. An anderer Stelle lösen sich Stimmen auf: Pola Lia Levy, die lange schon eng mit der Band befreundet ist und gerade mit ihrer neuen Band Dews in den Startlöchern steht, spendet Harmonien, die im erst sachten, dann zunehmend mitreißenden "Im falschen Traum" mit dem Rest der Band verschwimmen. Im Space-Dub-Finale "Am Ende einer groszen Verwirrung" stimmt sie mit Joachim Franz Büchner in einen beherzten Singsang ein. Was hier tröstlich klingt, wirkt im vielstimmigen Spiegel zerrissen, wenn auch nicht zwingend unheimlich - sondern ähnlich faszinierend-ambivalent wie Mille Petrozza von der legendären Thrash Metal-Band Kreator, der mit einigen englischsprachigen Zeilen durch den wispernden Refrain am Ende des Wave-Epitaphs Grabeland schneiden darf. Messer bleiben also ambivalent, fragend und suchend, gerade wenn es um Krieg und Frieden oder die Zukunft des Planeten geht. Die Bewegung steckt schon im Titel: Das "Messer verwandte Wort" Krater, so Otremba, "ist vieldeutig, ein Wort, bei dem klar ist: Zu dem muss man sich verhalten. Das ist ein scharfkantiges, schroffes Wort." Im Krater steckt immer auch das Potenzial zur Explosion, im Frieden lauert der nächste Krieg. Im Vorrang des Ästhetischen ist die neue Platte aber ein typisches Messer-Album, auch in seiner gewohnten Überschreitung dessen, was Post-Punk sein kann. Vielfältiger klang diese Band nie, ihr Referenzsystem bleibt undurchschaubar. Parallel spülen die Pop-Gezeiten wieder eine (Neue) Neue Deutsche Welle an, doch Messer bleiben ihren eigenen Zyklen verpflichtet, befinden sich in ständigem Übergang: Metaphern nie ganz auflösen, Motive immer neu ausleuchten, Sounds nochmal anders aufeinander beziehen.

Donovan’s Original
A Gift From a Flower to a Garden made for a few firsts: the first double LP of Donovan’s
career, one of the first box sets in pop and, most importantly for Donovan himself; the first
pop album for the children of tomorrow.

He resolved to make A Gift From a Flower to a Garden an album of two halves. The first,
Wear Your Love Like Heaven, was intended for his own generation as they started to think
about the kind of world they wanted to leave behind. The second, For Little Ones, was for
the children they had or would have in the years to come. The result was a kaleidoscopic
folk-jazz suite on the power of love, imbued with all the romance and mystery of an Arthur
Rackham illustration for an ancient English fairy tale. The songs, remarkably adventurous
given Donovan was a globally famous singer at his commercial height, combined the
influences he had amassed so far.

There is something about A Gift From a Flower to a Garden that could never be repeated,
though. It is such an innocent evocation of the childlike imagination, so redolent of its time,
yet set apart from it too. All these years later, the peaceful qualities of this pioneering,
enchanting, deeply unusual album feel more valuable than ever.

The state51 Box Set
With authenticity core to the project, The state51 Conspiracy engaged one of the UK’s
leading experts in box set design, Daniel Mason at Something Else, to painstakingly recreate
the box, records and accompanying ephemera. The first challenge was to find the deep blue
leatherette paper the original box set was covered in; a problem since it was no longer in
production. “I knew people who had stacks of it, gathering dust on top shelves, so I bought it
up wherever I could find it,” says Mason. Then came the reproduction of 12 loose leaf lyric
sheets on fine art watercolour paper, each of them featuring a watermark and a fairytale-like
illustration by Donovan’s artist friends Sheena McCall and Mick Taylor. Where, though, to
find the same paper stock? “I found out that it was made at a paper mill in North Wales
called Abbey Mills. Unfortunately the mill dissolved in the early 70s and very little of the
paper remained. However enough paper remained to allow us to produce the numbered
certificate also signed by Donovan that sits within the box.”

Then to the iconic cover image. Donovan and Jimi Hendrix’s personal photographer Karl
Ferris, used infra-red film to achieve the psychedelic effect on the cover, but the original
negatives couldn’t be found. Mason then used digital technology to ramp up the colour levels
on a reproduction from an original copy of the album while allowing it to remain a little bit
faded, as it would be after half a century. The same labour of love and care has gone into
producing all elements of the box; from the rebuilding of the famous front cover font to the
hand-numbered and signed certificate; letterpress printed on the original paper stock of the
1968 UK release lyric sheets.

To cap it all off the original mono master tapes were waiting safely in the EMI Donovan
Archive and transferred from tape to digital by Abbey Road Studios where new lacquers
were cut, ensuring Donovan's favoured mono version of the album would be presented both
physically (and digitally for the very first time) in striking audiophile quality. The final touch to

A pioneer of the home recording movement, Linda Smith released several collections of delicate, bewitching solo music on cassette in the 1980s and 90s. The 2021 release of Till Another Time: 1988-1996, Captured Tracks' compilation of Smith's work, has helped bestow rightful critical acclaim to the ahead-of-her-time artist. Now, Captured Tracks dives deeper into Smith's catalog with the release of two full-length companion albums, Nothing Else Matters and I So Liked Spring, available for the first time on vinyl & streaming formats. Recorded at Smith's home in Baltimore in 1995, Nothing Else Matters chronicles the tension between the mundanity of daily life and the creative impulse: Traffic noises on the charmingly boisterous "Little To Be Won" showcase this levity, as does the addition of playful hand claps and a laugh track to her striking cover of Young Marble Giants' "Salad Days." I So Liked Spring, recorded the following year, saw Smith experimenting with the unique challenge of putting another artist's words to music. She'd come across a biography of the English poet Charlotte Mew and found her wistful poetry rife for musical interpretation. The songs on I So Liked Spring are delightfully unpredictable, full of upbeat melodies and spellbinding vocal harmonies. This is perhaps best showcased on the title track, one of Smith's most popular songs to date, a lovelorn anthem that recalls the airy melodies of early dream pop. Both of these albums showcase the mesmerizing charm of Smith's songwriting, often compared to the likes of the Velvet Underground and Laurie Anderson. Home recording technology has come a long way since Smith first began recording demos on her tape machine, but her influence reverberates through the work of today's bedroom artists. The release of these two essential albums seeks to further illuminate this connection, welcoming a new generation of listeners to the work of this trailblazing artist.

A pioneer of the home recording movement, Linda Smith released several collections of delicate, bewitching solo music on cassette in the 1980s and 90s. The 2021 release of Till Another Time: 1988-1996, Captured Tracks' compilation of Smith's work, has helped bestow rightful critical acclaim to the ahead-of-her-time artist. Now, Captured Tracks dives deeper into Smith's catalog with the release of two full-length companion albums, Nothing Else Matters and I So Liked Spring, available for the first time on vinyl & streaming formats. Recorded at Smith's home in Baltimore in 1995, Nothing Else Matters chronicles the tension between the mundanity of daily life and the creative impulse: Traffic noises on the charmingly boisterous "Little To Be Won" showcase this levity, as does the addition of playful hand claps and a laugh track to her striking cover of Young Marble Giants' "Salad Days." I So Liked Spring, recorded the following year, saw Smith experimenting with the unique challenge of putting another artist's words to music. She'd come across a biography of the English poet Charlotte Mew and found her wistful poetry rife for musical interpretation. The songs on I So Liked Spring are delightfully unpredictable, full of upbeat melodies and spellbinding vocal harmonies. This is perhaps best showcased on the title track, one of Smith's most popular songs to date, a lovelorn anthem that recalls the airy melodies of early dream pop. Both of these albums showcase the mesmerizing charm of Smith's songwriting, often compared to the likes of the Velvet Underground and Laurie Anderson. Home recording technology has come a long way since Smith first began recording demos on her tape machine, but her influence reverberates through the work of today's bedroom artists. The release of these two essential albums seeks to further illuminate this connection, welcoming a new generation of listeners to the work of this trailblazing artist.

Das neue Monkeytown-Signing, das NYC-via-Berlin-Duo Sha Ru, schöpft aus der in Protest und Befreiung verwurzelten Punk- und Dancemusik, gefiltert durch die Erweiterung und Fluidität der queeren Identität. Erste aufrührerische EPs und mitreißende Auftritte haben die Band zu einer ausgesprochenen Kraft der in elektronischen Musik gemacht, die dunkle Schattierungen und basslastige, zukunftsweisende Klänge erforscht, die ebenso an Post-Punk-/Industrial-Pioniere wie an alles im Club-Kanon erinnern. Die neue EP, ihre bisher gewagteste, ehrlichste und verletzlichste Arbeit, ruft eine Palette überwältigender Emotionen hervor, von platonischer und romantischer Liebe bis zu Herzschmerz und psychischem Leid, wiedergegeben in cleveren rhythmischen Architekturen und grollendem Bass, ausbalanciert mit sinnlichen Melodien und sanfteren Texturen.

Booker Ervin cut two stellar Blue Note records in the late-60s including Tex Book Tenor which had to wait until 2005 for its first standalone release. With a quintet featuring Woody Shaw, Kenny Barron, Jan Arnet, and Billy Higgins the Texas-born saxophonist slices through a set of captivating bandmember originals. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

limited 200 copies poster edition

Organically woven heavy techno drums and energetic acid lines.
Dima Gastroler concluded his feelings about the imbalances occurring in the world in this expressive musical experience, melodic, emotional and ambiguous.
Dima Gastroler is an electronic music producer who is inspired by old classic sound. He combines vintage equipment with modern sound processing techniques.
He loves experimenting and moving beyond music genres. The main thing for him is the emotions and feelings born while making music.

Tessen were folding fans with concealed outer spokes made of heavy iron plates. Some swordsmanship schools provided training of the tessen as a weapon. Besides using the razor-sharp spokes as an attacking tool, the tessen was also used as a throwing weapon, for fending off knives and darts and as a swimming aid. Samurai could also secretly take them to places where overt weapons were not allowed.

First vinyl edition of the album Rhetorical Islands, originally released by Giuseppe Ielasi in 2012 as a limited-edition CD on his Senufo Editions label, with recordings made in 2011 as a commission for l’Audible Festival, Paris.

The album’s ten tracks have neither titles nor accompanying text, standing for themselves as what Ielasi himself has called “isolated sound worlds”. They are nonetheless unparalleled in their plasticity, acoustic events with a rare degree of tangibility. Ielasi evokes physical objects, some of which seem to have been constructed out of paper and cardboard, others based on a mechanics of elastic materials. Of course these objects are hallucinations, and precisely because Ielasi constructs them so masterfully there’s no need for any further information. Here’s to everyone creating their very own sculptures while listening to Rhetorical Islands!

The front and back cover features 0.058, a work on paper by the artists Thomas & Renée Rapedius. They make sculptures whose form and artistic inspiration are defined by their materials. Like Ielasi’s acoustic islands, their impact derives from self-referentiality, resulting in paradoxical objects that embody both a detailed material study and a potential for free association.

Since the early 80's Allan Crockford has been a major figure in Medway's garage rock scene, including playing for The Prisoners, Billy Childish's Thee Headcoats, the original line-up of the James Taylor Quartet, The Solarflares and many more. Since 2010 he has fronted his own band, The Galileo 7, as writer, guitarist, and lead vocalist. Their unique blend of powerful '60s garage rock'n'roll, psychedelic vocal harmonies and quality songwriting has now featured on no less than eight albums. Their ninth, You, Me and Reality, sounds like the work of a seasoned rock 'n' roll band dialling things up one and approaching its zenith. The group performances of the quartet of Allan Crockford, Viv Bonsels, Paul Moss and Mole ooze energy and dynamics - whether it's the garage ramalama of opener 'Can't Go Home', the woozy psychedelics of 'Slow Down', the chipper folk-rock of 'A Simple Man' or the '60s mod-pop stomp of the title track. As with 2019's last album proper, There Is Only Now, all four group members share lead vocal duties, with Viv's contributions adding an affecting indie-pop flavour that coyly suggests new directions. You, Me & Reality largely eschews its predecessor's predilection for ambling unplugged off the beaten path, instead sticking with up-tempo ensemble performances that showcase the players' musical chops and vocal interplay in the kind of warm, fizzy, analogue soundscape that's become a touchstone of many Medway bands.

Focus On Nature ist das neue Studioalbum des gefeierten Post-Psych/Independent Singer-Songwriters Nick Saloman und seiner Band The Bevis Frond. Fünfundsiebzig Minuten herrlicher Melodien, die sich zwischen 60er-Jahre-Psych, englischem Folk, den Seattle Art-Punks The Wipers, dem Buzzsaw-Pop von Dinosaur Jr. und Hendrix-esken Erkundungen bewegen. Ihre Musik hat immer etwas spielerisch Englisches an sich. Die Kult-Ikonen, die sicherlich The Lemonheads, Teenage Fanclub, Elliot Smith, Pavement und Dinosaur Jr. beeinflussten, haben eine weitere schräge Mischung aus melodischer, klaviergeführter Melancholie, akustischen Grübeleien, kratzigem Garagen-Rock mit punkigem Einschlag und voller Gitarren-Histrionik produziert. Wie der viel gelobte und äußerst erfolgreiche Vorgänger "Little Eden" befasst sich die neue Platte mit dem Überdruss der Welt, füllt aber eine größere Leinwand aus: Fast Food und globale Erwärmung, gebrochene Herzen und lange Nächte, alltägliche Unsterblichkeit und Gottes Geschenk - all das findet seinen Platz. Es ist wie Townshend in seiner thematischsten Phase; Big Star in all ihrer akustischen Pracht, perfekt ausbalanciert mit der punkigen Garage-Rock-Combo, die auf "Empty" mit Gilmour-Breaks endet, die das Ganze zur Größe erheben. "Sie mischen immer noch Pop, Punk und Psych mit schwindelerregender Wirkung. The Guardian "Selbstreflexion gepaart mit einer reumütigen Bestandsaufnahme des aktuellen Zustands der Nation." Uncut zu Little Eden - Erhältlich auf Ltd Double Purple Vinyl, DL-Karte und/oder als CD im Digisleeve -

Hailing from Brittany, historical center of France's industrial scene and in close proximity to Belgium's infamous rave and EBM innovations, Ekors set out to deliberately blacken and burn the sophisticated sounds emanating from Paris. With releases on Amsterdam's harsh Leyla imprint, fellow French hardcore iconoclast Umwelt's Flesh or Die, and JoeFarr's User Experience, the trio undoubtedly made their name in their lonely redoubt in the timberland, and Rant & Rave is honored to host their theme EP, Forest Killers, as our fifth release.

'Woodchip' conjures nightmares of dead bodies run through a woodchipper rather than more pastoral scenes, its distorted kicks, bone-crushing bass and blasted-apart leads chopping air and anyone unlucky enough to stand in its way. Title track 'Forest Killers' is murderous, the lurching breakbeat and shrapnel percussion approaching like axe falls ever closer until the horror score melody enters, then accelerating frantically as the killers close in. 'Evil Sapp' only seems subdued in comparison, its hammering techno pulse providing scant breathing room as industrial machinery fells nearby trees. Self-explanatory 'Chainsaw Requiem' ups the discomfort as the titular tool buzzes overhead, more Texas Chainsaw Massacre than weekend warrior woodpile work. Amidst squalling leads, ricocheting percussion, fearful blasts of noise, and pounding bass and kicks, Ekors escort us out of the haunted wood, sighs of relief and evil laughs joining in chorus.

Nur wenige Bands vereinen Düsternis, Melodie und Musikalität so sehr wie die Finnen INSOMNIUM. Und das mit großem Erfolg: Ihr letztes Meisterwerk "Anno 1696" (erschienen Anfang 2023) eroberte die internationalen Albumcharts, darunter Platz 1 in Finnland und Platz 5 in Deutschland. Century Media Records bringt nun zwei Alben auf Vinyl zurück, die mehrere Jahre lang vergriffen waren: Bereits 2011 hatte das Album "One For Sorrow" dem stetig wachsenden Erfolg der Band einen weiteren Schub gegeben und sie in die Top10 der finnischen Albumcharts katapultiert. Ihr 2016er Album "Winter's Gate" ist ein Konzeptalbum, das aus einem einzigen epischen 40-minütigen Song besteht. Das Album basiert auf der Kurzgeschichte "Winter's Gate" des Sängers und Bassisten Niilo Sevänen, die in seinem Heimatland mit Preisen und Nominierungen ausgezeichnet wurde. Das Album ging in Finnland sofort auf Platz 1. Beide Alben sind jetzt in 180g farbigem Vinyl erhältlich.

Black Bones are the Belfast DJ & production duo comprising of Aaron Black & Timmy Stewart, who have been collecting and playing music for decades. They formed Black Bones to put their stamp on the edits & production world as well as play DJ sets together. An initial edit series created seven highly collectible 12''s, securing plays and plaudits from some of the worlds best DJs & record stores. This led to recording DJ mixes for Apiento's Test Pressing, Tim Sweeney's Beats In Space & recording original material for Touch Sensitive, Hoga Nord, Duca Bianco, Optimo Music & Emotional Response.

Now on Mystic Arts 02 Black Bones pay homage to early rave days, illegal parties, pirate radio culture & 90s breakbeat sounds they both still adore. A side, Find The Frequency, is a ghostly ride through breakbeats & warehouse euphoria. While the flip side, Konstant Kollision is otherworldly bass heavy music that takes in post punk & African Head Charge influences amidst washes of dubbed out delay.

Das 6. Release von DJ Pirna bedient den Ghettoboomsound (ein Mix aus Ghettotech und Rap), den die Jungs aus Dresden selbst kreiert haben und bewegt sich zwischen 120 und 145Bpm.
Digital wird die EP am 19.1. veröffentlicht- Die Schallplatte wird Ende Februar inkl. Downloadcode releast.Auf dieser EP begibt sich der Hörer auf eine interstellare Reise Richtung Mars, die all seine Probleme lösen soll. Erst als er merkt, dass es auch auf dem Mars nach Arsch riecht und tritt er die Rückreise zur Erde an.

Die Einflüsse für dieser EP waren Moodyman, Mr. De´, Bay Area HipHop, G-Funk und George Clinton.

Neue Sonderauflage auf Laguna Blue Vinyl des 2021er Samplers des kanadischen Emo-Trios Arm's Length mit ihren ersten beiden EPs, 'What's Mine Is Yours' (2019) & 'Everything Nice' (2021), die mit ihrem grossartigen, neuen Indie-Emo-Sound samt Pop-Punk-Anklägen direkt für Furore in den einschlägigen Magazinen von Pitchfork bis NPR sorgten.

Dostrotime ist Spaß im Squarepusher-Stil. Schwere, intensive, herausreissende, experimentelle, elektronische Musik für pures Hochgefühl. Keine Entschuldigung nötig, eine für das Squarepunter-Massiv! Anfang 2020 hatte Squarepusher gerade sein letztes Album 'Be Up A Hello' mit großem Erfolg veröffentlicht und bereitete sich auf eine weltweite Tour mit einigen seiner bisher größten Shows vor. Dann kam die Pandemie und alles war vorbei ... Ohne Ablenkung begab sich der Künstler direkt in sein Studio, um mit neuen Aufnahmen zu beginnen. Er sagt: 'Ohne die üblichen Unterbrechungen verlief die Zeit anders.' Es ist eine Episode, die er Dostrotime nennt. Daher ist Dostrotime ein Versuch, die Besonderheit der durch den Lockdown katalysierten Musik als Teil der Feier des Endes des Lockdowns einzufangen.

Das mit einem Grammy ausgezeichnete Tuareg-Kollektiv Tinariwen veröffentlicht eine limitierte Picture-Disc mit den 4 Bonustracks der digitalen Deluxe-Version ihres gefeierten neunten Studioalbums 'Amatssou' (2023). Der Leadtrack 'He Layla' ist von einem Traditional aus der Djanet-Region inspiriert, wo das Album aufgenommen wurde. In typischer Tinariwen-Manier erzählt der Song von der Vergangenheit, als die Sahara unter französischer Kolonie stand, während poetische Metaphern des wilden Lebens in der Wüste verwendet werden.

In den zwei Jahrzehnten, seit Tinariwen aus ihrer Basis in der afrikanischen Wüste hervortraten, um den Globus zu bereisen, haben sie viele renommierte Country-, Folk- und Rockmusiker aus den USA kennengelernt, darunter Kurt Vile, Stephen O'Malley, Jack White und Wilco. Tuareg-Nomaden und Cowboy-Wanderer. Kamelzüge und Mustang-Pferde. Der zeitlose Horizont der endlosen Sahara und die wilde Grenze des Wilden Westens – mehrere tausend Meilen Ozean trennen den Wüstenblues von Tinariwen und die authentische Country-Musik des ländlichen Amerikas, aber die Links sind genau so spürbar wie romantisch.

EVERGREY - seit 30 Jahren bereichert das schwedische Schwergewicht die Musikwelt mit ausgezeichnetem Progressive Metal. Zeit, um eine kleine Handvoll ihrer Alben erneut auf Vinyl zu pressen, die es so noch nicht gab! Mit den Klassikern "The Dark Discovery", "Solitude, Dominance, Tragedy" & "The Atlantic" gehen gleich drei Kandidaten an die Startlinie und bieten dem Musikliebhaber hochwertige dreifarbige Vinyl im qualitativen Gatefold. Jetzt zuschlagen! Nur solange der Vorrat reicht!

EVERGREY - seit 30 Jahren bereichert das schwedische Schwergewicht die Musikwelt mit ausgezeichnetem Progressive Metal. Zeit, um eine kleine Handvoll ihrer Alben erneut auf Vinyl zu pressen, die es so noch nicht gab! Mit den Klassikern "The Dark Discovery", "Solitude, Dominance, Tragedy" & "The Atlantic" gehen gleich drei Kandidaten an die Startlinie und bieten dem Musikliebhaber hochwertige dreifarbige Vinyl im qualitativen Gatefold. Jetzt zuschlagen! Nur solange der Vorrat reicht!

EVERGREY - seit 30 Jahren bereichert das schwedische Schwergewicht die Musikwelt mit ausgezeichnetem Progressive Metal. Zeit, um eine kleine Handvoll ihrer Alben erneut auf Vinyl zu pressen, die es so noch nicht gab! Mit den Klassikern "The Dark Discovery", "Solitude, Dominance, Tragedy" & "The Atlantic" gehen gleich drei Kandidaten an die Startlinie und bieten dem Musikliebhaber hochwertige dreifarbige Vinyl im qualitativen Gatefold. Jetzt zuschlagen! Nur solange der Vorrat reicht!

Little Anns "Who Are You Trying To Fool" war unbekannt, bis Ace Ende der 90er Jahre die Kassetten von Dave Hamilton erwarb. Seitdem waren zwei Kent 45-Releases ausverkauft und aufgrund der Nachfrage von Ace nochmals als 7inch verfügbar gemacht. Als Alternative hat man den wunderschönen Midtempo-Track 'The Smile On Your Face' als B-Seite gewählt.

LIMITED RED VINYL

Sheherazaad ist eine US-amerikanische Komponistin und Sängerin, derenzeitgenössische Folk-Pop-Synthese, produziertvon Arooj Aftab, einer neuen Welle der klanglichen Innovation aus der Diaspora Teil wird. In der modernen Welt ist Migration omnipräsent. Sie durchzieht sämtliche Lebens- und Alltagsbereiche, steckt oftmals verschlüsselt in unseren Gewohnheiten. Während unzählige Menschen sowohl mental als auch körperlich mit nie da gewesener Aggressivität die Globalisierung vorantreiben, werden einst stabile "Genres" und Identitäten jeder Art zerlegt - aufgespalten und abgeschafft, überflüssig gemacht und wieder neu geboren. Alles migriert, alles ist in Bewegung. In genau diesem fluktuierenden Feld findet Sheherazaad Inspirationen für ihre Songs. Ihr Minialbum Qasr entstand während einer Phase der familiären Entfremdung. Auch die Trauer über einen Todesfall in der Familie und die rassistische Polarisierung ihres Landes, das plötzlich kaum wieder zu erkennen war, prägten die Aufnahmen. Der Titel des Albums bedeutet auf Urdu (der Nationalsprache in Pakistan und einigen indischen Bundesstaaten) so viel wie "Burg" oder "Festung". Und tatsächlich ist Qasr ein Monument: Es verkörpert die Last der Vertreibung, die widersprüchlichen Sog- und Anziehungskräfte der Diaspora - und das schreckliche Problem der Auslöschung, des Vergessens der eigenen Wurzeln. Um genau diese Art der Erfahrung geht es, um die Gewalt, die Hysterie, auch um die Romantisierungen, die damit einhergehen, wenn Sheherazaad klanglich eintaucht in jenes In-Between - ins Reich des Dazwischen. Die Aufnahmen fanden im Herzen von Brooklyn im Glass Wall Studio statt. Die unbeschreibliche Energie der nächtlichen Sessions speiste sich dabei vor allem aus der einzigartigen (und einzigartig internationalen) Konstellation der Mitwirkenden: u.a. mit dabei waren auch Basma Edrees (Ägypten), Gilbert Mansour (Libanon) und Firas Zreik (Palästina); gemastert von Heba Kadry (Björk, Ryuichi Sakamoto). Auf Qasr lädt uns Sheherazaad in eine betörende und vollkommen neue Klangwelt ein: in ein Reich der Musik, das genau genommen noch gar nicht von dieser Welt zu sein scheint. Zugleich lässt sie die Fackel der nomadischen Erfahrung auflodern, gibt auch diesem Feuer einen sehr viel prominenteren Platz. Insgesamt entwirft die Künstlerin mit diesem betörenden Album ihre eigene Festung. Denn sie will auch uns dazu ermutigen, unsere eigenen Festungen, unsere eigenen klanglichen König:innen-Reiche und unmöglichen Traumwelten zu entwerfen

The cinematic opening track Inthenever starts off as a film >> somewhere on a desolate coast, where everything has already ceased. This is going to be an album with a story and depth, a fearless tour of the barren shores of our days // or is it possibly just a mirage conclusion of their razor-sharp sound brutalism? Tittingur's third album, Epiphany, is here, pounding with waves they had not done before.

It seems as though this dyad has disposed of all the genre confines that had locked them in, and have grasped the sound of new subject matters, for which the moniker of experimental techno is finally too narrow. With utter urgency and candid to their emblematic, thunderous sound, Dominik's and Matus's deafening mallets collide in beats which are now, more than ever, drenched in a mass of palpable gloom and anguish. As though we could touch the rising levels of the oceans, and smell the melting of the glaciers themselves.

In one way or another, the music of Tittingur has always been about nature, its fierce essence, and its stark contrast with the post-era that we have found ourselves living in. However, whereas before, it was the sound of old, weather-stained concrete, and the pounding of abandoned, overgrown buildings, now it is, unavoidably, their most direct and honest return to nature landscapes, and to human, age-old traditions, referenced in the Slovak folk motives, recordings and found sounds.

On Epiphany, Tittingur's sound becomes yet more abstract, in a sound world that is ambiguous but also unified, and works on its own. The duality of nature and technology, of inland human folklore and the trenches of deepest oceans, invite us to come closer and observe the volatile obliteration taking place. Can we even attempt to re-assess our position with nature, or is this whole experiment doomed to fail?

Unsurprisingly, in the echoes, all the ingredients of the classic Tittingur sound are still present, distilled into new forms >> the ever-present over-saturation, the exaggerated, maximalist approach and megalomania >> the sound of impending climate change, doom, and near-apocalyptic visions, the scent of borovička mixed with the wild North Sea, the agony of contemporary urban life, and the adventure of wilderness: ferocious synths, monumental beats, aggressive basslines and crumbling noise-scapes built of a found-sound, music concréte-like, collagist approach.

At moments, it seems the means have changed. Just until you realise that the sentences of this story are spoken in a new language. If you dive deep enough, and listen to the essence that the music of Tittingur articulates, it's surprisingly easy to understand >> although the notions and emotions are difficult to put into words. The profound narrative of Epiphany is that of an endless inner struggle of society, anxiety, crises, and ambiguously easy // difficult solutions in the post-modern global chaos. It is the calm before a storm. It is the storm. Is it the calm. It is all of it, in itself. credits

dog-rose is an exploration of musical articulation and vocalization. Its themes can be felt gnawing at the surface of the world: people's clumsy everyday intimacies, the neverending pursuit of self-knowledge, God. Of foremost interest was the unreliability of memory as a tool through which we experience life, yielding an attempt to dismantle it into its minute elements.

"I arrived at a combination of diary entries in the form of field recordings, various, mostly acoustic, instruments through which I invoke different modes of memory // its associative functions, and my own voice, more an agent of introspection than any conventional vocal. The lyrics were originally written as pop-songs, but committed to the form of contemporary music they appear as field recordings made to be sung. They are field-songs."

"To me, musicmaking is a dialogue with sounds where I seek to understand their character and how to handle them. This is a performative process and admittedly also a projection – what I am actually discussing is myself. The recording took place at a remote cabin in the forests of Tribeč. Most of my work is created in isolation, regardless of the social distancing and lockdowns of the outside world."

Tomas Pristiak is a member of Tante Elze, Pain Palace (FKA Weltschmerzen), and dog-rose is his first solo album and the 11th release by contemplative label Weltschmerzen.

Each vinyl copy includes a download code for the release plus 2 digital bonus tracks.

RedBox is the second record in the colored BOX series by Elad Magdasi.

This release is red by all means, with a combination of dark synths and playful notes, Elad mixes his favorite styles while keeping the mood tooly and dancefloor oriented.

All the tracks are named by their position on the record, similar to the oldskool way, focusing on the music alone.
All RedBox tracks were produced at the same time, on the same wave of inspiration, they compliment each other though being completely different.

Front Left Love.

Complete with 10" vinyl record and booklet presenting Laurianne Bixhain's photographic work and text by Chloe Chignell.

Presented at the Mudam (Museum of Modern Art of Luxembourg) and initiated by a photographic exploration by Laurianne Bixhain, the work "The day begins with a loud boom" interrogates the manner and extent to which we are defined by our relationship to the physical environment, and the cultural import of the techniques of production. Its imagery follows the trajectories of the materials subjected to the processes of diamond cutting and automotive glassware fabrication, and presents the traces of human intervention of which those materials are both the object and the repository.

The interplay of its imagery, music and text constitutes a theatrical whole: both the staging of the text and the sonorities create an architectural space within which each constituent object is deployed. That spatiality is shared and complemented by the text’s sonorous and performative qualities. Likewise, the elements of texture and abstraction in the imagery invoke our sense of touch, as a means of material and spatial appreciation.

The succeeding reiterations of the ostinato the day begins with are treated graphically by its progressive effacement, evoking the tension in assembly line work between repetition and linearity, accumulation and exhaustion, trace and erasure. Such attrition is equally conveyed by the harsh, impassive, and architectural qualities of both the images and the music which accompany the text. The latter notably deploys a range of insidious effects, from the marriage of dissonance and unsettling rhythm evocative of the competing cycles of multiple industrial machines, to sensual and reassuring sonorities which are contaminated by their contrast with the harsh acoustic aesthetic elsewhere.

Blending sounds of early 70s Funk & Soul, Latin-Jazz, and Afrobeat, Mestizo Beat kicks the year off with a heavy dose of new material. First up is “She’s A Rose b/w Lotsapapa,” their next 45, offering two sides of masterful instrumental soul music written & produced by The Magaña Brothers out of their hillside studio, Spc 166 in Topanga, CA. Side A’s “She’s A Rose” takes us back to the golden years of the Blaxploitation film genre and the soundtracks we have grown to love. This song was inspired by the compositional and orchestral arrangements from the greats, such as Curtis Mayfield’s “Superbad,” Johnnie Pate’s “Shaft in Africa,” and Bobby Womack’s “Across 110 Street.” Featuring Tim Felten of Surefire Soul Ensemble on keys, with horns written and arranged by Jesse Audelo, Mestizo Beat takes the listener on an evolving journey, exploring the mood and cinematic elements of flute, saxophone, and wha’d-out guitar, topped off with a funky drum and percussion break. On the flip, “Lotsapapa” rounds out the B-Side, blending the musical styles of Latin and Nigerian disco-funk into a track that’s perfect for the dancefloor and those late nights out. Written about Bernard “Lotsapapa” Crowe, a notorious drug dealer who survived an attempted murder by Charles Manson, this side is sure to get the body moving with the afro-disco rhythms and chant vocals, dubbed out around a tightly arranged horn section written and arranged by Jesse Audelo and Jason Cressey. “Lotsapapa” features guests Steve Haney from Jungle Fire on Percussion and Cressey of the True Loves on trombone.

With each side highlighting the various talents of the ensemble, Mestizo Beat always stays true to their sound and recording techniques. Both tracks are mixed by Sergio Rios at Killion Sound and are featured on the forthcoming LP, Jaraguá, coming mid-2024.

Violet Vinyl

Das 3. Imperial State Electric Albums 'Reptile Brain Music' jetzt erhältlich als Ltd. Violet Vinyl. Imperial State Electric ist eine schwedische Rockband, die 2010 von Nicke Andersson (Entombed, The Hellacopters) mit Dolph de Borst (The Datsuns, The Hellacopters), Tobias Egge sowie Thomas Eriksson gegründet wurde. Empfehlung geht raus an alle Rock N Roll-, Power-Pop-, Hellacopters- und Beatles-Fans!

Although 30 years after its birth this fundamental electronic gem called 'Reflections' has achieved cult status, it is worth remembering that it all started in 1993 in a small apartment in Waterloo, London, with the help of a mixer and a bunch of hardware synth and drum machines of hardware, with the mastodontic Oberheim OB-8 synthesizer as the main partner.

While in the UK the vast majority of kids showed a certain rejection of what came from North America in the form of electro, Kirk Degiorgio, under his alias As One, embraced it openly and incorporated it into his productions along with influences from other genres that he had already adored since he was young, such as jazz, soul or funk, thus becoming one of the true early adopters of Detroit techno in the UK.

If we look back, 'Reflections' is a challenge in itself, and even more so considering what the consumption pattern of electronic music was in the early 90s. This timeless album fits into the delicate border between being enough club to work on the dance floor, and still being musical and cerebral enough to be listened to at home. A milestone that, whether premeditated or not, Degiorgio more than achieved.

Three decades later Lapsus Records has been able to access the pre-masters extracted from the original DATs to build a special 30th anniversary edition within its Perennial series. For the occasion, this reissue not only offers the tracks included in the first edition, it also adds the songs 'The Priestess' –never released on vinyl before– and Forgotten Memory –until now unreleased and rediscovered in one of the DATs dating back to 1992 from the 'Reflexions' recording sessions. We are therefore facing the definitive edition of an album that, despite coexisting with the explosion of the rave movement, would pave the path for the UK-Detroit connection.

■ "A Ghost Story" ist ein übernatürliches Drama aus dem Jahr 2017, verfasst und inszeniert von David Lowery, mit Casey Affleck und Rooney Mara in den Hauptrollen. Der Film erzählt die Geschichte eines Mannes, der nach seinem Tod zu einem Geist wird und im Haus verweilt, das er einst mit seiner Frau geteilt hat. Der Film erhielt lobende Kritiken und wurde mit mehreren Auszeichnungen geehrt, darunter von der Boston Society of Film Critics, dem Deauville Film Festival, den Houston Film Critics und dem Sitges Film Festival. Die Musik für "A Ghost Story" wurde von Daniel Hart (bekannt für "The Green Knight" und "Pete's Dragon") komponiert, wie bereits bei allen
vorherigen Filmen von Lowery.

Eine Limited Edition von 500 Exemplaren des Soundtracks ist auf Smoke Coloured Vinyl erhältlich und wird mit einem Druckbeileger geliefert.

Returning to Intrepid Skin after her brilliant debut EP, and following on from a string of acclaimed releases since then, Berlin-based producer, DJ, and label owner Valerie Ace presents four new cuts of powerful hard dance and techno. Strass and Stress is out 1st March as both vinyl and digital.

With a background in organising DIY raves and a commitment to community-led efforts in electronic music, Valerie carefully fuses references from a range of genres into a singular, contemporary take on techno. Guided by an instinctive ear for experimental, groove-driven frameworks, her strain of dance music is hard-edged but mischievous, playful but heartfelt.

Diving straight into the peak hours, opening track 'Taking a Risk' is a swirl of hard kicks, frantic alarms and distorted leads; a statement of intent for what is to follow. Hot on its heels is the aptly-titled 'Slay'- a marching roller with double drops of acid, warped sonics and echoing glitches. Plunging into a hazier zone, 'Anxious not Afraid' takes an intoxicated spin on psytrance, building a vast acoustic space with equal parts tension and release. Closing off the EP, 'How To Fit In' jumps back onto the floor with an unrelenting spiral of
industrial-leaning hard drum chaos.

Strass and Stress is an all gas no brakes package of four crucial cuts from a producer on top of her game.

We welcome the English creator from Manchester Mark Wilkinson aka Kid Machine to HC Records.This album of 12 songs on vinyl and 4 digital bonus tracks, already seemed historic to us at the time of closing the album, but now it seems like a real event as it is the last one that the artist will publish under the pseudonym KID MACHINE.

Repress! Official reissue of the Austrian prog-psych masterpiece. An indescribable trip influenced by Pink Floyd, Soft Machine and Procol Harum, but greater than the sum of its parts. All vocals in English. “6 stars” – Hans Pokora Paternoster, that UFO of a rock album released unceremoniously on a custom-pressed CBS Austria long player in 1972, is the stuff of legend. It’s been known to the rock collecting elite since the 1980s, when it was first rediscovered, and it quickly became one of those rock records, the records you hear about only if you know someone who knows someone with a copy, much like Damon’s Song of a Gypsy. Paternoster is a terrifying album, a collection of songs that traverses the sublime, and thus necessitates a bowel-loosening acceptance of beauty too complicated to merely admire, bowing under the weight of a tremendous atmosphere, accentuated by Gothic organs and scorching fuzz guitar, punctuated by wailing vocals detailing visceral, Bosch-like images, and carried by enveloping bass and syncopated, mixed-well-too-loud-and-thankfully-so drums.

Drum-machine soul, funk, disco and boogie from Buffalo, NY. Rare 7" singles and previously unreleased tracks presented as a complete album. In the early 70s, Jessie Key and Sylvester Cleary - two passionate idealists living in Buffalo, New York - formed a close friendship based on a mutual mission to better their city. The Attica State Prison Riot of 1971 was a burning memory, and the Arthur vs. Nyquist lawsuit - brought against the City of Buffalo for creating and maintaining a racially segregated school system - was on the docket. Key was once a cotton-laborer in Mississippi, who journeyed north for school where he met his kindred spirit, Cleary. The two struck up an intense friendship, bought a drum machine and recorded their first 45, "A Man," a paean to self-actualization and Black American empowerment, which they custom pressed and issued privately. Dozens of recordings followed over a decade long span, issued on local labels and warehoused on cassette tapes. Perennial optimists, Key & Cleary tried any - perhaps every! - path they could demarcate in hopes of forwarding their agenda of self-effected, positive change. They formed Buffalo’s first minority-owned construction company, opened a health food restaurant in a building previously occupied by a fast food chain, and even concocted a candy bar called "The Buffalo Treat," which they manufactured and sold locally. Eventually they started their own label, Buffalo’s Reflection. On it they released their masterpiece, "What It Takes To Live," a sought-after disco and Northern Soul classic, which previously appeared on Now-Again”s Soul Cal anthology. This album collates the breadth of Key & Cleary’s recordings from 1970 until the mid 1980s, both with songs issued on rare 7" singles and previously unreleased. It presents a conjoined musical vision and tells the story of a duo years ahead of their time, both musically and culturally. Love Is The Way was their ethos - their goal was to enlighten humanity and to bend history in a more loving direction through communion.

Formed in 2006 in Boston, Massachusetts and now based in Berlin, Germany; Arms and Sleepers is the electronic trip hop project of producer Mirza Ramic (formerly a duo with Max Lewis), who has subsequently released 13 full albums and 20 EPs of glitched-out grooves that take as much inspiration from leftfield hip hop experimentalism as they do from the slowburn ambience and panoramic euphoria of contemporary post-rock. His forthcoming 14th full-length album, `What Tomorrow Brings' is a breathtaking aural account that charts the life-changing journey of being forced out of your home over four distinct, musical sections. Initially inspired by watching Kenneth Branagh's award-winning coming-of-age drama Belfast as the fighting in Ukraine broke out, MIrza found himself reflecting on his own experience as a child and how it has formed the man he is today. As such, the album's four sections, titled `Innocence', `Melancholy', `Rupture' and `Reflection', serve as the reification of the life and experience that Mirza lost as well as a representation of the identity he has since shaped for himself. Whereas more recent Arms and Sleepers releases, such as 2022's full-length `former kingdoms', are peppered with the sultry saxophone refrains, syncopated 16ths and smoky ambience of a New York jazz bar; `What Tomorrow Brings' is instead acute and driving, with complex drum breaks reminiscent of powerful post-rock acts such as BATTLES, Mogwai and Caspian brought insistently and urgently to the fore. Double vinyl in single colour orange!

Viktoria Tolstoys ACT-Debütalbum »Shining On You« aus dem Jahr 2004 markiert aus heutiger Sicht einen wichtigen Moment in der Erfolgsgeschichte populärer Jazzstimmen aus Skandinavien. Die Musik für die Aufnahme schrieb Esbjörn Svensson, der zusammen mit Dan Berglund und Magnus Öström die Kern-Band bindet, welche wenig später als e.s.t. weltberühmt wurde. Das von Nils Landgren produzierte Album ist auch ein Treffen vieler Mitglieder der damals noch jungen ACT Family of Artists, die als Gäste an der Session teilnahmen.

Genau 20 Jahre später hat Viktoria Tolstoy für »Stealing Moments« die Idee des »familiären« Musikzierens wieder aufgegriffen. Die Kompositionen des Albums stammen von einer ganzen Reihe aktueller ACT Künstler, von denen viele auch schon an »Shining on You« beteiligt waren. Und auch Esbjörn Svensson ist auf besondere Art am Album beteiligt: Von ihm stammt die Instrumentalkomposition »Hands Off«, für welche seine Frau Eva nun einen Text verfasst hat. Dazu kommen Kompositionen, die langjährige Freunde und Weggefährten wie Nils Landgren, Ida Sand, Wolfgang Haffner, Cæcilie Norby, Lars Danielsson, Iiro Rantala und Jan Lundgren eigens für Viktoria Tolstoy und ihre Stimme geschrieben haben.

»Wenn du singst, geht die Sonne auf«, sagte Pat Metheny einst zu Viktoria Tolstoy. Ihre klare, kraftvoll strahlende Stimme ist der rote Faden, der alle Stücke auf »Stealing Moments« verbindet. Dazu kommt eine Mischung aus Energie und Leichtigkeit, die Viktoria Tolstoy als Person ausmacht und die sich durch die Musik auf die Zuhörer überträgt. Ihre Botschaft ans Publikum, in Anlehnung an den Albumtitel: »Lasst mich Euch ein bisschen Zeit stehlen, um dieser Musik zuzuhören.«

Burn Out - the latest release from Mini Trees - is a defiantly euphoric EP with the sonic and emotional bandwidth of a full-length record packed neatly into five new songs from Los Angeles-based songwriter Lexi Vega. Inspired by a relentless touring schedule that followed the release of her 2021 debut album Always In Motion, the songs of Burn Out confront questions of identity, exhaustion, and how to navigate creating art in an industry fixated on commodifying it.
A month away from music sparked Vega’s creativity and inspired her to return with long-time friend and producer Jon Joseph. Together they determined to push the limits of Mini Trees’ “bedroom pop” description, opening the door to a number of new

collaborators - keys from Zac Rae (Death Cab for Cutie, Lana Del Rey), arrangements from James McAllister (Sufjan Stevens, Taylor Swift), and even bass from longtime family friend Jimmy Johnson (James Taylor, Phil Collins). These songs shimmer in production, even as they’re saturated with the pervasive sense of fractured identity, disillusionment, and otherness that has shaped much of Vega’s sense of self. The overwhelming weight of these disparate identities is reflected in the EP’s cover art - a bed cluttered with clothes she’s chosen not to wear, familial heirlooms and mementos strewn at her feet.

Gwendoline werden nicht gern in Schubladen gesteckt. Wir tun es dennoch: Nu Wave with wit, Synthwave with edge, Postpunk with Pop. Als wenn Benjamin Biolay Molchat Doma vorstehen würde, ,I'm Not In Love" (Chrystal Castles) auf ,Anyway" (OTO) trifft, Ladytron mit DAF in den Urlaub fahren würden. Seit 2017 verfolgt das social medial scheue Duo Micka (a.k.a. Mikoune) und Pierre (a.k.a. Daniel) im eher verborgenen ihre Cold Wave-Vision. Das Debut wurde in reinster DIY-Manier zu Hause im Keller aufgenommen und ohne Umschweife in kurzer Zeit produziert. Lange Zeit gab es kaum was zu Gwendoline zu googlen, aber an den Kennnern ist es natürlich nicht vorbeigegangen. Das spanische Label Dead Wax Records fand das so super, veröffentlichte digital und sehr limitiert auf Vinyl, ein Reissue gab's auf bandeigenem Label 2022. Nun sind sie bei Born Bad gelandet und dabei in bester Gesellschaft mit Vox Low, Frustration und Bracco. Was macht Gwendoline einzigartig? Sicherlich ihre Wut und gleichzeitige Zurückhaltung, die sie mit Selbstkritik, Ironie und Humor vermischen, was sich in den Texten wie auch im Sound wiederspiegelt. LP-Version in klassich schwarz mit Download Code und Digipack-CD.

First ever vinyl edition of the landmark 1980 cassette by synth wizard Don Slepian. Utilizing the fabled and notoriously complex Alles digital synthesizer at the Bell Laboratories scientific research center, Sea Of Bliss features two transcendent cascading sidelong tracks, to easily qualify as one of the ultimate pinnacles of the new age genre. Cut with care using the Direct Metal Mastering process, and featuring cover artwork by visionary artist Jonathan Meader.

In 1998, Carsten Nicolai, also known as Alva Noto, visited a sound installation created by Robert Lippok for a group exhibition in Weimar, Germany. Soon after, he invited Lippok to release music on his label raster-noton. "Open Close Open" was released in 2001 and marked the beginning of Lippok"s solo career. Before, Lippok had already played in Ornament und Verbrechen (with his brother Ronald Lippok) and To Rococo Rot (with Ronald Lippok and Stefan Schneider). The source material for "Open Close Open" initially served as a soundtrack for a video by Takehito Koganezawa, a visual artist from Japan. For this remastered vinyl reissue, Lippok revisited the original sound material and produced a new track called "Licht."

"The Blinders make their return today with ‘Brakelights’, the first track to be taken from their forthcoming third album, Beholder, which is released on Friday 1st March 2024 via Funhouse Recordings/ EMI.
The perfect introduction to their new album ‘Brakelights’ drips with a dark atmospheric intensity which equally lurks across the albums other 9 tracks. The Blinders are an English alternative rock band originally from Doncaster, now based in Manchester, England. Beholder shares a frenetic energy with their previous albums but there’s a new depth both lyrically and musically to the album. With a visceral urgency live to more than match the likes of contemporaries IDLES or Fontaines DC, The Blinders take their brooding and intense live show, which recalls the dark atmospherics of The Bad Seeds or peak-period Bunnymen around the UK in March"

Sweden's Forndom is among the world's leading artists in Scandinavian folk. Since "Dauora Dura" debuted in 2016, the album has amassed nearly a combined 40 million Spotify plays. Meanwhile, Ludvig Sward has carved out a name for himself across multiple music scenes with celebrated tours and appearances at prestigious festivals. Now, after two sold-out editions, this timeless masterpiece of Nordic folk is available on vinyl once again.

The Glass Hours are American songwriters Brad Armstrong and Megan Barbera. Their music blurs between Sunday afternoon country-folk and the Golden Age of the 1970s. With the exception of Sue Westcott on fiddle (Chet Atkins, Tom Jones), the album was written, performed, recorded and produced by Brad and Megan in Brad's home studio in Red Hook, New York.

Like much of the work they've done in their respective solo careers, the new album dances between this and that, drinking from the same wells as Gram Parsons and Emmylou Harris, Tom Waits and Lucinda Williams. The songs go where they want to go; Brad and Megan simply try to stay out of the way. Although it is nearly impossible, in this new world of niche artistry, not to pick a genre camp and pitch a tent, The Glass Hours seem intent on trying. Yet, there is a thread that ties the whole thing together: the constant tension and tapestry of their voices harmonizing. Every song on 'The Glass Hours' was written with the idea of this harmony and interaction, point and counterpoint. Two voices trying to come together as one.

Following his blissfully abstract, piano-based collaborations with Harold Budd and Ruben Garcia over the last 20 years, The Arcades Project is John Foxx’s first solo piano album, released on vinyl for the first time. This latest work has a fresh sense of wonder, as if returning to the instrument after the raging analogue noise of his last major work, 2020’s Howl (by John Foxx And The Maths) necessitated a further retreat into quiet, minimal music. Reviews for The Arcades Project: “Delicate evocation of the ambience of a city’s galleried passages.’ Mojo 4 ****. 'This exquisite and refined solo piano work is a fine addition to a body of work made by an artist always investigating memory and imagination.’ The Quietus Album of the Month for April 2023. 'His most evocative music.’ Uncut Magazine 8/10. ‘Delicate, drifting and hypnotic.’ Record Collector 4 ****. ‘Unmissable’ Electronic Sound Magazine. 'Its minimalism is moving; its restraint rich in reverie. Foxx's 21st-century body of work grows ever more absorbing.’ Prog magazine. ‘An album that has the potential to be a classic of modern times and a reference point for classical ambient for years to come.’ Louder Than War. ‘Awed wonder . . . and frequently beautiful.’ Classic Pop. 'Foxx has created 12 stunning pieces of music . . . sparse, minimalistic, and extremely moving . . . It goes a long way in demonstrating just how much of a genius he is' Spill Magazine.

Svart Records proudly present Tasavallan Presidentti live at the Ruisrock festival in 1971! Tasavallan Presidentti’s annual performances at Ruisrock in Turku, Finland during the festival’s early years were proof of the band’s rapid ascent from a local band to an internationally renowned group of top musicians. “Pressa” left a lasting mark on many a festivalgoer, and the most optimistic ones were hoping to get these performances on a live album, if recordings existed. They do exist, and what remains on tape of the first ever Ruisrock performance was released on Changing Times and Movements (Svart Records), and the show at Ruisrock 1971 is now coming out on this album. 2LP Transparent Purple Vinyl.

Svart Records proudly present Tasavallan Presidentti live at the Ruisrock festival in 1971! Tasavallan Presidentti’s annual performances at Ruisrock in Turku, Finland during the festival’s early years were proof of the band’s rapid ascent from a local band to an internationally renowned group of top musicians. “Pressa” left a lasting mark on many a festivalgoer, and the most optimistic ones were hoping to get these performances on a live album, if recordings existed. They do exist, and what remains on tape of the first ever Ruisrock performance was released on Changing Times and Movements (Svart Records), and the show at Ruisrock 1971 is now coming out on this album. 2LP Transparent Purple Vinyl.

Partiboi69 strikes poses, chords and hot irons. Australia’s spiciest export since INXS’s front man is a sensation on many (meta-)levels. Musically, aesthetically and hedonistically exhilarating, the man’s man shows his sensitive side on Running Back. Four tracks answer the Call of the Void with a showcase of sounds and moods that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void): surprisingly serious and simultaneously not-so-serious. Composed and executed with serious songwriting skills and an uncanny feel for the aural world of Running Back Records. A mutual pleasure, indeed.

Short: Partiboi69 strikes poses, chords and hot irons. Showing his sensitive side for Running Back with four tracks that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void). A sensation on many meta-)levels and a mutual pleasure, indeed.

The composer, percussionist and instrument builder Limpe Fuchs has spent six decades exploring the outer limits of sound and its effects on the listener. Born in Munich in 1941, Fuchs is part of a generation of German artists who sought radical new approaches to art, music and social organisation in the period following the Second World War.

Alloa, Bavarian for alone. Limpe likes to be alone, because she is never lonely. When she is not on concert tours, she cultivates the garden in front of the door or playfully handles her instruments in the house. Among these has recently been a restored concert grand piano, which she found orphaned at a performance venue in Switzerland and rescued from being scrapped in Peterskirchen. Since then it has been the center of Limpe's attention, is played daily, and can be heard on the recordings of this LP.

The music alternates between free improvisation and impromptu compositions, played also around fragmented recited poems. Beyond the boundaries of jazz, art song and classical music lies the freedom Limpe takes at the piano, laughingly commenting on her unorthodox, even carefree way of making music with a quote from Friedrich Gulda: "From seventy on, all pianists are bad."

Well, so what, Limpe is not a pianist anyway, she is much more than that. She is the most vivid proof of a long-lasting, versatile and intrepid musical career, the next chapter of which will also consist of Limpe no longer exclusively traveling through Europe heavily laden with all her self-made instruments, but every now and then light-heartedly from grand piano to grand piano, to then make music for everyone, as always but not necessarily alone.

Utter and complete FROG FRENZY on Studio Barnhus as Computer Station (label veteran Your Planet Is Next + label newcomer KABLAM) take you on a ribbeting ride, leaping right into a lily-pad-laden
wonderland where the basslines forever croak in unison. Club-optimised mixdowns, advanced computer graphics courtesy of Dennis Vera and not a BPM count under 149 guarantee that this record will make a proper splash in
the frogstep scene!

- Limited edition 12” vinyl of 300 copies

Patsy Cline was the first true Queen of Country, putting down markers in a male dominated musical world for the likes of Kitty Wells, Brenda Lee and Loretta Lynn. She is now revered by a new generation of performers. Invited to sing on American television’s Arthur Godfrey Talent Scouts show, the show’s producers insisted she sing Walkin’ After Midnight. The standing ovation it won from the studio audience told its own story, and a Number 12 Pop hit resulted. She came back strongly, recording another crossover hit in Crazy, written by Willie Nelson. It became her biggest seller, reaching Number 9 in the Billboard Pop listing that October. Other 1962-vintage tracks featured here are She’s Got You, When I Get Thru With You (You'll Love Me Too) and So Wrong, show an artist at the top of her game. But while 1962 would bring more acclaim, the story ended for Patsy Cline all too soon. However, her recordings ensure Patsy’s name lives on through her songs Heartaches, You're Stronger Than Me, Lonely Street, Stop, Look And Listen, Why Can't He Be You, You Belong to Me, Strange and the Hank Williams cover Your Cheatin' Heart.

The world of Country Music is one of tradition and reverence, it is then only fitting that two uniquely special Rock & Roll artists, whose music educations are steeped in Country and Gospel, offer their interpretations on Hank’s music. Jerry Lee Lewis and Johnny Cash, each offer their take with ten versions on Williams’ Country standards: ‘Hey, Good Lookin’’, ‘I could Never Be Ashamed Of You’, ‘I Can't Help It (If I'm Still In Love With You)’, ‘I Heard The Lonesome Whistle’ and ‘Cold, Cold Heart’ - performed by Cash. With ‘Lovesick Blues’, ‘You Win Again’, ‘Your Cheating Heart’, ‘Jambalaya (On The Bayou)’ and ‘Settin' The Woods On Fire’ – delivered by Lewis.

The "Economix" EP is a cherished item among collectors, embodying a golden era of rave. Released in 1992, it's oftencompared to other iconic EPs of the time, like 2-X-Treme's 'X-tremity EP' The tracks "Loop" and "Panic" particularly stand out for many.

"Loop" garners attention for its sampling of The S.O.S. Band and Alexander O'Neal's "The Finest", while "Panic" is notable for its two distinct samples: one from Hijack's "TheBadman Is Robbin'" and another from MC Duke and DJ Leader1's "I'm Riffin".

This hand stamped run of white label red vinyl represses catersto the enduring demand among the oldskool rave aficionados. Each track on the EP showcases a blend of hardcore, jungle,and house vibes, contributing to its revered status within the oldskool rave community.

First ever vinyl release of the album recorded in 1969/70 by UK prog-psych band Misty. Including their terrific mod-psych “Hot Cinnamon” 45.

A dazzling fusion of classically-inspired progressive rock and song-based psychedelic pop with an organ-based sound, in the vein of Procol Harum and The Nice.

“In October 1969, King Crimson released their debut, In The Court Of The Crimson King, Pink Floyd unleashed Ummagumma and Led Zeppelin put out their second LP. At the same time, Misty were in London’s Regent Sound Studios recording what turned out to be the only album of their career with producer, Adrian Ibbetson, who had cut his teeth as an engineer working with everyone from the Beatles to the Equals.

After only a handful of gigs, Misty signed a deal with Parlophone and began to gather momentum with the release of Hot Cinnamon. Although they received a lot of airplay, the single failed to chart and the band’s hopes of releasing their debut album were dashed. Reluctantly, Misty went their separate ways and the Here Again master tapes sat gathering dust on a shelf until Gelardi came across the original acetate and decided it was time for the album to finally see the light of day.

Bridging late psych and early prog, songs like Life Has Just Begun, Witness For The Resurrection and the title track were played with a perfect mix of high-flying experimentation and virtuosic musicianship. Blurring the fine lines between rock, jazz, classical and chamber pop, Here Again is a transcendent kaleidoscope of colour that is beyond definition.

Maybe you can tell an album is truly timeless when it takes half a century for it to be properly appreciated. Misty were a rare bird, a brilliant, truly original band who should have left an indelible mark instead of joining what now seems like the never-ending line of half-remembered and long-forgotten flotsam and jetsam of the psychedelic era.

Both the first and the final statement from a group who never really got their chance to be heard, Here Again is a slice of pristine psychedelic pop that so embodies the dizzying energy and the progressive spirit of the time, it’s astonishing that it stays afloat under the weight of its own intentions. But float it does, like mist in the air - a half-forgotten diaphanous dream slowly coming back to you after 50 years of silence.” – Jonathan Wingate

Long out of print. Obi Strip and new liner notes

‘THE CONGREGATION - Jazz Alliance International’ compilation is the latest offering from Mono Jazz label. Compiled by Massimiliano ‘Jazzcat’ Conti - a DJ, broadcaster and internationally respected
selector with over 150,000 followers on Mixcloud - and featuring liner notes by Paul Bradshaw (from the iconic ‘Straight no Chaser’ magazine), ‘THE CONGREGATION’ is an innovative, largely
contemporary selection of tracks that they feel is representative of the current era - a true manifesto of the international jazz scene of the present days.

The release was received with great enthusiasm by some of the leading DJs and music critics of the scene – from the UK, to Germany, to Japan – getting early radio support by Patrick Forge (NTS), Colin
Curtis (Hitmix Radio), Kevin Beadle (TWR), Rainer Trüby (Compost Records), Shuya Okino (Kyoto Jazz Massive), Raffaele Costantino (Rai Radio 2), Ilya Rasskazov (Headz.FM), Michael Rütten (Soul Searching), David Patterson (JFSR), Simon Harrison (Basic Soul) & more.

Built around a near mythical, unreleased song by Japanese producer Yellowtail featuring legendary beat generation jazz singer Mark Murphy, the selection of tunes contained in this album ventures far and wide. Soulful offerings by Anthony Joseph and Jimetta Rose & The Voices of Creation, percussive and spiritual renditions by the likes of Malcolm Strachan, Right Tempo’s own Francesco Sotgiu and Nicola Conte, Latin-flavoured explorations by Mexican giant Tino
Contreras and Acid Jazz’s signed Mama Terra and a hip-hop spiced cut by Portuguese producer Azar Azar are some of the many moods that can be found in ‘THE CONGREGATION’

For a long time, the music of Congo-born Bony Bikaye had to be sought in the purgatory of "world music", where diamonds in the rough cohabited with bland nightmares of white dudes who froze rumba like fish sticks. Worse, they did put it on the menu, when so many longed to move on. Take Bikaye, who grew up listening to modern european music, digs Krautrock, struggles with tradition, obviously looking for trouble in the genre. In Brussels, he recorded a few albums with CY1 (Loizillon/Micheli), and brilliant defectors from Aksak Maboul, produced by Hector Zazou. Now it's up to french trio TONN3RR3 to take up the torch and build this project that proudly brags: "It's a bomb". Thought up at home by Guillaume Gilles (compo/keyboards), the album was finished at One Two Pass It studio, with Olivier Viadero and Gae"lle Salomon on percussion, Yoann Dubaud (machines & bass) and Guillaume Loizillon (synth of CY1 fame, and matchmaker of this affair). It's a deeply musical record, crafted by no-attitude reference players with nothing left to prove, and you can hear it. Floats well above the fray. "Keba na butu", beware. Indeed : beyond the simple pleasures of soukouss, or the rumba guitar riff that spins like a merry-go-round that skipped technical inspection, lie lush orchestrations. Freestyle, synthetic : something old, something new, something what-the- fuck-is-that-now. There's straight, there's syncopated, there's 808 and knee-jerk inducing bass patterns_with a vision. BIKAY3 plays his voice more than ever. His crazy vibrato has improved like hard liquor over the years. In "Zela" and "Balobi" in particular, he puts it to good use with flamboyant, Screamin' Jay Hawkins-style antics. He can also resort to pure storytelling : "La fore^t et les dieux", is a French-spoken excursion into the wild, moving along in grasslands of synths and percussion with TONN3RR3. A tale of gods and spirits, plain and simple. Nicole Mitchell brings the occasional flute in "Akei" for this trip in the bush of ghosts where lingala and kikongo rub with English and French. They saved "It's a bomb" for the end, a bastardized rumba, with rimshots that slap like a cool hand on willing skin. We're living in a golden age of reissues coming out in droves and satisfying our desire to catch up on our neighbors' musical heritage, but let's not miss the boat : it's now or never to listen to the music of the living. - Halory Goerger

Termination is an album inspired by the halting problem in computer theory, i.e. whether the program will finish running or continue to run forever. The halting problem is undecidable, meaning that no general algorithm exists that solves it. This is true also for human life, as it goes up and down and one can’t program it, because simply you cannot predict the future, and even if we could there are so many variables that can easily f*ck up any sort of forecast. Modern Stars is an Italian neo psych rock band which showcases a unique musical style characterized as instinctive, flickering, fuzzy, aerial, groovy, bizarre, distorted, harmonious, and dissonant. Influenced by bands like Spacemen 3, Primal Scream, Suicide, and lesser known musicians. Termination is Modern Stars' fourth studio album, following Silver Needles (2020), PsychIndustrial (2021) and Space Trips for the Masses (2022).

. First edition on vinyl, remastered tracks and new artwork along with a 12“ size insert, 2x12“ size poster, sticker and DL-Card. Vocalist Chaka Malik and guitarist Chris Traynor met in the New York hardcore band Burn and began playing together as early as 1992. With an early version of Orange 9mm, the duo released a live EP in 1993. The recording earned the band a contract with East West, and after picking up bassist David Gentile and drummer Matthew Cross, Orange 9mm began recording. Driver Not Included was released in 1994, and the band spent time touring with Helmet before signing with Atlantic the following year. Gentile left later in 1995 and was replaced by Taylor McLam just after recording ended for Tragic, with production by Barkmarket's David Sardy. Tragic was released in 1996; it would be three years before Orange 9mm issued a follow-up, which bore the title of Pretend I'm Human

What a great little∼big gift from amigo MIKE WATT, himself → 30 years after the release of the MINUTEMEN —mythical, epic & unique— album «Double Nickels On The Dime» coinciding with the very∼first european tour curated by MadameMacario and shared with GUESS WHAT & L’Œillère from Februarry 20 to Aprril 19, 2014 ; MIKE WATT THE MISSINGMEN suggested me to help spread this —tasty & respectful— selection of 6 HOMMAGE interpretations taken from this 1984 «chef d’œuvre»… Just a sweet neat iconoclast blast !

Following the huge success of the album "Two Moons" in 2022, "Two Moons Analog Session" is now
available as an exclusive single release for fans of vinyl

Best known for his work for legendary Thai director Apichatpong Weerasethakul (he even designed the enigmatic “bang” in 2021’s labyrinthine ‘Memoria’), Japan’s Koichi Shimizu has been honing a unique musical language since the early ‘90s, where some of his earliest material can be found on a split LP with Yoshiteru Himuro via once-iconic imprint Worm Interface (itself home to music from Autechre side-line Gescom). ‘Imprint’, was initially released quietly back in 2021 and has been remastered for this new edition, removing one track and bumping it up with four more, making it all available on vinyl for the first time.

The album offers a perfect overview of Shimizu’s broad palette, ranging from fine-wrought keys to electronic brutalism and guttural rhythmic pulses, plotted with an underlying narrative cadence that evinces his ability to heighten the impact of moving image, whilst also colouring the imagination with ephemeral sound imagery. His tekkerz are in bracing, anticipatory effect on a retooled, expanded version of his music from ‘Memoria’ within the convulsive, swarming silhouette of ‘Imprint’, and ‘The Path’ finds his aural accompaniment to ‘Uncle Boonmee...’ given room to breathe and develop into an unexpected, OOBE-like experience. In ‘Moth’ he magnifies and anthropomorphises a winged insect with finely chiselled technical nous, and his exquisite arrangement to ‘Faded Sign’ is somehow comparable to the ephemeral emotional register of cinematic collaborations between Ryuichi Sakamoto and Carsten Nicolai.

The Hardcore Vinylists are one of, if not the the biggest groups on facebook catering to Vinyl Djs spinning the classic sounds of early 90s Uk rave and new material made in the old skool style.The Hardcore Vinylists record label showcases new and emerging talent from producers connected to the group and here Zhute fresh from a previous vs Ep with Bino is back with 3breakbeat retro rave tracks with big pianos, big vocals and breakbeats firing off.

Several unique features set the debut studio album by folk rock supergroup Crosby, Stills & Nash, released in 1969 by Atlantic Records, apart. It's the only album by the band before adding Neil Young to their lineup. The album spawned two Top 40 singles, "Marrakesh Express" and "Suite: Judy Blue Eyes," which peaked respectively at No. 28 during the week of August 23, 1969, and at No. 21 during the week of December 6, 1969, on the U.S. Billboard Hot 100. The album itself peaked at No. 6 on the U.S. Billboard Top Pop Albums chart. It has been certified four times platinum by the RIAA for sales in excess of 4 million copies.

Instantly lifting the group to stardom, along with the Byrds' Sweetheart of the Rodeo and the Band's Music from Big Pink, the previous year, the album is cited by music reviewers for initiating sweeping changes in popular music. In 2021 the album held the rank of No. 161 on Rolling Stone's 500 Greatest Albums of All Time list.

Crosby, Stills & Nash was "the perfect blend of David Crosby's social conscience, Stephen Stills's virtuoso musicianship and Graham Nash's ability to craft the perfect pop melody for radio," writes Rolling Stone, in its review.

The band was brought together after Crosby was fired from The Byrds, Stills's band, Buffalo Springfield had broken up (a band which also featured later member, Neil Young) and Nash's departure from The Hollies. The three decided to form a band after an informal jam led them to discover how well their voices harmonized. Released in May 1969, the band would perform nine of the album's 10 songs at Woodstock, which was the second time they ever did, in August of the same year.

The album features some of CSN's most well known and iconic songs; "Suite: Judy Blue Eyes," "Marrakesh Express," "Guinnevere," "Wooden Ships," "Helplessly Hoping" and "Long Time Gone." This album saw a shift in sound to what was popular at the time — blues based rock, opting for a more folk rock, and sometimes jazz-based sound. It would lay the foundations for the California Sound that would be popularised out of Laurel Canyon in the ‘70s. Artists such as The Eagles, Jackson Browne and Fleetwood Mac would take inspiration from the sound of this record.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman 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.

All-Analogue Vinyl LP for the First Time in Almost 50 Years!
Mastered by Bernie Grundman from a 1-to-1 Flat Transfer of the Original Analogue Master Tapes!

Pressed on RTI's HQ-180 for the First Time Ever!

Deluxe "reversed" tip-on jacket that faithfully reproduces the original with highest-grade materials
Exclusive full-colour insert with new historical and production notes by Charles L. Granata and photos from the Sony Music Archives



This next all-analogue, HQ-180 gram LP is an impeccably performed and stunningly recorded late-period gem from The Titan of modern violinists. The Lark revisits works that helped define Heifetz in various points of his illustrious career and which highlight his crisp attacks, imaginative phrasings, and mellifluous sustained notes.

The repertoire is intriguing, combining two iconic pieces (Tomaso Antonio Vitali's Chaconne in g minor for Violin and Continuo, written in the Baroque period; and Gabriel Fauré's Violin Sonata No. 1 in A Major, Op. 13, written in the late-Romantic period) with Mario Castelnuovo-Tedesco's The Lark: Poem for Violin and Piano (a 20th-century modern tone poem). Although nearly two-hundred years separate their composition, these pieces complement each other beautifully: a testament to the discerning judgment of Heifetz and producer John (Jack) Pfeiffer, who helped create his albums.*

The LP was cut by Bernie Grundman from a straight 1-to-1 copy of the original session masters, meticulously created by Andreas Meyer at Swan Studios NYC. No digital processing of any kind was used. The original reverse-tip-on-style jacket and a brand new 4-page insert split the difference between the authentic, nostalgic feel of a mint original and a reissue's value proposition you've come to expect from Impex Records.

Repress in soon, note new price. ORIGINALLY RELEASED IN 1982. Back in 1981, NEGATIVE APPROACH (along with The Meatmen and the Necros) were one of the dominant forces in the Detroit underground. The ravages of the Motor City made it a perfect breeding ground for this cacophony, later termed "hardcore." Hordes of punks packed the legendary Freezer Theatre to hear John Brannon's jagged, gruff vocals, the McCulloch brothers' (Rob and Graham) guitar/bass gnash, and OP Moore's pounding fury. The band's minimalist (read: 30 second songs) and aggressive brand of punk has inspired countless hardcore bands around the globe. SIDE A Can’t Tell No One * Sick of Talk * Pressure * Why Be Something That You’re Not * Nothing.. SIDE B Fair Warning * Ready To Fight * Lead Song * What Ever I Do * Negative Approach

guess who's back. it's been a whopping 23 years since Illogic & Nosdam last collaborated - which was on the 3rd part of the very first cLOUDDEAD recording, Apt A (1) - you know where the truth is...

If I Could Only Remember My Name was the debut solo record from David Crosby. Recorded in 1970 after the passing of his girlfriend Christine and released in February of 1971, the album explores themes including loss and disorientation. The album features a who's who of contributors from the San Francisco Bay area including Paul Kantner and Grace Slick of Jefferson Airplane, Jerry Garcia of the Grateful Dead, and Santana, and his cohort from Los Angeles including Graham Nash, Neil Young, and Joni Mitchell.

The album has attained a cult status throughout the last 50 years, hailed for its spooky, psychedelic, and truly unique sounds.

AllMusic gave the album 4.5 stars, with reviewer Stanton Swihart writing: "With his ringing, velvety voice — the epitome of hippie crooning — and inspired songwriting, he turns If I Could Only Remember My Name into a one-shot wonder of dreamy but ominous California ambience."

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman 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.

25th anniversary vinyl release for the second album from British alternative rock band A. 'A' vs Monkey Kong was originally released through Tycoon / London Recordings in 1999 and featured the singles "Old Folks", "Summer On The Underground" and "I Love Lake Tahoe". The album was integral in paving the way for A's later commercial success which saw the band having two top 20 singles in 2002. Vocalist Jason Perry is now an acclaimed record producer, working on albums by Don Broco, Molotov and McFly. Bassist Dan P Carter is now the host of the Radio 1 Rock Show. First time on vinyl, 'A' Vs Monkey Kong is released as a double 180g vinyl edition on red-transparent & orange clear with black haze colours, packaged in a heavy gatefold sleeve with a 16 page booklet. There will be a 6 week social media campaign with IG live to promote the release and tour dates planned for Summer 2024

Killer roots on both sides, perfect companion to his "Sings Songs..." album !
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Double sided heavyweight roots 10" from the late Gladdy Anderson. Made around the same time as his killer "Sings Songs For Today and Tomorrow" LP (now back in stock, click here!), here again are two killer tracks with Gladdy's sweet vocals over hard riddims from his band the Roots Radics. The A-side made the rounds as a dubplate first, then the vocal and dub ended up on different albums, while the B-side saw release as a single and an album track in extended format.

Ben Metek open this dancefloor session with a powerfull tribe very inbetween style : Pumpin & Hardfloor.... Efficient since the start the non-stop progression is defenitly in the OQP style ! Then comes Zayonne and a futuristic Pumpin teaser that delivers his kick after 1 minute...The style reminds Arobass and Fky. Sweet tenderness ! B side belongs to X-Tech and his Techno Tribe 160 electro vibe ! He finishes the job with hardfloor kick, hypnotized by the 7 minutes long set mental OQP smile !

For decades, any sound system worth their salt headed to the dub cutters to get a piece of the “Late Night Blues” riddim. Acetate after acetate of the riddim rumbled through speakers from Brixton to the Bronx, making it a certified sound system classic. Now, Pressure Sounds comes with four exclusive cuts of the Late Night Blues rhythm. The first 2 cuts combine Diggory Kenrick’s always-in-demand flute with the legendary Matic Horns on Side A. The flipside takes the riddim into deep, dubbed-out territory with two dangerous cuts, one laden with dreamy chimes, the other snatches of vocal.
A welcome addition to the Late Night cult!

Repress!

Mr Bongo are delighted to present an officially licensed re-issue of this underground Japanese rock rarity 'Uganda (Dawn of Rock)' by Akira Ishikawa & Count Buffaloes. This album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.

The respected Japanese jazz drummer Akira Ishikawa was not messing around when he recorded the 'Uganda (Dawn of Rock)' album with his band the Count Buffaloes. For this offering, originally released in 1972 on Toshiba Records, Akira Ishikawa takes us on a deep tripped-out journey. 'Uganda (Dawn of Rock)' is a fusion of progressive and psych rock with African percussion workouts, dergy-wah wah blues-funk, and jazzy sensibilities; with different genres morphing and uniting as they progress.

A long way from his funk and afrobeat album 'Back To Rhythm’, re-issued on Mr Bongo in 2019, this record has a darker, deeper, abstract and experimental stoned tone with the listener being pulled into its vortex for the ride. This record doesn’t pull any punches.

For this album, Akira is joined by Hideaki Chihara on bass, guitarist Kimio Mizutani, sounding at times like an early 70s Peter Green, percussionist Larry Sunaga and composer Takeru Muraoka.

The album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.

We are delighted to present an officially licensed re-issue of this underground Japanese rock rarity.

Available in 2 formats: Original LP in Box version & Tip-on Sleeve with OBI version.


• Highly sought-after underground Japanese rock rarity, originally released in 1972.

• Feat. Hideaki Chihara, Kimio Mizutani, Larry Sunaga and Takeru Muraoka.

• Available as the original LP in Box version & Tip-on Sleeve with OBI version.

When not knocking it out of the park with his garage alias Instinct, James Burnham is somehow also managing to find time to revert to his original Burnski moniker and the minimal and tech sounds with which he first made his name. On this latest 12" via his own Constant Sound label, 'Boom' is a rude boy jam for sure - the filthy bass and low-end wobble are accompanied by ragga vocals up top.

'Toxic' is a more straight-up tech pumper with slinky hi-hat designs, smart filters and bass-driven drums. As always with this powerhouse, the subtle production details really elevate this one into a standout cut.

Acclaimed Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg / Seefeel) and Kiki Hitomi (ex-King Midas Sound) - return with feverishly joyous new album Hot Pot Totto, a bubbling hot pot of dance music that responds to ecological anxiety.

“Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!” Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride.



Thematically - despite its ostensibly celebratory impact - Hot Pot Totto addresses the world’s grave ecological state. “Now our earth is on the way to catastrophe, as global warming becomes a serious problem through humanity’s fault. We are on the edge,” Hitomi writes. “We need to get back on the right track.” The ottotto of the album title refers to this experience - the need to get back on track. However, this is not lamenting music: it is fiercely defiant, full of colour and rapture, maintaining an optimism that we can.



Opening single “Hakke Yoi” ties treated voice, a floor-shaking beat, and a dizzying, transforming colour palette to a heart-quickening BPM. The track is named after the traditional cry of a sumo wrestling match, shouted by the referee to maintain tempo, commonly translated as “put some spirit into it!” The lyrics refer to humanity’s sacrifice of our planet for our own material gains. Later, key track “Buri Buri” features Ugandan experimental dance producer Catu Diosis and centres around the lyric “Turn disaster to our advantage / good fortune and happiness will come to those who smile,” offering not regret but encouragement and empowerment with its neon alien sonics and relentless vibrancy.



Kiki Hitomi was formerly a member of Ninja Tune / Hyperdub’s King Midas Sound (along with The Bug and Roger Robinson), and co-founded iconic Japanese dubstep-noise duo Dokkebi Q. She is also a celebrated illustrator and designer, having created artwork for countless record sleeves (including this one) and brands. Shigeru Ishihara - aka DJ Scotch Egg - has been orbiting the dance music galaxy for over a decade, releasing radiantly unpredictable solo records through Lightning Bolt’s Load Records, as a member of Warp Records’ legendary Seefeel, and performing with both projects across the world. He recently undertook a residency at the Nyege Nyege Villa in Uganda, working with Phantom Limb alumnus MC Yallah. More recently, Ishihara has been releasing music under the guise of Scotch Rolex, collaborating with the likes of Shackleton, Swordman Kitala, Lord Spikeheart and more.



Hot Pot Totto is WaqWaq Kingdom’s third release for Phantom Limb, following the rapturously received album Essaka Hoisa in 2019 and follow-up EP Dokkoisho in 2020. The band recently performed at the label’s sold out 5th anniversary event in London, setting an ecstatic venue alight with energy.








f B1 Buri Buri feat. Catu Diosis

Jesse James returns to the Soul Junction roster with a new 45 that features his own unique interpretation of a classic song that is backed with one of the more popular songs from his 1990 “Looking Back” album now brought to you for the first time as a 45 release.

Beginning with the A-side, “Everybody’s Talking At Me” which is Jesse’s unique cover of the folk rock singer Fred Neil’s penned song “Everybody’s Talkin’”. Which although recorded by Neil originally, was made internationally famous by Harry Nilsson when used as part of the theme score for the acclaimed United Artists 1969 film “Midnight Cowboy”. The song has been much covered in the style of a ballad but Jesse’s version recorded under the production skills of close friend Willie Hoskins (Wilhos Productions and Boola Boola Records) is a great up-tempo piano driven version of the song. “Everybody’s Talking At Me” is yet another find from the unissued tapes from the self- financed sessions that Jesse recorded at the Searra Sound Studios in Berkley C.A during 1971 that also has brought us SJ543 “(The Girl In) Clinton Park” and SJ544 “If A Man Ever Loved A Woman (Baby I Love You)”.

While the b-side, features the much, admired modern soul favourite “You’re More Than A Friend Of Mine” which first gained a release on the 1990 ‘Looking Back’ album (Gunsmoke Records). “You’re More Than A Friend Of Mine” was up to that point a previously unissued mid 70’s recording produced by the late song writer /producer Ron Carson. Carson the original owner of the San Francisco Soul Clock Records label remains highly respected for his work with the hit group, ‘The Whispers’ (both on Soul Clock and some of their later Janus recordings). Carson had produced and co-wrote Jesse’s 1975, 20th Century Records release “If You Want A Love Affair/I Never Meant To Love Her” now regarded worldwide as Jesse’s signature song. Carson had a follow up release in the can, which never came to fruition due to Jesse and 20th Century parting company for the second time. Carson by then had moved on and was heavily involved in the production of the Janus distributed blackploitation album “Black Fist” for Happy Fox records. “Black Fist” was a various artists compilation which also featured the Jesse James composition “The Same Thing Happens (Part1 & 2)”. The shelved, proposed 20th Century follow up release would have been “Your More Than A Friend of Mine/I Don’t Want It To End” recorded during 1976. Carson had pitched the idea of a song in a similar vein to the Jackson Sisters 1973 Prophesy Records release “(Why Can’t We Be) More Than Friends” to the songs original songwriting team William Peele Jr and Warren Sams. They duly obliged, coming up with the aforementioned “Your More Than A Friend Of Mine”. Warren Sams along with his half-sister Christine Adams Tripp and their friend Rachel Sanders were none other than the respected vocal trio “Water & Power” who recorded the acclaimed 1975 album of the same name for Fantasy Records and a solitary 45 “Mr Weatherman/If You Don’t Want Me”.

DJ and producer Gratts returns to his own imprint with the third instalment of the "Balearic but bumpin'" trilogy. Here, the Belgian puts forward a captivating piece of organic, Body & Soul NY inspired deep house, assisted by Cata Mansikka-aho on vocals. As always, an instrumental is provided for maximum nightclub daydreaming. On the flipside, British duo Faze Action up the energy levels with an equally musical disco version that hits in all the right spots. Artwork once again by Mads Cooke.

Glenn Underground:
"Bad Ass'd Project, The whole thing"

Laurent Garnier:
"Really cool tracks :) Looking forward to hearing more stuff in the future."

Colleen Cosmo Murphy:
"Great release! I like the original best! I will be supporting on the show once I’m back in February."

Groove Armada:
"Sounds great and Faze remix is great too!"

Severino (Horse Meat Disco):
"Great stuff and amazing remix!"

Kevin Reynolds (Transmat):
"I remember this voice! Both tracks are incredible, has this classic Dinosaur L vibe that is super dope!"

Gareth Sommerville (Athens Of The North):
"Love Gratts’ productions - this is no exception. Spiritual for optimists."

Shane Johnson (Fish Go Deep):
"Really enjoying the original mixes here... such a relaxed, musical groove that perfectly suits that lovely, drifting vocal. Looking forward to playing."

The king is dead, long live the king, as they say - except in this case the late king is DJ Bone's legendary Subject Detroit label, which has now been shuttered after 25 years, and the newly anointed king is his new outlet Further, taken from his Amsterdam parties of the same name. It kicks off with a pair of new EPs on the same day and this is the first from Yeti Mind Tricks. 'We Ain't Like Them' is a hammering Motor City techno cut for the peak time which Bone remixes into a more stripped-back but no less edgy and potent cut. On the flip are 'Bimini Road' and 'Vandelay,' both of which bring stylish techno drenched in machine soul.

Behold the timeless, elegant, sophisticated man that is Donny Benet.

More than a decade since the world first fell for his charms, Donny Benet is taking charge of his destiny like never before. His new album, number six, is called Infinite Desires, and it’s his most complete musical statement yet.

Across eight tracks, Donny sets out a vision that embraces a diversity of experience, from elation to introspection, from disquiet to unbridled ecstasy. Take the brash slapped bass of the opening track, Multiply; or American Dream, his meditation on warped dreams and distractions; or the self-empowerment at the heart of So Long, an ode to stepping away from toxic relationships; or Wait Until it Rains Tomorrow, a moving, cathartic tale of acceptance folded within Donny’s trademark sound, a smooth wave of harmonies and rhythm that makes you feel like everything is going to be ok.

* This release resurrects the original mixes alongside the iconic remixes from the '90s, encapsulating a significant chapter in the Jungle movement. This landmark release not only signifies a pivotal era in Jungle music but also marks the inaugural release on Philly Blunt Records, setting a high bar for the label right from the outset.

* In the early '90s, the jungle scene was set ablaze with 'Burial', a track crafted in Dillinja's home studio under the collaborative genius of Jumpin Jack Frost, operating under the moniker Leviticus. The original mixes, Madamoselle and Lovers Rock, resonated with rare groove and reggae influences that propelled the track to become an anthem at the Notting Hill Carnival, eventually catching the ear of Pete Tong who facilitated a mainstream release on FFRR the following year.

* The remixes encapsulate the collaborative spirit of the era, with Dillinja, Roni Size, and DJ Krust teaming up for the 'Combination Mix', and Ray Keith lending his touch to the 'Tearing Terrorist Mix'. Released in the '90s post the FFRR signing, these remixes added a fresh narrative to the 'Burial' story.

* Reflecting on the creation of 'Burial', Jumpin Jack Frost recalls, "I went to Dillinja's house with the two records, and that was it. We got a beat running and sampled the Mademoiselle "oooh" part first... it just made itself. I was the producer and Dillinja was the engineer... After hearing it a hundred times while we were making it, I thought it was good but I didn't quite know if it was good enough to start playing to the boys. First of all, I made a dubplate with my name in it so I could test it playing it out; I think I played it at Roast and everyone went nuts."

* Bryan Gee, reflecting on the track's impact, mentions, "If you're talking top ten jungle tracks then 'Burial' has got to be in there. You can play it to anyone outside of the jungle scene and they know it."

* This gold vinyl repress is a journey back to the roots of Jungle, offering a tangible piece of Drum & Bass history for enthusiasts and new listeners alike. The profound impact of 'Burial' transcended the Jungle scene, finding resonance across various music genres and remains a testament to the genre's versatility and broad appeal.

* A nostalgic journey and a tangible piece of Drum & Bass history, pre-order now to secure your copy of this genre defining release

Syncrophone proudly presents 'Proceed with Caution' by Detroit's Filthiest. This 4-track catalog masterpiece is a rhythmic exploration, featuring infectious funk-infused beats and a distinctive style that pays homage to the city's illustrious musical heritage. Detroit's Filthiest seamlessly blends tradition with innovation, creating an electrifying experience that echoes the Motor City's iconic sound.

Feedbacks :

Luke Slater : dope
Serge (Clone) : Sick release! Another banger from Dj Nasty!
Elena Colombi (NTS) : Check Out the Technique is great!
Lukas Wigflex (Wigflex) : wonk
Tijana T : huge fan!
Hodge (Livity Sound) : lovely
Eclair Fifi (Lucky Me / NTS) : fk yeah 5/5
Monty Luke (Rekids / Black Catalogue) : fear in your eyes is a banger
Dave Clarke (white noise radio) : Will support ! Love the first track
Marcel Dettmann : thx
Machine Woman (Take Away Jazz Records) : cool
Ben Sims : Technique is my pick, thx!
Will Hofbauer (Third Place, Wisdom Teeth, Rinse) : very slick
Blasha & Allatt (Meat Free) : Fire! Up In Smoke + Nuttin But Chedda are the ones for me :) Thanks, Steffi x
Lena Willikens (Cómeme) : Fear In Your Eyes for me!
Lauren Flax (The Lot Radio/ Young Turks / K7) : incredible EP, thanks!
David Martin (Dimensions Soundsystem) : his is superb. Love it! Thanks DM
Amy Dabbs (Shall Not Fade, Distant Horizons, SlothBoogie, ) : Beautifully sleazy - love it
Bloody Mary (Dame-Music) : track 2 :))) thanks
DMX Krew (Breakin Records / Fresh Up) : Nice trax :) Will try to fit in my December show for Rinse FM.
mi-el (NTS show) : heavy