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High Roller Records, Wiederveröffentlichung 2025, magentafarbenes/schwarzes Vinyl, limitiert auf 250 Stück, 425gsm schweres Kartoncover mit 5mm Rücken, A5 Fotokarte, A4 Einleger, 8-seitiges Booklet, Poster.

Alle Tracks gemastert von Patrick W. Engel bei TEMPLE OF DISHARMONY im September 2022.
Schnitt durch SST Germany auf Neumann Maschinen für optimale Qualität auf allen Ebenen. Die ultimative audiophile Wiederveröffentlichung dieses französischen Metal-Klassikers!

High Roller Records, reissue 2025, black vinyl, ltd 250, gatefold, 16 pages A4 booklet, Original cassette transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2023.

High Roller Records, reissue 2025, beer galaxy vinyl, ltd 250, gatefold, 16 pages A4 booklet, Original cassette transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2023.

Tony Christie is proud to announce his first new album in over 12 years - ‘We Still Shine’. Released on 16th February 2024, it is from the heart and sees Tony go back to his love of country music, something he has been planning to do with long-time producer and close friend Graeme Pleeth for many years. Now available on WHITE vinyl, this record has been half-speed mastered to DMM for ultimate audio quality and pressed on heavyweight vinyl contained within a printed inner sleeve and gatefold outer sleeve.

Rhino is synonymous with high-quality reissues, setting the standard with award-winning audio releases for the past 45 years. Now we're raising the bar with a new premium vinyl series, Rhino High Fidelity. These high-end, limited-edition vinyl reissues of classic albums represent the pinnacle of sound and packaging.

To ensure consistent sonic excellence, Kevin Gray will cut lacquers for all Rhino Hi-Fi releases, and Optimal will press the 180-gram vinyl records. The releases boast high-quality glossy covers and "tip-on" jackets, an old-school aesthetic that evokes the golden age of vinyl.

"Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots such as Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, created Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath's genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it." — AllMusic

Interplay ist ein Album des legendären Jazzpianisten Bill Evans aus dem Jahr 1963, das ursprünglich auf dem
Label Riverside erschien. An der Seite von Evans spielen Freddie Hubbard (Trompete), Jim Hall (Gitarre),
Percy Heath (Bass) und Philly Joe Jones (Schlagzeug). Diese Neuauflage des Albums erscheint als Teil
der Original Jazz Classics Series auf 180-Gramm-Vinyl, das bei RTI gepresst und von den Originalbändern
bei Cohearent Audio analog gemastert wurde, und mit einem Stoughton Tip-On Jacket.

Moon Beams wurde 1962 veröffentlicht und ist das erste Album des Bill Evans Trios mit Chuck Israel am
Bass nach dem Tod von Scott LaFaro. Mit den Titeln „Re: Person I Knew“ und „Very Early“ wird das
Trio aus Evans (Klavier) und Israel (Bass) durch Paul Motion (Schlagzeug) ergänzt. Diese Neuauflage
des Albums erscheint als Teil der Original Jazz Classics Series auf 180-Gramm-Vinyl, das bei RTI gepresst
wurde, mit analogem Mastering von den Originalbändern bei Cohearent Audio und einem Stoughton Tip-On
Jacket

If this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

If this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

Ihr neuestes Werk "The Regeneration Itinerary" ist eine transzendente Entdeckungsreise in die Dualität von Licht und Dunkelheit. Aufgenommen in den Hallen von SoundSpiral Audio und perfekt abgemischt im Necromorbus Studio, webt dieses Album eine Geschichte, die so alt ist wie die Zeit und doch erfrischend modern. Mit Tracks wie dem ätherischen, technolastigen "Inertiae" und dem eindringlichen "Förnyelse i Tre Akter" entfaltet sich Mathias Lillmåns' lyrisches Können über Timo Kontios und Antti Simonens meisterhaften Kompositionen, wobei jede Note vor existenziellen Überlegungen und messerscharfen Riffs trieft. Stell dir vor, du wirst von einem sibirischen Sturm umarmt, während du über den Kosmos nachdenkst - das ist die elektrisierende Wirkung, die diese Songs haben. Das herausragende "Prophetical Mercury Implement" bietet einen inbrünstigen Einblick in die Musikalität der Band und verspricht eine ebenso tiefgründige wie raue akustische Reise. Vom melodischen "I am Coin, I am Two" bis zum unerbittlich treibenden "The Fire in Which We Burn" navigiert diese Reise durch das empfindliche Gleichgewicht, in dem Schatten die Morgendämmerung küssen!

Ihr neuestes Werk "The Regeneration Itinerary" ist eine transzendente Entdeckungsreise in die Dualität von Licht und Dunkelheit. Aufgenommen in den Hallen von SoundSpiral Audio und perfekt abgemischt im Necromorbus Studio, webt dieses Album eine Geschichte, die so alt ist wie die Zeit und doch erfrischend modern. Mit Tracks wie dem ätherischen, technolastigen "Inertiae" und dem eindringlichen "Förnyelse i Tre Akter" entfaltet sich Mathias Lillmåns' lyrisches Können über Timo Kontios und Antti Simonens meisterhaften Kompositionen, wobei jede Note vor existenziellen Überlegungen und messerscharfen Riffs trieft. Stell dir vor, du wirst von einem sibirischen Sturm umarmt, während du über den Kosmos nachdenkst - das ist die elektrisierende Wirkung, die diese Songs haben. Das herausragende "Prophetical Mercury Implement" bietet einen inbrünstigen Einblick in die Musikalität der Band und verspricht eine ebenso tiefgründige wie raue akustische Reise. Vom melodischen "I am Coin, I am Two" bis zum unerbittlich treibenden "The Fire in Which We Burn" navigiert diese Reise durch das empfindliche Gleichgewicht, in dem Schatten die Morgendämmerung küssen!

Born at Theme Ltd, one of London’s most exciting new music studios in the heart of Camden, ‘Driver’s Seat’ is an unapologetically bold and enduring work. MICHAEL, staying true to his name, delivers a debut project that is authentic and unfiltered, offering a glimpse into his true self. Staying true to the ethos of Theme Ltd, he channels his optimistic spirit into tracks that radiate hope and possibility. ‘Driver’s Seat’ combines infectious raw technique with a mesmeric, intimate journey into the mind of a true artist. The collaboration with Theme Ltd is unmistakable, evident in the crisp precision of the audio. This is elevated by the use of their new Live Studio, acoustically treated to perfection by audio legend Paul Gilleron, who also lent his expertise to iconic venues like the O2 and Roundhouse.

‘Drivers Seat’ opens with ‘In The Rain,’ where veteran vocalist Chili graces the track with her soothing yet powerful voice, perfectly complementing a timeless R&B instrumental reminiscent of Anita Baker / Patrice Rushen. MICHAEL uses this introduction to immerse listeners in his musical utopia. The next track, ‘Drivers Seat’—the project's namesake—oozes effortless cool, with a memorable chorus and a captivating melody that leaves listeners both intrigued and enamoured by the enigmatic MICHAEL character. The B side continues the motif of positive self-expression and praise with ‘Satisfaction’ an optimistic celebration of love. The prospect of joy is more ambiguous in the ultimate track ‘And I Love You’ cruising down an infectious baseline, crafted in collaboration with resident producer Theme, the soft beautiful vocals take us to the natural end of a uniquely wonderful debut project.

After a collage tape collab with Bardo Todol back in 2022 (SUC52, Magnetic Road to Hell) Robert Millis finally gets his Discrepant debut proper, a much overdue entryin our random catalogue of lost musical oddities.

The not so self explanatory title Interior Music explores Millis obsession with hidden sounds and its anomalies. An hermetic rearrangement of emptiness could be another more big headed title. But I leave the man to talk about his thing:

‘’The phrase interior music occurred to me a few years ago as a way to describe some recent work. It’s about the resonances inside of hollow wooden chambers (and hollow heads) like gramophones and talking machines, music boxes, instruments, metal containers, and resonant rooms. It’s about exploring tiny audio fragments—single notes, vinyl and shellac surface noise, recording mishaps and anomalies—and arranging them into something meaningful. It is about my own interior mishaps and anomalies and attempts to arrange THEM into something meaningful. It also references “interior design” with the placement of sounds in specific locations, layers or in juxtapositions.

Inspirations include Steve Roden’s lowercase work, Toshiya Tsunoda’s field recordings, Eliane Radique’s slowly shifting ambiances, and the musique concrete of Pierre Schaeffer, as well as the dhrupad and kayal traditions of Indian classical music—especially Kesarbai Kerkar and the Dagar family who have a sublime way of stretching out individual notes and exploring their endless permutations, combinations and connotations.’’

Robert Millis is a sound artist known for his work with Climax Golden Twins, the Helen Scarsdale Agency, the soundtrack to cult horror film Session 9, the Victrola Favorites book and cassette series, and many releases on Sublime Frequencies including Indian Talking Machine, Paris to Calcutta: Men and Music on the Desert Road, compilations of the earliest music recorded in Korea, Japan and Myanmar, and the documentaries This World is Unreal Like a Snake in a Rope and Phi Ta Khon: Ghosts of Isan. Somehow he is a Fulbright scholar (to India 2012-13) and the recipient of a Guggenheim Fellowship (2020). He has or currently does play with AFCGT, Idol Ko Si, and/or Telescoping.

This edition explores identity, presence and the fragmentation of self.
It features a standout work by iconic Los Angeles photographer Parker Day, whose hyper-saturated portraits dissect the construction of persona and the tension between surface and essence.
Design is handled by legendary New York illustrator Braulio Amado, injecting the project with bold typographic energy and haunting visual language.

The zine includes poetry by Cristiano Grim, alongside original music by:
Foie Gras – drone and reimagined Americana from San Francisco / Los Angeles
Machino – Mexican electronic producer out of LA, blending distorted guitars, psychedelic riffs, and cinematic pulse into a sound that feels like driving through a neon fever dream
Valley Latini – dark Latin pop performer from New York
David Oliver Rose – post-punk rude boy from New York
Nick Hadad – dark ambient producer based in New York

FAKE4-MASK VS PERSONA presents a 25-page, 11x11” offset-printed, paired with a 12” 180g vinyl record featuring all contributing artists.
Audio mastering by Spaventi Studio.
It operates as both an aesthetic object and a critical inquiry, merging the disciplines of literature, music, photography, and design into a single act of publication as performance.

Tarja Turunen is a Finnish singer-songwriter and one of the most iconic voices in symphonic metal. She blends her classically trained soprano with metal and rock influences, creating a unique style. Since launching her solo career, Tarja has released critically acclaimed albums spanning genres from symphonic metal to classical and Christmas music. Her powerful live performances, theatrical stage presence, and global fanbase solidify her as a pioneering artist in modern music.
THE PRODUCT
The “Circus Life” concert was an unforgettable live experience, recorded with 16 musicians in a unique “In the Round” format at the circus in Bucharest. Tarja was joined by talented vocalists, including her brother Toni, and a mix of musicians from various stages of her career.
The concert captured the joy and camaraderie among the performers, with Tarja opting for a minimalistic approach to her wardrobe to prioritize the music. The whole experience, marked by togetherness and spontaneity, became a cherished memory before the world shut down in 2020. The setlist spans her career, featuring greatest hits such as “I Walk Alone”, “Until My Last Breath” and “Innocence”, as well as fan favorites like “Victim Of Ritual” and “Demons In You”, showcasing her evolution as an artist.
The show was originally included as bonus content in the strictly limited and sold-out Mediabook and Box Set of Tarja’s 2022 “Best Of: Living The Dream” release. It is now made available stand-alone as “Ltd. 2CD+Blu-ray Digipak”, featuring the 2-hour live show as audio and video, “Ltd. Black 3LP Gatefold”, including a LP-sized booklet and Blu-ray softcase.

"Amazing! Like stumbling on a treasure-trove of unheard Charlie Patton and Blind Willie McTell 78s, but imbued with the spirit of Mahlathini and Ladysmith." Joe Boyd

'But for this compilation of rescued songs masterfully restored from rare 78 rpm shellacs, few could imagine the diversely beautiful roots of Zulu Guitar Music emerging during the period 1950 – 1965. Story-tellers and master musicians appropriate outlaw personae, re-purpose country and western, Hawaiian and other styles, to stretch and challenge our notion of “the Zulu guitar”.

Twenty-five songs (18 on vinyl) plunge us into the depths of the migrant experience. Translations in the liner notes offer us glimpses of pugnacity, melancholy and heartache, all coloured by the paternalism that circumscribed the singers’ apartheid-dominated lives.

The early *mbaqanga* undertow in many of the songs subverts the wanderlust of Country and Western music into a fugitivity burdened by nostalgia. Something irretrievable has been lost, prompting a blending of ideas and cultures to make sense through thankless acts of musical divination. Inadvertently they have been thrust into the role of the antihero, where outwitting competition for lovers is as important as evading the Black Jacks (apartheid’s municipal cops) and their informants.

Considering the politically repressive period that this music emerges from, we can surmise that the specificity in the storytelling went a long way towards evading censure. But even when words are absent, there is a narrative arc suggested by the musical expression.

With most of the master tapes wilfully destroyed or lost, modern transcription and restoration techniques from the original shellac discs present the original sound most likely more clearly than ever heard before.'

Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music and Siemon Allen at Flatinternational.
Artwork design by Siemon Allen.
Liner note and translations by Kwanele Sosibo.
Audio restoration and lacquers by Frank Merritt at The Carvery and pressed at Pallas, Germany.
Original 78rpm recordings sourced from the collections of Chris Albertyn at Matsuli Music, and Siemon Allen at the Flatinternational Archive.

((( O ))) is unveiling her highly anticipated fifth studio album, ((( 5 ))), marking the latest milestone in her visionary series of releases. Continuing her tradition of fusing music with the rhythms of the universe, she has introduced the concept of 'MoondropDISABLEDs,' which are individual pieces of audio-visual art released every full moon. These 'MoondropDISABLEDs' are then compiled into an annual collection called 'Sundrops,' released on her birthday. ((( 5 ))) represents the fifth installment in this series, offering a mesmerizing blend of genres and sonic landscapes that reflect ((( O )))'s deep connection with nature and the cosmos. Each track is crafted to resonate with the energies of the lunar cycle during which it was created, offering listeners an otherworldly experience. Looking ahead, ((( O ))) aims to complete a full collection of 12 'Sundrops' by the year 2032, creating an unparalleled anthology of art that spans a decade and encapsulates the cycles of the moon. Her work continues to inspire a global audience with its innovative blend of music, visual art, and spiritual exploration.
In the words of ((( O ))): “Each 'Sundrop' is a reflection of my journey through life, intimately connected with the rhythms of nature. With ((( 5 ))) being my first fully-produced album, I invite listeners to join me in sitting with the moments in between, with the simplicity of instrumentals from sounds that I used from my journeys living in the Philippines, celebrating the beauty and power of our cosmic connection. I needed it to create space versus taking up more space in an already overwhelming world we live in now.

DOUBLE-DISC EDITION OF DARKTHRONE'S 1993 PURE NORWEGIAN BLACK
METAL MASTERPIECE, INCLUDING THE 30TH ANNIVERSARY MASTER, PLUS
ADDITIONAL DISC WITH COMMENTARY FROM FENRIZ
Darkthrone began life in the late 80's as a thrash/ death metal act & progressed
through technical death/doom metal experimentation to become legends of the black
metal world & one of the original leading bands of the Norwegian scene, as well as
inspiring a whole generation of metal bands, as they continue as strong as ever to this
day.
'Under A Funeral Moon', Darkthrone's third album, was originally released by Peaceville
in 1993. The album is a bleak reflection of contemporary times, featuring harsh guitar
riffage & hateful vocals in what was the band's first 100% pure black metal opus; a
work completely stripped of the death metal traces of former releases & in its place, a
stark & primitive execution. This was aided by an intentionally lo- fi sound that is
powerfully cold & entirely unconcerned with any modern- day aesthetics. 'Under A
Funeral Moon' is the album that many Darkthrone fans hail as the ultimate manifesto
for Black Metal.
This edition of 'Under A Funeral Moon' is presented on double- disc CD format &
includes an audio master created for the album's 30th anniversary in line with the
original 1993 version, plus the 2013 commentary disc from Fenriz with his
recollections on the tracks & the time period.

Ground-breaking afro-rock and jazz with Memphis soul roots on this lost 1972 gem. Lovingly restored and reissued by Matsuli Music


'Black Soul' from 1972 is the third and last known album by The Anchors, a soul group originally formed in Johannesburg's Alexandra township in 1968. Their first two albums, 'Soul Upstairs' from 1969 and 'Everything' from 1971, were issued on Teal's City Special label alongside other prominent South African soul groups of the era like The Beaters, The Movers and The Flaming Souls.

On 'Black Soul', The Anchors undergo a notable shift, moving away from their early Memphis soul influences towards a pioneering African-driven sound. These changes laid the foundations for an emerging afro-fusion scene in the years to come from groups like Batsumi, The Drive and Harari.

'Black Soul' features a who's who of intergenerational musicians from great South African bands over the decades. In addition to Zacks Nkosi, the renowned bandleader of the Jazz Maniacs and long-time member of the African Swingsters in the 1940s and 50s, this album includes kwela star Little Kid Lex Hendricks, known for his Columbia recordings of the late 1950s; as well as Zack's son Jabu Nkosi who would go on to play with The Drive, Roots and Sakhile; and Banza Kgasoane later a member of The Beaters, Harari and then Mango Groove.

Now remastered for its first release since the original 1972 pressing, this lost gem offers a revealing glimpse into the evolution of South African music during a transformative era.

Zacks Nkosi (Sax), Patrick Jabu Nkosi (Organ and Flute), Anderson Nkosi (Lead Guitar), Given Sabela (Bass Guitar), Kid Lex Hendrix (Sax), Banza Kgasoane (Trumpet), Peter Morake (Drums), Hamilton Nzimande (Musical Director).
Original LP issued in South Africa on GRC’s CBS label (LAB 4037) in 1972.
Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music, and Siemon Allen at Flatinternational.
Original vinyl sourced from the Flatinternational Archive.
Artwork restoration and design by Siemon Allen.
Audio restoration, mastering and lacquers by Frank Merritt at The Carvery.
Manufactured at Pallas, Germany.

Die Progressive-Pioniere von Haken haben das Jahr 2024 damit verbracht, ihr jüngstes, hochgelobtes Studioalbum "Fauna" im Rahmen ihrer "An Evening With"-Tour rund um die Welt ausgiebig zu feiern. Die Band spielte zwei komplette Sets pro Abend und präsentierte "Fauna" in seiner Gesamtheit, bevor sie auf die Bühne zurückkehrte, um eine Auswahl der beliebtesten Songs aus ihrem Katalog zu spielen. Am 21. September 2024 spielte die Band im legendären Londoner O2 Forum, und die Dokumentation dieses besonderen Abends ist auf "Liveforms" zu finden. Die limitierte 3CD+Blu-ray-Edition fängt den Abend in voller Audio- und Videoqualität ein und enthält als Bonus bisher unveröffentlichtes Interviewmaterial mit der Band, die auf ihre glorreiche Karriere zurückblickt. Die 2LP-Edition im Klappcover enthält das komplette "Fauna"-Live-Set. Beide Formate enthalten ein atemberau-bendes Artwork von Dan Goldsworthy, der bereits das Cover von "Fauna" gestaltet hat.)

2CELLOS are back with their third album Celloverse, which returns to the sound and concept of their self-titled debut, building on Luka Sulic & Stjepan Hauser's unique ability to re-imagine current and classic rock and pop songs with their own extraordinary energy — blasting instrumental music off into a whole new Celloverse. The album includes audio recordings of their YouTube releases of "Thunderstruck" and "I Will Wait" as well as new takes on songs such as Avicii's "Wake Me Up," Iron Maiden's "The Trooper" and another Michael Jackson favourite "They Don't Care About Us." The title song is a 2CELLOS original, and to top it all off, there's an unforgettable guest collaboration with their good friend, Lang Lang on the Paul McCartney classic "Live and Let Die." Celloverse is available as a 10th anniversary edition of 1000 numbered copies on orange coloured vinyl and includes an insert.

From the smoky clubs of Harlem to vibrant orchestral jam sessions, this exclusive collection celebrates the voices that fused the soul of jazz with the visceral feeling of blues and gospel. Legendary artists such as Billie Holiday, Nina Simone, Sarah Vaughan, Louis Armstrong, Ella Fitzgerald, and many others come alive through their original recordings, carefully remastered to oer a rich and authentic listening experience.

Each "Green Star" vinyl is a window into an era of fervent creativity, fiery improvisations, and contagious rhythms. This collection is an unmissable treasure for audiophiles, experienced collectors, or newcomers eager to discover the roots of modern music. In "Green Star" branded records you can find: carefully remastered audio to rediscover the depth and dynamics of the original recordings, visually striking colored vinyl in iconic covers, an opportunity to own pieces of music history to start, enrich, or collect private discographies. "Green Star" – let yourself be transported by the magic of an unforgettable era.

From the smoky clubs of Harlem to vibrant orchestral jam sessions, this exclusive collection celebrates the voices that fused the soul of jazz with the visceral feeling of blues and gospel. Legendary artists such as Billie Holiday, Nina Simone, Sarah Vaughan, Louis Armstrong, Ella Fitzgerald, and many others come alive through their original recordings, carefully remastered to oer a rich and authentic listening experience.

Each "Green Star" vinyl is a window into an era of fervent creativity, fiery improvisations, and contagious rhythms. This collection is an unmissable treasure for audiophiles, experienced collectors, or newcomers eager to discover the roots of modern music. In "Green Star" branded records you can find: carefully remastered audio to rediscover the depth and dynamics of the original recordings, visually striking colored vinyl in iconic covers, an opportunity to own pieces of music history to start, enrich, or collect private discographies. "Green Star" – let yourself be transported by the magic of an unforgettable era.

From the smoky clubs of Harlem to vibrant orchestral jam sessions, this exclusive collection celebrates the voices that fused the soul of jazz with the visceral feeling of blues and gospel. Legendary artists such as Billie Holiday, Nina Simone, Sarah Vaughan, Louis Armstrong, Ella Fitzgerald, and many others come alive through their original recordings, carefully remastered to oer a rich and authentic listening experience.

Each "Green Star" vinyl is a window into an era of fervent creativity, fiery improvisations, and contagious rhythms. This collection is an unmissable treasure for audiophiles, experienced collectors, or newcomers eager to discover the roots of modern music. In "Green Star" branded records you can find: carefully remastered audio to rediscover the depth and dynamics of the original recordings, visually striking colored vinyl in iconic covers, an opportunity to own pieces of music history to start, enrich, or collect private discographies. "Green Star" – let yourself be transported by the magic of an unforgettable era.

Die Progressive-Pioniere von Haken haben das Jahr 2024 damit verbracht, ihr jüngstes, hochgelobtes Studioalbum "Fauna" im Rahmen ihrer "An Evening With"-Tour rund um die Welt ausgiebig zu feiern. Die Band spielte zwei komplette Sets pro Abend und präsentierte "Fauna" in seiner Gesamtheit, bevor sie auf die Bühne zurückkehrte, um eine Auswahl der beliebtesten Songs aus ihrem Katalog zu spielen. Am 21. September 2024 spielte die Band im legendären Londoner O2 Forum, und die Dokumentation dieses besonderen Abends ist auf "Liveforms" zu finden. Die limitierte 3CD+Blu-ray-Edition fängt den Abend in voller Audio- und Videoqualität ein und enthält als Bonus bisher unveröffentlichtes Interviewmaterial mit der Band, die auf ihre glorreiche Karriere zurückblickt. Die 2LP-Edition im Klappcover enthält das komplette "Fauna"-Live-Set. Beide Formate enthalten ein atemberau-bendes Artwork von Dan Goldsworthy, der bereits das Cover von "Fauna" gestaltet hat.)

Wewantsounds continues its extensive Meiko Kaji reissue program - in partnership with Teichiku Records and Kaji herself - with the release of Yadokari, her third album from 1973. This marks the first time the album has been reissued on vinyl, featuring its original artwork and newly remastered audio. Renowned for her iconic 1970s films (Lady Snowblood, the Stray Cat Rock series) and admired by Quentin Tarantino, Meiko Kaji also released a string of outstanding albums on Teichiku, blending Japanese pop with cinematic grooves. Yadokari, is reissued here with its original deluxe gatefold sleeve andOBI plus a two-page insert featuring new liner notes by Hashim Kotaro Bharoocha. As a special bonus, this edition includes a 7" EP single featuring Shura No Hana, famously featured on the Kill Bill soundtrack.

Transversales Disques proudly presents the first official LP reissue of "Deserted Palace", studio album written & performed by Jean Michel Jarre in 1972, during his work experience at G.R.M. (Groupe de Recherches Musicales).

In 1971, an order was placed with producer Francis Dreyfus to provide sound for public places such as airports and libraries. He decided to pass the project on to Jean-Michel, who had recently been signed by his record company.

These fifteen tracks are made with only two synthesizers (EMS VCS3 & Farfisa organ) in an experimental and very minimal style.

"It was a crazy album, totally homemade, with rhythms that I made in my student room, with a minimum of equipment and at the same time electronic sounds that I stole from the GRM where I went at night after stealing the keys to the studios. It is a pirate record, in every sense of the word, in which we find what I did afterwards.” JMJ

Audio restored & remastered

On the occasion of the 40th anniversary of its original release, this limited edition Black vinyl is reissued in an exclusive version, created using the Original Master Tape to ensure an authentic and faithful sound to the original recording. The high-quality mastering process ensures optimal sound performance, enhancing every detail of the production, from the depth of the bass to the clarity of the highs. Pressed on 180g Black vinyl, this product is marked with the SIAE trademark to guarantee authenticity and has been carefully crafted to provide a flawless listening experience.

This limited edition also includes an autographed photo from the band, making it even more personal and collectible.

This limited edition, available in a limited run of only 250 copies, is designed for true collectors and enthusiasts. Each copy of the 40th Anniversary Limited Edition Black Vinyl pays tribute to an album highly appreciated by Italo-Dance music lovers.

Originally released in 1985, the album challenged the conventions of the time with an alternative and innovative sound, standing out in the Italo Disco scene. The album received international praise, especially from the most demanding audiophiles, for its pioneering production and ability to distinguish itself from mainstream sounds. The remastering process from the Original Master preserves the authenticity of the original sound, delivering superior quality.

With the included removable OBI, this special edition gains an additional distinctive touch, completing its design and reinforcing its status as a cult item. Don’t miss the opportunity to own this unique vinyl, perfect for those who appreciate authentic music and wish to enrich their collection with a rare and valuable piece.

The compositions of Miłosz Kędra (b. 2001) explore synthetic sound, electroacoustic music, and self-built acoustic instruments, seeking diverse timbres, tunings, and textures. His main field of work is the pipe organ. Through minimalist motifs, he has transported the instrument’s sound beyond the church space by synthetically processing its tones. He is currently pursuing a Master’s degree in New Media Music at the Academy of Music in Poznań and recently completed a Bachelor’s degree in Electroacoustic Composition, during which he built his own pipe organ from scavenged pipes.

~ Liner notes ~

Miłosz Kędra - "their internal diapasons"

The pipes that Miłosz Kędra used to craft his own organ emulator have lived many lives. They come from churches scattered across Greater Poland—some trimmed for a more presentable façade, others left to gather dust in parish houses until, stripped of purpose, they were cast away. Their first voices have faded, their inner resonance unsettled, yet with patience, one can teach them to sound again—to sing in their altered state, to be gently coaxed out of silence.

Audiomancy—the conjuring of lost sounds—is the word that lingers when I try to grasp the lore crystallizing with Kędra’s second album.

The resolve with which the musician and composer has inhabited his self-built instrument recalls Witold Szalonek and his search for “unexploited properties of wind instruments in classical music.” Szalonek sought to map these hidden voices into a system of multiphonics, revealing over 160 on the oboe alone by 1968. Some sound eerily alike, yet emerge through distinct gestures—“a particular breath, a precise choreography of levers and apertures, the seamless fusion of the two.”

The splitting of a single note into its spectral fragments—allowing a melodic instrument to speak in two, three, even four voices at once—enabled Szalonek to bend the rigid structures of Western music. "their internal diapasons" follows a similar path: an aesthetic bypass through which Kędra taps into the sacred gravity of the church organ, only to reveal it as a domesticated echo of something far older—the primal theater of transformation. To listen closely to an instrument is to learn its flaws, to turn its imperfections into a new way of speaking.

Each of the nine compositions on "their Internal diapasons" is an invitation—to approach the material world with the intent of letting it speak beyond expectation. An instrument that is at once a sculpture, a performance, and a manifesto of voicing the discarded suggests that its creator—following the path of Didier Eribon (Returning to Reims)—might take as his motto, a principle of asceticism, Sartre’s words: “What matters is not what is made of us, but what we ourselves make of what is made of us.”

Filip Szałasek

VALIS continues his climb with a new Ep with 3 cuts per side of pure techno tools for plastic lovers. The EP includes work from Eduardo De La Calle plus some work belonging to his new project RSCA alongside Aureal, which previously released work on Jamaika Suk's Gradient label and soon on the Berlin label Mole Audio.

Sediment is an assemblage of field recordings made in the Swiss canton of Jura on a single day in August 2022. Jura's rock and limestone formations create a complex topology which hosts a diversity of sound spaces; human, more-than-human, geophonic, subterranean and extra-terrestrial. By walking and driving through this landscape curious pockets of activity are revealed to the listener. The layers of strata that make up Jura; earth, rock, forest, cables, pipes, factories, planes and radio towers inform the sound strata. These recordings incorporate and embrace these many layerings; the acoustic, radio, magnetic, vibrational, tectonic, resonant.

Over the course of a day Tim Shaw and Laurent Güdel followed their ears, they visited forests, mountains, rivers, hydroelectric plants, caves, radio broadcast towers, wind turbines, train tracks, sacred wells, man made tunnels and abandoned factories, harvesting sounds from this tangled and ever-changing soundscape. Using various listening devices they attempted to listen into the full spectrum of activity, hydrophonic, geophonic, air-pressure, electromagnetic and radio.

Sounds harvested include pieces of limestone being submerged into water, electromagnetic fall out from cell towers, the resonance of a limestone processing factory, VLF radio, the mechanisms of infrastructure, radio controlled airplanes and acoustic signals. These files are mixed and blended together to create a new stratification.

The final compositions were separately pieced together in each of the artist's studios using the collective corpus of recordings. The result is two different sonic interpretations of this layered, ancient and complex landscape.

Tim Shaw works with sound, light, and communication media to create performances, installations, and site-responsive interventions. His practice spans environmental sound art, digital media, media archaeology and walking. He frequently presents his work at festivals, in forests, caves, warehouses, up mountains, and in museums and art galleries all over the world.

Laurent Güdel explores analogue synthesis, phonography, and sound archives through multi-channel electroacoustic compositions, live performances, installations, and audio publications. His work explores the politics of sound, the means of production of early electronic music, and the archaeology of audio technologies, their infrastructures and institutions. He is also co-curator of Kopfhörer, a series dedicated to live experimental music.

Forms is the debut release from Naturalisten. Behind this name is Rado, one of the founders of the Unknown Species collective. They’ve put together some great underground parties in London through the years, giving space to new talents and sounds, and blissfully ignoring trends and fads.
Rado’s colourful and imaginative take on deep techno shines through all the six tracks here. Fans of the sounds we often hear on the likes of Delsin, Nous’Klaer Audio, Spazio Disponibile, Bitta, Animalia, are likely to find plenty to love here. Starting with the subtlety of “Release The Tension”; passing through the swampy “Against The Tide”, the bleepy minimal drum’n’bass of “Woodpecker”, the acid deepness of “Aves Acid”; and landing on the early-morning atmospheres of “Canopy Dreams”, which we find very much reminiscent of some exquisite James Holden moments from a time long gone.

The final touch to an already beautiful body of work is added by Forest Drive West with his remix of the opening track “Release The Tension”. His reinterpretation slowly creeps in and wraps you up in a wave of low frequencies, before blossoming into an epic outro.

Early support for this release came from Sunju Hargun, Sybil, Aaron J, Benedikt Frey, among others.

Ziúr lines up with The Tapeworm for an exclusive cassette-only release featuring Kenichi Iwasa, exploring the electroacoustic realms.

Invited to perform solo at Tarek Atoui's performance series at Kunsthaus Bregenz in October 2024, Ziúr decided to write a new piece for the occasion. This composition, 'Turn Liquid Into Dust', was then performed within the framework of Tarek Atoui's 'Waters' Witness' exhibition as an 8-channel spacial audio piece, transmitting sounds through the installation's structure – metal bars, stones, compost piles… Composed in London in autumn 2024, its principal source of sonic material is recordings of Atoui's instruments which Ziúr had recorded in his studio in Paris during the summer of 2024. In addition, she invited the Japanese woodwind player and virtuoso Kenichi Iwasa to join on all pieces, his contribution providing a binding element, tying the pieces together.

Opener 'A Cold Drip' consists solely of Iwasa's spectral squalls. The tense noir drone of 'Long Call' features a string instrument built by Atoui. For the airy yet dense title track, Ziúr recorded an organ named The Reed Box, with Iwasa floating atop its smoggy soundbed. Closer 'Chips 'n' Crumbles' echos and reverberates with the rattles of household items Ziúr found around her home.

Driven by a relentless appetite for boundless experimentation, Ziúr has been subverting expectations since she was a teenager, corkscrewing through hardcore, metal and punk before veering towards electronic music's turbulent fringes. She produces just like she DJs, gathering a wide variety of ingredients and figuring out the most intriguing, unexpected ways to simmer them into a coherent narrative that helps listeners synchronize the conflicting messages that surround them. Genre isn't a fixed point for Ziúr, but a colour in a vast palette that stretches across history and borders, helping illustrate music that's powerfully subversive. Her The Tapeworm edition follows acclaimed recordings for Planet Mu, PAN, Objects Limited and Hakuna Kulala.

Kenichi Iwasa is a London-based improviser and multidisciplinary artist from Japan, also known for his legendary Krautrock Karaoke night as well as collaborations with visual artists and musicians such as Beatrice Dillon, Maxwell Sterling and Linder Sterling. He currently performs with Naima Karlsson under the name Exotic Sin.

DESCRIPTION
Looming above Hastings on the South Coast of the UK, carved into East Hill, three black shapes are visible from a distance. Mysterious and ominous, they assume the aspect of the entrance to a church or a portal to dimensions unknown. Closer inspection however reveals them to be no more than mere follies carved and painted into the rock, as hoaxster John Coussens sought to convince visitors that an elaborate subterranean kingdom lurked within. Centuries later, this coastal town remains a place that serves as a magnet to the wyrd and the mischievous. And it’s here that the meeting of minds took place that led to 'Folly' - the second release for Rocket’s Black Hole series - an imprint focused on the unorthodox, otherworldly and esoteric. The journey that led to ‘Folly’ began in the dingy cellar of a wine bar in the town. Black Arches formed around a regular local experimental night in such environs aptly named Weird Shit, initially as a freeform musical outlet for author and musician Gareth E. Rees’ later incorporating Matt Frost from his garage rock troupe The Dirty Contacts, and frequent collaborator James Weaver, to form a vehicle for wild experimentation and psychic abandon. Given he was also a regular attendee, it was no surprise when Sexton Ming, arch maverick outsider artist and uncompromising iconoclast of over four decades standing, entered the picture. Soon after a perplexing but serendipitous chain of events took place, with demons conjured up via improvised sessions, poetic licence taken, dystopias chronicled, audio files gone awry, vocals overdubbed and laptops lost, Somehow amidst the sturm-und-drang ‘Folly’ was summoned in all its murky glory. As we embark on the second quarter of an uncertain century, just maybe this psychic travelogue is a dark prism to make sense of the chaos we confront. Whichever, it remains a spectacle as compelling as that by which Black Arches were named

Audiophile 180g Vinyl 33RPM LP
All Analogue Mastering by Chris Bellman at Bernie Grundman Mastering!

Pressed at RTI
Impex Treatment packaging featuring a 4-page heavy-stock booklet with rare photos and new historical notes by producer/author/historian Charles L. Granata



"Although Donovan had already captivated listeners with hits like 'Sunshine Superman' (a #1 Billboard Hot 100 hit in September of 1966) and 'Mellow Yellow' (#2 on the chart in December of that year), it's The Hurdy Gurdy Man issued in the fall of '68 that became a benchmark of the psychedelic era. The album artfully captured the essence of the moment with its fresh, smart and stylistic approach to songwriting, endearing melange of rock, pop, drone, folk, world and jazz overtones (coupled with deeper psychological undertones, i.e. transcendental consciousness and a yearning for an 'ideal' world).

"Musically, Donovan and producer Mickie Most made liberal use of multiple feels inspired by a wide range of styles, most remarkably the drone: a harmonic effect in which a note or chord is continuously repeated throughout a composition and commonly forms the tonality on which the piece is built. This brought an unusual and memorable quality to many tunes on the album, as did Donovan's whimsical, spiritual-esque vocals. Then, too, both 'The Hurdy Gurdy Man' and its namesake album reflect a tougher rock sound than the singer's earlier recordings."

—Charles S. Granata

Our AAA HQ-180 33.3-rpm LP was mastered from Epic Records' analog master tapes by Chris Bellman at Bernie Grundman Mastering, plated and pressed at RTI for flat and silent surfaces and incredible detail. The 4-page insert features a new appreciation by producer, author, and historian Charles S. Granata that puts in context the positive effects of Donovan's clever, innovative writing and performances.

Dateline: April 10, 1970. Setting: The storied Fillmore West in San Francisco, CA. Context: Miles Davis, three days removed from his first session for Jack Johnson and, with newly recruited soprano saxophonist Steve Grossman in tow, opening shows for countercultural heroes the Grateful Dead on the latter’s home turf. Result: The initial rumblings of a thrilling era in which Davis and his cohorts would again upend jazz and popular conceptions of the genre with music steeped in groove, improvisation, and hang-on-for-your-life adventurousness. All captured on Black Beauty: Miles Davis at Fillmore West.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180g 33RPM 2LP set helps bring what went down that spring evening in Bill Graham’s venue to your listening room with exceptional clarity, balance, and presence. Originally only released in Japan in 1973 and unavailable in the United States until the late ‘90s on compact disc, this marks the first time Black Beauty has been issued on domestic vinyl. The wait is worth it.

Benefitting from quiet surfaces and excellent definition, these LPs present the band’s livewire energy and torrential storm of notes with captivating dynamics, pacing, and fullness. At its core, this audiophile reissue takes you into the walls of sound erected by a band learning on-the-fly the sheer power, will, and breadth of the electric jazz Davis was orchestrating and realizing, on the spot, would reach rock audiences that until that point had only a faint awareness of his mad-scientist experimentation. The sense of release and reach conveyed by these carefully restored records make it clear the veteran bandleader was in the process of a permanent shift that he’d chase for the next five years.

Given Davis was only a few months away from releasing the pioneering double album Bitches Brew, it shouldn’t come as a surprise that much of the fare here adheres to similar explorative approaches. Turbulent rhythms, provocative trumpet passages, and rich, saturated tonal colors that seemingly splash against a blank canvas take precedence over any traditional attempts at organization and melody. Davis and Co. intentionally play everything on a line with the bandleader signaling changes with his horn via coded phrases. The group speaks a common language — with each member having gone to achieve iconic status for their career contributions and technical prowess.

In the company of Grossman, Chick Corea (piano), Dave Holland (bass), Jack DeJohnette (drums), and Airto Moreira (percussion), Davis constructs themes around “Directions,” “Miles Runs the Voodoo Down,” “It’s About That Time,” the title track to Bitches Brew, and more from his then most-recent studio works and the in-progress Jack Johnson. His farewell to the popular standards that for nearly two decades remained a part of his repertoire arrive via a brief dalliance with “I Fall in Love Too Easily,” a shortened albeit aggressive “Masqualero,” and the “Theme” finale of “Spanish Key.” Initially, Black Beauty lacked specific track listings due to Davis’ increasing frustration with listeners over-analyzing his music.

In retrospect, it’s difficult to blame anyone for wanting to view what’s on display here with the aural equivalent of a magnifying glass. Leaning in rock directions, yet maintaining an ear for spaciousness and solos, Black Beauty survives as a snapshot of a thrilling moment amid a transitory period in which evolution came fast and furious. Just two months later, Davis would add another instrumentalist to the lineup in the form of organist Keith Jarrett, and the perpetually restless visionary would blast off to a more atmospheric and arguably more chaotic universe.

Consider, then, this live document a bridge to that galaxy and a breathtaking example of the possibilities of jazz itself.

This re-issue of World Machine, Level 42's 1985 breakthrough album, is presented with scrupulous attention to the detail of the original UK first pressings and available in audiophile 180g pink vinyl in celebration of the album's 40th anniversary.

By 1985, Level 42 – bassist and vocalist Mark King, keyboard player/vocalist Mike Lindup, guitarist Boon Gould, drummer/lyricist Phil Gould and studio-only keyboard player Wally Badarou – were on the verge of breaking big - After a string of well-received albums, such as their pioneering jazz-funk 1981 debut or the Ken-Scott produced True Colours, the group decided, rather than work up material through jamming, to sit and write some songs for their forthcoming album.

Producing themselves, with assistance from engineer Julian Mendelsohn, this new approach meant that World Machine was the quantum commercial leap they craved. And most of that was due to the album's towering lead single, the pop-funk of "Something About You". With its expensive video seeing the group styled for the 80s, it set radio alight, becoming a Top 10 hit and charting around the world, importantly in the US. Following up with the tender ballad "Leaving Me Now" and then the bouncy funk of the album's title track as singles, the album's success was guaranteed; it reached No 3 in the UK charts and spent an amazing 72 weeks on the listings.

Our fourth album finally gets the vinyl pressing it so richly deserves.

Originally released in 2007, Rude Mechanicals found us firing on all cylinders. The nine years since our debut had been spent touring our cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.

We successfully combined and refined the stand-out elements of our previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.

From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds us addressing climate change and greed, with lyrics by Auckland MC KP.

To create the double-vinyl release, Angus McNaughton re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.

Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.

After the hugely successful 'Leave Your Life' & 'Strings Of Eden' EPs, Alex Kassian continues to defy convention and expectation with his return to Pinchy and Friends Recordings. The 'Body Singer' EP channels Alex's teenage dream of being in a band, taking inspiration from his love of 80’s movies, complete with Analog New Wave / Psyche / Kraut Rock influences. Its a trip down memory lane, or perhaps the soundtrack to something magical that hasn't happened yet. It's the audio behind that montage in that film you're watching, but the film is in fact, your own life.