Celebrating ten years, Daniel Avery’s iconic debut album is repressed onto white double vinyl. Originally released in 2013, Drone Logic has since entered the pantheon of classic British electronic albums, a cohesive twelve-track trip through shades of dance floor psychedelia, rich in emotion and texture.
Recorded in 1997, Mountain Top features the commanding vocals of Tony Roots, backed by the legendary Firehouse Crew and produced by the visionary Fada Waz (Clifton Carnegie). This record’s release was driven by the people, evidenced and encouraged by the countless wheel-ups and sing-alongs during King Original’s international tour dates over the last three years whenever this seminal recording was dropped in the set.
Tony Roots, known for his cultural and spiritual themes, delivers a powerful vocal performance, reminding us that life’s most important journey is overcoming obstacles to find ‘Jah Love on the Mountain Top.’ This message is as relevant in today’s fast-paced, easy-come-easy-go consumer culture as it was when recorded three decades ago.
The Firehouse Crew renowned for their work with iconic acts like Luciano and Sizzla—shine brightly on this riddim, with the MPC drum machine-centered sound of 90s Jamaican roots reggae. An up-tempo 4/4 steppers beat layered with rich analogue textures and soulful instrumentation defines this timeless recording.
The first of many collaborations between Studio 55, Before Zero Records, and Footsie, the King Original legacy continues into the future, honouring the enduring contributions of Fada Waz and his collaborators.
Clifton Carnegie aka Ras Wazair aka Fada Waz - Clifton Carnegie, known as Ras Wazair, founded King Original Sound System in 1973, establishing it as East London’s foremost reggae sound. Operating under his Studio 55 moniker, he collaborated with legends like Johnny Osbourne, Barry Brown, Michael Prophet, Cornell Campbell, and Frankie Paul through imprints such as Original Sounds, Studio 55, and Original International. A mentor to many of the UK’s top sound systems and a key figure in London’s RasTafari community, Ras Wazair’s connections with prominent Jamaican artists, bands, and producers like Fattis Burrell ensured that Jamaican music remained an influential force in the UK sound system scene.
King Original
Founded in 1973 by Fada Waz, King Original Sound System shaped East London’s reggae scene for over two decades. Fada Waz and his son Footsie—a UK Grime pioneer who in later years expanded the legacy through his KO LP series and sold-out King Original mixed-genre events at London’s top venues—worked together until Footsie assumed full control following Fada Waz’s passing in 2021. Having worked with artists such as Dizzee Rascal, Arctic Monkeys, The Prodigy, D-Double E, Wiley, and Skepta, Footsie’s dedication to King Original has reinvigorated the legacy that underpins all UK bass music—the reggae sound system. Joining Footsie is his brother, Wazair’s last born Ras D also Jah Model, and long-time collaborator Sir Spyro, producer of two UK number-one hits with Stormzy and son of UK reggae stalwart Nerious Joseph. Armed with cutting-edge QSS sound system technology, King Original continues to set trends, shaping the future of UK bass music.
Tony Roots
Hailing from Manchester, Jamaica, in the 1980s, Tony Roots emerged alongside iconic figures like Garnet Silk and Tony Rebel. While his peers remained in Jamaica, Tony moved to the UK, where he went on to release ten albums and numerous singles, including hits like Grow Your Natty Dread Locks and Hola Zion. A steadfast champion of Rastafari, Tony has collaborated with legends such as the Firehouse Crew, earning worldwide respect and a devoted following within both the reggae community and the UK sound system scene.
The Firehouse Crew
Formed in 1986, The Firehouse Crew became a cornerstone of the 1990s roots-reggae revival. Initially associated with King Tubby’s Firehouse label before establishing their own, the band rose to prominence through collaborations with producer Philip “Fattis” Burrell at Xterminator Records. Their contributions to timeless albums like Luciano’s Where There is Life highlight their extraordinary musicianship. Over the years, The Firehouse Crew has backed iconic artists such as Sizzla, Buju Banton, and Beres Hammond, cementing their legacy as masters of roots reggae.
Re-Issue
Long-Awaited Reissue of Classic Solo Album by visionary Gong Founder Daevid Allen
The classic Now Is The Happiest Time of Your Life, is being reissued in a beautifully remastered edition. This release, a follow-up to the beloved Good Morning album, captures the whimsical yet profound spirit of Daevid Allen's music, blending his countercultural message with tranquil and organic sounds that evoke the best of his work with Gong.
Originally released in 1977, Now Is The Happiest Time of Your Life invites listeners to join Allen's musical journey alongside his imaginary green hero, Zero, a character familiar to fans of the Gong trilogy. With its lush instrumentation, including the use of tabla, harp, and Allen’s signature glissando guitar, the album creates a peaceful, meditative atmosphere that meanders gracefully across its tracks.
Accompanied by Gilli Smyth and the Spanish group Euterpe, Now Is The Happiest Time of Your Life showcases Daevid Allen’s unique blend of cosmic psychedelia, folk influences, and countercultural sensibilities, all wrapped in a sound that feels both timeless and refreshingly original. This reissue celebrates one of Allen’s finest solo efforts, offering a new generation the chance to experience his visionary artistry.
First-ever reissue on vinyl Remastered audio bringing the warmth and clarity of Allen's sound back to its analog roots Faithful reproduction of the original LP artwork, featuring Daevid Allen's own hand-drawn illustrations and personal notes on the back cover CD digi-sleeve captures the spirit of the original LP and includes collector full-sized poster showcasing Allen’s hand-drawn artwork
Repress!
There are few names as instantly recognisable, revered and respected in the world of dance music than Jamie Jones. This three-track vinyl release celebrates his 2022 anthem ‘My Paradise’, which quickly became one of the summer’s must-know tracks, as the Hot Creations label boss explored disco influences while his signature high-energy bassline and groove gave the heater boundless dancefloor appeal. What followed were remixes from respected exponents of contemporary electronic music that helped ‘My Paradise’ continue its clubland ascent. Brazilian superstar Vintage Culture gave the record a distinctly tougher feel, as a chugging bassline, rolling synths and melodic piano breakdowns worked together to captivate a dancefloor. Crosstown Rebels, Day Zero and Get Lost founder Damian Lazarus created an otherworldly mix that plays on the joyous disco feel of the original, while distorted synth lines and playful glitches offer a new edge to the club weapon.
Kashmere Stage Band (KSB), founded by music teacher Conrad O. Johnson was an elite performing unit of the student band at Kashmere High School, Houston, Texas, from the late 1960s until 1978. All original Kashmere LPs had 1000 copies or less originally pressed, which were sold both locally and around the world as the band toured. And now, P-VINE is proud to present the historically renowned albums from the band on limited reissue vinyl! some of them will be reissued on vinyl for the first time.
Items line-up
KASHMERE STAGE BAND / Our Thing ('69)
KASHMERE STAGE BAND / Bumper To Bumper Soul ('70) First time reissued on vinyl
KASHMERE STAGE BAND / Thunder Soul ('71) First time reissued on vinyl
KASHMERE STAGE BAND / Zero Point ('72)
KASHMERE STAGE BAND / Kashmere "73" Live in Concert ('73) First time reissued on vinyl
KASHMERE STAGE BAND / Out Of Gas But Still Burning ('74)
KASHMERE STAGE BAND / Plays Originals ('74)
KASHMERE STAGE BAND / Expo '75 Concert Tour Japan/Okinawa ('75) First time reissued on vinyl
Kashmere Stage Band (KSB), founded by music teacher Conrad O. Johnson was an elite performing unit of the student band at Kashmere High School, Houston, Texas, from the late 1960s until 1978. All original Kashmere LPs had 1000 copies or less originally pressed, which were sold both locally and around the world as the band toured. And now, P-VINE is proud to present the historically renowned albums from the band on limited reissue vinyl! some of them will be reissued on vinyl for the first time.
Items line-up
KASHMERE STAGE BAND / Our Thing ('69)
KASHMERE STAGE BAND / Bumper To Bumper Soul ('70) First time reissued on vinyl
KASHMERE STAGE BAND / Thunder Soul ('71) First time reissued on vinyl
KASHMERE STAGE BAND / Zero Point ('72)
KASHMERE STAGE BAND / Kashmere "73" Live in Concert ('73) First time reissued on vinyl
KASHMERE STAGE BAND / Out Of Gas But Still Burning ('74)
KASHMERE STAGE BAND / Plays Originals ('74)
KASHMERE STAGE BAND / Expo '75 Concert Tour Japan/Okinawa ('75) First time reissued on vinyl
Alexander Ebert (born May 12, 1978) is an American singer-songwriter and composer. Lead singer and songwriter for Ima Robot and Edward Sharpe and the Magnetic Zeros. Received the Golden Globe Award for Best Original Score for his musical score to the film All Is Lost (2013).
2025 Repress
Our private bandleader, Oscar Mulero, returns strongly to his own label with a complete techno album. This work represents the new edition of the WUBC special series and will be released in both double vinyl and digital formats with an extra son on the zeroes and ones edition.
On this occasion, Oscar focuses on the dance floor unceremoniously, except for the required ambient introduction. Throughout the sound journey that involves the continuous listening to the album, the listener is immersed in a complete experience on the dance floor, with the correct doses of mentalism and physical exercise that are required to develop the activity at the highest level.
As is tradition in Oscar Mulero's productions, there is a strong classical content, which draws on the original sources of Detroit and Birmingham, but seasoned with that dose of sci-fi that only he knows how to administer with this intensity. If you have followed his performances around the world you will have already been able to enjoy some of these exercises that now you can finally add to your collection.
One more piece in the unstoppable discography of one of the fittest exponents of contemporary techno, both on stage and in the studio.
Record includes 2 page insert and download
Flipping rhythms from Guadeloupe, Cuba, Senegal and Puerto Rico, Time Capsule founder Kay Suzuki releases an acid-soaked collection of remixes that transcends time and space.
From the blacked-out basement of Plastic People to the psychedelic dancefloor of Beauty and the Beat, Kay Suzuki’s musical world has been shaped by some of London’s most iconic sound systems. High quality audio, he says, can open portals to new universes. Rhythm is time made plastic and beauty is the space between the beats.
Spanning over fifteen years of music from the prolific DJ, producer, Time Capsule label boss and one time Brilliant Corners sushi chef, this collection of remixes is the logical conclusion of Kay Suzuki’s musical thinking. Drawn to unique percussive or syncopated rhythms, he describes remixes as conversations between the original artist’s sense of time and his own. Weaving broken beat, house and dub influences into rhythms from across the Black Atlantic, these four tracks find each other kinship on the dance floor.
The A-side begins with a dubbed-out rework of the Gwoka celebration rhythm ‘A Ka Titine’ by Guadeloupe’s Gaoulé Mizik that was originally released by Beauty and the Beat in 2022. Layering electronic flares, dub sirens and space echo reverb across the shuffling toumblak beat, Suzuki leans into the track’s creole heritage, turning the track into a sought-after dancefloor jam, played by everyone from Colleen Cosmo Murphy and John Gomez to Yu-Su and Bradley Zero.
Skipping to Puerto Rico, Broki’s ‘Es Que Lo Es’ emerged from a collaboration between Bugz in the Attic’s Afronaut and Seiji and local musicians. Here Suzuki reworks the Afro-Latin percussion into a subtle bruk, conjuring a third space between London and San Juan that remains both of and outside the era in which it was made.
Blackbush Orchestra’s ‘Sortez, Les Filles!’ opens the B-side, taking apart the original and kneading the Senegalese percussion into a chugging Balearic house track, buoyant and full of life. Also first released by Beauty and the Beat, the track features new synth and structural elements that bring out the innate dancefloor potential beneath the surface of the original.
The final track on the collection heads back to the Caribbean and the island of Cuba, where Sunlightsquare a.k.a. Claudio Passavanti worked with vocalist Rene Alvarez and expert in Afro-Cuban percussion, Giovanni Imparato, on ‘Oyelo’. Here, Suzuki strips out the kick completely, leaving an implied rhythm which he calls an “imaginary four-to-the-floor” - a groove that is felt rather than heard, leaving the listener floating in another universe entirely.
Earquake 1992[22,48 €]
Earquake 1993[22,48 €]
Earquake 1994[22,48 €]
Earquake 1995[22,48 €]
Earquake 1996[22,48 €]
Earquake 1997[22,48 €]
Earquake 1998[22,48 €]
Earquake 1999[22,48 €]
To celebrate the first anniversary of "EARQUAKE: Wolfgang Voigt 1991 - 1999", a limited double vinyl series is starting in December 2020. With each release one EARQUAKE year is honoured with a kind of "Best Of". For the loyal vinyl fans and all those who want to become one. The first strike, the double 12inch “EARQUAKE 1991“ with a total of 7 tracks, includes "Love Inc.: Trance Atlantic XS" and "Mike Ink: Dialogue E.P." - two absolute cult classics of the early nine-zero-nine and three-zero-three acid-hysteria era. As a kind of "original sound commentary" on the music of that time, there is also a new interpretation of the interview-based art piece "Wolfgang Voigt - Du musst nichts Sagen", which is combined with a Wolfgang Voigt hit that has been out of print for a long time and which the connoisseur will immediately recognize.
This piece is only available on the vinyl version of “EARQUAKE 1991“!
Zum einjährigen Jubiläum von “EARQUAKE - Wolfgang Voigt 1991-1999“ im Dezember 2020 startet eine limitierte Doppel-Vinyl-Reihe auf Profan, mit der jeder EARQUAKE-Jahrgang durch eine Art “Best Of“ gewürdigt wird. Für die treuen Vinyl-Fans und alle, die es noch werden wollen. Der erste Streich, die Doppelmaxi “EARQUAKE 1991“ mit insgesamt 7 Stücken, beinhaltet die beiden, seit fast 30 Jahren nicht wieder aufgelegten Maxis “Love Inc.: Trance Atlantic XS“ und “Mike Ink: Dialog E.P.“ – zwei absolute Kultklassiker der frühen Neun-Null-Neun und Drei-Null-Drei Acid-Hysterie Ära. Als eine Art “O-Ton Kommentar“ zur Musik dieser Zeit, gibt es außerdem eine Neu-Interpretation des, auf einem Interview basierenden Kunst-Stückes “Wolfgang Voigt – Du musst nichts Sagen“, welches in der vorliegenden Version mit einem sehr lange vergriffenen Wolfgang Voigt-Hit kombiniert ist, den der Kenner sofort heraushören wird.
Dieses Stück gibt es ausschließlich auf der Vinyl Version von “EARQUAKE 1991“!
CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !
CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !
Sage Green Vinyl. Highly anticipated first pressing of Live at The Cabin, originally a live-stream release show performance during the pandemic after Slaughter Beach, Dog's "At The Moonbase" record. The album was released digitally through Lame-O Records in the fall of 2022, and has been a cult favorite release by fans of the band. Available with beautiful artwork by Russell Edling (Lame-O, Golden Apples) fans will appreciate getting to dive deeper into the world of Slaughter Beach, Dog.
This epic remix EP takes the four brilliant tracks from Madcap's "B-Boy" EP and gives them a fresh spin. Featuring the unstoppable talents of Digital, Villem, Phaction, and Zero T, each remixer takes a slice from the original tune and twists it into theiur own personal space, creating an EP of hard hitting and diverse remixes!
“Commencement/Mineral Blend” delivers a fusion of rough and ready dub-adjacent bass music compositions from the London based trio Damos Room. Also featured are eclectic remixes from artists Gonjasufi, Lewi Boome, Dome Zero, and Nudibranch residents Polyop.
The bulk of the EP came from a rare in-person collaboration at Elijah Minnelli’s loft. The Horse Militia laid belly to the ground, endlessly feeding an effects chain like a battery hen with noises from multiple contrasting sources. It was particularly hot that day and the windows were wide open, so if you listen closely you can hear the humid Selhurst skyline bleeding into the recordings. This long weekend was punctuated by visits to the local swamp and an outing to see Channel One Soundsystem.
"Commencement," the EP's inaugural offering, unfolds with a hypnotic, droning bass groove, providing the floor for a paranoid stream of consciousness.
"Mineral Blend" takes a lazier dancehall-esque approach. Littered with unloved sounds from previous sessions and repurposing the lyrics ("I want to be a vessel") from Damos Room's DR Viewings #2 release with Polyop, this track weaves in and out of consciousness without ever truly bubbling over.
Remixers Lewi Boome and Dome Zero contribute imaginative 150bpm takes on both "Commencement" and "Mineral Blend” respectively, drawing inspiration from their backgrounds in bass, techno and experimental electronic music.
Polyop's remix of "Mineral Blend" leans further into dub techno stylings, infusing a refreshing and spacious perspective that echoes their acid roots.
The LA-based artist Gonjasufi transforms "Commencement" into a foggy and mysterious rendition, using his unique production techniques to transcend the dancefloor and immerse listeners in a misty sonic landscape.
The acclaimed trio of Mikkel Ploug, Sissel Vera Pettersen, and Joachim Badenhorst is set to release their fourth studio album, Lento, on November 1, 2024, through the Klein label. Following their celebrated albums 'Equilibrium', 'Walking Voices', and 'Liquid Light', this new release further cements the group’s position as an innovative voice in contemporary music.
Lento offers an evocative blend of jazz, folk/world, classical, minimalism, and avant-garde influences, crafted through a dynamic mixture of free improvisation and original compositions. The trio’s unique synergy is evident in every track, pushing the boundaries of genre while maintaining an intimate and expressive core.
The trio comprises of the Norwegian vocalist and saxophonist Sissel Vera Pettersen, a multifaceted artist known for her collaborations with Chick Corea and Marilyn Mazur, Her contributions to Lento showcase her versatility, moving seamlessly between voice and saxophone with a fluidity that anchors the group’s explorative sound.
On guitar is Danish virtuoso Mikkel Ploug, who is renowned for his work with saxophonist Mark Turner and composer Bent Sørensen, Ploug's playing on Lento is both intricate and expansive. Completing the trio is the Belgian reed player Joachim Badenhorst, whose talents on the clarinet have earned him a spot in Downbeat Magazine’s "Rising Star" polls. Badenhorst is known for his work with Han Bennink Tony Malaby’s, Kris Davis and his own projects Carate Urio Orchestra and Zero Years Kid.
Having garnered praise from critics and fans alike for their previous albums, the trio continues to evolve and captivate. Lento is a testament to their ability to fuse disparate musical elements into a coherent, deeply moving whole. Expect meditative passages, explosive bursts of improvisation, and moments of pure musical dialogue that transcend traditional boundaries.
First time vinyl reissue of Univers Zero's legendary Crawling Wind, originally released in 1981 on the Japanese 'Chaos International Series' label, with the original cover artwork has been beautifully redesigned by Thierry Moreau.
Toujours Plus à l'Est, as the title suggests, is heavily influenced by the traditional music of Eastern Europe, particularly Bulgaria., and paying tribute to the iconic catchphrase of Professor Calculus (Tournesol), the character from the Belgian comic series Tintin. Before The Heat, played live a few times, is an ambient composition by Andy Kirk, who is part of the EP's lineup alongside Daniel Denis, Guy Segers, Alan Ward, and Dirk Descheemaeker. Central Belgium in the Dark is a live improvisation from a period when Univers Zéro dedicated part of their concerts to complete improvisation. What makes this recording unique is that one of Andy Kirk's effects pedals picked up and emitted the sound of a mysterious radio signal, seemingly coming from "nowhere," especially noticeable at the end of the piece. The title of this improv is a nod to contemporary composer Charles Ives' work Central Park in the Dark. Central Belgium refers to the concert venue where the piece was recorded (Haine-St-Pierre).
Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music - most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.
Zero 7 were formed in 1997 by producers Henry Binns and Sam Hardaker. In 2001 their debut album Simple Things was released selling over a million copies to date and was nominated for the Mercury Music Prize. They released their second album When It Falls in 2004.
When it was originally released, When It Falls was a UK Top 10 album, peaking at no.4 in the UK album charts and spent 24 weeks in total in the charts. It has sold over a quarter of a million copies. Stateside the album entered the Billboard Dance/Electronic chart at #3 and stayed in the Top 20 of that chart for almost thirteen months.
Singles taken from the original album include Home featuring Tina Dico, and Warm Sounds featuring Mozez. Sia and Sophie Barker also feature on the album, with tracks such as Somersault (a UK Top 100 single), In Time and Speed Dial No. 2.
This special run of coloured vinyl (transparent orange (A/B side) & green (C/D side) celebrates the albums 20th anniversary. It uses the original artwork but now pressed on heavyweight colour 180g vinyl. Cutting is by engineer Kevin Metcalfe using his original cutting notes.
When It Falls is a timelessly classic album from a seminal electronic band and the essential soundtrack to any laidback chilling.
TRANCE ATLANTYK is dropping some serious heat with the upcoming release of EARLY ZEROS, the latest EP from label founders PANKOFF & DJ VARIUS TRAX. After experimenting with some polish vocals on their “Sound of Poldon” debut EP, the duo serves us this time a modern high-energy tribute to the early 2000s—an era when progressive house and trance ruled the dance floors.
The EP kicks off with "Early Zeros," a track that’s pure nostalgia wrapped in a slick, modern package. Think of it as a sonic time machine, zooming you back to those legendary nights when the bass was thumping, and the vibe was electric. It’s got that uplifting, feel-good energy that’s impossible to resist.
Next up is "Schemes," a track that’s as deep as it is groovy. This one’s all about the journey, with layered beats and hypnotic rhythms that build and evolve, taking you on a ride through the trippy side of progressive house and early trance music. It’s got that classic, boundary-pushing vibe that’ll have you lost in the music.
On the B side the duo slows down the tempo with the track “We Can Rebuild Him” that pays homage to the 6 Million Dolar Man, one of Pankoffs favourite TV series. Piercing cascading synths, a driving bass line and some breakbeat percussion thrown into the mix make this one a great choice for the eclectic dj’a out there.
And just when you think it couldn’t get any better, Bliss inc steps in with a remix of "We Can Rebuild Him" that flips the script in all the right ways. This remix increases the tempo of the chuggy original and transfoms the track into a stomping peak time banger that some might label as furious progressive tech trance.
EARLY ZEROS isn’t just an EP—it’s a party, a flashback, and a forward leap all rolled into one
Klara Lewis' latest offering is undoubtedly a heartfelt tribute to her friend, mentor and former label boss, Peter Rehberg.
The opening track Thankful resides as a direct tribute to the track recorded under his PITA moniker, the timeless 'Track 3'. A track of which the impact has been vast and deep, still rattling the walls of the now enormous worldwide experimental electronic scene. Countless new youth carve and project wildly distorted melodic digital matter which all falls back with a knowing or unknowing wink back to this original ground zero monster. Klara's take on this is one that resides as a tribute to Rehberg with a cascading emotional melody gradually succumbing to a euphoric digital abyss. Thankful also comes across as a farewell gesture to her deceased friend with its beautiful, almost funerale tone. The abrupt ending is not only a method Rehberg would have relished but also a signifier of a life suddenly cut short.
Lewis was 21 when her first album Ett was released by Editions Mego in 2014. Now at 31 years of age Editions Mego is very proud to present Thankful, a profoundly mat
Son Goku is back to face a new threat that is descending upon Earth. Synopsis: Goku goes to train with Master Kaio, who informs him that a powerful enemy has awakened from a 39-year slumber: Beerus, God of Destruction. Beerus is searching for a warrior who appeared to him in a dream, the Super Saiyan God, whom he wishes to challenge. The vinyl includes numerous BGM from the Future Trunks and Universe Survival arcs. They range from dark to epic in a very orchestral style with the legendary Norihito Sumitomo composing (DBZ: Battle of Gods, the film, as well as video games like Gran Turismo). Some BGMs were created by Kazuya Yoshii and Takafumi Iwasaki, the latter having worked on musical projects for spin-offs of Digimon and Konosuba.
Fusing old skool flavours with a refreshed new focus, classic production outfit Universal Project are back on the forefront, making their mark in 2024 with their debut album ‘Universal Language’.
“Music is the one that is the hero. It is the Universal Language and we carry a certain message” - Bob Marley
Regardless of dialect, location, background or era, music transcends divisions and unites us together, the language of the soul. Universal Project set out to spread their language for everyone to understand.
Alongside remixes of classic UP tracks by Jubei & Zero T, the vinyl is backed by two exclusive original productions; chest shaking sub bubbler ‘Funk’d Up’ plus the darkside groove stepper ‘Zero DB’ with Xtrah.
Mexican supergroup Secret Echoes releases debut single ‘Bring My Beat Back’ on Crosstown Rebels. The project combining a trio of revered talents from the Mexican electronic landscape sees Estefani Brolo, Diego Cevallos, and Marco Anaya unite to reveal a first glimpse into their forthcoming debut album, with the single remixed by Zombies In Miami focus on the song's hypnotic vocals and raw emotive energy.
Secret Echoes is a dynamic collaboration of three acclaimed artists from Mexico’s electronic music scene: Estefani Brolo (of BROLORZIO & I.M YONI), Diego Cevallos (AKA Métrika), and Marco Balcazar (AKA Balcazar of Balcazar & Sordo). With each member bringing a distinct musical background to the group, creating a unique fusion of sound set to resonate with electronic music enthusiasts worldwide, Secret Echoes creates music that blends house foundations with melodic innovation.
The origins of the project trace back to the height of the pandemic, when Cevallos and Balcazar began collaborating on an album they had always envisioned. Renting a unique studio in Jiutepec, Mexico, equipped with analogue tape machines and high-end studio gear, and inviting their talented friends to contribute, Brolo soon joined the project - adding her melodic and lyrical expertise. The result was the recording of 11 tracks that were put on hold until the time was right. After revisiting the tracks and performing them live, ‘Bring My Beat Back’ caught the attention of Crosstown Rebels founder Damian Lazarus during 2024’s Day Zero performance. Inspired by its energy and potential, Lazarus signed the entire album, and this first single provides a first glimpse of what is to come from the enigmatic trio on an imprint known for continually pushing boundaries within house music.
‘Bring My Beat Back’ showcases the group’s distinctive blend of house music foundations, guided by Brolo’s captivating vocals above shimmering synths and refined percussion grooves to deliver a silky-smooth production balancing classic nuances with contemporary touches for the dance floor. Creatures Of The Night founders and Permanent Vacation regulars Zombies In Miami provide an extra layer to the package, with the renowned duo’s remix drawing for neon-lit synths and hazy tones for a deep dive into the late-night hours.
Satan’s history is storied, their albums and incendiary live shows, iconic. The Newcastle, England-bred lineup may quip that their career has been “44 years of prolonged mayhem with a 20-year lunch break”—forming in 1980, eventually pausing before reuniting in 2011—but circa 2024 finds the band thriving, writing, recording, and touring at the top of their game. Proof positive is their seventh studio album, and third for Metal Blade, Songs in Crimson. If 2022’s Earth Infernal album was brutal, up-tempo and with loud guitars, guitarist Russ Tippins calls Songs in Crimson “concise. It’s more to the point and gets there quicker. One of the reasons behind the title Songs in Crimson is that this record is very ‘song’ focused. There’s more punch this time around. Each chorus speaks for itself.” An eminently relatable song is “Era (The Day Will Come).” “There is nobody on this planet who is not familiar with the feeling of loss. When you get to the age we are at in this band, it becomes a weekly occurrence. If there is a message in the lyrics, it is pretty much ‘do not take anything for granted.’ Especially people. You just don’t know what is around the corner that you can’t see coming.” Satan’s chemistry, honed by years of collaboration, brotherhood and love, is unbreakable. “We played at a metal festival where the headlining band had zero original members,” Tippins says. “I cannot get my head around that, though I admire their bravery. We are the genuine article.” To be clear: “We did not reunite just to trade on past glory,” he concludes. “If you want nostalgia, this is not the band for you. We look only ahead and always will.”
Satan’s history is storied, their albums and incendiary live shows, iconic. The Newcastle, England-bred lineup may quip that their career has been “44 years of prolonged mayhem with a 20-year lunch break”—forming in 1980, eventually pausing before reuniting in 2011—but circa 2024 finds the band thriving, writing, recording, and touring at the top of their game. Proof positive is their seventh studio album, and third for Metal Blade, Songs in Crimson. If 2022’s Earth Infernal album was brutal, up-tempo and with loud guitars, guitarist Russ Tippins calls Songs in Crimson “concise. It’s more to the point and gets there quicker. One of the reasons behind the title Songs in Crimson is that this record is very ‘song’ focused. There’s more punch this time around. Each chorus speaks for itself.” An eminently relatable song is “Era (The Day Will Come).” “There is nobody on this planet who is not familiar with the feeling of loss. When you get to the age we are at in this band, it becomes a weekly occurrence. If there is a message in the lyrics, it is pretty much ‘do not take anything for granted.’ Especially people. You just don’t know what is around the corner that you can’t see coming.” Satan’s chemistry, honed by years of collaboration, brotherhood and love, is unbreakable. “We played at a metal festival where the headlining band had zero original members,” Tippins says. “I cannot get my head around that, though I admire their bravery. We are the genuine article.” To be clear: “We did not reunite just to trade on past glory,” he concludes. “If you want nostalgia, this is not the band for you. We look only ahead and always will.”
A highly sought after album from UK's mid 90's underground trance/rave scene, originally released on the Magick Eye Records (label co-founded by Swordfish from Astralasia). "Cubic Space" is the only album released by SYT (Shave Yer Tongue) and it came in a double LP format, featuring 8 tracks in a wide range of paces, with extended length excursions ranging from downtempo atmospheric dub to faster trancey electronic psychedelia.
Als dieser exzellente Downbeat-Instrumental-Hip-Hop-Sampler 2002 erschien, waren Zero 7 für ihr brillantes Debütalbum "Simple Things" für den Mercury Prize und den Brit Award als bester Newcomer 2002 nominiert, ihr späteres, drittes Album "The Garden" erhielt 2007 gar eine Grammy-Nominierung. Zero 7 haben unglaubliche Musik gemacht, ihre Remixe stets mit Bedacht ausgewählt (so z.B. Terry Calliers "Love Theme From Spartacus") und sich zu einer hervorragenden Tourband entwickelt.
Die ursprüngliche ALN Vinylausgabe ist so begehrt, dass sie heute für teures Geld verkauft wird. Freuen wir uns auf den Soul-Klassiker "People Make The World Go Round" der Stylistics und die rare, von Roy Ayers produzierte Groove-Bombe "You Can’t Turn Me Away" von Sylvia Striplin. Don Blackmans "Holding You, Loving You" ist ebenfalls enthalten, das von Slum Village gesampelt wurde, die hier mit "Jealousy" vertreten sind, ebenso wie Herberts Boompty-Boom-Rub von Gainsbourgs & Bardots "Bonnie & Clyde". All diese Güte wird wieder für einen anständigen Preis erhältlich. Form ist vorübergehend, Klasse ist dauerhaft. Und Zero 7 sind eine Klasse für sich.
- Gepresst auf schwarzem 180g Doppel-Vinyl samt 30 cm großem Art-Print und Download-Codes für die ausgespielten Tracks und den Original-DJ-Mix in den Formaten MP3/FLAC/WAV.
ZeroZero return to Flexout after their smash hit single with MC GQ last year. ‘Too Much Acid’ is the duo’s debut EP on Flexout and features man of the moment Teej on remix duties for their cult classic that has since been championed by Laurent Garnier and features on a very special forthcoming VA in conjunction with Fabric. The 2 original solo tracks on the EP come in the form of ‘Confidence’ and ‘Too Much Acid’ both tracks have been supported by the biggest names in Drum & Bass including Break, QZB, Simula and Alix Perez. Last but not least the lads have enlisted Drum & Bass royalty in the form of London vocalist Riya on the unique, groovy roller that is ‘Thinking Over It’ a track that beautifully blurs the boundaries between light and dark.
LP+7" (Clear Vinyl). When the Ramones lost it, the Zero Boys found it; Adding a slam brigade fist to the Blitzkrieg Beat. The Zero Boys managed to come with one of the best early 80's punk records, or one of the best records ever, period. From 1979 to 1983, the Indianapolis-based Zero Boys were the finest hardcore blitz in the Midwest if not all the lower 48 states. Compiled and released as a post-mortem following the band's breakup, History Of_ is the proof, if more was needed, that their take of American hardcore wasn't all white bread numbers. Yeah, they played shows with Minor Threat, Dead Kennedys, Subhumans, and others but in Terry "Hollywood" Howe's guitar there was harmonious terror and unstoppable cadence. Terry's licks and chops _ a leap beyond two or three chord punk _ offered a zone and measured count for drummer Mark Cutsinger and bassist David "Tufty" Clough, a rhythm unit in par with the Minutemen if not The Meters, to run lines like quicksilver. Meanwhile, frontman, Paul "Z" Mahern provides a constant wash from beginning to end. Originally released in 1984 with a limited-edition reissue in 2009, this 40th anniversary edition includes the original LP of `History Of...' and a 7" featuring four live recordings never previously pressed to vinyl and recorded at iconic hardcore/punk venue Crazy Al's in 1980: "Livin' In The 80's", "Stick To Your Guns", "Commies", and "I'm Absent".
Completing Kranky's chronologically reverse reissue program of the earlier loscil albums on vinyl, the 2001 debut album is issued on the format for the first time with the addition of three bonus tracks from the same sessions that produced the original release.
‘’Triple Point was my first full length album under the loscil name, and it was my first with kranky - a relationship now 25 years old. This reissue is as much about celebrating that relationship as it is about the music. I am extremely grateful for this journey. Arguably, none of it would have happened without this release.’’
“Pay no mind to the label and pay no mind to the producer's locale (Vancouver isn't Cologne or Detroit); Triple Point is one of the finest—and most varied—ambient techno releases of 2001.”— AllMusic
"Finding itself nestled halfway between the endlessly spacious mechanoid constructions of Berlin's Basic Channel and the drifting expanses of Labradford, Scott Morgan's work as Loscil never ceases to impress with its deft use of technology and percussion.”—Boomkat
HIGHLIGHTS Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with 2 bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to 60's power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever. DESCRIPTION On August 11th of 1980, Stiv Bators, David Quinton Steinberg, George Cabaniss and Frank Secich flew to Vancouver, in British Columbia, Canada. They were there to do the West Coast leg of the "URGH! A Music War" tour. On the bill of the tour were Pere Ubu, Magazine, the Members, and they were billed as Stiv Bators and the Dead Boys or just the Dead Boys. After the tour they were supposed to embark on a 6-week tour of Australia, New Zealand, and the Far East. During the beginning of the Urgh Tour the Australian Tour was abruptly canceled. Greg Shaw who owned Bomp Records decided that since the band were already going to be in California that they should do Stiv's solo album which they had planned to do after returning from Down Under. So, Bators and the rest of the group set up camp at the infamous Tropicana Motel in West Hollywood and Greg booked them into Perspective Studios in Sun Valley, CA. Before going into Perspective, they went into Andy Chappel's Stone Fox rehearsal studio in North Hollywood, CA for a few days to rehearse the songs and arrange them for the album. "We had 'Evil Boy' (Zero-Secich), David Quinton's 'Make Up Your Mind' and my song 'A Million Miles Away'. We also rearranged mine and Stiv's 'The Last Year' changing the key from D to F# and making it much easier to sing in a power pop vein. In addition, we had 'Swinging A Go-Go' another great contribution by George Cabaniss. Stiv and I had written two more for the album 'Ready Anytime' and the album closer 'I Wanna Forget You (Just the Way You Are)'. We also had a moody dark instrumental (written by Cabaniss-Quinton-Secich) that we were playing around with for some time. Stiv was supposed to write lyrics for it, but he never got around to it, so we left it as an instrumental. It had a great vibe and reminded me of the John Cassavetes 1956 film "Crime in The Streets" and was thus christened that. The last song we picked for the LP was 'I Had Too Much To Dream (Last Night)' which was the one cover we did that suited Stiv's voice perfectly. After a few days of rehearsing at Stone Fox, we went into Perspective Studio in Sun Valley, California. Greg hired Thom Wilson (who would later become a famous punk rock producer of Offspring, Iggy Pop, Dead Kennedys, T.S.O.L., Bad Religion and many others). Stiv co-produced with Thom and Andy Chappel and Thom did the engineering." Frank Secich recalls. In September, after the "Disconnected" mixing sessions, Stiv went to Baltimore to film "Polyester" with Movie Director John Waters and actors Tab Hunter and Divine. Stiv then went to the UK to record with the Wanderers doing their LP "Only Lovers Left Alive". He wanted to have both bands going simultaneously but logistically and practically they all knew that could never work. The "Disconnected" Band would do one last tour to support the album release of "Disconnected". The LP was released by Bomp Records on Monday December 08th, 1980. Later that night, John Lennon was murdered in New York City. So many of the principal characters involved in the creation of "Disconnected" have passed on. Stiv Bators (June 3rd, 1990), Greg Shaw (October 2nd, 2004), Thom Wilson (February 8th, 2015), and George Cabaniss (July 17th, 2020). But "Disconnected" lives on and on and has left quite a legacy for itself. There have been over 100 cover versions internationally of the songs from "Disconnected" and it has been in print and reissued in various forms in many countries around the world. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.
Hot on the heels of our New Year’s smash, “Someday” by The Tempests, Outta Sight proudly presents the Cornelius Brothers and Sister Rose with their two most requested sides… back-to-back for the very first time!!!
The group formed in 1970 in their home town of Dania Beach, Florida. Original members were siblings Carter, Eddie and Rose Cornelius and friend Cleveland Barrett who was tragically killed in a car crash before they hit the charts. In mid-1970 they released their first single “Treat Her Like A Lady” which went to #3 on the U.S. Hot 100 earning the trio a Gold Disc. The follow-up single, “Too Late To Turn Back Now” (featured here),faired even better, hiting #2 on 22nd July 1972 scoring a second Gold Disc. Both tracks featured on their self-titled debut LP, a top 30 Pop hit in ’72. Despite the huge Stateside success of “Too Late To Turn Back Now” it failed to hit in the U.K. and even at the time, it resonated more with the easy-listening MOR audience than the soul fraternity who were tuned in to the harder-edged funky grooves of the likes of Isaac Hayes and Curtis Mayfield. It wasn’t until the Nineties that the Cornelius family finally caught the imagination of the U.K. rare soul scene and have remained a turntable favourite ever since.
Our chosen B-side, “Big Time Lover”, is the title track from the group’s second album released in 1973 and, wonderful as it is, it failed to break the Hot 100, and only dented the R&B Charts peaking at #88. Again, it was completely ignored by the U.K. and yet today it is the more popular of the two sides. Ironically, both original United Artist singles are actually quite hard to find in the U.K., despite the Gold Disc status of “Too Late To Turn Back Now”. A quick look on ‘discogs’ reveals only one copy currently available and zero copies of “Big Time Lover”!
Repress!
Twenty years ago, London Elektricity unleashed one of the most seminal drum & bass albums into the world. 'Billion Dollar Gravy' was Tony Colman's second longplayer, following the iconic debut project 'Pull The Plug' released in 1999. Widely acclaimed and well-respected for a multitude of reasons - from the iconic album artwork of Tony holding the 'Billion Dollar Gravy' picket sign, to revolutionary anthems such as album title-track 'Billion Dollar Gravy', 'Different Drum' and 'Fast Soul Music', two decades on, the album is revisited with a fresh sonic injection.
'Billion Dollar Remixes' is a meticulously crafted project which aligns a selection of some of the finest drum & bass talent with the album originals, making way for the likes of Watch The Ride, Whiney & Unglued, Mozey, Dogger & Mindstate, Zero T, Kimyan Law, Bop x Subwave, imo-Lu, Hugh Hardie and Conrad Subs to put their spin on the 2003 classics.
Pressed onto 2 x pink transparent heavyweight 12" vinyls.
One of the most essential works from Nurse With Wound, coming in an extended luxury 3x picture LP and 2CD edition, with many unreleased, alternative versions and songs.
This album is the sister album to Current 93’s same titled album and it’s a crownjewel for collectors of avantgarde and experimental music.
The original release of Nurse with Wound’s gargantuan “Thunder Perfect Mind” in 1992 coincided with that of Current 93’s homonymous genre-defining album. Legend has it that the gnostic name initially appeared to Steven Stapleton in a dream as the title of Tibet’s then still nameless upcoming album. Both records feature contributions from David Tibet, Colin Potter, Rose McDowall, John Balance of Coil, Alan Trench of Orchis and Joolie Wood amongst others. The title and the partial overlap of the personnel on both albums isn’t quite where the similarities end, both albums have since become undisputed milestones in their respective artists’ oeuvre. At the core of the definitive 2023 Infinite Fog re-release fully overseen by Steven Stapleton are the two original tracks “Cold” – a classic unsettling rhythmic Nurse collage-fest, significantly closer to jittery psychelia than the oft-cited “industrial feel” and the epic “Colder Still”, easily one of the most mind-bending breathtaking NWW compositions up to this point and well beyond. The track soothes ghostly atmosphere and reveals new surprises with every listen, not least of which is a direct link to its sister release from c93 as well as the first appearance of the signature rhythm loop that would mutate and re-emerge on several later tracks. The album also is the first full-length collaboration with genius sound wizard Colin Potter who has since become a ubiquitous sidekick both on Nurse albums as well as in live performances. As a follow-up to what is widely acknowledged as one of the best-loved exercises in drone of the 20th century “Soliloquy for Lilith”, TPM is a much more varied but at least equally rewarding experience. Infinite Fog are beyond pleased to be able to offer a significantly enhanced, remastered and extended 3 LP version for old and new fans alike.
"Legend On Legend!
Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.
Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere.
Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.
Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.
What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage."
"Duane Eddy Does Bob Dylan" includes the following tracks: "It Ain’t Me Babe", "She Belongs To Me", "Houston", "Mr. Tambourine Man" and more.
"Legend On Legend!
Eddy’s superb reverb-drenched renditions of Dylan’s biggest hits gives your ears a fresh take on these familiar favorites. Full of twang and gut bucket harmonica, this collection of 12 songs encapsulates the ‘60s in a way only Duane Eddy could.
Originally released in 1965, the album has remained one of the rarest and hard-to-get collectibles for Duane Eddy fans everywhere.
Produced by Lee Hazelwood, the album is completely instrumental and showcases Eddy’s individual stylings of the 1960s.
Eddy’s guitar romps and soars through Dylan’s brain waves – translated in this album into notes which build and explode into bar lines of enjoyable melodies. By instrumentally interpreting 12 of the significant songs of the 60’s, Eddy proves there is quality and richness in popular music, too often knocked down for its tendency toward shrillness and over-amplification.
What Bob Dylan is capable of saying with his magical way with words, Duane Eddy is capable of saying instrumentally. As you will undoubtedly hear, it’s a happy marriage."
"Duane Eddy Does Bob Dylan" includes the following tracks: "It Ain’t Me Babe", "She Belongs To Me", "Houston", "Mr. Tambourine Man" and more.
After the Dead Boys, Bators embarked on a musical journey that saw him touch upon power pop during a brief solo career. Although included in our past release "I Wanna Be a Dead Boy" (1992), as a limited edition 7" boxset, this is the first time the single gets an official reissue in its original format. This is an essential power pop classic! As the frontman for the Dead Boys, Stiv Bators terrorized audiences with his snotty, in-your-face punk rock style. But after the Dead Boys, Bators embarked on a musical journey that saw him touch upon power pop during a brief solo career. Stiv moved to Los Angeles and signed with Bomp! Records, Greg Shaw's label that released many seminal 70s West Coast punk and power pop groups such as the Nerves, the Weirdos, the Zeros and the Germs. The first Bators single to emerge from Bomp!, 'It's Cold Outside' (originally by Ohio legends The Choir), is a song that the Dead Boys reportedly could not figure out how to play. It was released in May 1979. The B side 'The Last Year' is a Stiv/Jeff Jones (alter ego of Frank Secich) song dedicated to the recently deceased bassist of the Sex Pistols Sid Vicious and would later appear on the LP "Disconnected" (1980).
UK jazz ensemble The Jazz Defenders release their third album "Memory In Motion" in April on Haggis Records (home of The Haggis Horns and Malcolm Strachan). The Bristol jazz boppers deliver another quality release of original material that takes in their usual diverse mix of influences and genres, from timeless acoustic jazz referencing the classic sounds of Blue Note Records, to a more contemporary fusion where jazz meets soul, funk and hip-hop.
Although they love to mix things up, their roots are in the classic acoustic jazz quintet sound of the late 1950s/early 1960s, back when hard bop and modal jazz ruled. They have already explored this musical path well on their previous albums but they still deliver a couple of classic inspired jazz cuts here. "Chasing Fantasies" and "Fuffle Kerfuffle" both give the band some space to cut loose on solos over swing jazz beats that will keep their original jazz audience happy. The latter bubbles away with a jazz shuffle beat that would make drum legend Art Blakey smile.
"Meanderthal" and "Snakebite Playfight" bring soul to this jazz party. Exactly like jazz legends Lee Morgan/Herbie Hancock/Freddie Hubbard etc did back in the early-mid 1960s. The first is a feel-good, toe-tapping gem that's heavy on the backbeat and short and snappy on the solos, the exact reasons that made it the perfect opening single from the album. "Snakebite Playfight" comes with a jaunty New Orleans shuffle before transforming into a heavy psychedelic soul jazz burner, flipping back with ease to the NOLA shuffle for the Mardi Gras meets bebop piano solo by band leader George Cooper.
"Rolling On A High" is a hip-hop/jazz banger that sees the band continue their collaborations with UK rapper Doc Brown, a perfect combination that began on their second album "King Phoenix''. This time, the Doc spits some old-school block party-style bars over a bouncy uptempo funky beat with the band cooking up some soul stew behind him. Definitely dancefloor material.
Another uptempo jam is the heavy jazz fusion jam "Net Zero". It kicks off with some live broken beat kit playing and piano/bass staccato vamping before taking off into Headhunters territory on the solos, sounding both contemporary and classic at the same time. This is The Jazz Defenders at their fiercest and toughest and delivering a track that will have jazz dancers worldwide in an utter frenzy.
It's not all uptempo numbers or dancefloor-oriented compositions on this album. Two tracks take the musical dynamics right down to give a temporary break from the high-energy numbers. "Take A Minute" has a rolling double bass line locked into the groove while the horns play a lazy and laid-back theme with vibes embellishment, sounding like some trippy independent film soundtrack. Another recurring musical reference point for this band over the years.
The album finishes on a poignant and introspective note with a beautiful piano and double bass feature for George Cooper and bassist Will Harris. It's called "Enigma", it was recorded live in Paris and it closes the album on a peaceful note evoking the music and playing of Bill Evans. The perfect way to close this brilliant third album from The Jazz Defenders.
With Memory In Motion, pianist George Cooper and his band undoubtedly pay great homage to a golden era of jazz music that they love, but also elaborate on this influence with a wealth of modern musical experience, to create their own raw and vibrant compositions. The result is an enthrallingly unique sound that is as danceable as it is listenable.
This live album is a recording of the last live performance by Drumwolf (Toru)'s with the band. The concert was held at W.W.W.X. in Shibuya on March 11th, 2023 and includes 13 of the songs that they played at this gig.
It is the last memorial live performance for Toru, the bedrock of Guitarwolf for many years and will be permanently etched on vinyl. This is a must record that fans need to get hold of, as it is the live recording of the band's latest performance featuring many of their classic songs.
Guitar Wolf have been expanding their horizons of their activities in recent years, including an appearance at the Shimane Jet festival, and they hope you can appreciate the pure joy of their universal rock 'n' roll vibes on vinyl that might be too hot for the whole world to handle!
And as a bonus item, you can stream the full live performance of this monumental concert of Guitarwolf in its entirety as well! It was directed by Tetsuro Takeuchi who has previously worked on Guitarwolf's music videos for many years.
This video of their live performance was edited full of tension and speed and it truly displays how much Guitarwolf deserves the title of Japan's number one rock 'n' roll band. This fact can also be relived by seeing this video included in this deluxe edition.
Guitarwolf
Members:
Seiji (Guitarwolf): Lead Vocals, Guitar
GOTZ (Basswolf): Bass, Vocals
Shingo (Drumwolf): Drum Note: Joined the band in 2022
Real-life rock 'n'roll super heroes that rock fans all over Japan continue to admire.
While creating numerous legendary myths in the 1990s, being unique beyond comparison, they continue to consistently blare out their spontaneity to the present day,
The band's unusually extreme and bombastic sound amplifies the embryonic impulses of rock 'n' roll, while Seiji's lyrics mix words that evoke the 'universe' and the 'Showa era' with his own unique sense of humor. In their relentless pursuit of a style that has remained unchanged since the band's formation, the music that the three members who don their entire bodies in black leather play, emits power that transcends time and space. While doing so, they continue to gain enthusiastic fans from all over the world.
Formed in 1987, the original members, Seiji and Billy (bass, vocals) and Toru who joined the band later, started their musical activities together and released their debut album "Wolf Rock" in 1993 from the Memphis-based Goner Records. Later, they signed to Matador Records, one of the leading indie labels in the USA. They also made their major label debut in 1997 with the album, "Wolf Planet" on Ki/oon Records/ Sony Music in Japan.
They have released 12 albums to date. The band has also continued to tour energetically around the world, not only in Japan but also in the US, EU countries, Australia and South America. Billy suddenly passed away in 2005. After having two mighty support casts, U.G. and Hikaru, GOTZ (Gotz) joined the band in 2018 as the new bass wolf. Also, Toru who had been with the band as drum wolf for many years left in 2022 and the band is now more energetically active with their new drum wolf, Shingo.
