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'Challenge Me Foolish' is an almost lost album of µ-Ziq material circa 1998-99, an era that saw Mike Paradinas release 'Royal Astronomy' on the now defunct Virgin subsidiary Hut records, and also tour with Björk.

It's an era of his music that's definitely worth re-exploring, in which Mike went against the grain by producing music that was baroque, melodic and whimsical, while the IDM movement he was lumped with made instrumental music that was often neurotic and complicated. His taste for melody and dreamy beauty above roughness and intricacy confused people who were hanging on too tightly to the rules. He even brought in Japanese vocalist Kazumi, adding an extra human touch.

'Challenge Me Foolish' is something of a companion to the Royal Astronomy record, arguably even better given the fresh ears selecting the material. It's imbued with a confident sense of pastoral colour, and a gentle optimism, utilising bells, studied orchestral arrangements and airy synthesisers that sit the album somewhere between, Jean Jacques Perrey (the French electronic composer whose whimsy was always balanced with serious innovation and chops) and the colourful, optimistic soundtracks of Joe Hisaishi. There's a strange sense of the old and new throughout, the sentimental and utopia, with nary a hint of darkness. Even when the album dips into the hyperkinetic rhythms of jungle, the melodies and mood still retain a sense of gentle warmth. Dive into peak time Paradinas.

Mr Bongo is proud to present an official reissue of Zé Rodrix E A Agência De Mágicos ‘O Esquadrão Da Morte’. Written, arranged and composed by the genius of Zé Rodrix and performed by his band 'Agência de Mágicos’, this Brazilian library funk beauty is the soundtrack to Carlos Imperial's 1975 film of the same title. Echoing European soundtrack maestros such as Roy Budd and Ennio Morricone, but with a Brazilian swagger, Zé Rodrix's score is a sublime gem that needs rediscovery.

Rich in 70's soundtrack cool, the score is packed with orchestrated jazz, chase scene-funk, breaks, psychedelic freakouts and plenty of drama. The loose and quirky break-beat jazz-funk of 'Assalto' feels almost tailor-made for today's hip-hop production aesthetic. The opening drum break of 'Esconderijo' is a sampler’s dream and has already been reinterpreted by the Turkish Rapper Anıl Piyancı, as well as Brazil's DJ Caique.

Carlos Imperial was a jack of all trades. As a songwriter and music producer, he created a highly impressive back catalogue. It includes working with or writing songs for Tim Maia, Elza Soares, Brigitte Bardot, and Wilson Simonal. He also co-wrote the rare cult Brazilian 7" compacto 'Lindo Sonho Delirante (L. S. D') by Fábio. Carlos Imperial wrote liner notes and was an actor, filmmaker, television presenter, and media figure. His film 'O Esquadrão da Morte' is a violent heist movie starring Beto Bandeira, Claire Chevalier, and Baby Conceicao; in the vein of exploitation films and gritty, raw B-Movie cinema of the day. Both the film and album share striking, macabre artwork by artist Benicio.

The instrumentalist, arranger, and singer-songwriter Zé Rodrix has a musical achievements list that is also one to admire. He’s worked with the cream of Brazilian music, having written songs covered by the greats, including Quarteto Em Cy, Ronald Mesquita, Elis Regina, Karma, and Célia, to name just a few. His written arrangements have graced the music of Luli Lucinha E O Bando and Helio Matheus. He was a member of the iconic group Som Imaginário and played piano and synthesizer on Secos & Molhado's classic 1973 album.

We are super pleased to make this dusty treasure available again. It is a wonderful soundtrack score that more than holds its own with its European and American counterparts of the era.

"Four years in the making, Nikolaienko’s retrogarde take on mid-20th century tape music is a loping, whirling fuzzy felt oscillator odyssey. If Louis and Bebe Barron had been asked to create electronic tonalities for a Czech animation based on EM Forster’s The Machine Stops, the results may have turned out like this. Only, for all its nods to Parmegiani and the BBC Radiophonic Workshop, one can’t quite see this album coming out in 1956 – or even 1976. Something about the slightly off kilter rhythms, the loose feel and wheezing sound effects make this very much a post-Dilla take on Raymond Scott and his successors." - The Wire

"...The album, pitched as “a tribute to early-electronics’ golden era,” takes on a fragmented aesthetic of bleeps, thunks and jolts that secrete the concentrated focus of a fantastical laboratory...” Tiny Mix Tapes

"...The Sounds Of Pseudoscience is a perfect cocktail of space ambient with ice, delicate percussions, under-water rhythms and echoes of Soviet 60s..." Krossfingers

Limited to 50 copies cassettes in Riso printed J-cards

"Four years in the making, Nikolaienko’s retrogarde take on mid-20th century tape music is a loping, whirling fuzzy felt oscillator odyssey. If Louis and Bebe Barron had been asked to create electronic tonalities for a Czech animation based on EM Forster’s The Machine Stops, the results may have turned out like this. Only, for all its nods to Parmegiani and the BBC Radiophonic Workshop, one can’t quite see this album coming out in 1956 – or even 1976. Something about the slightly off kilter rhythms, the loose feel and wheezing sound effects make this very much a post-Dilla take on Raymond Scott and his successors." - The Wire

"...The album, pitched as “a tribute to early-electronics’ golden era,” takes on a fragmented aesthetic of bleeps, thunks and jolts that secrete the concentrated focus of a fantastical laboratory...” Tiny Mix Tapes

"...The Sounds Of Pseudoscience is a perfect cocktail of space ambient with ice, delicate percussions, under-water rhythms and echoes of Soviet 60s..." Krossfingers

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

During the year 2019, Adrian Younge and Ali Shaheed Muhammad made music with the masters. Composing and producing brand new albums with their heroes. Jazz Is Dead 001 is where it all started, their first presentation of work that has come out of these initial sessions.

Bringing new life to the electrifying sounds of Peru’s golden era of cumbia, *CHICHA POR FAVOR Vol. 1 is a highly anticipated limited edition vinyl release, featuring 12 rare tracks from the historic El Volcan label, known for its groundbreaking cumbia in the highlands of Cusco, Peru. This curated collection, spanning the 1970s and 80s, delivers listeners an immersive sonic journey into the heart of Peru's tropical music heritage.

For vinyl collectors, cumbia enthusiasts, and aficionados of Latin American musical history, this album is a rare treasure, packaged with an exclusive insert detailing the cultural origins of each track and offering in-depth insights into the socio-musical evolution of Peruvian cumbia. This release is the inaugural volume of CHICHA POR FAVOR, a project aimed at preserving and celebrating the defining sounds of Peruvian tropical music.

The tracks featured in CHICHA POR FAVOR Vol. 1 offer a uniquely authentic perspective on Peruvian cumbia’s intricate layers, capturing the influence of coastal rhythms, Andean folklore, and Amazonian beats, fused with elements of rock and psychedelia. From the driving electric guitars of *Grupo Atlantic*’s “Danza Atlantic” to the lively, Amazonian-infused grooves of *Los Invasores* and *Los Tigres*, the album reflects a diversity of styles that arose during a transformative era in Peru’s music scene. Notably, the release revives the distinctive sound of *El Volcan* a Cusco-based label that became a beacon for cumbia in the Andes and beyond.

Peruvian tropical music emerged in the 1960s as a fusion of traditional Andean sounds with electric guitar-driven interpretations of Afro-Caribbean and American rock influences. The insert, included with each vinyl, presents a well-researched narrative of the genre’s genesis and evolution, from early instrumental adaptations of huayno rhythms to the psychedelic Amazonian sounds that became its signature.

This compilation is not only a celebration of Peru’s cultural legacy but also an educational experience, designed to give listeners a comprehensive understanding of the geographical, cultural, and musical landscapes that shaped this genre.

As is the case with fellow 'enforcers'-turned-producers, Henry 'Junjo' Lawes and Philip 'Fatis' Burrell, George Phang had been involved in the internecine street battles that had split Kingston into rival politically-aligned zones during the 1970s, when the broader effects of Cold War politics were played out in Jamaica. Following some encouragement from Sly and Robbie, Phang changed focus, putting the politics aside to concentrate on music production, becoming one of the most important producers of the early 1980s in the process. Phang took over the rhythm twins' Power House label around 1982, and with the duo forming the mainstays of his productions, the result was guaranteed audio dynamite, as this killer devotional track by Barrington Levy from 1983 so amply suggests—a beautiful extended slice of late roots, heading towards the emerging dancehall style.

Repress!

Defected’s vinyl series continues to commit the label’s biggest digital releases to wax, delivering the best house music previously unavailable on vinyl, and this nineteenth edition collates four unmissable releases from 2023’s incredible summer season. Opening the compilation, British house favourite Jansons delivers old skool vibes with ‘Hypnotic’, championed by 90s hip-hop and RnB inspired vocal vocals courtesy of Dope Earth Alien. Next up, LP Giobbi’s long-awaited Defected debut came in the form of ‘Giodisco’, a joyful, vibrant club cut that showcased the live musician and producer’s disco-adjacent sound. On the B-Side, the First Lady of Defected Sam Divine presents her long-awaited dancefloor release ‘Take My Hand’ featuring Josh Barry on vocals. After teasing the track for nearly a year in her live sets, the heavenly house release did not disappoint. Closing out this esteemed collection is the addictive collaboration between Parisian underground favourites and London singer-songwriter Camden Cox, ‘Lady Love’, which dominated the summer season with its undeniable energy and earworm vocal.

Barsuk Records is pleased to release Death Cab for Cutie's beloved sophomore LP "We Have the Facts and We're Voting Yes" on attractively priced standard weight vinyl. This lovely black vinyl pressing includes the original vibrant 6-color spot-printed jacket and lyrics insert. Features classics "405" and "Company Calls," and still makes many fans' favorite-album lists, 25 years later!

From a world of its own, somewhat like ours, yet a bit different. Familiar sound, but in a slightly different order, upside down or backwards, with different instruments or in another language just beyond comprehension, that still, somehow, makes sense and carries us further in search of musical discovery. With playful and creative interaction and exceptional chemistry, Mari Kvien Brunvoll, Stein
Urheim, and Moskus take another step into uncharted musical territory. The result is the Album Barefoot in Bryophyte. The members of this quintet are frequent figures in the Hubro discography but had not played together before this project. The collaboration began as the commissioned work Branches & Limits for Voss Jazz Festival in 2023. The music has an immediacy, an unusual combination of song material spontaneous improvisation and musicianship that made the concert a favorite among both critics and audience at the festival. Mari Kvien Brunvoll and Stein Urheim have written the songs that were further developed together with Moskus. The open and improvisational approach is evident, in the blending of the known and unknown in their songs. They have a curious approach to creativity, with lyrics that are both open for interpretation and poignant at the same time

The long-awaited new full-length from legendary electronic pioneers THE ORB with cover design from iconic graphic wizards THE DESIGNERS REPUBLIC • A fascinating sonic journey over four epic tracks, constantly switching between psychedelic flourishes and beat-driven focus

Veritable pioneers of electronic music, iconic act THE ORB returns to Kompakt with the new full-length MOONBUILDING 2703 AD - another major slice of psychedelic synth bliss, obscure loops and deep ambient textures tossed in swinging breakbeats and powerful basslines. Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from masterminds Alex Paterson and Thomas Fehlmann follows their 2005 album success on Kompakt, the cheekily named "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), as well as several contributions to our Speicher and Pop Ambient series - but more importantly, it finds the legendary duo at the peak of its creativity, ringing in another essential phase in what can only be called a ground-breaking career.

True to form, the new offering MOONBUILDING 2703 AD features a small track list, but turns each one of its four cuts into a mini epic in its own right. Opener GOD'S MIRRORBALL hits the ground floating, employing a handful of cozy statics to great effect before finally discharging into an intricate mosaic of atmospheric melodic sketches and gripping rhythms. With a hypnotic runtime of more than 14 minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists' vision and their impressive skills in luring in listeners - welcome to THE ORB's sonic labyrinth, where nothing is what it seems and the unexpected waits just around the corner.

Likewise, follow-up track MOONSCAPES 2703 BC presents itself as a uniquely versatile affair sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately 9 minutes, LUNAR CAVES is the shortest jam of the bunch - and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing, freewheeling synth textures instead. Album closer and title cut MOONBUILDING 2703 AD introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks up its sleeve - even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections constantly switching places. It's a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscling as needed.


• Das langerwartete neue Album der legendären Elektronikpioniere THE ORB mit einem Coverdesign der gefeierten Graphikschmiede THE DESIGNERS REBUBLIC • Eine faszinierende Klangreise über vier epische Tracks hinweg, permanent zwischen psychedelischen Schlüsselreizen und beatgetriebenem Fokus changierend

Mit THE ORB kehren echte Pioniere der elektronischen Musik zu Kompakt zurück - der Langspieler MOONBUILDING 2703 AD präsentiert erneut einen grossen Wurf in Richtung psychedelischen Synthie-Segens, obskurer Loops und porentiefer Ambient-Texturen, geschwenkt in schwungvollen Breakbeats und wirkmächtigen Basslines. Mit einem für genresprengende Projekte wie diesem hier eher unüblichen Vorwärtsdrang beerbt das neue Album von den Großmeistern Alex Paterson und Thomas Fehlmann ihren 2005er Erfolg auf Kompakt, das augenzwinkernd benannte "Okie Dokie It's The Orb On Kompakt" (KOMPAKT CD 45), sowie einige Beiträge zu unseren Speicher- und Pop-Ambient-Serien - viel wichtiger allerdings, daß wir das legendäre Duo auf der Höhe ihrer Schaffenskraft antreffen, eine neue wesentliche Phase einläutend in einer Laufbahn, die nur als bahnbrechend bezeichnet werden kann.

In bekannter Manier hat das neue Werk MOONBUILDING 2703 AD eine eher kleine Tracklist vorzuweisen, baut dafür aber jeden seiner vier Tracks zu Mini-Epen von eigenem Recht um. Der Eröffnungsakt GOD'S MIRRORBALL schwebt einem da vor Ohren, zuerst nur mit einer Handvoll gemütlichen Rauschens bewaffnet, später dann in ein feingliedriges Mosaik von atmosphärischen Melodieskizzen und mitreissenden Rhythmen explodierend. Mit einer hypnotisierenden Lauflänge von über 14 Minuten etabliert das Stück die Blaupause für die folgenden Ereignisse, perfekt die enorme Reichweite der künstlerischen Vision und ihre Fähigkeit zur massenhaften Verführung nichtsahnender Tänzer illustrierend - willkommen in THE ORB's Klanglabyrinth, wo nichts ist wie es scheint und das Unerwartete um jede Ecke lauert.

Ähnlich präsentiert sich der Folgetrack MOONSCAPES 2703 BC als einzigartig vielseitige Angelegenheit, bequem zwischen ambienten Ornamenten und beatgetriebenem Fokus sitzend und mit sovielen Drehungen und Wendungen wie ein Gaunerfilm - doch stets seine Cliffhanger im makellosen Flow erdend. Ein wenig über 9 Minuten lang, ist LUNAR CAVES der kürzeste Entwurf in der Gruppe - und auch der ätherischste, hält er doch die Rhythmusanteile auf einem puls-ähnlichem Minimum und optiert stattdessen für freilaufende Synthie-Texturen. Das letzte Kapitel des Albums schließlich ist auch der Titeltrack: MOONBUILDING 2703 AD besitzt eine überraschend jazzige Note, die sich ziemlich gut in den Reichtum an elektronischen Tricks einfügt, welche hier aus dem Ärmel geschüttelt werden - sogar in rauem Bass schwelgend und eine atemberaubende Vielfalt an Rhythmussektionen aufrufend, die ständig die Plätze tauschen. Es ist ein passender Abschluss für ein derart facettenreiches Album, so idiosynkratisch wie möglich und so anschiebend wie nötig.

2019 feiert das Blue-Note-Label seinen 80. Geburtstag. Unter den Aktivitäten des Jahres findet sich
auch eine für Vinyl-Fans besonders interessante: die "Tone Poet Audiophile Vinyl Reissue Series".
Man nennt ihn den 'Klangpoeten': Joe Harley, Mitbegründer und Koproduzent des renommierten
amerikanischen Vinyl-Labels und Mail-Orders 'Music Matters'. Zum Jubiläum wurde er jetzt von Blue
Note beauftragt, ausgesuchte Alben für eine exklusiven LP-Edition zusammenstellen. Diese rein
analogen Reissues werden von den originalen Masterbändern von Kevin Gray (Cohearent Audio) neu
gemastert und bei Record Technology Incorporated (RTI) in 180g-Vinyl gepresst. Die Originalcover
werden als hochwertige, schwere Tip-on-Sleeves faksimiliert. Zu den von Joe Harley handverlesenen
Aufnahmen werden für ihre Aufnahmequalität berühmte Blue-Note-Klassiker, aber auch
herausragende aktuelle Einspielungen gehören.
Die ersten beiden Alben der Serie sind besondere "Blue-Note-Leckerli": Wayne Shorters 'Etcetera'
und Chick Coreas 'Now He Sings, Now He Sobs'.
Ausstattung: 180g-Pressung, neues Remaster von den Analogbändern, keine digitalen
Fertigungsschritte, schwere Tip-on-Hüllen

NO “ORDINARY JOE”!!! Our finest double-hearder ever… TERRY CALLIER was born in Chicago in the shadows of Curtis Mayfield, Major Lance,Ramsey Lewis and his mentor Jerry Butler. He would become one of the greatest Soul/Jazz voices of all time, although he barely new it in his own lifetime. Both his debut album, ‘The New Folk Sound’, and single, “Look At Me Now” had failed commercially when he was contracted by JERRY BUTLER to his Songwriters Workshop. It was here that he wrote his timeless masterpiece “Ordinary Joe” which first appeared on Butler’s 1970 Mercury album ‘You & Me’. Butler’s version of the song has been largely overlooked, underrated and undervalued, until now, 50 years on when it finally makes its 7-inch single debut! Callier’s definitive rendition of “Ordinary Joe” appeared a couple of years later, in 1972, on the second of his three critically acclaimed Cadet albums ‘Occasional Rain’. The ’72 single was taken from the album and now commands a hefty £700+ price tag.

Vintage-Pariser Jazz. Vintage-Pariser Ambiente. Paris hat schon immer Jazzmusiker aus aller Welt in seine Clubs & Cafés gelockt. Paris ist insbesondere die spirituelle Heimat des Gypsy-Jazz, wo viele Jazzmusiker in der ersten Hälfte des 20. Jahrhunderts in den Bals-Musettes der Stadt spielten. Django Reinhardt machte sich in den 1930/40ern mit dem Geiger Stéphane Grappelli und seinem Quintette du Hot Club de France einen Namen, ebenso wie mit den Bands von Alex Renard, Alix Combelle, Ray Ventura, Claude Bolling und Jerry Mango. Dieser LP-Sampler gibt einen hervorragenden Überblick über die damalige Szene, als kurz nach dem Krieg die Viertel Saint-Germain des Prés und Latin zahlreiche berühmte Jazzclubs beherbergten. Alle Tracks wurden remastert.

Nach einer Handvoll selbst veröffentlichter Singles, EPs und einem Album 'Wardrove' im Februar 2023 kehrt Eterna - das Projekt des in Südlondon lebenden und in Barcelona geborenen Musikers Guillem Peeters - mit seinem neuen Album 'Debunker' zurück, das am 31. Januar 2025 erscheint und sein erstes mit section1 ist. Debunker vertieft die auf 'Wardrove' aufgeworfenen Fragen und dringt in neue Bereiche vor, die gleichzeitig vertraut und völlig neu sind.

Louisville, Kentucky-based musician and artist Evan Patterson never planned for JAYE JAYLE to blossom from a stripped-down solo project into the otherworldly, full-band sonic experience that it is today. In the beginning, the songs were short and lighthearted, written on acoustic guitar with no intention of releasing them or even performing them publicly. Time, however, is a fickle thing. `After Alter' is an astounding collection of musical memories and emotional fragments, all drawn together from previous recording sessions and previous lives in order to chart a cathartic creative course into new, unknown territories. At once volatile, gut wrenching and serene; expect the unexpected. Raw remnants and lingering refrains from these pivotal moments are reframed to form a powerful reminder of what Jaye Jayle is and always has been: an unadulterated, unfiltered outlet for the sounds that pour out of Patterson's mind at any given time or place. `After Alter' is a document of the indecipherable, of feeting feelings dragged once again to the surface. Lead single and opening track `Father Fiction', for example, dives headlong into the fables and factious ideologies of organised religion with a hardened gaze and a wry smile as rolling drums and repetitive discordant guitar refrains spiral ever down into the labyrinth of meaning and misinterpretation. Elsewhere, `Fear Is Here' sees Jaye Jayle facing up to day-to-day examples of how terrifying everything around us can become within an instant as the song's truncated blues piano hook is pushed ever further, distorted over time into something strange and hideous whilst the crawling post-hardcore dirge of `A Blackout' serves as a searing critique of the American Dream; a nameless, homeless protagonist worships the alluring glow of billboard ads from their bed in the dirt on the side of the highway. Simultaneously both tracks five and eight though, the arresting `Bloody Me' is Jaye Jayle's dichotic, janiform identity made manifest. Written even before the band's debut album was released, track five's `Bloody Me' is a bolshy, bass-driven punk rock retaliation to dressing up for Halloween because Patterson is always dressed for Halloween. Track eight's `Bloody Me' however, is a tender solo acoustic recording cut straight to wax at Third Man Records in Nashville, mere hours before Patterson saw Bob Dylan perform for the first time. Two sides of the same coin; one ferocious and snarling, the other plaintive and bare but both unapologetically Jaye Jayle. By creatively exorcising these poignant moments, Jaye Jayle have opened themselves to even more inspiration. FOR FANS OF Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows The very limited Help Edition is single colour purple vinyl!

"Recorded in Jeremy Loops' home studio in Cape Town, South Africa ‘Feathers and Stone’ is an organic response to a world increasingly shaped by digital and artificial sounds, and showcases Jeremy's depth as an artist and a songwriter.

Following on from critically acclaimed albums Trading Change (2014), Critical As Water (2018) and Heard You Got Love (2022), ‘Feathers and Stone’ reflects the balance between heaviness and lightness by mixing both uplifting melodious music with melancholic moments, sophisticated guitar licks and vocal turns. Produced by Will Hicks (Ed Sheeran, Lilly Allen, Bastille), Loops hopes that listeners will feel the depth and honesty in all eleven tracks on the record.

After previous collaborations with industry luminaries like Ed Sheeran, Steve Mac and Edd Holloway, this album includes collaborations with South African choral group and five time Grammy Award Winners, Ladysmith Black Mombazo on the single ‘Coming Home’ and prolific German born folk/pop duo, Amistat on ‘Loveblood’, a powerful and euphoric track which found its feet while they toured through Europe and South Africa with Jeremy.

Previously, Jeremy Loops carved a niche for himself through electrifying live performances, progressing from small bars to selling out 5000-seat arenas globally and earning him accolades and awards at the South African Music Awards and MTV Africa's Best Alternative Artist award and & Best Pop Album."

"Recorded in Jeremy Loops' home studio in Cape Town, South Africa ‘Feathers and Stone’ is an organic response to a world increasingly shaped by digital and artificial sounds, and showcases Jeremy's depth as an artist and a songwriter.

Following on from critically acclaimed albums Trading Change (2014), Critical As Water (2018) and Heard You Got Love (2022), ‘Feathers and Stone’ reflects the balance between heaviness and lightness by mixing both uplifting melodious music with melancholic moments, sophisticated guitar licks and vocal turns. Produced by Will Hicks (Ed Sheeran, Lilly Allen, Bastille), Loops hopes that listeners will feel the depth and honesty in all eleven tracks on the record.

After previous collaborations with industry luminaries like Ed Sheeran, Steve Mac and Edd Holloway, this album includes collaborations with South African choral group and five time Grammy Award Winners, Ladysmith Black Mombazo on the single ‘Coming Home’ and prolific German born folk/pop duo, Amistat on ‘Loveblood’, a powerful and euphoric track which found its feet while they toured through Europe and South Africa with Jeremy.

Previously, Jeremy Loops carved a niche for himself through electrifying live performances, progressing from small bars to selling out 5000-seat arenas globally and earning him accolades and awards at the South African Music Awards and MTV Africa's Best Alternative Artist award and & Best Pop Album."

Purple-Black-Smoke Vinyl, limitiert auf 200 Exemplare. Texas Toast Chainsaw Massacre ist eine explosive Band des Crossover-Thrash-Metals aus der pulsierenden Musikszene von Chicago, Illinois. Seit ihrer Gründung im Jahr 2011 haben sie sich schnell einen Namen gemacht, dank ihrer mitreißenden Auftritte und humorvollen Texte, die das Publikum begeistern. Die Band besteht aus den erfahrenen Mitgliedern Josh "Macho Frost" Kandich am Gesang und Jordan Miller an der Leadgitarre, ergänzt durch den talentierten Bassisten Viaj D Crum und den dynamischen Schlagzeuger Tony Strissel. Ihr unabhängiger Status ermöglicht es ihnen, kreativ zu bleiben und Musik zu kreieren, die unverfälscht und originell ist.

“Waxwork Records is thrilled to present CASTLE FREAK Original Motion Picture Soundtrack composed by Richard Band (Re-Animator, From Beyond, Puppet Master). This 1995 direct-to-video release directed by Stuart Gordon (Re-Animator, From Beyond) has gone on to become a sought after Horror cult classic.

Jeffrey Combs and Barbara Crampton star as John and Susan Reilly, and Jessica Dollarhide as their blind daughter Rebecca. After visiting John’s newly inheri- ted 12th-century castle, the family soon realizes that they are not alone amongst the medieval stone walls. Chained up in the dungeons is Giorgio, the hideously disfigured son of the castle’s former owner. When Gior- gio escapes and wreaks havoc upon the unsuspecting Reillys, the family is brought to their breaking points.

Richard Band is an award-winning American com- poser who has written the music for over 100 fea- ture films, television series, and more. His score for Castle Freak features the innovative use of a string quartet in the film’s prologue, bringing a classical flair to his tense and terrifying score.

Waxwork Records is proud to release Castle Freak on vinyl for the first time. Featuring a heavyweight die- cut gatefold jacket with all new artwork by Anthony Petrie and pressed on “”Dungeon Splatter”” colored vinyl.”

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Donny Hathaway's second album, released in April 1971, can be considered the antithesis of a "sophomore slump." The collection of cover songs found the artist not only spotlighting his talent, but his tastes. Among the songs he chose to cover on the LP was Leon Russell's "A Song for You," taken from Russell's debut album which was barely a year old at the time. Hathaway's impassioned version is so strong that many listeners are still shocked to discover that the song is indeed a cover.

With songs by Billy Preston ("Little Girl"), Mac Davis ("I Believe in Music") and Van McCoy (Gladys Knight and the Pips' 1964 hit, "Giving Up"), the record didn't exactly ignite the charts, peaking at No. 73 for the week of July 24, 1971 (the No. 1 album in America that week: Carole King's Tapestry). Hathaway's second LP is so much more than its chart performance.

Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song." One of just three solo studio albums Hathaway recorded before his tragic death in 1979, Donny Hathaway is a truly timeless classic that will never go out of style.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Complete & Unbelievable: The Otis Redding Dictionary of Soul was the soul legend's 1966 album (and the last issued in his lifetime). The original album features mostly covers on side one and original compositions by Redding on side two.

The album features musical assistance from Booker T. & the M.G.'s-organist Booker T. Jones, pianist/guitarist Steve Cropper, bassist Donald "Duck" Dunn, drummer Al Jackson, Jr.-pianist Isaac Hayes, and the Memphis Horns, consisting of tenor saxophonist Joe Arnold, trumpeter Wayne Jackson, tenor saxophonist Andrew Love and baritone saxophonist Floyd Newman.

The Otis Redding Dictionary of Soul was released in October 1966 on the Stax label and peaked at No. 73 and at No. 5 on the Billboard 200 and the R&B LP charts respectively. The album produced two singles, "Fa-Fa-Fa-Fa-Fa (Sad Song)" and "Try a Little Tenderness." In 2,000 it was voted No. 488 in Colin Larkin's All Time Top 1,000 Albums. In 2012, the album was ranked No. 254 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time.

Cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Donny Hathaway's second album, released in April 1971, can be considered the antithesis of a "sophomore slump." The collection of cover songs found the artist not only spotlighting his talent, but his tastes. Among the songs he chose to cover on the LP was Leon Russell's "A Song for You," taken from Russell's debut album which was barely a year old at the time. Hathaway's impassioned version is so strong that many listeners are still shocked to discover that the song is indeed a cover.

With songs by Billy Preston ("Little Girl"), Mac Davis ("I Believe in Music") and Van McCoy (Gladys Knight and the Pips' 1964 hit, "Giving Up"), the record didn't exactly ignite the charts, peaking at No. 73 for the week of July 24, 1971 (the No. 1 album in America that week: Carole King's Tapestry). Hathaway's second LP is so much more than its chart performance.

Atlantic producer Jerry Wexler took over most of the production duties, with Hathaway producing one track, the self-penned "Take a Love Song." One of just three solo studio albums Hathaway recorded before his tragic death in 1979, Donny Hathaway is a truly timeless classic that will never go out of style.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

‘Dynamic Movements - Music for Exercise & Relaxation’ is the new album by the Swedish electronic music producer/remix duo of Johan Agebjörn and Mikael Ögren, lovingly released on Ltd. cassette via Lo Recordings.

Back in the 1980’s there was an exercise craze, people wore lycra bodysuits and headbands. All over the world people were making ‘Dynamic Movements’, determined to change the flow, turn their lives around and step into a bright new future. At the same time the New Age movement was blossoming and meditation was the way forward. Meditation and deep relaxation with maybe some crystals and Unicorns, just for fun.

Inspired by these exercise tapes of the 70s/80s and in tribute to those times and movements, Johan and Mikael worked with producers from around the world to create an album of diverse interpretations, bringing us an album of deep sonic nourishment. Sometimes throbbing and at other times gently lapping at your toes, the result is a lavish cassette contrasting ‘music for exercise’ on side A and ‘music for relaxation’ on side B.

Kicking off side one is the duo’s own ‘Dynamo Dance’, a resonant, pulsating slice of electronic pleasure, which gives way to tracks by acclaimed collaborators like the crisp, cruise control groove of Causeway, the dub chug delight of Jarle Brathen and the irrepressible majesty of ‘Lovelock’ (Steve Moore), before Johan and Mikael return with a tribute to the late great Florian Schneider of Kraftwerk.

Side two’s sumptuous drift into a world of soft pads, rippling arpeggios and sultry saxophone (all the saxophone on the album is by the aforementioned Steve Moore) is initiated by Seahawks, with their lysergic ‘Phase Induction’ leading to the extended Cafe Del Mar beach bar ambience of the legendary Fax records maestro Dr Atmo, continuing with the impossibly lush shimmer of Mary Yalex, the gravity defying drift of One Million Eyes and the divine dream world of Patricia Wolf.

Released in October 1983, “North Of A Miracle” was Nick Heyward’s first solo album after leaving Haircut 100. Produced by Geoff Emerick (The Beatles, Elvis Costello, Badfinger, America, Supertramp and many more), the album features the hit singles “Take That Situation”, “Whistle Down The Wind”, “Blue Hat For A Blue Day” and “On A Sunday”. The album went on to sell over 100,000 copies in the UK, earning a Gold Disc Award.

Deluxe 3CD Edition:
Expanded to a Deluxe 3CD Edition, Disc One features the original album mastered from the original stereo tapes, Disc Two features the various 12” mixes, instrumental versions and non-album B-sides, while Disc Three, entitled “Recordings 1984”, features Nick’s 1984 single releases “Love All Day” and “Warning Sign”, along with the tracks from their accompanying 12” singles. Also featured are three previously unreleased tracks: “Teach Till You Reach” (an unreleased single), “Give Love More Time” (an alternate instrumental version of “Love All Day”), and “Kiss Those Tears Goodbye” (an unfinished recording featuring the backing vocals only). Annotated by author and journalist Daryl Easlea, based on a brand-new interview with Nick Heyward, this 3CD set is presented in Deluxe 7” Packaging, with a 20-page booklet.

180g Vinyl Edition:
This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information creating an incredibly detailed stereo image with a natural high frequency response.

Presented in its original gatefold sleeve, pressed on 180-gram heavyweight black vinyl, featuring an obi strip and housed in a poly-lined inner sleeve, with a 2-page insert.

Hip Hop Legends is a limited 45 series that reissues classics from the classic era of 90s rap and 'I Am I Be' comes with silky bars and storytelling lyrics over warm melancholic chords and subtle boom-bap beats. On the flip, things get stripped back a little as the same cut gets an instrumental. It's a version that allows those chords and some gentle horns as well as big guitar licks to really shine while the groove continues to roll on.

Recorded in 1966 and released by Blue Note Records in August of 1967, Don Cherry's Symphony for Improvisers features Gato Barbieri, Henry Grimes, and Ed Blackwell, all of whom had appeared on Cherry's previous album Complete Communion. Also featured are Karl Berger, Jean-François Jenny-Clark, and Pharoah Sanders. The album received a rating of ****½ on AllMusic, with reviewer Steve Huey stating that, "Even though the album is full of passionate fireworks, there's also a great deal of subtlety. Feverish but well-channeled, this larger-group session is probably Cherry's most gratifying for Blue Note."

Recorded at A & R Studios in New York City on July 1, 1970, Pharoah Sanders' album Deaf Dumb Blind (in Arabic "Summun Bukmun Umyun"), was released on Impulse! Records that same year. It features the leader along with fellow stars Woody Shaw, Gary Bartz and Lonnie Liston Smith.
The album received a **** rating on AllMusic, with reviewer Thom Jurek stating that this is "a stunningly beautiful and contemplative work that showcases how intrinsic melodic phrasing and drones were to Sanders at the time. This album is a joyful noise made in the direction of the divine, and we can feel it through the speakers, down in the place that scares us."

Purple-Black-Smoke Vinyl, limitiert auf 200 Exemplare. Texas Toast Chainsaw Massacre ist eine explosive Band des Crossover-Thrash-Metals aus der pulsierenden Musikszene von Chicago, Illinois. Seit ihrer Gründung im Jahr 2011 haben sie sich schnell einen Namen gemacht, dank ihrer mitreißenden Auftritte und humorvollen Texte, die das Publikum begeistern. Die Band besteht aus den erfahrenen Mitgliedern Josh "Macho Frost" Kandich am Gesang und Jordan Miller an der Leadgitarre, ergänzt durch den talentierten Bassisten Viaj D Crum und den dynamischen Schlagzeuger Tony Strissel. Ihr unabhängiger Status ermöglicht es ihnen, kreativ zu bleiben und Musik zu kreieren, die unverfälscht und originell ist.

Originating from noisy improvisations and chaotic concoctions recorded in a basement in Cork, Ireland.
Oaf Milk is a raw byproduct of abrasive, frenzied and hypnotic energy.
Crying Loser are looking to scratch the miserable itch of life at the bottom of the barrel.

BASta! is the solo project of double bass player and composer Joris Vanvinckenroye, in which he explores and pushes the limits of the double bass. In this project, using looping and effect pedals, Joris creates an almost orchestral sound, using the full range of his instrument-from the deepest basses to the highest notes. These layered compositions weave complex rhythms and melodies into a rich and compelling soundscape.

The debut album of BASta!, Cycles, was released in 2009 on the label Homerecords.be and marked the beginning of an adventurous journey that brought BASta! to numerous stages, both solo and in collaboration with multidisciplinary productions by Rode Boom and Retina Dance Company, among others. Besides BASta!, Joris has been active for decades in bands such as Aranis, Troissoeur and MOTYK (formerly Flairck), with which he performs internationally, from Mexico to China and from Oman to the United States. He also composes music for dance, theatre and multidisciplinary productions, including Rode Boom's successful production Unknown Evidences, which has been performed over 600 times in France, Morocco and Denmark, among others.

Joris Vanvinckenroye:double bass, Viola da Gamba
Composed and recorded by Joris Vanvinckenroye,
Mixed at Studio Cucurucu by Jesse De Roo
Mastered at Elektropolis by Uwe Teichert
Album produced by Nik Bartsch

On Hardcore, James Mapley-Brittle (GRRL) and Nick Sanborn (Made of Oak), meld their love of late-night club music to make mind-bending high-energy dance music. GRRL is one of the brightest emerging stars in the underground arts space and a regular collaborator with PC Music, NTS, and more; Sanborn is better known as one half of the Grammy-nominated electronic pop duo Sylvan Esso. First sparked during DJ sets in North Carolina basements, the duo's unique creative chemistry has grown exponentially since the 2022 release of their debut EP, Inertia. GRRL x Made of Oak's glitched-out sounds have been featured on Adult Swim, Fortnite, and with their own sample pack on Splice. Finding new fans in the likes of Björk, Arca, AG Cook, Porter Robinson, Barker and DJs across the world, GRRL x Made of Oak is an exhilarating experience that will shake the speakers and get any after-hours dance floor moving.

Strut proudly reintroduces a classic from the Topomic catalogue, Ice’s ‘Each Man Makes His Destiny’, officially available on vinyl for the first time.
After relocating from the United States to Paris, Ice began performing regularly in the city’s Barbès district, a vibrant area with a large North African immigrant community. The band’s heavy Afro-funk sound caught the attention of producer Pierre Jaubert, leading them to become the resident session musicians at his independent Parisound studio.
Immersed in the local influences, Ice began integrating African-inspired chants, textures, and rhythms into their distinct funk style. In 1973, the group recorded their debut album, ‘Each Man Makes His Destiny’, a psychedelic funk exploration that hinted at the evolving sound that would later define them as the Lafayette Afro-Rock Band and, eventually, Ice once more.
Produced by Jaubert, the album brings some powerful social commentary on claustrophobic tracks like ‘Too Little Room’ and ‘Suicide’, under-pinned by a determination to succeed despite the adversity.
Remastered by The Carvery.

The Dub Pistols reissue journey continues and some could argue we’ve saved the best for last. Originally released on CD in 2012, the tour-de-force of ‘Worshipping The Dollar’ is finally receiving the vinyl treatment it deserves.

Including festival big hitters such as Mucky Weekend, Alive and Bad Card, this outstanding LP is being pressed on stunning blue and white splatter vinyl and it sounds better than ever. With its hard-hitting beats, infectious melodies, and socially conscious lyrics, 'Worshipping The Dollar' still acts as a commentary on the current state of our world and the detrimental effects of greed. The album features collaborations with legendary artists such as Rodney P, Red Star Lion, and Lindy Layton, adding an extra layer of depth to an already dynamic sound.

From their early beginnings as a soundsystem project, Dub Pistols have grown into a party-rocking live band that ignites festivals and venues. Main man Barry Ashworth has even gone a step further by developing his own hugely successful ‘Mucky Weekender’ festival named after Worshipping The Dollar’s lead single. Mucky by name, Mucky by nature - the festival certainly isn’t for the light hearted!

‘Worshipping The Dollar’ serves as a testament to Dub Pistols’ enduring spirit and tenacity and you can now pre order the album on how it was originally meant to be listened – on glorious vinyl.

a Alive feat. Red Star Lion 04:42
b West End Story feat. Akala 03:42
c Mucky Weekend feat. Rodders 05:08
d Bang Bang feat. Ashley Slater [03:33]
[e] Rubadub feat. Lindy & Dan Bushall [05:00]
[f] New Skank feat. T.K. [04:18]
[g] Rocksteady feat. Rodney P & LIndy [04:20]
[h] Countermeasure feat. T.K. [04:40]
[i] Gunshot feat. Darrison & Rodders [05:42]
[j] Bad Card feat. Dan Boskills [05:22]
[04:16]

John Lee Hooker - "It Serve You Right To Suffer (Verve Acoustic Sounds Series)" 180g Heavy Vinyl LP Released on the Impulse! Records label in early 1966, this collection is a mix of new compositions and re-workings of tunes John Lee Hooker had previously recorded, including a cover of Barrett Strong's 1959 Motown hit "Money (That's What I Want)." Featuring Panama Francis on drums, Milt Hinton on bass, and Barry Galbraith on second guitar, the result is some of the best John Lee Hooker material with a band that you're likely to come across. Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging. Verve Label Group; Verve; Jazz; Catalog

Following a string of successful releases and performances at some of the electronic world’s most revered underground venues, Italian DJ and producer Matisa returns with her captivating new single, '1234 Bisous', out now.

With sultry vocals and classy tech-house sensibilities, this deep, rolling cut is primed for the dancefloor. Nodding to Matisa’s love for euphoric, nostalgia-inducing rhythms, shimmering acid and piano-laced sounds, the gorgeous single offers a glimpse into her forthcoming mini-LP, ‘In My Head’ due for release on 31 January 2025.

'1234 Bisous' carries the same bold energy that has solidified her place in the scene while introducing a more introspective and emotional depth to her sound; a deeply personal track that encapsulates the bittersweet emotions of fleeting love and the unexpected start of a new romance.

“Un deux trois quatre bisous, I was keeping just for you, But then I wake up in a boom, Just a lad lays in my room”.

"This track captures the bittersweet end of a significant love story as a new one begins. It’s not your typical love-at-first-sight scenario… It took a solid five minutes for that spark to ignite and that undeniable feeling to hit." – Matisa

Known for her uplifting, radiant house selections and productions, Matisa's music carries a distinct energy—shimmering with bold rhythms and acid-driven sounds that draw from 90s rave culture and global club scenes. Her versatility behind the decks not has also made her a standout at world-renowned venues such as Berghain | Panorama Bar, fabric, and Circoloco, where she consistently delivers unforgettable sets.

With past releases on respected labels like Gudu Records, Butter Sessions, On Loop, and Optimo, Matisa’s upcoming mini album marks a major milestone for Matisa, as she showcases an ever-evolving sound and her remarkable production prowess, seamlessly blending both nostalgic elements with futuristic sounds and a raver’s spirit.

This collection features sixteen of the most renowned salsa and Latin soul singles released on Fania Records, and its subsidiaries, between 1964-1978, making it the perfect introduction to the legendary catalog. It celebrates the trailblazing label’s 60th anniversary, and iconic artists Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, Celia Cruz and more. Archival images and new liner notes, in English and Spanish, by New York-based music historian Aurora Flores are also included.