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Repress!

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Fire Records will be reissuing the first 3 albums by the Lemonheads, Hate Your Friends (1987), Creator (1988) and Lick (1989), featuring copious bonus tracks and many never-before released rarities and live recordings on the download card. Together, these seminal albums showcase the band's early punk rock roots and trace the Lemonheads’ transformation towards becoming one of the most successful and influential bands in indie rock. Before the 90s. Before the internet. Before Nevermind. Back when something called “independent music” first began reaching a wider audience, through college radio, word-of-mouth, and that small “underground” record store you seem to find in every town…there was a band from Boston called Lemonheads. High school friends Ben Deily and Evan Dando, Lemonheads’ primary songwriters, co-guitarists and co-vocalists, first recorded together on 4-track cassette in the spring of 1985; by the end of the decade they—together with bass player Jesse Peretz, sometimes-guitarist Corey Brennan, and successive drummers Doug Trachten and John P. Strohm—had created a body of recordings which would see them on MTV’s fledgling “120 Minutes,” beating out the Grateful Dead on college radio charts, and entering the consciousness of a generation of music fans. Cited as influences by artists as varied as Billie Joe Armstrong and Ryan Adams, these fledgling Lemonheads recordings—part rock, part pop, part unique hybrid of the 80s punk styles beloved by the band members—mark the start of the trajectory that would eventually lead to “mainstream” success and stardom for a later version of the band. But they also represent a distinct, never-repeated phase of the band’s history: one that is finally receiving the attention it deserves. Lick is the third full-length album by the Lemonheads, and the last to feature founding member Ben Deily. It was the group's last independent label-released album before signing to major label Atlantic. An odd mixture of brand-new, and considerably older, sounds, 1989’s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton. The difficulties of writing and creating a new full-length album every year (Hate Your Friends and Creator were released in 1987 and 1988, respectively) are clearly in evidence on Lick. While the newest material (“Mallo Cup,” “A Circle of One,” “7 Powers,” “Anyway”) hints at promising new song writing directions for both Deily and Dando, there’s an almost valedictory sense of the past in the inclusion of versions of “Glad I Don’t Know” and “I Am a Rabbit” (from the band’s first-ever, self-released EP), and the now-classic track “Ever,” a previously-unreleased tune from the original 1986 Hate Your Friends sessions. At moments, Lick almost sounds like an elegy for itself—or an elegy for a band that has reached the end of the beginning. Also audible in the heterogeneous songs are the tensions of line-up changes—and inchoate, growing frustrations. After various band break-ups or threatened break ups (such as Dando’s brief departure to play bass for Boston band the Blake Babies), the Lemonheads convened to record new material for Lick now featured Dando on drums, Peretz on bass, Deily on guitar (and “piano,” according to the album credits) along with the addition of long-time band friend—and former member of TAANG! labelmates Bullet LaVolta—Corey Loog Brennan on lead guitar. And yet the frenzied, quasi-ironic hammer-ons of Corey’s axe provide some of Lick’s most entertaining moments—like the unaccountably-translated-into-Italian paen to 70s detective Ironside, “Cazzo Di Ferro.” (The song’s music was originally composed by Brennan for his Italian punk band, Superfetazione.) After the album’s completion, Deily opted out of the subsequent European tour, before leaving the band permanently. Jesse Peretz stayed on to record their Atlantic records debut Lovey, but left after the supporting tour in '91. Since then, Dando has been the Lemonheads' sole permanent member. BONUS TRACKS: Features bonus tracks including several never-before-released live tracks from a 1987 radio session, live tracks and an interview from the 1989 European tour, and the 4 tracks of the Lemonheads self-released debut EP, Laughing all the way to the cleaners.

Global techno titan Josh Wink returns to his own Ovum Recordings for big new single 'Balls Back', which comes with a remix from Marco Faraone. Philly-born DJ, legendary producer and the man behind many of techno's most iconic cuts, Josh Wink remains as prominent now as he did a quarter of a century ago. That is because of the constant sense of innovation in all he does, as well as his rare understanding of dance floor dynamics and mastery of his studio. Says Josh of his latest track, “Every time I play this people rush over asking 'what is this track that says “get your balls back”?' Its reaction after playing has been amazing and reassuring that it hits hard, works on the floor, and sticks in people's heads.“ He's not wrong: the powerful 'Balls Back' is a spatial, acid-tinged techno stormer that builds and builds until it ultimately explodes in signature Josh Wink fashion. The 303s are saturated in deep processing along with heavy 909 percussion and a ‘slap-you-in-your-face’ vocal sample that will lead to dance floor devastation. The dub version is a raw, stripped down and faster-paced bass jacker that turns up the heat, and a Balls Tool is also included for dexterous DJ deployment. Italian Marco Faraone is a fellow techno heavyweight and one of the scene’s most versatile producers. He has brought his always impactful sounds to labels like Drumcode, Rekids and Etruria Beat. His remix is typically robust: vast, rolling drums power it along while glitchy percussion peels off the groove and the percussion gets ever more wild and heavy. It's a real main room monster. This is no-nonsense techno that perfectly marries form and function into a dynamite package.

Arma X burst onto the hardcore scene in 2019 with a demo that made people take notice from day one, seemingly coming out of nowhere, along with a whole host of new bands from Madrid. Taking the best of heavy hardcore styles, whether it’s Cleveland Straight Edge or NYHC Beatdown, Arma X are making it their own with tunes breathing new life into the genre in their debut album, Violento Ritual. Not for the faint of heart, the band are also redefining just how many dive bombs and breakdowns you can have in one song thanks to guitarists Yoshi and Rodri, and we are here for it! Vocalist Leo sings in Spanish, because there will be no appeasing to the English speaking hardcore masses here and rightly so. The result is vocals that just get taken to another level, delivered with Leo’s huge rasping voice not too dissimilar to Integrity’s Dwid, commanding over what sounds like a straight up war zone. Lyrically Arma X rock about the Straight Edge, naturally, as a true form of outsider behaviour within punk and also dark moments of anger in one’s personal life through occult imagery. Meanwhile drummer Tania and bassist Iker waste no time in pummelling out beats you want to smash heads to in the pit. The group are all hard working members of the Madrid hardcore community keeping their local scene vibrant and inclusive for all, reflected in the band themselves. Thanks to that hard work, along with many others from this new generation, the Madrid scene has been growing from strength to strength for the past 3 years. Arma X are part of this new wave of bands and DIY ethic that is selling out local only shows and making a community that stands strong. XXX. For Fans of Bulldoze, Confront, Integrity, Merauder. Genre: Alternative / Punk & Hardcore

Gazelle Twin, Lali Puna, This Mortal Coil, Slow Walkers, Atlas Sound, Bowery Electric, Broadcast Press Release: Snakeskin is an album of visionary electronic dream pop, shapeshifting above ambient and industrial undercurrents. It is moody, unsettling, luminous – the culmination of a decade of collaboration and friendship between Lebanese producer/musician/ engineer Fadi Tabbal and singer-songwriter Julia Sabra from Beirut-based indie trio Postcards. The duo began working on Snakeskin in the aftermath of the August 2020 Beirut port explosion, which killed at least 218 people, injured 7,000, and left over 300,000 people homeless. Indeed, Julia's home was destroyed by the explosion and her partner and bandmate Pascal badly injured. The first song that they wrote together afterwards was 'Roots', which closes out the album and was composed for the Ruptured-curated series The Drone Sessions in the fall of 2020. Snakeskin utilizes tape loops, synthesizers, vocals, and drum machines, combining Julia’s pop-inspired melodies and choral roots (an echo from her religious upbringing) with Fadi’s affinity for minimalism and musique concrète. The album seamlessly incorporates the melancholy electro-pop of 'All The Birds', the quiet menace of 'In Our Garden' (long-lost treasures, ancient lies / another buried paradise), and the beat-driven 'Signs'. The title track sums up their frame of mind, beginning as a lullaby and evolving into a glittering tapestry of distortion and feedback. As the artists write, Snakeskin is a product of "the disappearance of life as we know it, and with it the decay of nature and living creatures. There is no rebirth, no renewal. It’s about what it means to feel at home in such a place." Some tracks were also inspired by events happening in the surrounding region, such as the invasion of Armenia by Azerbaijan and the Palestinian uprising of May 2021 in Sheikh Jarrah - both events shedding light on relationships to home and land across the wider region. That such compelling art can emerge from unceasing tragedy may be the ultimate testament to human resilience and the pursuit of freedom and justice. "The moon speaks in tongues we can't discern / A plastic dove hangs from a cypress branch / Haven't you heard? / Nothing grows here anymore / The air is burnt / Nothing grows..." Highlights: – This is the second volume in the Corrosion Series, a collaborative effort by Beacon Sound and Ruptured, and the sixth collaboration between the two labels. – Fadi used samples of Julia's voice on his fifth solo album Subject to Potential Errors and Distortions (2020, Beacon Sound/Ruptured) – The Tunefork Studios team, led by Fadi, administered the Beirut Musician's Fund after the port explosion, as covered by Pitchfork, NME, and the Financial Times. – Julia's band Postcards released their third full-length album After The Fire, Before The End on Berlin label T3 Records in 2021 and are currently touring Europe. Credits: All music composed, performed and produced by Julia Sabra and Fadi Tabbal between November 2020 and December 2022. Lyrics by Julia Sabra. Drum samples by Pascal Semerdjian. Recorded by Fadi Tabbal, mixed by Sary Moussa and Fadi Tabbal at Tunefork Studios, Beirut. Cover photo by Lujain Jo. Design by Josette 'ZOoz' Khalil. Mastered by Rashad Becker. Bios: Julia Sabra is a Lebanese musician, songwriter and composer. She co-founded acclaimed Lebanese dream-pop outfit Postcards in 2013 and is the band’s multi-instrumentalist, lead singer and lyricist. Postcards have released two EPs (2013, 2015) and three albums (2018, 2020, 2021) and have been regularly touring Europe and the Middle East since 2015. She has been the manager of Tunefork Studios since 2017. Lebanese musician, producer, and sound engineer Fadi Tabbal’s work consist of minimalist pieces ranging from ambient and electronic to drone and contemporary classical. He has released six solo albums and has collaborated with various musicians, artists and filmmakers through the years. Often referred to as “the hardest-working person in Lebanon’s alternative music scene”, Tabbal established Tunefork Studios, a collective of producers, engineers and musicians, which has helped shape Beirut's contemporary music scene since 2006.

FATSO JETSON was formed in Palm Desert, CA, in 1994 and are often credited as one of the fathers of the desert strain of stoner rock made most famous by their slightly younger neighbours Kyuss and Queens of the Stone Age. While musically similar to some of their stoner brethren, FATSO JETSON incorporate a broader variety of musical influences that includes punk, blues, jazz and surf music. That is not to say that the band isn't capable of dishing out supremely heavy riffs... Certainly grounded in dense hard rock, FATSO JETSON experiment with many musical textures, angular instrumental epics, and bizarre lyrics to create a punk, blues art rock all their own. In 1995, the group recorded their debut "Stinky Little Gods" and followed that up in 1997 with "Power of Three" (both appeared on SST). Brant Bjork briefly joined up as second guitarist and appeared on two 7" releases. The band then teamed up with Bongload Records, who released FATSO JETSON's third full-length, "Toasted", in 1998. Guitarist and old friend Gary Arce joined the band to record their fourth LP "Flames for All" in 2000 for Artist Frank Kozik's Mans Ruin Label. FATSO JETSON also contributed to "The Desert Sessions" releases that Josh Homme organized, bringing desert musicians and other creative like-minded rock musicians together to collaborate. It was Homme's record label Rekords Rekords that released the next FATSO JETSON album in 2001 "Cruel and Delicious". For this session the band was joined by Vince Meghrouni on Sax and Harp, adding a new dimension to FATSO's hard to pin sound. The band continues with this line up in 2009. There must be something in the sand of sweltering Palm Desert, a California town that has birthed Kyuss and Queens of the Stone Age, as well as Fatso Jetson. Like Kyuss/QOTSA, Fatso Jetson built a name for themselves by putting their own unique spin on the Sabbath sound, but unlike their counterparts, larger than life singer/guitarist Mario Lalli's true love lies in both jazz (Thelonious Monk, Eric Dolphy) and experimental rock (Frank Zappa, Devo). On paper, this conglomeration of different styles sounds like the perfect recipe for a train wreck, but it somehow all comes together on disc, as evidenced by the trio's 2003 offering, Cruel & Delicious. Issued on old pal Josh Homme's label, Rekords Rekords, the trippy songs perfectly fit the feel of the album's cover (a sun-bleached photo of a long stretch of desert highway), especially such standouts as the saxophone free for all "Drinkin Mode," the melodic "Light Yourself on Fire," the bouncy instrumental "Heavenly Hearse," a barely recognizable cover of the Devo obscurity, "Ton O Luv," and the jazzoid freak-out, "Pig Hat Smokin." Cruel & Delicious is an enjoyable slice of hard rock, well off the beaten path. Originally released on CD via Josh Hommes rekords rekords label. Right in time for its 20th Originally released on CD in 2001 on Josh Hommes own Rekords Rekords-label and now on vinyl for the first time! 20th anniversary! Remastered for the vinyl release. This record is a classic and we’re happy and proud to put it out on wax! Track listing: Pleasure Bent; Drinkin’ MODE; Light Yourself On Fire; Died In California; Heavenly Hears; Ton O Luv; Pig Hat Smokin’; Superfrown; Iron Chef; Sunshine Enema; Party Pig; Stranglers Blues; Mountain Of Debt

"Kontakt Audio and Infinite Fog Productions proudly present the 25-th anniversary reissue of the one of most unique albums on avantgarde/neoclassic music – Ihor Tsymbrovsky – Come, Angel.

Recorded in 1995 in Ukraine and released in 1996 just as a small run on cassette on Polish label Koka Records, the album without any promotion little by little became legendary and madly wanted by many fans all around the world. And from the first seconds, you can hear why it is so. Pretty hard to explain what songs play Ihor, moreover that would be senseless. “Come, Angel” is one of those albums which are so unique that takes you in a vacuum of verbal forms in an attempt to describe the record. In a few words, this is definitely very intimate and deeply emotional music with an absolutely incredible voice. The first associations could forward you to Antony Hegarty from Antony And The Johnsons, Marc Almond, Arthur Russell, Baby Dee, Bjork. Experienced listener familiar with these great artist knows that all of them are inimitable and Ihor Tsymbrovsky is totally inimitable as well.

In 2016 well-known German label Offen Music published 3 tracks from the album “Come, Angel” which brought a lot of attention to Ihor’s music. This time we’re excited to announce the first full album reissue on CD, Double vinyl, and tapes. Beside the full version of the album, you’ll find an exclusive bonus song from the cult compilation “Music The World Does Not See” – Nefryt Records 2000.

~

“For me, music is a certain way of cultural survival. Here I do not set myself theoretical problems or experiments.
The connotations of life are important: rhythms, melodies, their connection with language, poetry, real life, virtual or imaginary space. It is very important to me how the recitation of work sounds, how consonant and vowel sounds dissolve in singing, how they combine musically. I understand sound space as a field of my interpretations, preferences, priorities, and I do not use direct imitation. If I hear a melody or a musical phrase, and it is fixed in my memory, later I extract it in my own interpretation, as already formed by this field. In art, the goal is in the work itself, not outside it. For me, the expression “To be is to create a new reality” is another winged reality.” – Ihor Tsymbrovsky

~~

“Tsymbrovsky – an architect, musician, a poet, an artist; one of the most underestimated musicians in Ukraine’s artistic world. Many critics pulled their hair out trying to get to the bottom of Tsymbrovsky’s music. It has been inspired by jazz, minimal, modern, ethnic, and meditation music. Tsymbrovsky is not a virtuoso, however, he creates whole worlds with his astonishing falsetto. Although Cymbrovsky’s music is simple it is made of many elements. Filled with magic and unusual sensitivity and warmth it can be therapeutic for the listener. This is that kind of music, which can be listened to many times – in a different way each time.” – Koka Records.

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“Igor Tsymbrovsky’s only album “Come Angel” (1995) still remains perhaps the most bizarre phenomenon in Ukrainian music since independence. The story of its author is a vivid example of cultural amnesia. In the pre-Internet era, Tsymbrovsky was a prominent figure in the Ukrainian underground, performed on the “Red Route”, went on tour in Germany. However, he left a minimum of evidence of his activity and became a silent legend for a few. We talked to Igor to find out where he came from and where he was going.

The album “Come Angel” is eight compositions performed with a falsetto to the accompaniment of a piano. (Tsymbrovsky’s falsetto is a legacy of the Lviv Dudaryk choir, where he sang as a child.) It would seem that it could be easier. But, despite such ascetic tools, Tsymbrovsky managed to create a phenomenon unique to Ukrainian culture. Some people compare him to Benjamin Clementine and Anthony Hegarty, but no comparison will be exhaustive. The lyrics of the songs attract special attention: two of them were written by Tsymbrovsky himself, the others demonstrate his remarkable literary knowledge. Here and Guillaume Apollinaire, and Mikhaijl Semenko, and even less obvious poets, such as Mykola Vorobyov or Jozsef Attila.

The young performer’s first performance took place in 1987 in the club of the Forestry Institute. It is quite symbolic that this room used to be a Jesuit church because such a chamber environment suits his songs about angels much better than the noise of big festivals. However, there were also many festivals in Tsymbrovsky’s career: in 1989, Chorna Rada and Chervona Ruta, in 1991, Kharkiv’s Nova Scena and Ukrainian Nights in Gdansk, Alternativa in Lviv. Ihor calls his first performances musical performances and notes that they sounded completely different. Unfortunately, we will never know exactly how.” – Amnesia

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“The magicians at Dusseldorf’s Offen Music pluck a madly beguiling pearl of late-night songcraft by Ukraine’s Ihor Tsymbrovsky to follow their vital releases by Toresch and Rex Ilusivii. Come Angel was first recorded in Lviv, Ukraine, in 1995, and issued on cassette by Poland’s Koka Records in 1996. There appears to be no prior mention of the release or artist on the internet and quite how it came into of Offen Music possession is not disclosed, and that only ratchets the record’s enigma to astonishing degrees once you’ve heard the music. In a quivering, high register, androgynous trill, Ihor Tsymbrovsky beckons heavenly beings in the remarkable A-side Come, Angel against a swirling backdrop of phasing, subtly delayed organ. It was recorded in one take (this is the 2nd version), and, if we’re not mistaken, you can hear the keys being pressed rhythmically in the background, which seems to be the song’s only tangible connection to this mortal world as Ihor vaults octaves high and close-in-the-mix with the sort of alien, dreamlike vocal that requires pinching oneself to make sure you’re awake. Spellbinding is definitely the word. On the other side he (we’re assured it is a ‘he’ in the promo text) sets two poems by Mykola Vorobyov and Mykhal Semenko, respectively, to emphatic piano keys, this time more shy of FX save for some delay, placing that willowing, avian vocal at a dreamy arms reach in Roses for the Poet, and with a sort of liturgical dark jazz feel, sorta like Lewis repenting his sins as a castrato monk, in the spare atmosphere in By the Sea. This is gold-seal business, we tell ya. Clock the clips and clear some swooning room.” – Boomkat

credits:
Music By – Ihor Tsymbrovsky
Lyrics By: Ihor Tsymbrovsky (tracks: C2, D1)
Atilla Joszef (tracks: B1)
Mychajl Semenko (tracks: B2, C1,C3, D2)
Mykoła Worobjow (tracks: A1,A2)
Engineer – Edward Hryhorjew
Remastering – Ihor Tsymbrovsky"

Rhythm master Klaus Weiss knew he had a good thing going with NIAGARA. The first album was a gathering of every outstanding drummer and percussionist he could get hold of and despite the fact that there were only rhythm instruments featured , it became quite a memorable and unique record. Now for the second album “S.U.B.” he felt he had to go other ways, and recorded with a complete rock outfit plus the one or another brass instrument. ‘S.U.B.’ is definitely worth being traded for 180,00 Euros and more among collectors for a clean original and when the needle hits the groove you will realize why. There is a tightly woven web of rhythms from drums and percussions, as the solid and ever pulsating base with a laid back but really present bass guitar adding more depth and power to the beats and clean rhythm guitars with a nifty wah wah effect for the extra kick. From time to time the guitars fire off a memorable steaming riff on top of the rhythm pulse and the horns answer the call for arms. You really have to look at the backcover to find out that this is a German outfit instead of one of these utterly hot and hip US funk rock cult bands of the time. NIAGARA aka Klaus Weiss waive the vocals so it is an instrumental record you face with ‘S.U.B’, but then this band goes so wild in some of the compositions, that you will be left breathless on your knees by all these simmering performances. Each musician participating in this project is a professional, but they all let the music erupt into a climax of sound you can only achieve, when you put your whole heart and soul into it. A masterpiece of funky and utterly unleashed rock music from the early 70s.

Uit de Hoogte goes raw on new release “Λέων” with 15 analog jams made between July 23 and August 22, summer 2022. All tracks are written, recorded and mixed off the cuff, straight to 1/2 inch reel-to-reel tape which gives the tracks a deep and warm vibe. Some additional editing and mastering duties were done in the box. The Belgian producer doesn’t hesitate to explore new grounds with tracks ranging from house to garage and acid till techno. These 100 minutes of bangers are printed on a limited number of 50 cassettes. Download option included*.

Svart Records to release new album by rising stars of eclectic heavy rock, Messa on the 11th of March 2022. Messa’s rising trajectory hits the stratosphere on their immense new album “Close”. Soaring up out of the Italian Doom Rock underground in 2014, Messa have been rapidly garnering a frenzied throng of devotees, in thrall to their monumental and broad-ranging sound craft. Releasing two widely celebrated cult records, the latest of which “Feast For Water” in 2018 was a critical breakthrough success, with Rolling Stone calling the whole album “captivating, wringing maximum drama out of its savvy stylistic clash,” Messa have had everyone on tenterhooks, waiting for what was next. New album “Close” draws us further into Messa’s spellbinding textures and immersive dynamics. Described as “Stevie Nicks fronting Black Sabbath,” singer Sara’s colossal voice omnipotently carries the listener on an emotional rollercoaster ride where the sonic cauldron of Iommi guitars gives way to Arabian oudh and progressive solos in a masterful style-clash that well befits Messa’s incendiary reputation. The hushed Fender Rhodes piano intro on opener “Suspended,” picks up where Messa left off on their previous album “Feast For Water” but then collapses gloriously into Jazz guitar and widescreen impassioned crushing riffs, lighting our way for the odyssey ahead. The scene is set magnificently for the journey that “Close” expertly takes the listener on, with Messa’s obvious care and passion for the album as a pilgrimage of sonic experience. Heavyweight tracks like “If You Want Her To Be Taken” or “0=2” are modern Doom Rock classics that expertly upgrade and leave the genre reeling in their wake. “Pilgrim” and “Orphalese” are woven with tapestries of Mediterranean sounds where oudh and eastern chord phrasings expand Messa’s cinematic palette with a panache that is all their own. Atmospheric and grandiose belters like “Rubedo” and “Dark Horse” build into an almost limitless climax of discord and harmony where blast beats and saxophones descend into a thrilling cacophony that’s a masterclass in artful cutting edge Doom. Referencing bands like Dead Can Dance, Swans and Om, Messa have created an album where song, experience and atmosphere are focused into a crystalline modus where high art flawlessly embraces good old fashioned riff-worship. Transcending the occult and noir-tinted atmospheres of their past works, “Close” confidently weaves Messa’s multifarious influences into a singular breath-taking sound that leaves the listener enthralled. Perfection or something extremely close, Messa’s “Close” is not just a Metal record, but it’s definitely one of the best things to break out of the confines of Metal in a long time.

After the 2021 Re-Release of “Schwingungen” (MG.ART612) and together with “Seven Up” (MG.ART613) we proudly announce “JOIN INN” as Part3 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“JOIN INN” is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion, catalogue number OMM 556032. Each side of the LP comprises one long track.
In 1972 ASH RA TEMPEL teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, ASH RA TEMPEL members: Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late night session. This recording led to the birth of the “JOIN INN” album, as well as two legendary last concerts in February 1973 in Paris and Cologne.
Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on “Freak'n' Roll”, that was ingenious and not to replace ever since.
It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze.
However, together with Ash Ra Tempel, their eponymous first album, which will be released in 2023 as the final edition of our Series, it is considered a highlight of the Krautrock movement.
As for the music itself we again refer to Julian Cope´s review from his book “Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
""Freak’n’roll” fades in like it never started - just was always there from the beginning of time, a dry wah-guitar freerock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Gottsching’s guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it’s the return of Klaus Schulze on drums which propels “Freak’n’roll” to its height. No-one but Klaus has the ability to
transcend rock’n’roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it.
-> continued on page 2“Freak’n’roll” is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song.
As usual with Ash Ra Tempel, the other side is an enormous drift piece called “Jenseits (The Next World)”, a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers’ meeting with Timothy Leary. Gradually, the pulsing guitar becomes increasingly intense and turbulent, but Rosi never sounds less than freaked out. Essentially, “Jenseits” is a precursor to Klaus Schulze’s later spacey minor-key grooves.
Unfortunately, this was the last Ash Ra Tempel album in its particular ‘series.
(…) After “JOIN INN”, Manuel Gottsching took over the Ash Ra Tempel mantle alone.”

Labyrinth is dark, brooding, beat-heavy, melancholic mood music courtesy of Ian Carr and the Nucleus crew. A favourite of Madlib, it goes without saying that this is one magnificent record. Originally released on Vertigo in 1973, Labyrinth was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

At this point Carr had parted ways with guitarist Alan Holdsworth and as a result the Nucleus sound found itself returning to the core elements of groove and melody. Carr had become bolder and more self-confident in his compositions and it shows in the sheer ambition of Labyrinth. Composed by Carr, and with lyrics written by his wife Sandy, Labyrinth was the result of a commission from the Park Lane Group and funded by the Arts Council of Great Britain. Originally a live performance by an augmented Nucleus, some of the expanded cast were brought back for the recording sessions, including vocalist Norma Winstone. So as the front cover of the finished album says, this is literally “Nucleus Plus”.

Labyrinth is presented as a suite, based on the ancient Greek legend of the Minotaur with musical instruments representing the various elements of the mythology. According to the LP’s original sleeve notes, the bass clarinet represents the tragic element, the trumpet represents the heroic element and the voice represents the human element. The rest of the musicians represent the two societies of Athens and Crete and their comments on the story as it unfolds.

The album opens with the experimental, sumptuously dissonant “Origins”. Teasing strands of atmospheric bass clarinet introduce the first theme before swiftly fading out with a startling blast of staccato fanfares and big drums. Heavy. The album soon finds its rhythm as it alights on the spell-binding and groove-friendly “Bull-Dance”, showing off the best Nucleus has to offer: subtle trumpet melodies, compelling rhythms, a psych-rock vibe and tight soloing. And of course there’s Norma Winstone’s stunning wordless vocals, that also take the lead in the next track “Ariadne”, a spacey-jazz song with beautiful piano, flute and clarinet, and the only recognisable lyrics on the album. You might recognise a snatch of it being looped by Madlib on Quasimoto’s “Astro Travellin”. The first part of the improvised “Arena” closes out the first side of the album, a short experimental piece with piano and horns.

Over on the flip-side, the powerful second part of “Arena” introduces a new theme. It swiftly builds, with vocal melodies, piano and horns all pronounced over the thick drums snapping your neck. It comes on like an alternate take on “Bull-Dance”, noisier, with a looser rhythm. The triumphant, shuffling Latin-jam “Exultation” leans on more scintillating vocals from Winstone, and a chunky counter melody from the rhythm section. It’ll get you moving.

The final track, the haunting, twelve minute “Naxos”, is an incredible way to close out this remarkable record. A circling bass guitar loop inspiring the group to a meditative psychedelic jazz rock improvisation in a silent, Miles kind of way, with a great flugelhorn solo from Carr and an ace synth climax.

This Be With edition of Labyrinth has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. Another great Keith Davis sleeve has been restored in all its airbrushed Golden Age of comics, gatefold splendour. Complete with Minotaur of course.

DJ Black Low burst on the international scene last year with Uwami, a collection of his early, downright avantgarde amapiano work. The young producer and DJ makes electronic music that sounds like nothing else: glitchy and fierce while smooth and soulful, all under the rubric of South Africa's most-exported dance music movement to date. Now comes Uwami II, which features the rest of the tracks from the acclaimed debut plus a new song "Gijima." The Pretoria, South Africa-based artist has more work in the pipeline as we present these inimitable songs for the first time on vinyl. The song "Gijima" is a previously unreleased track Black Low chose to include in this collection as cremates more work at a furious pace. "This is essential listening from a 20 year-old star." - Resident Advisor Best Tracks of 2021 "Uwami keeps an adventurous spirit at its core and pushes far beyond genre conventions in the process." - The Vinyl Factory "A producer with a fully realized voice." - Bandcamp Best Albums of Winter 2021 "The hard hitting beats of the electronic percussions make the songs seem like they're out of this planet." - AfroPop Worldwide

Fat Beats in partnership with Space Invadaz is pleased to release the 25 year anniversary edition reissue of Mood’s acclaimed 1997 debut LP, Doom. Originally released on September 23 of 1997, Doom was an important springboard for the careers of Talib Kweli, DJ Hi-Tek, Sunz of Man and Lone Catalysts. The 18 track LP is an artistically experimental album marked by stand out production and lyricism that remains on-point throughout.

Cincinnati rappers Main Flow and Donte kick apocalyptic rhymes that cite sacred scripture, ancient history, and politics. Both their rhyme schemes and chemistry are strong and prove to be equally compatible with DJ Hi-Tek, who made his production debut on this record, composing nine of the album’s 18 tracks, with newcomer Jahson handling the remaining production. Similar to the lyrical pairing, the production duo of Hi-Tek and Jahson are well matched, as they add a sense of darkness and mystery that shrouds the sonic backdrop throughout the album.

Doom is lyrically and sonically an outstanding body of work that stands out as one of the more noteworthy indie rap titles of ’97. In celebration of the 25 year anniversary milestone, this reissue comes equipped with remixes, including the J Dilla Remix for “Secrets of the Sand” which was never before featured on any previous album represses or reissues.

[a] 1 Esoteric Manuscript (Remix) [feat. Micah9]

Wu-Tang Clan’s own Cappadonna connects with acclaimed producer Stu Bangas for a lyrically potent, sonically raw new album, 3rd Chamber Grail Bars. The album follows strong 2021 releases from both artists, Donna’s Black Tarrzann and Stu’s Deathwish, and it represents the emcee’s first full-length collaboration with a single producer. The result is a tight, cohesive listen full of sharp verses, neck-snapping instrumentals, and some stellar guest features.

The two first worked together on the Wu rapper’s 2013 album, Eyrth, Wynd & Fyre, when Stu produced a pair of notable cuts (“We Hood Rich Now” and “Chains”). “I knew that he was feeling the beats,” Stu said. “And I saw an opportunity to reach out to him and took it.” They reconnected via industry A&R, M-Eighty, who provided Donna with a folder of instrumentals from the producer. And for the emcee, the timing was perfect because of how the beats “fit my mood and energy in the moment.”

The energy is one of a time-tested lyricist with a lot on his mind—and plenty of clever ways to get his point across. You can hear that on the piano-laced, eerie “Continuous Threat” with Planet Asia, as well as the straight-up dope “Tryna Survive” featuring ILL BILL. Both tracks showcase Donna’s gifts with the pen as well as his talents as a collaborator. Other standouts include the raucous “Bring It Out,” which also happens to be Stu’s favorite cut on the LP. “I love everything about it—the beat, the intro, the subject matter of the verses, the raw hook, all of it,” he explained.

As you’ll hear on the album, it’s clear that it was created not only for the love of the culture, but also out of mutual respect for the other artist. Stu referred to 3rd Chamber Grail Bars as “a life goal of mine that I have checked off,” while Donna had glowing praise for his collaborator. “Stu’s catalog may be as great, iIf not greater, than any producer I can name,” he said.

From one of the most colourful and vibrant eras of music, comes “DISCO FLOORFILLERS”, a 28 Track DoubleLP set featuring some of the biggest hits of from the era.
Amongst the 24 top 10 hits, Artists/Bands include Chic, McFadden & Whitehead, Earth, Wind & Fire with The
Emotions, Shalamar, The Whispers, Sister Sledge, Edwin Starr, The Real Thing and Gladys Knight & The Pips.
The set also includes the #1 singles by Anita Ward, The Village People, Carl Douglas and George McCrae!

The Best Old School Death Metal album from the Netherlands gets a well-deserved re-issue! Crushing, aggressive, abrasive, pounding, bone crunching... In an age when blast speed drums were still mostly used by grindcore acts (and some pioneers such as Morbid Angel) and now classic bands such as Cannibal Corpse, Suffocation, Deicide were still tiny demo acts, Dutch masters Pestilence released one of the best old school Dutch death metal classics ever to be unleashed upon mankind, the album that made a huge impact upon its release. “Consuming Impulse” is one intense album. one could say this album is definitely up there with classic death metal albums such as Death’s “Leprosy”, Obituary’s “Slowly We Rot”, and Morbid Angel’s “Altars of Madness”. With “Consuming Impulse”, Pestilence created their greatest, most complete album, successfully marrying the primitive brutality of their previous effort ‘Maleus Maleficarum’ with the technicality of their later releases. Whereas their debut album “Malleus Maleficarum” had some hints of thrash metal, this was gone on “Consuming Impulse” although the up tempo beat was still of course very much present. The production was heavy yet remarkably transparent. The riffs of Patrick Mameli on “Consuming Impulse” are simply mind-blowing. Even though quite simple at times they still prove extremely deadly. Try the main riffs in the verses of ‘Process of Suffocation’ and ‘The Trauma’ for starters. Speed monsters like ‘Dehydrated’ and ‘Reduced To Ashes’ were simple compositions but the intensity of this material just oozes out of your speakers. The presence of these straight forward raging death metal tracks was perfect to balance the dynamics and variety of the album. Songs such as ‘Chronic Infection’ and the classic ‘Out Of The Body’ incorporated some great interacting differentiating guitars and much more diversity in pace and riffing.

Red Marbled Vinyl

SOPHISTICADO LIVE SESSIONS follows up "FRAGILE" with "FEELIN IT" another masterpiece produced by VICK LAVENDER & JERE MCALLISTER. Fans of INCOGNITO, MAW and JOE CLAUSSELL should take notice. Also includes "FEELIN IT (BEATS)" as a bonus. Limited one-sided heavy weight colored vinyl.

4 LP set is for Indies only until further notice. Unravelled: 1981–2002 shines a loving light on lo-fi pioneers Tall Dwarfs, the prized New Zealand duo of Chris Knox and Alec Bathgate. The collection, available as a 4-LP or 2-CD box set, compiles songs from Tall Dwarfs' two decades of recordings. The vinyl edition includes a 20-page collector's booklet of photos, comics, posters, and other ephemera. The songs on Unravelled: 1981–2002 were curated by Alec Bathgate, who also designed the box set packaging; Chris Knox suffered a debilitating stroke in 2009 just as they had started work on a new album. The collection captures the different sides of the Tall Dwarfs in 55 songs. Though the band was an excuse for two good friends who lived in different cities to get together, drink beer, watch shitty old movies, and do some recording and drawing, Tall Dwarfs created music unlike anyone else. Capturing the initial excitement of creation and taking pride in what they did, Knox and Bathgate showed a whole generation of musicians what could be done at home on a 4-track and what magic could be made if you mixed pop melodies and hooks galore with homemade sounds. After a failed flirtation with success in their previous band Toy Love, Knox and Bathgate formed Tall Dwarfs in 1981, opting to record themselves on a 4-track reel-to-reel. New Zealand’s AudioCulture wrote of the duo’s project: “Early live performances were a ramshackle work in progress. Knox described them in an interview with American magazine Forced Exposure as ‘two minutes of song followed by five minutes of fucking around,’ and they dismayed many Toy Love fans—but the pair had no interest in a career spent in pubs cranking out ‘Pull Down the Shades.’” Tall Dwarfs was meant to be a one-off, but after the founding of their New Zealand label Flying Nun, they continued to record music for the next 21 years, releasing seven EPs and six albums. Their process was spontaneous, with songs being recorded as they were written. Typically, Bathgate would work up something on guitar while Knox provided vocals, lyrics, and tape loops. Then they added any sounds that seemed necessary to finish a song, using whatever was lying around: pans, chairs, baby rattles. Though Tall Dwarfs could be weird, they were never too experimental; Knox and Bathgate both loved melody too much (“Beatlesque” appeared more often than any other adjective in their reviews).

The Outer Edge (formerly known as The Artless Cuckoo) is proud to present a second vinyl release by Ghia. The first single is sold out for a while and already became a collectible item. Now, we present a piece from Ghia's past - a very limited 7" with two unreleased recordings from 1985: "Down At The Hilton" on side A and the equally fantastic tune "Curacao Blue" on the flip side. This is just the beginning of a series of more unissued songs by the band. Two albums are currently in the works - and there will be more material to follow.

For now, here is what label founder Günter Stöppel a.k.a. John Raincoatman says about the project: "For the past three years I've been asking Ghia about further recordings. Lutz Boberg and Frank Simon, the two original band members who later joined with Lisa Ohm as a singer, always were communicative, friendly and interested in releasing more music. But at the same time nothing really happened. Accept for a bunch of newer demo tracks they offered on their Bandcamp page for a while, I never was able to hear anything more. Anyway, a few month ago, I suprisingly received a picture by email. A photo showing a box of 11 demo tapes by Ghia with basically all tracks they ever recorded. I couldn't believe my eyes! After a few complications the package with the cassettes arrived in Berlin. I didn't really know what to expect. Everything was taped chronologically, the first cassette included early recordings from 1984 and 1985. I put it in my tape deck and I couldn't believe what I heard. It started with a minimal electro funk track, the next song was '80s funk with rap vocals, and then came a track entitled "Down At The Hilton". This was EASILY the best Balearic jazz funk track I had ever heard. The warm sound, the melodies, the drum computer beats, the solos - everything was almost too unreal to believe. I really didn't understand why Boberg and Simon never considered that some of their early works could be of interest to other people. But they simply thought of it as some sort of learning curve remnants or simply forgot that the music existed."

The story goes on - but we are going to end it here for now. The vinyl single "At The Hilton" is now available. Once you hear the songs we are sure that you'll agree that the music by Ghia needs to be heard and shared with the world.

LP on Black Vinyl. First new album 2018’s Romance. Mastered by Alan Douches. Recommended If You Like: Can, Tortoise, OOIOO, Sonic Youth, Ty Segall, King Gizzard & the Lizard Wizard, Bitchin Bajas, The Cars, Liars. Experimental psych-punk institution Onedia returns with Success, the band’s most guitar-centric, rocking album in decades. Long straddling the gray area between the NYC punk/psych/rock community and the art/experimental world, the music of Oneida is celebrated for its mix of abstract, atmospheric sounds and pulsing, hammering anthems. Success finds the band getting to the core of what makes minimal rock music so good - songs pared back to beat and melody with a limited number of guitar chords. If a song or two gets ripped in half later by a corrosive guitar solo, well, what did you expect? This is Oneida. “Oneida are the rare experimentalists who can hammer away at a riff or idea incessantly and somehow make it really last.”

LP on Black Vinyl. First new album 2018’s Romance. Mastered by Alan Douches. Recommended If You Like: Can, Tortoise, OOIOO, Sonic Youth, Ty Segall, King Gizzard & the Lizard Wizard, Bitchin Bajas, The Cars, Liars. Experimental psych-punk institution Onedia returns with Success, the band’s most guitar-centric, rocking album in decades. Long straddling the gray area between the NYC punk/psych/rock community and the art/experimental world, the music of Oneida is celebrated for its mix of abstract, atmospheric sounds and pulsing, hammering anthems. Success finds the band getting to the core of what makes minimal rock music so good - songs pared back to beat and melody with a limited number of guitar chords. If a song or two gets ripped in half later by a corrosive guitar solo, well, what did you expect? This is Oneida. “Oneida are the rare experimentalists who can hammer away at a riff or idea incessantly and somehow make it really last.”

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing a 2-colour blue and yellow cosmic swirl vinyl. Full download included as well. Blacklab are back. The self-proclaimed ‘Doom witch duo from Osaka’ are set to drop their 3rd album ‘In A Bizarre Dream’ this summer. Their debut ‘Under the Strawberry Moon 2.0’ saw them taking Sabbath inspired doom, mashing it with a Japanese sensibility and a fuzzed-up groove. It certainly caused a stir, but only hinted at their potential. Album two ‘Abyss’ added to the mix. A Stooges like squalor to the riffs, dollops of lo-fi hardcore punk and loose riffing, pointing the way towards a signature sound. So what of the ‘difficult’ third album? Not so difficult at all it seems. ‘In A Bizarre Dream’ ups the ante considerably, to let rip and define what Blacklab are about. The combined talents of Jun Morino on production and Wayne Adams (Big Lad, Green Lung, Pet Brick, John, Cold In Berlin) on the mix have conspired to produce a towering beast of a record. A real step forward for the ‘Doom Witch Duo’. The drums have a humungous ‘Fugazi’ like welly, and the guitars are a boiling maelstrom of fuzz dense riffola and warped psychedelics, with added synth. Yuko’s throat shredding snarls are as mean as a pissed off Satan, and melodious, often within the same song. This is doom meets hardcore punk, hooky melodies, and killer riffs, all cranked up to the max. Japan has always had a special take on ‘noise’ and ‘heavy’ and with ‘In A Bizarre Dream’ Blacklab add their own spin to that tradition. Gone is the lo-fi approach, here is Blacklab in full effect. ‘Cold Rain’ and ‘Abyss Woods’ (debuted at their storming set at London’s Desert Fest and appearing here in its full version) are two nuggets of epic fuzz heavy doom with added screamo and a neat and canny grasp of melody at its core. Very much a Blacklab trademark. ‘Dark Clouds’ is D-beat fuelled hardcore, fierce and ferocious, with Chia’s rolling thunder drumming underpinning the distorted guitar. It’s pretty exhilarating stuff that shifts the mood perfectly. ‘Evil I’ is just that, a riff as evil as it gets, morphing into a chugging punk wig out. Then followed by ‘Evil II’ a breather, almost mellow, melancholy, with layers of dark overdrive threatening to explode beneath a sweet yet menacing vocal. Then, the mid-point of the album drops a real surprise. Yuko has said before that the band’s name is a combination of her two favourite bands, Black Sabbath and Stereolab. Odd bedfellows to be sure, but if you want to know what that combination might sound like ... here it is. ‘Crows, Sparrows and Cats’ actually features Laetitia Sadier of Stereolab, no less, providing the lead vocal, adding a layer of cool over Blacklab’s Hawkwind meets krautrock sludge. It’s a stoner groove with pop at its heart ...Sludge Pop even, a surprising gem amongst the maelstrom of sound around it. The skewed, sludgecore of ‘Lost’ with its push-pull riffs and rolling thunder drumming, signals that it’s back to business as usual. And after the brief atmospheric instrumental interlude that gives the album its title, comes ‘Monochrome Rainbow’ a huge beast of a track so simple, yet so seductive, from its filtered bass intro to its massive ebb and flow groove and stomping ending. The vocals are all mystery and melody, and the music is kind of a Groundhogs meets Goatsnake ten-ton fuzz-fest, with a singalong, wave your arms in the air chorus. The new Japanese Doom-blues, and what could be the album’s defining moment. ‘In A Bizarre Dream’ closes with ‘Collapse’ verging on noise rock, complete with throat shredding vocals and a crushing wall of guitars, that switch from a stoner groove to full on punk assault, teetering on mayhem before finally ending with the sound of Yuko switching off her fuzz pedal. Perfect. Blacklab have negotiated that ‘difficult’ third album with aplomb and have created a sound that, despite their many influences, is all their own.

Rock Eupora, the moniker for Mississippi-bred, Nashville-based artist Clayton Waller, has always been a heart-on-your-sleeve musical endeavor. From his earliest recordings, Waller has never been afraid to ask the big, searching questions of life. Catchy, hooky pop sensibilities have similarly been a consistent through-line in Rock Eupora's catalogue. Featuring singable, fuzzed-out guitar hooks and stuck-in-your-head-all-afternoon choruses, the discography of Rock Eupora–including three full-length albums, two EPs, and a smattering of singles to date–brings to mind Blue Album-era Weezer or the high-energy, hard-charging, harmony-laden early Beatles singles. These defining features are still present in Pick At The Scab, Rock Eupora's latest full-length album, and yet, something feels different. "I wanted to let the songs breathe a bit," Waller says of his mindset while writing the material that would become the songs for Pick At The Scab. "I gravitate towards writing up-beat, high energy songs, but this time around, I decided to lean back a little and let the songs speak for themselves."

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (846k monthly listeners on Spotify). With an ethos of attention to detail and appreciation for the everyday things in life, 823 doesn’t stick to any particular genre. 823’s releases include Cabu’s (800k Monthly Listeners on Spotify) “So Far To Go” EP, Ta-ku and matt mcwaters’s duo project “Black and White,” which featured Masego collaboration “Flight 99” (14 million streams on Spotify), their debut release with Australian producer and instrumentalist Kuzich, and multiple sold out clothing capsules. “All Things Considered Vol. 1” set off a collaborative series of curated compilations, featuring both budding and well-established artists around the world including Idealism, Wun Two, pastels, SwuM, Jinsang, Saltyyyy V, and more. “All Things Considered Vol. 2” sees the continuation of this project, this time in partnership with fellow Perth-based powerhouse, Butter Goods.

Butter Goods is a Perth clothing brand rooted in skating culture and style, but drawing inspiration from hip-hop, jazz, and music at large. Butter Goods has been featured in major publications, including GQ, Complex, and HYPEBEAST. They’ve collaborated on releases with Peanuts and Puma, and have reached international levels of popularity. Butter Goods co-founder Garth Mariano’s deep love for and eclectic tastes in music drive his creativity, and are front and center in his partnership with Ta-ku and 823 on “All Things Considered Vol 2,” where the two team up to curate a wide-ranging compilation.

Arriving on September 2nd, 2022, “All Things Considered Vol. 2” is an exploration of Ta-ku’s and Mariano’s extensive and often overlapping musical palettes in two parts. The record pays homage to the love of instrumental music and hidden gems of new school jazz and funk that act as a source of inspiration and nostalgia for the both of them. The collaboration brings together over a dozen producers and instrumentalists from Sydney to Chicago, including Jadu Jadu, Gnarly, Tenderlonius, silentjay, and more. Side A is curated by Ta-ku and 823. It’s as much a love letter to the past as it is a nod to the future of beat-making. Featuring sample heavy, drum looped beats, sprinkled with the occasional ear candy for the attentive listener, it presents cruisy soundscapes & easy listening. Side B is curated by Garth and Butter Goods. It’s a raw and eclectic companion to Side A, leaning heavily into the texture and grit of multi-layered jazz and funk-driven beats.

As with any 823 release, the project is as visual as it is sonic. The artwork and visualizers are a celebration of Garth’s love of thrift culture and old nature documentaries, fused with 823’s design aesthetic of bringing everyday inspirations to the forefront. CRT style visuals are paired with 90’s spin, slide and fade away transitions. When partnered with the music, each visualizer could easily work as the intro for an episode of a VHS series of nature docos.

1st single, “senzu bean,” arrives on July 7th and kicks off Side A, showcasing Ta-ku’s hip-hop-centric tastes. Sydney producer Jadu Jadu teams up with UK-based TAMBALA, apltn, and Makzo for a vibrant instrumental. From a head-nodding bassline beneath fuzzy synths, to soft horn licks sprinkled over electronic drums, “senzu bean” is sonically rich and multilayered.

2nd single, “Too Much” by UK producer saaaz arrives July 20th. It’s a moody and low-tempo beat that builds itself up over time, complete with cryptic vocal samples and syrupy drums and bass. Also off of 823’s Side A, “Too Much” maintains a laid-back hip-hop theme but with saaaz’s signature and definitive lo-fi twist.

3rd single, “Goodmorning” from Baro Sura and silentjay of Melbourne arrives August 3rd, kicking off Butter Good’s Side B. The track is bright from start to finish and is a sun-filled track perfect for closing out the summer with. Final single, “Fool’s Gold” by Los Angeles producer L.Dre arrives August 17th. The infinitely creative beatmaker layers soft hums and the sounds of crashing waves over crisp drums and an infectious bassline. Together, it makes for a beat that sounds like it was made outside, under the sun, and is best enjoyed in the same way.

Focus track, “Seventh Wonder” by Tenderlonius, comes off of Side B, and is a window into the ideas and palettes on both sides of the compilation. The beat slowly fades in, one sound at a time, until it reaches a full-fledged groove, soaked in synths, bass, and horns, that’s impossible not to move to.

On the whole, “All Things Considered Vol. 2” is a forward-focused, sonic journey into the minds behind two of today’s great creative brands, and is as artistically eclectic and varied as those minds are, and a proud follow-up to its first volume.

LP contains A2 poster on uncoated stock.

Repressed!

REMASTERED FROM THE ORIGINAL TAPES & PRESSED ON LOUD DOUBLE VINYL!

Hot of the success of Jay-Z’s Reasonable Doubt, producer extraordinaire Ski was on fire when he flipped Dynasty’s “Adventures In The Land of Music” for Camp Lo’s breakout 1996 smash single
“Luchini aka This Is It”. The same year saw Camp Lo opening shows for De La Soul during their Stakes is High tour. Combine that with the fact that Ish aka Butterfly from Digable Planets had cosigned for the group’s reputation and would appear on of the tracks (in addition to Trugoy from De La), there became a huge buzz around their debut album Uptown Saturday Night.

Fast forward a few months to January 1997 and the heavily anticipated release of Camp Lo’s first record, which did not disappoint. It struck the perfect balance between club tracks and underground bangers for the mixtape crowd. Critically acclaimed and fan approved, this late 90s must-have was complimented by the incredible cover art illustrated by legendary NYC graffiti artist Dr. Revolt that paid homage to Marvin Gaye’s 1976 classic I Want You. It’s hard to believe in the time of Puffy’s heyday, Camp Lo had developed and delivered a style of Hip Hop that was not only fresh and creative, but also straight up dope. Flipping intricate rhyme styles over some of Rap’s finer beats, the fact that Camp Lo got main stream radio play and love from big time club DJ’s is a testament to the essence of what Hip Hop was once about: raw talent and originality!

Featuring underground hits including How About Some Hardcore, and M.O.P., whose Ante Up was a worldwide hit.Real hip-hop with raps by Lil' Fame and Billy Danze matched with rockin' sampled beats by KAZAHAYA.

A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai.

Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.

The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.

The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.

Noah grew up in Hokkaido. Japan's northernmost island, it's an idyllic, snowy place—and a wild, harsh one, too. But it wouldn't be long until, after a stint of living in Aichi Prefecture, found herself living in the tangle of urban centres that is Tokyo. Her production has always been experimental, everchanging, drawing influences from a wide range of styles resulting in a sound that is uniquely her own. Whether it's an R&B feel or the lo-fi magic of vaporwave, her tracks resound with energy and beauty. And, always, her voice weaves like a phantom, emotive, through these exciting soundscapes. Noire is Noah's latest full-length release since 2019's Thirty. Since her debut on FLAU, she has garnered praise from dozens of blogs and media outlets including Dazed & Confused, The Guardian and NYLON, to name just a few, and has worked with producers such as SELA. and kidkanevil.

Directly helping Noah to hone the sound which eventually became 2019's Étoile, her most recent album Noire is a collection of past tracks created between 2015-2020. Through jazz-inflected piano loops and a lo-fi vaporwave sound, alongside carefully considered beats, Noah's latest album showcases the joy of finding freedom in staying up late into the night, and the introspection that comes with it.

This never-before-heard work from Noah is the sound of an artist finding themselves, a maturation. The minimalist tracks—a cocktail of late-night jazz meets Portishead—feature gorgeous space for Noah's crooning vocals to breathe among sprinklings of sampled piano, flute and saxophone. From the emotive line, "The things I've left behind…" on 'Shadow', to the sleepy, far-off sounds of opener 'Twirling', the album showcases a lightness and a sensitivity to self: the joy of night twinned with the inevitable introspection that comes with staying up while the world sleeps.

Born of chance meetings in Accra, the band brings together a Burundian producer and vocalist, Betina Quest; with a Ghanaian singer-songwriter, Eli A Free; and a German percussionist and multiinstrumentalist, Ma.ttic. Nyamekye Junction take their name from a bustling junction in the Ghanaian capital, where a number of major roads merge, embodying the musical approach of the band: a singular sound at the junction of their cultural heritages.

In Eli’s words, ‘Dasein’ (from the German for ‘existence’, ‘being there’), captures “the need to live in this moment here and now with a heart full of gratitude” while exploring a number of interlinked themes, including the importance of one's environment – cultural and political, as well as physical - in situating, shaping and explaining each individual’s identity.

The band adeptly channel a wide range of influences, from the Ghanaian legends Ebo Taylor and Osibisa through to US mainstays such as Nina Simone and Erykah Badu; with equal regard given to UK innovators like Benjamin Clementine and Mala. The resulting debut EP ‘Dasein’ is a stunning collage which showcases the band’s impressive range and evolving sound by traversing a diverse range of moods, rhythms and textures.

The lead single ‘GMT’ (short for ‘Ghana Man Time’) is a dancefloor-ready track that carries a deft political message. Driven by a weighty bassline alongside punching drums and percussion, for a rhythm section that would be at home in any broken-beat set, the song explores and emphasises differing conceptions of time between the West and Africa with a playful irony.

American hip hop duo Das EFX released their second album Straight Up Sewaside in 1993. Their rapid-fire vocals are, just like on their debut Dead Serious, innovative and drained in samples and beats. The chemistry between Drayz and Skoob is still present in their choice of wordplay. Jiggety style is where the songs are built around and who gives a good expression of the versatile raps. The album features two singles, “Freakit” and “Baknaffek”.

Straight Up Sewaside is available as a limited edition of

2000 individually numbered copies on silver coloured vinyl and includes an insert.

One of the last great albums of the first wave of Peruvian rock, originally released in 1974, linking psych-tinged rock with Afro-Latin American beats and folk pop. This first record by (former Traffic Sound and Los Nuevos Shain's member) Zulu was also his last and one of the most enigmatic albums released in Peru in the '70s, as the artist vanished into the religious path, making sure his music got as unnoticed as possible... Reissued for the first time with the collaboration of Zulu, including extensive liner notes and one extra track. DESCRIPTION: The first record by Zulu was also his last. Shortly after releasing it in 1974, the artist withdrew from the music scene and never returned. 46 years later, his music still sounds out of time. His musical eclecticism heralded a different era and linked rock with Afro-Latin American beats and pop. His debut and only LP is one of the last great albums of the first wave of Peruvian rock. No other original records of this type were released in Peru until the early 80s. In the 70s, in Peru, most rock groups sang in English. For his LP, Zulu chose to sing in his own language and focus on his own emotions and experiences. In the early days of his career he became member of Los Shain's, for less than a year. Then he was invited to join Traffic Sound playing bass guitar and keyboards and record the band's third album "Lux". An offer to start a solo career would follow and 'Como una escalera ', 'Alegría' and 'Cariño grande' 45s were released. The expectations that his first solo singles generated were met by the release of the LP Zulu in 1974, boasting an eclectic and innovative sound. Andean folk, Afro-Latin beats, psych-tinged prog rock scents, moog glides, choir arrangements spread across the entire album creating a truly unique piece of music. A few demos were also recorded for the next album but this never saw the light. In December 1974, a few months after the LP was released, the artist decided to disappear. At this point of his life, he started to become aware of the need to define spirituality. After exploring and comparing countless religious, philosophical, psychological texts and trying transcendental meditation and yoga, he concluded that the Bible was the most profound and clearest text. While this was going on, his public figure grew thanks to the success of his album. At the end of 1974, Zulu surprised the manager of IEMPSA, Augusto Sarria, by communicating his decision to leave show business. The artist vanished into the religious path, making sure his music got as unnoticed as possible... This is the first ever reissue of Zulú's 1974 album. It has been supervised by the artist himself and includes extensive notes and the extra track 'Haces mal, pobre chico', B side to his first single that never made it into the album.

repress

What more can I say? Top Billin’… Iconic hip hop gold from Audio Two that could run for the title as one of the most sampled beats in hip hop history. A straight-up classic from back in ’87 pressed to 7 inch and backed with the instrumental version on the flip.

300 transparent green vinyl 12” albums / 400 black vinyl 12”. In their relatively brief lifetime, between 1996 and 2002, Hefner enjoyed an incredibly productive four-album, multi-EP career. Their beautiful, concise, intelligent songs earned a fiercely loyal, cult audience and the long-term support of legendary DJ John Peel, for whom they recorded innumerable sessions. Originally released in 2001, their final album, Dead Media, found Hefner reaching out and taking risks. Keen to break free of their indie-folk roots, they cocooned themselves in a home studio with broken analogue synthesizers, antique drum machines and battery-powered amplifiers. The band’s naivety and guile produced some curiously engaging music, with frontman Darren Hayman’s precise, economic, poetic dissections of quotidian romance draped over awkward, fuzzy beats: something like Cat Stevens covering Warm Leatherette. Dead Media caused confusion at the time and ultimately lead to the band’s break up. However, the songs like ‘Junk’, ‘The Night’s Are Long’ and ‘When The Angels Play Their Drum Machines’ are among Hayman’s most adult and affecting essays and stand out among the finest of Hefner’s achievements. Tracks: 1 Dead Media 2 Trouble Kid 3 Junk 4 When The Angels Play Their Drum Machines 5 Union Chapel Day 6 China Crisis 7 Alan Bean 8 Peppermint Taste 9 The Mangle 10 The King Of Summer 11 The Nights Are Long 12 Treacle 13 Half A Life 14 Waking Up To You 15 Home

300 transparent green vinyl 12” albums / 400 black vinyl 12”. In their relatively brief lifetime, between 1996 and 2002, Hefner enjoyed an incredibly productive four-album, multi-EP career. Their beautiful, concise, intelligent songs earned a fiercely loyal, cult audience and the long-term support of legendary DJ John Peel, for whom they recorded innumerable sessions. Originally released in 2001, their final album, Dead Media, found Hefner reaching out and taking risks. Keen to break free of their indie-folk roots, they cocooned themselves in a home studio with broken analogue synthesizers, antique drum machines and battery-powered amplifiers. The band’s naivety and guile produced some curiously engaging music, with frontman Darren Hayman’s precise, economic, poetic dissections of quotidian romance draped over awkward, fuzzy beats: something like Cat Stevens covering Warm Leatherette. Dead Media caused confusion at the time and ultimately lead to the band’s break up. However, the songs like ‘Junk’, ‘The Night’s Are Long’ and ‘When The Angels Play Their Drum Machines’ are among Hayman’s most adult and affecting essays and stand out among the finest of Hefner’s achievements. Tracks: 1 Dead Media 2 Trouble Kid 3 Junk 4 When The Angels Play Their Drum Machines 5 Union Chapel Day 6 China Crisis 7 Alan Bean 8 Peppermint Taste 9 The Mangle 10 The King Of Summer 11 The Nights Are Long 12 Treacle 13 Half A Life 14 Waking Up To You 15 Home

Mid-summer, 2021, Waleed quietly released his debut single 'Se Rompen'. The response was anything but, with the track immediately taking hold as a sleeper hit that summer, being played out by the likes of Four Tet, Floating Points, Daphni, DJ Boring, DJ Seinfeld, Tourist and more. With word already spreading, an inclusion in Ben UFO's winter Essential Mix solidified the desire for more from this surprising new producer.

Last month, Waleed announced his signing to City Slang (Caribou, Gold Panda) with a re-release of 'Se Rompen', offering the track on ultra-rare test pressings (50 / sold out already) for the first time.

Today, we announce the pre-order of a white label 12” with “Se Rompen” and his new single “SuenÞos”, limited to 300 units worldwide.

Born in Washington DC to Iraqi/Puerto Rican parents, Waleed works in coding by day. Built around ready-made for the dancefloor kick and chopped vocals, 'Se Rompen' is an ambitious debut that showcases his focus on sound design. Waleed’s meshing of cultures and references gives 'Se Rompen' a unique perspective on dance music. At once melancholic and high energy.

“A beautiful euphoric/melancholy fusion of cut-up vocals, soft electronics and two-step beats.” The Guardian

“Highly refreshing, 'Se Rompen' has a rare immediacy, a feeling that it has always been a part of your life." Clash

The ever masterful London based DJ/Producer Shy One is back with a new 5 track EP titled From The Floor To The Booth. Following on from the fuzzy, acidic haze of the vinyl only Crumb Trail 7 inch the new EP encompasses futher rich and eclectic sounds of Shy's musical heritage, London leaning from Broken Beat to Soul, Garage to Grime. The record journeys through and abstracts a variety of styles, tipping its cap to the archtectics of Londons musical underground from Soul II Soul and 4Hero to Loose Ends and Roll Deep. A notion every bit apparent in Shy's eclectic bass heavy, hi-energy club selections. The record is Shy One's most in-depth and ambitious release to date. The artwork is created by Herald Essuman of Artbox London. An incredible London based charity that supports artists with Autism and learning disabilities.

Cerrero, Llorona Records founder's solo project, joins young "Gaita flute" and trumpet wizard El "León" Pardo (Ondatrópica) for an acid cumbia infused dub journey to the underground electronic sound of south America. Blend of ritualism and futurism, rough ethereal sound, melancholic voices and analog dub mixing for a unique record that presents the work of the thriving electronic acts from Colombia. Llorona's in-house act, Cerrero, teaming up with another Colombian, gaitero and trompetista, El Leon Pardo. The enigmatic and cult like figure has featured on many-a-Colombian record in recent years, including, Ondatropica and Velandia y La Tigra. Though this might be one of the most exciting match-ups yet. Cerrero's minimalistic electronic beats channeled through an analogue console alongside the abraded howls of gaita and accentuated trumpet work. The deep and bassy four-track EP, Canción Para Un Amigo, was justly named to mark the meeting of these two brilliant minds. Mixed in the extemporaneous ambience of a live recorded session, it makes for a riveting listen. Six standalone tracks, bound through crescendoing loops which culminate in an ethereal and atmospheric ritual of sound which evokes Colombian ancestry. From the spellbinding opening of gaita-led "Canción Para Un Amigo", the EP evolves through "Todo Te Llevaste", a track skillfully stitched between its vocal interludes by the rat-a-tat of accented tambor, a fanfare of trumpets and underpinning bass line. Closing out via "Cumbia en Lejanía"'s, gaita / trumpet led interplay into "Despedida", a pining jazz melody soaked in reverb, it's as complete of a work we've heard yet from Cerrero and represents another glistening gem in the ever increasing bows of the Llorona catalogue. Inescapably mesmeric as it is a true delight.

The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives. Mamarron, Vol. 1 consists of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual. The tracks were laid down on their debut record that saw the light in 2020 in the middle of the pandemic and are now re-released in 2022 by ZZK Records imprint AYA records and being pressed on vinyl. The vinyl album also will include the bonus track "El Peruanito" remixed by Colombian producer Santiago Navas. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Hermoso Ruido, providing nights of wild abandon to the beat of an outrageous big cumbia sound, a ritual of release giving those present a maximum catharsis that has no compare, not even the most animalistic moves of any metaller shaking his powerful mane. Los Cotopla make the walls sweat, they set fire to your feet on the dancefloor, drawing amorphous moves from their fans on exquisite nights.

'College Music Presents: 'Back on Track' is a twenty nine track compilation featuring original music from artists and producers the world over. 'Back on Track' aims to act as a beacon of hope after a tricky few years across the world. We invited some of the very best producers we know to create something that reflected a 'light at the end of the tunnel', and the end result is a wide array of uplifting vibes, from instrumental beats and jazzy joints to euphoric vocal breakbeats and lo-fi house, featuring the likes of Tennyson, Cookin Soul, Athletic Progression, L'indécis, Conor Albert and a lot more.

The artwork itself, done by the incredible Doug John Miller (instagram/dougjohnmiller) reflects the journey from the darker, lockdown days to present day and beyond, where things are looking far brighter. We aimed to represent this positive shift in the music selected within the project, hoping to offer a glimmer of light to people in their dark days.

The project title 'Back on Track' reflects how things have come off the rails in the past few years, but that better times are on the way, and as a collective, we are gradually getting 'Back on Track'.