Cerca:200 records

"Southern Rock Opera is the third studio album by the American rock band Drive-By Truckers, released in 2001. Originally released as a double album covering an ambitious range of subject matter from the politics of race to 1970s stadium rock, Southern Rock Opera either imagines, or filters, every topic through the context of legendary Southern band Lynyrd Skynyrd.

New West Records is proud to present a remixed and remastered deluxe edition LP featuring a resequenced record as well as a third disc with multiple bonus tracks including a song “Mystery Song” that was recorded one night in Birmingham. Lead Singer, Patterson Hood explains, ““Birmingham” and “Moved” were originally part of Act I on original CD release. This is the first vinyl version to feature “Moved” and we felt that “Birmingham” would be the best other song to move without messing up the story element of Betamax Guillotine. We moved them here to keep the vinyl sides within time of maximum high fidelity. (Under 23 minutes per mastering guidelines).

In the process of re-mixing the original tracks for the album. We stumbled upon a mysterious track that was recorded late one night in Birmingham. None of us have any memory whatsoever of recording it. The song itself was never even written down, just made up on the spot while the tape was rolling. We’re calling it “Mystery Song.” It’s actually a keeper.”

This 3-disc deluxe edition comes packed in a foil stamped rigid slipcase with the original album packaged as a 2xLP set in gatefold. The 3rd LP is packaged in a separate jacket. Each record comes with a 28-page book that is given the spot gloss treatment throughout."

In 2006, the slight buzz of a Brooklyn band called El Michels Affair started to sound a bit more like a swarm of killer bees when their instrumental rendition of Wu-Tang Clan’s “C.R.E.A.M.” was released as a 7” vinyl single. The band’s namesake Leon Michels and his production partner Jeff Silverman dropped the single on their boutique label called Truth & Soul, and it created such commotion that it would spawn an entire album of Wu-based covers. In honor of the 15th anniversary of that LP— “Enter The 37th Chamber”—the single is now getting its first vinyl repress in years.

“C.R.E.A.M.” is featured on Side A, with its prominent guitars and powerful horns complementing the signature baseline and unforgettable piano hook that practically defined an era of New York hip hop. The B-side “Glaciers of Ice” offers a deeper, melancholic interpretation of the hard-driving “Cuban Linx” banger, with a mood consistent to the A-side, as the drums take a comfortable backseat to the melodic guitars and punchy horn lines.

Originally released in 2009, El Michels Affair’s “Enter The 37th Chamber” LP on Fat Beats Records is celebrating its 15th Anniversary in 2024.

First ever vinyl release of the second album released in 2012!

Fuyumi Abe (Vo.G) is Japanese singer-songwriter whose works have been featured in numerous commercials and movie theme songs since her major label debut in 2007.

This ambitious work is produced and arranged by Kei Kono, who has worked with Hikaru Utada and others, in pursuit of simplicity.

Pierced Arrow's first record! Fred And Toody Cole's post Dead Moon band with Legendary rocker Kelly Haliburton on drums. Most musicians get softer with age, but Fred and Toody brought a harder edge to Pierced Arrow's than their earlier bands. A legendary record back in print for the first time since it initially came out in 2008. A killer!

Established in 2008, the French band The Lumberjack Feedback comprises talented members from diverse musical backgrounds. Their music is all instrumental, characterized by heavy, powerful riffs, two drummers (!) and hypnotic atmospheres, creating a unique dark though melodic sonic universe. The genesis of the band traces back to a shared passion for innovative metal and a desire to create immersive, captivating music. Over the years, The Lumberjack Feedback has honed its musical identity, blending diverse influences ranging from sludge to doom and post-rock. The result is a complex, entrancing fusion capable of transporting the listener to emotional soundscapes. Through their epic music, The Lumberjack Feedback transcends linguistic and cultural boundaries, resonating with audiences worldwide. The band continues to make its mark in the worldwide thriving post-rock music landscape, delivering energetic and mind-blowing live performances that leave no one indifferent. Brown onyx vinyl.

After meeting in 1992 as members of St Etienne's touring band, Debsey Wykes (Dolly Mixture) and Paul Kelly (East Village) turned their shared love of the soft rock and sunshine pop of the 1960s and 1970s into the now-legendary Birdie. In the summer of 1998 Birdie recorded their debut album "Some Dusty" with the estimable Brian O'Shaughnessy (Denim, Moose, The Clientele). It's a deep and beautiful album, with melodic & sophisticated (yet understated) arrangements providing the perfect setting for Debsey's sweet and soulful soft-pop vocals. Add in gorgeous string arrangements from The High Llamas' Sean O'Hagan and you have all the makings of a pop classic.

Subsequent singles and a second album cemented their reputation as top-notch purveyors of pop, but family life and other artistic pursuits called and Birdie has only been sporadically active since 2001. Their brief but perfectly-formed discography has become the stuff of legend, though, charming savvy pop fans around the world with its timeless songcraft and flawless production.

Summer 2024 will see the long overdue vinyl reissue of "Some Dusty" on US indie label Slumberland Records, returning this classic album to much-needed availability in deluxe remastered form with a deluxe 60s-style laminated heavy card jacket and a fine insert with rare photos and liner notes by Chickfactor’s Gail O’Hara.

repressed!

Kerri Chandler delivers ‘Lost & Found Vol.1’ this March, a four-track collection of revisited, unreleased archive cuts, including Kerri’s own Grampa, Calvin Reed Sr. as a featuring artist on the opening track.

New Jersey’s Kerri Chandler has been at the forefront of house music since the beginning of his career in the early 90’s. Over the past three decades he’s released an extensive back catalogue of material including several albums on his own Madhouse and Kaoz Theory imprints as well as the likes of DJ Deep’s Deeply Rooted, Apollonia, Jerome Sydenham’s Ibadan and Watergate Records.

Here we see Kerri dig up some never before heard archived material from the 90’s and early 2000’s for this four-track EP. Up first is ‘What Will We Do ft Grampa’, featuring spoken word and vocal lines from Kerri’s Grandfather Calvin Reed St. atop gritty swinging drums, organ lines and rounded subs. ‘Tonight’ follows and tips focus over to airy chord sequences, choppy bass notes, dreamy arpeggio lines and dynamic drums.

‘Into The Night’ opens the b-side next, bringing a raw bass hook, tension building strings and vocal chants of the track’s title into the forefront while bumpy stripped-back drums keep things driving. ‘This and That’ then rounds out the release, bringing twitchy resonant synths and phaser sweeps into the mix alongside stuttering drum programming for a funk-infused, loop driven eight minute workout.

DJ Feedback:

Honey Dijon - Classic
Kerri still has his A Game intact! Great Ep!

Laurent Garnier - Kompakt, MCDE, F Communications
PURE LOOOOOOOOOVE

Jimpster - Freerange, Delusions Of Grandeur
Kerri!!!! Classic tracks with that inimitable groove and production which makes him such an icon. Big ups!!

Terry Farley - Junior Boys Own
BACK 2 DA RAW

Fouk - Heist, House of Disco, Razor N Tape
Super hard to pick a fav as each track has its own vibe! LOVE THIS <3

Enzo Siragusa - Fuse London, InFuse
Quality as always from Kerri!

Harvey Sutherland - MCDE, PPU, This Thing
always.

Roy Davis Jnr
Full support.

Jason Kendig Honey Sound System
Always fire tracks from kerri!

DJ Bone - Subject, Metroplex
Love the entire release!

Politics of Dancing (Guillaume & David)
one love for Kerry as always :)

Joyce Muniz - Exploited Ghetto, 20:20 Vision
Nice Ep!

Massimiliano Pagliara - Panorama Bar, Ostgut Ton
groovy!

Shadow Child
king.

Tobi Neumann - What Came First
Brutally good House Music. This one I wanna have on vinyl. Thanks master Chandler for the music!

Chrissy - Chiwax, The Nite Owl Diner
Very excited for this one

Halo Varga - All Inn Music, Surface, Inmotion Music
Kerri is GOD

Mutiny - Azuli, Skint
Kerri on that deep classic vibe..Love

Alinka - Permanent Vacation, Twirl!
Brilliant as always

Diz - Robsoul
90's freshness!!!

Fish Go Deep - Innervisions, Defected
The long-awaited follow up to She's Crazy! Beautifully done. The other tracks also slamming, packed with dancefloor drive and emotion. Can't wait to play loud.

Art Of Tones, Llorca
Superb EP !

Lupe
The Grampa one, instant cult hit, very endearing! Great stuff

BD1982 - Diskotopia, Tokyo
Classic material from an absolute legend

Johannes Albert - Need Want, Mirau, Berlin Bass
vibes for days!

Joseph G. Bendavid
kerri can't fail, always bomb tracks

Terry Grant
Stone. Cold. Legend.

Harri - Sub Club
Lovely

Severino - Horse Meat Disco
oh yes quality

Mobb Deep was a legendary 1990s rap duo formed in Queensbridge, New York, by Havoc and Prodigy. They are considered the foremost progenitors of hardcore rap and one of the most influential hip hop groups in history. Their music reflects the hostile reality of an era when poverty, drugs and gang violence plagued the streets of New York. Their music is characterised by dark samples, the drums, snares and bass are defined and the raw lyrics are of a very high standard, in the most competitive era in rap history. With their albums The Infamous (1995) and Hell On Earth (1996) they achieved fame within and outside the hip hop community, including hits such as "Shook Ones (Part II)" and "Survival of the Fittest". They would later collaborate with top East Coast rappers such as Notorious B.I.G., members of the Wu-Tang Clan collective, Jay-Z, Nas and 50 Cent, on whose label G-Unit they would release their album Blood Money (2005). Prodigy's sad death in 2017 due to a long and cruel illness only has amplified an already existing legacy. On this album we will be able to enjoy the instrumentals and acappellas of many of their best tracks throughout their career.

On his new album, Samurai, Lupe retreats inward to give fans one of his most personal albums in his deep catalog. “I sometimes get tagged by my fans as not doing personal records,” Lupe says, “but I always tell people there's me in there if you listen closely enough. This album is one of my more personal records to date. It's not a full biography, but my personal experiences are tied up in all of my music. A lot of the records are me. Some are from the POV of a character. and some are me. The album weaves things from my life as an artist, touching on things other artists go through.” The narrative follows a battle rapper through various moments in his career, starting with how they honed their battle rap skills, following their career through different moments. Musically, the new album finds Lupe delighting in the simple pleasures of assembling assonant syllables into playful and poignant narratives. The 8-track album is smooth, yet cerebral, brimming with ideas, but always radiating Lupe’s pure love for the art of emceeing and committing himself as a servant of the rap game. The album was produced in full by longtime collaborator and friend, Soundtrakk (“Superstar,” “Kick, Push,” “HipHop Saved My Life”), their second time linking up on a full album after 2022’s DRILL MUSIC IN ZION, and is also the first time Lupe, Trakk, and longtime manager Charles “Chill” Patton were in the studio together since Patton’s release from prison in 2023. “It felt great to be back in the studio again as a family,” Lupe says. It’s the first time they’d worked together in the studio since Lupe’s seminal album, The Cool in 2005. “The word ‘samurai’ means to serve,” Lupe says on the album’s title. “My relationship to that word has always meant that you need to be at the service of other people, either in the overall community, or in this instance, the rap community at large that I’ve been a part of for years. You have some duty, some purpose to serve. The title alone is very important to me. Before rap even, martial arts was my whole life, and it still plays a huge role in my life. The album is me, but also inspired by a quote I heard from one of my favorite artists. The overall themes of the album speak to the constant fight and the battle one goes through being in the entertainment industry. Some of the things we need to defend.”

Ever since the 2003 release of her debut, Another Mind, Hiromi has electrified audiences with a creative energy that encompasses and eclipses the boundaries of jazz, classical and pop, taking improvisation and composition to new heights of complexity and sophistication. On her most recent album, Silver Lining Suite, Hiromi further exemplifies her virtuosic hybridity and emotional range, finding strength and hope amidst the turmoil of the pandemic. 
 

Born in Hamamatsu, Japan in 1979, Hiromi’s first piano teacher, Noriko Hikida, exposed Hiromi to jazz and introduced her to the great pianists Erroll Garner and Oscar Peterson. She enrolled in the Yamaha School of Music and started writing music. 

 

Hiromi moved to the United States in 1999 and studied at the Berklee College of Music in Boston. Among her mentors was jazz bassist/arranger Richard Evans, who took Hiromi’s demo to his friend, the legendary pianist Ahmad Jamal. Evans co-produced Another Mind with Jamal. 

 

Another Mind was a critical success in North America and Japan, where the album shipped gold and received the Recording Industry Association of Japan’s Jazz Album of the Year Award. Hiromi’s astonishing debut was but a forecast of the shape of jazz to come. 

 

In 2009, she recorded with pianist Chick Corea on Duet, a live recording of their concert in Tokyo. She also appeared on bassist Stanley Clarke’s Grammy-winning release, Jazz in the Garden. 

 

In the summer of 2021, Hiromi performed at the opening ceremonies of the Tokyo Olympics. 

2025 Repress

SHDW & Obscure Shape invite Invexis for his first 12" in almost 20 years as the German live act and producer returns to Mutual Rytm for his impactful EP, 'Odyssey'.

With an ethos of merging the past with the present and future, harnessing classic techno influences and shaping them into the sounds of tomorrow, SHDW & Obscure Shape's Mutual Rytm imprint has become an exciting home for rising talents of note and established artists to shine a spotlight on the genre. However, the next release on the label welcomes a long-awaited return from Georg Kohler, aka Invexis. Known for releases such as 'Kalibreur' on Salpeter Records and 'Chiffre' on Planet Rhythm Records, with further releases via Compound and Kazumi, the German talent crafted and shaped his own sound within the techno landscape in the early 2000s. Returning with his first EP release in close to two decades, late December welcomes a return to Mutual Rytm, following on from the inclusion of his track 'Elektronenwind' on the label's 'Federation Of Rytm I' release, as he delivers a selection of dynamic, melodic and driving techno offerings across 'Odyssey'.

'Silhouette' opens the package with authority as spirited drums and spiralling synths take hold of a twisting and turning lead effort, with 'Non Return To Zero' building a spiralling groove via frantic yet measured percussion, sweeping melodies and funky stabs. 'Red Storm' opens the B-side with a more up-front production combining harsher metallic tones with relentless drive and crashing hats, while 'Body Impulse' utilises dubby stabs and eerie atmospherics to balance light and dark. The title track 'Odyssey' closes the vinyl offering, with a euphoric and rapturous production harnessing resonant chords, looping drum grooves and elated leads to bring things to an impressive crescendo and deliver a record that will remain in the ears of listeners for a long time. As always with the label, digital purchasers are treated to an exclusive track as Kohler combines zig-zagging grooves, refined synths and off-kilter glitches and bleeps across digital exclusive 'Transition'.

DJ 3000 Unveils “Immigrant Son”

Techno maestro DJ 3000 is back with a fresh new release, the "Immigrant Son" EP, following the success of his recent "Work In Progress" EP. Set to captivate listeners once again, DJ 3000 infuses this latest project with deep familial ties and cultural heritage.

"Immigrant Son" is a heartfelt celebration of family and deep-rooted traditions. The track "Gëzuar," meaning "Cheers" in Albanian, blends traditional Albanian rhythms with the soulful essence of Detroit techno, creating a unique and compelling soundscape. Another standout track, "Kanuni (Traditë Mix)," draws inspiration from the Code of Lekë Dukagjini, further enriching the EP with historical and cultural depth.

Adding a layer of intrigue, "Part Time Prophet" invites listeners to interpret its meaning, showcasing DJ 3000’s ability to provoke thought and emotion through his music.

Since his first vinyl pressing in 2002, DJ 3000 has continued to push boundaries and explore new sounds. With six vinyl records released in less than a year, he shows no signs of slowing down. Committed to the art of vinyl, DJ 3000 continues to DJ exclusively with vinyl records, preserving the authentic and tactile experience of music.

The album was created in two versions - a limited "color in color", of which 100 numbered pieces were produced, and a classic version with black wax, of which 200 pieces were produced.

After 10 years, Kixnare returns to U Know Me Records with his fourth original album. "Asteria" is a step towards even more experimental and abstract corners of electronic music. Each of the seven songs on the album reveals a fascination with completely different musical areas - from dark ambient ("Plaga"), through oriental ("Mystic Journeyman") / dubbing downtempo ("Impass") to stronger acid ("Mutacja") and techno ( "Omnis"). What connects everything is a constant atmosphere of anxiety - a reflection of the times we live in. Despite a completely different musical climate, "Asteria" refers in its character to Kixnare's last album "Rotations" from 2014, continuing the concept of inter-genre collage. All this comes together in the weekly radio show "Rotations", in which Kixnare presents his recommendations from the world of underground and experimental electronics on Radio Kraków.

"Asteria" is an album consisting of seven songs - almost 38 minutes of an amazing journey, the sound of which was worked on by the legendary Stefan Betke from Berlin (mastering author). The cover is the work of the flawless Animisiewasz.

Incredibly rare Latin grooves reissued for the very first time on vinyl. Vision Divina is produced by New York City Latin music legend, Larry Harlow. Full of blazing

horns and wondrous drum rhythyms this title is sure to keep any dancefloor shaking. Originally issued on the legendary Coco Records imprint and long overdue for reissue with O.G. copies selling for $200+ when available.

Two-Piers, the label that brought you ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’ brings you the second instalment in the series ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’. A thrill-a-minute dive into the crazy awesome world of Garage Psychedelic Rock.

From the Psych sound explosion onto the underground club scene in the US and UK in the mid 1960s, to its discovery by a wider audience via the exceptional Nuggets and Pebbles compilation series in the 1970-1980s. Through its mainstream revival with the Garage sound of the late 1990 - early 2000s, to the current crop of exceptional bands flying the Garage Psych flag today, ‘Garage Psychédélique’ takes you on a journey and gives you a little taste of some of the finest music from the scene and the bands that blazed a trail for others to follow…..Sit back and enjoy the ride!

From the opening bars of The Sonics ‘Have love Will Travel’ through the Psych workout that is Count Five’s ‘Psychotic Reaction’ to the joys of ‘60s Beat Psych groups from the US such as The Paragons, The Preachers, The Strangeloves, The Squires, and the eccentric stylings of The Monks. The album careers along at a blistering pace of Garage Psych brilliance, jammed packed full of underground floor fillers a plenty.

US legendary underground acts such as The Electric Prunes, The Chocolate Watch Band and MC5 all deliver classic tracks for the cause, and singer-songwriter Harry Nilsson even makes a foray into the psych rock sound with ‘Jump into the Fire’.

In recent years such bands as Thee Oh Sees, Moon Duo and Allah-Las from the US have taken the Garage Psych influence and ‘60s sound and made it their own. A whole crop of bands such as White Hills, Gnod and Goat from the scene have evolved the music into a ‘Pzyk Rock’ feel with a darker and heavier vibe, but crucially still with the joyous undertones that the scene brings to its devotees.

The Garage Psych sound has influenced groups from around the globe with bands like Liverpool’s The Stairs ‘Weed Bus’, Scotland’s finest The Poets with ‘That’s the Way It’s Gotta Be’, The Bogeymen, a largely undiscovered ‘90s Psych Hammond band from France with ‘Electrocution’. Hailing from Sweden Goat bring us ‘Gathering of Ancient Tribes’ and The Hives their dancefloor anthem ‘Main Offender’. From Perth, Australia Pond’s Psych leanings on ‘Fantastic Explosion of Time’ are clear to see. Finally, Kevin Parker’s band Tame Impala were very influenced by the whole garage psych sound in their early band incarnation, as perfectly showcased here on the epic wig-out that is ‘Half Full Glass of Wine’ that closes the album.

This isn’t meant to be a ‘crate diggers’ album or a compilation of ‘obscure hard to find tracks’ to out-do your mates. It is quite simply a celebration of the Garage Psychédélique scene and a chance to revel in its brilliance and dance around your kitchen. If it means you go down a rabbit warren of discovery to unearth more gems and brilliant bands from the Garage Psych scene then job done!

LP Black Vinyl with DLC, CD Capacity Wallet. "Her significant solo output has been remarkable" Drowned In Sound. Following a special vinyl release for this year's Record Store Day celebrating its tenth anniversary, 'Crooked' will be reissued on black vinyl and CD on 27th September. 'A figurehead for feminist indie rock' (Classic Rock), Kristin Hersh achieved a music and publishing first when her eighth solo album was initially released as a multi-media book in 2009. Hersh's "poetic, provocative and puzzling songcraft" (The Washington Post) makes 'Crooked' a stunning record. The resplendent, melancholic 'Flooding' came to Hersh in the form of song but was also a premonition of the imminent death of close friend and musician Vic Chesnutt. Mainstay in her recent live shows, 'Mississippi Kite' is snarly and unsettling whilst the spectral psychedelic tones of 'Rubidoux' stem from a 50foot Wave car ride and a late-night recording session. The songs still lead the way hitting Hersh fully formed but it's her beguiling raspy vocals paired with guitar, and any other instrument that she chose to play on this album, that has a beautiful intensity that's jarring, unpredictable and inherent in her music. "She's still as powerful a presence as she ever was." Pitchfork_

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

Our Label Records Vol. 1 präsentiert eine Auswahl an zumeist vergriffenen Funk 45s aus zwanzig Jahren Labelgeschichte. 2005 starteten die Brüder Tom und Gu mit der 7” Veröffentlichung "Give Me A Minute" von The New Mastersounds aus Leeds, UK, und haben seitdem mit Bands und Künstlern aus der ganzen Welt zusammengearbeitet. Gerade in den Anfangsjahren war Unique Records als Vertriebspartner einer der Garanten sich schnell zu etablieren. Auf dieser Compilation gibt es Uptempo Funk, smarte Breaks und soulful Grooves die sich als sichere DJ Tracks bewiesen haben. “Give Me A Minute (Part 1 & 2)”, geschrieben von Gu, war nach drei Monaten ausverkauft. Das von DJ-Ikone Keb Darge und Eddie Roberts produzierte “Bread & Water” von The Inmates war nach sechs Monaten nicht mehr zu bestellen. Die "Song 2" Coverversion von Diazpora schaffte es sogar in den Trailer einer britischen Castingshow. Mothergroove, Sir Ali Bengali, Wake&Bake! und Renegades Of Jazz sind Klassiker in den Vinyl Kisten von DJs weltweit und Garanten für volle Tanzflächen. Einige hatten auf Our Label Records die ersten Veröffentlichungen ihrer Karriere. Mit “Smudgin'” von The King Rooster findet sich auf dieser Werkschau zudem eine ganz neuer bisher unveröffentlichtes Funk Monster. Zehn Tracks stark ist "Our Label Records Vol. 1" eine sichere Bank für Funk Fans, Vinyl Enthusiasten, DJs und Sammler. Die erste Vinyl Auflage von 500 Exemplaren erscheint mit einer Bonus 7” aus dem Our Label Katalog.

MANOWAR is an American heavy metal band from Auburn, New York. Formed in 1980, the band is known for lyrics based on fantasy and mythology . The band is also known for a Loud and Bombastic sound. In 1984 the band was included in the Guinness Book of World Records for delivering the loudest performance, a record which they have since broken on two occasions. They also hold the world record for the longest heavy metal concert after playing for five hours and 1 minute in Bulgaria (at Kavarna Rock Fest) in 2008. MANOWAR have also been known for their slogan "Death to false metal » and have maintained a very strong following with dedicated fans worldwide as referred to by the band as "Metal Warriors", "Manowarriors", "Immortals" or "Brothers of Metal". The band signed with Atlantic Records in 1987. Via Atlantic, they released 'Fighting the World', which enjoyed more extensive distribution and increased the band's prominence in the international heavy metal scene. Album art was designed by Ken Kelly. In 1988, MANOWAR released the album 'Kings of Metal', which is the band's best known work. Songs like "Heart of Steel", "Kings of Metal" and "Hail and Kill" are performed regularly in concerts. 'Kings of Metal' is MANOWAR's highest-selling album worldwide. A new musical unit after the recent changes, MANOWAR released The Triumph of Steel in 1992. It gained some great success and was particularly famous for the presence of a suite lasting no less than 28 minutes entitled "Achilles, Agony and Ecstasy in Eight Parts", inspired by the events of the Iliad and the hero Achilles. After this release, the band went on a world tour for two years. Those MANOWAR’s album have become legendary and are still must have in any metal fan record collection . Vinyls formats Having been very rare and reaching high prices online, those three albums are now being made available again in quality coloured vinyls; Grab them now while you can !!

Enjoy The Ride Records in conjunction with Warner Records proudly presents Music From The Motion Picture Beowulf. Composed and Conducted by Alan Silvestri, Beowulf is available on vinyl for the first time. Beowulf features score tracks as well as songs performed by Robin Wright (The Princess Bride, Forrest Gump, House of Cards) and Idina Menzel (Rent, Wicked, Frozen). Directed by Robert Zemeckis and written by Neil Gaiman and Roger Avary (based on the Old English epic poem), the 2007 CGI fantasy action film features an all-star cast, with a powerful musical accompaniment.

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.

NOTHING MORE, das dreifach für den Grammy nominierte Quartett aus San Antonio, Texas, meldet sich mit ihrem spannungsgeladenen 8. Studioalbum CARNAL zurück, das am 28. Juni über Better Noise Music erscheint. Das Album enthält 15 Songs mit selbstreflektierten, philosophischen Texten und ungeschminkten, massiven Hymnen. Seit ihrem Debüt im Jahr 2003 haben NOTHING MORE zwei #1 Singles "This is the Time (Ballast)" und "Go To War" im US Active Rock-Radio platziert und waren insgesamt sieben mal in den Top-10 vertreten. "CARNAL" demontiert eindrucksvoll ihre musikalische Kompetenz innerhalb des Rock-Genres und weit darüber hinaus.

Permanent Repeat is the highly anticipated second LP by Long Island indie/emo favorites Macseal. The album follows 2019's Super Enthusiast and is their first release on Counter Intuitive Records. Our first record in nearly five years, Permanent Repeat was an outlet to emotionally and musically reflect on our lives at our own pace that allowed us to fine tune until we were fully satisfied. Sonically, we honed in on sounds that reminded us of the early 2000s pop rock with more modern twists and turns. This record is meant to condense big themes such as longing, existential dread, and falling in love into moments that can be played on permanent repeat.

Die Ramonas sind die wahrscheinlich beste Tribut-Band der legendären The Ramones, den New Yorker Urväter des Punks. 2004 in Großbritannien gegründet, versteht es die ausschließlich aus Musikerinnen bestehende Band den ultimativen Garage-Punk-Rock-Sound von 1976 perfekt einzufangen und bei energiegeladenen Auftritten auf die Bühne zu bringen. Getreu ihres Mottos "Touring, touring is never borning" haben den Ramonas ihre ständigen Tourneen in den letzten Jahren den Ruf einer der am härtesten arbeitenden Band innerhalb der Szene eingebracht. Zu Recht: denn seit 2016 schreiben Die Ramonas auch eigene Stücke, die sie in ihren Shows unter die Ramones-Klassiker mischen. Deutlich erkennbar am Bühnenoutfit von Sängerin Lisa: während sie bei den Ramones-Covern ganz im Stil von Joey Ramone die obligatorische Sonnenbrille trägt, nimmt sie diese bei der Präsentation der eigenen Songs ab. Für die neue LP "High on life" hat die Band eine grandiose Auswahl dieser Eigenkompositionen zusammengestellt, die mühelos den 76ger-Geist ihrer Vorbilder einfangen. Fur Fans von RAMONES, MUFFS, TRAVOLTAS, Punk, Garage, Powerpop

SIDE A/B BLACK / WHITE / NEON MAGENTA VINYL, limited to 100 copies. REPRESS of the legendary album. Prior to the formation of Queens of the Stone Age, bassist/singer Nick Oliveri recorded some originals with ex-Kyuss bandmates Josh Homme (guitar) and Brant Bjork (drums), plus Karma to Burn's Rob (drums) and others. But once recording was completed, Oliveri decided to shelve the tapes; it wasn't until several years later (well after Queens of the Stone Age began to establish themselves) that the bassist decided to release the songs on a friend's indie label, Southern Lord Records. Going by the name Mondo Generator, 11 tracks were compiled for the 2000 release Cocaine Rodeo. The majority of the songs are much more raw and hardcore/punk-based than Oliveri's output with QOTSA, as evidenced by such tracks as "Shawnette," "Uncle Tommy," "Unless I Can Kill," and "I Want You to Die."

Sarah and the Safe Word's "The Book Of Broken Glass" is an existential journey of 13 songs that weave in and out of their signature cabaret-punk mixed with rock arrangements, folky undertones and
sometimes even and late 90's early 2000's nu-metal vibe! This album merges all these styles into one cohesive unit that feels somehow familiar yet wholly unique

2024 repress

Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.

The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.

Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.

Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.

The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.

This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.

Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.

VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th.

Over the past decade, Kasra V has blossomed as a prominent figure in the music industry, particularly through his renowned residency on NTS Radio which has expanded his profound knowledge and expertise in music. Since landing his radio residency in January 2014 he has successfully broadcast over 200 radio shows, making use of the format to explore a wide array of sonic attitudes, styles and systems. To celebrate his achievement Kasra V launches his own imprint V-Sion which he will not only use for his own release output but also to propel his vision of contemporary dance music. To kick things off he presents a stunning 9-track compilation '10:10 Kasra V presents 10 years on NTS Radio' featuring unreleased tracks from some of his most revered guests who have graced his show throughout the years. Each contribution is wholly in line with Kasra V's genre-spanning approach. Over the years some periods have seen him playing straightforward club music, others featuring an extended notion of listening music. One hears a whole breadth of influences in his releases on acclaimed labels such as Radiant Records and Shaytoon Records: collected strands of rave, acid house, San Francisco breakbeat, new beat, ambient, oddball pop from 90s and 80s, UK bleep and so on. The regularity of a broadcasting residency pushed him to carry out a constant study of the history of dance music, and he envisions V-Sion as an output to curate musical output, contributing to the ongoing dialogue between past, future and the ever-changing fulcrum of the sonic present. The tracks presented on 10:10 are also emblematic of this historically-informed approach to dance music. They are all tuned for the floor, but present a range of possible floors to conjure: Fantastic Man's progressive opener, "Neural Filter", is airy and laced with delicate breakbeats, while "Archangel Waltz" by Sepehr presents a shadowy drama of string samples and throbbing bass swells."Qadak" by 500SEC lays an anthemic Arabic melody over bubbling electro; 2 tracks prior, Angel D'Lite circulates a whisper and moan through the mix of a euphoric, rave-stabbed anthem. The latter encouraged Kasra to put out this very compilation, which is just a testament to the value of the company we keep.

Eine ultrarare gefragte DJ Linus EP aus dem Jahr 2001 mit 4 knackig coolen jacking Tech Traxx. Die alte Vinyl-Veröffentlichung war streng limitiert und wurde unter dem mysteriösen Künstlernamen The Underground veröffentlicht, aber es war DJ Linus selbst, der sie produziert hat. Die Warterei auf diese Rarität, die perfekt zum aktuell angesagten House-Sound passt, hat sich gelohnt.
Nebenbei bemerkt: DJ Linus veröffentlichte seine ersten Platten auf Compose, dem 90er-Jahre-Tochter-House-Label von Compost. Herzlich willkommen zurück, Linus!

Limitierte 4 Track EP in transparent-orange Vinyl

True Acid Wizards of the 1980s/1990s Psychedelic Underground TreaTmenT performed at Stonehenge Free Festival and at squats and clubs all over London including the now legendary Alice In Wonderland, The Crypt and Club Dog where they assaulted the minds of those present with their unique and somewhat terrifying blend of '60s psychedelia and '70s space rock all liberally spiked with a questioning punk attitude. Performing with Dr & The Medics, Ozric Tentacles, The Magic Mushroom Band, Naz Nomad and The Nightmares and other luminaries of the neo-psychedelic space rock revival, TreaTmenT were an integral part of the scene and possibly the most psychedelic band of them all.

Hardcore to the max, the band insisted on performing in a psychedelicised state, looking like a cross between Arthur Brown's Kingdom Come and early Pink Floyd and often with a lightshow. Firmly fixated on taking their audience on the trip of a lifetime TreaTment consisted of Adam Blake (Jacket Xerxophon) on guitar and vocals, Gordon Leach (Gordon Zola) on further guitar and vocals, Clive Leach (Evil C. Live, Ron Number, Curtis Vile) on bass/trombone, Paul Ross (The Big Beat, Mr Raagh) on drums/percussion and Paul McWhinnie (Mutant) on keyboards, noises and vocals. They were without doubt a live phenomenon, and although they released a couple of singles, cassettes, a live album and a studio album - Cypher Caput - on the Delerium label (home to Porcupine Tree), they never really managed to commit their mind-blowing magic to vinyl. Now, nearly 20 years after it was recorded TreaTment are releasing a limited-edition double vinyl LP of their second studio album How Much is Enough? in memory of guitarist Gordon Leach who sadly passed away in 2021.

The album was intended to be released on Delerium in 2000 but never was and whilst one track 'Keep Ahead' appeared on the Cherry Red box set Last Daze of The Underground - Delerium Records Anthology in 2011 nothing else has seen the light of day until now. Fans of the band will note cornerstones of their live set such as the wondrously trippy 'What The Hell to do' the humorous swipe at the music press 'Hate The Band' the melodic keyboard swirling 'Restless', the frenetic guitar cross fire of 'No Understanding' and the nihilistic nightmare 'Blot Out'.

Housed in a gatefold sleeve packed with photos and memorabilia as well as for the first time the full history of the band and limited to only 300 on 180-gram vinyl How Much is Enough? will no doubt be seen in the future as one of the landmark releases of the '80s/90s Neo-Psychedelic revival.

LIMITED EDITION SPLATTER VINYL WITH NEW ARTWORK
For over 15 years, Zu’s modus operandi of straddling and abusing musical genres has resulted in over fifteen unique album releases across labels such as Ipecac, Atavistic and Headz (Japan). Their experimental amalgam of metal, math, no-wave, noise and electronics, led acclaimed composer John Zorn to describe their sound as “a powerful and expressive music that totally blows away what most bands do these days”.

In the running for the title of “the world’s hardest working band,” Zu have performed over 1000 shows throughout Europe, US, Canada, Asia, Russia, Mexico and even Africa, touring with the like of Mike Patton (as the Zu/Patton quartet), also sharing the stage with Faith No More, Fantômas, The Melvins, Lightning Bolt, Sonic Youth, The Ex, and countless others. They have also collaborated with a vast number of musicians including Mike Patton, The Melvins, Dälek, Jim O’ Rourke, FM Einheit (Einsturzende Neubauten), Peter Brötzmann, Nobukazu Takemura, Eugene Robinson (Oxbow), Steve MacKay (The Stooges), The Ex, Thurston Moore, Stephen O Malley, Damo Suzuki (Can), Mats Gustafsson, NoMeansNo, Joe Lally (Fugazi).

CARBONIFEROUS is their masterpiece, originally released on Ipecac in 2009, it includes collaborations with Mike Patton, King Buzzo, Giulio Ragno Favero.

First career spanning compilation on vinyl, covering studio albums, singles and unreleased tracks (2009-2023) by the acclaimed Peruvian instro band, Los Protones. A collection of intense recordings - mostly originals - which combine surf music, psych, garage, and tropical & Andean flavors. DESCRIPTION The Protones began their strange journey in Lima, Peru, in early 2007. The band's roots were as a side project for several members of Manganzoides, a well-remembered Peruvian garage rock band, but they quickly consolidated their own instrumental style that, to this day, combines musical genres from the 60s such as psychedelia, surf music and garage rock, sometimes paying tribute to Peruvian rhythms such as chicha and Amazonian cumbia. They are surely the only band in the world that has shared stages with Los Shapis and the New York Dolls, although not on the same night... Over the course of two decades they have played countless concerts, including visits to Europe and other Latin American countries. The music on this compilation comes from their four, full-length studio albums: "Los Protones", "Hijas del Diablo", "Maravilla!" and "Misión: OA4", in addition to the previous CD compilation "20 Monstruos! 2007-2015" and "Double Feature", a split CD with the Brazilian band Os Brutus. The group's current lineup includes Gonzaleo (guitar), Tito (drums), Jimi (keyboards), Andrés (bass) and Lucía (violin). Dance floor oriented tropical music at its best!

KISSIN‘ DYNAMITE sind zurück! Das achte Album der Stadionrocker erscheint am 5. Juli 2024 über Napalm Records. 2007 als Teenage-Schulband gegründet, haben sie sich von Anfang an dem großen Stadionrock verschrieben. Im Laufe ihrer Erfolgskarriere sind sie auf unzähligen großen internationalen Festivals aufgetreten, sind mit Acts wie den L.A.-Rockstars Mötley Crüe getourt und haben massive ausverkaufte Headline-Touren gespielt. Die Karriere von KISSIN' DYNAMITE kennt nur den Weg nach oben, was mehrere Topresultate in den Charts beweisen, wobei das aktuelle Studioalbum und Napalm Records Debüt Not The End Of The Road (2022) direkt auf Platz 2 der Offiziellen Deutschen Album Charts eingestiegen ist.

Darüber hinaus schafften es die eingängigen Hits der Rocker mehrfach auf Platz 1 der Rock Radio Airplay Charts und die millionenfach gestreamten Musikvideos der Band erreichten jeweils über eine Million Views.

2024 veröffentlichen KISSIN' DYNAMITE ihr neues Werk Back With A Bang, das wieder von Sänger Hannes Braun (Südland Music) aufgenommen und produziert wurde. Gemastert wurde das Album von dem Grammy-nominierten Mastering Engineer Robin Schmidt (24-96 Mastering).

The album was created in two versions - a limited "color in color", of which 100 numbered pieces were produced, and a classic version with black wax, of which 200 pieces were produced.

After 10 years, Kixnare returns to U Know Me Records with his fourth original album. "Asteria" is a step towards even more experimental and abstract corners of electronic music. Each of the seven songs on the album reveals a fascination with completely different musical areas - from dark ambient ("Plaga"), through oriental ("Mystic Journeyman") / dubbing downtempo ("Impass") to stronger acid ("Mutacja") and techno ( "Omnis"). What connects everything is a constant atmosphere of anxiety - a reflection of the times we live in. Despite a completely different musical climate, "Asteria" refers in its character to Kixnare's last album "Rotations" from 2014, continuing the concept of inter-genre collage. All this comes together in the weekly radio show "Rotations", in which Kixnare presents his recommendations from the world of underground and experimental electronics on Radio Kraków.

"Asteria" is an album consisting of seven songs - almost 38 minutes of an amazing journey, the sound of which was worked on by the legendary Stefan Betke from Berlin (mastering author). The cover is the work of the flawless Animisiewasz.

My Dinosaur Life is the fourth studio album by the American rock band Motion City Soundtrack. Produced by Mark Hoppus (bassist Blink-182), the album was released on January 19, 2010, by Columbia Records. The album's theme largely centers on growing older; its lyricism, written by Pierre, concerns such subjects as relationships, drug abuse, and procrastination. Musically, the album retains the band's sound with less of an emphasis on the Moog synthesizer. Drummer Tony Thaxton broke his arm prior to recording, which led the band to use a drum machine on early recordings. The album's music is inspired by post-hardcore music; Pierre cited Archers of Loaf, Fugazi, and Dinosaur Jr. as inspirations for the album's sound. Their only major-label release, My Dinosaur Life was well received by music critics. The album represented their highest peak position in the U.S., charting at #15 on the Billboard 200. My Dinosaur Life is available as a limited edition of 1000 numbered copies on purple & red marbled vinyl and includes a printed innersleeve.

"For A Fleeting Moment" is the result of the dialogue between the Swiss photographer Simone Kappeler and the Japanese musician Tomotsugu Nakamura initiated by IIKKI, between March 2023 and May 2024.

Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he he has played with various genre of musicians and his works have been released by Kaico, Audiobulb Records, and more recently by the French label LAAPS.

Born in 1952 in Frauenfeld (Switzerland) where she lives and works, Simone Kappeler started taking pictures at the age of 11. After studying German literature and art history, she studied photography at the Zurich University of the Arts. During a three-month trip to the United States in 1981, she took her first pictures using cheap cameras, especially the Diana camera.
Hasselblad, Leica, Diana, Brownie, Polaroid, disposable camera, expired or infrared films, since 1970, Simone Kappeler has explored all types of photographic techniques. Her work, experimental and poetic, reveals to us the curiously foreign world that surrounds us.
Since 1982, ongoing projects in southern France and the Grisons.1982/83, studio in New York, conceptual photography and Super 8 films. 1983/84, theater photographer, Schauspielhaus Zürich. 2009, six-week photographic study of Japan, 2015 studio in New York. Her work was the subject of a first monograph: "Seile. Fluss. Nacht. Fotografien 1964–2011", edited by Hatje Cantz and is regularly exhibited in Galleries and Museum in Europe and United States.
For A Fleeting Moment is her first book gathered exclusively a part of her wide polaroid works from 2011 to 2023.

Fine Art Book, Ltd. to 700 copies:
Hardcover book printed on Glossy Modern Paper 170g/m2 // 104 pages, 19cm x 22.5cm, 66 photos // Front cover points and back cover logo embossed // Selective UV varnish // Hand-numbered.

Dieser bisher unveröffentlichte Konzertmitschnitt des Tomasz Stanko Quartetts, der im September 2004 in der Münchner Muffathalle aufgenommen wurde, ist ein faszinierendes Dokument, das einen besonderen Moment in der musikalischen Entwicklung der Band einfängt, zwischen den liedhaften Strukturen des Suspended Night Repertoires und den frei fließenden Improvisationen, die die polnischen Musiker später auf Lontano erkunden sollten. Der Auftritt in München war ein Höhepunkt in einem Jahr, in dem das Stanko Quartett eine Rekordzahl von Auftritten absolvierte, mit ausgedehnten Tourneen durch die USA und Europa. Der große Trompeter selbst zeigt sich hier von seiner charismatischen Seite, in hervorragender Form und sichtlich inspiriert vom energiegeladenen Spiel und der kommunikativen Kraft von Marcin Wasilewski, Slawomir Kurkiewicz und Michal Miskiewicz, den dynamischen jungen Musikern, dessen Mentor er war. Das Live-Album wurde von Manfred Eicher produziert.

We are proud to announce the 20th anniversary of "The True Meaning", the 2nd studio album by legendary Queensbridge MC Cormega. This critically acclaimed album was the first Independent Hip Hop album to win the prestigious "Independent Album of the Year" at the Source Awards in 2003. This is a true classic featuring Mega's sharp and heartfelt rhymes over tight well-crafted beats produced by The Alchemist, Large Professor, Buckwild, Hi-Tek, DR Period, J. Waxx Garfield, J-Love and others. Standout tracks include "The True Meaning", "The Come Up" Produced and featuring Large Professor, The Alchemist produced "The Legacy", "Built For This" produced by J. Waxx Garfield and the J-Love produced "Love in Love Out".