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The 1993 hit movie Dazed and Confused is well known for its 70s rock themed soundtrack, featuring songs by Alice Cooper, War, ZZ Top, Black Sabbath, and others. Pressed on purple translucent vinyl.

Mannequin Records is elated to present for the first time on vinyl the reissue of Giovanotti Mondani Meccanici’s first video soundtrack, originally released in 1984 as an audiotape in less than one hundred copies. Giovanotti Mondani Meccanici (literally Mundane Mechanical Youth) or GMM was one of the most unclassifiable audiovisual experiences to emerge from Italy in the 1980s. Maurizio Dami a.k.a. Alexander Robotnick, a pivotal member of GMM, was responsible for the group’s music output.

Founded in 1984 by Antonio Glessi and Andrea Zingoni in Florence, GMM was an art collective whose production represents the quintessential expression of postmodern transmedia hybridity. GMM pioneered the genre of computer comics, created video installations, developed “multiple identity” performances, and was involved in fashion, media, and music productions, and later on produced cyberdelic environments, artificial reality projects, and proto-memes.

Alexander Robotnick’s first contribution to GMM was this soundtrack for the group’s eponymous first video, the animated version of a computer comics they coincidentally published on legendary Frigidaire magazine. Restored by Dami and reissued here for the first time by Mannequin Records, the composition was also split into two “suites” and released as an audiotape distributed by Materiali Sonori, also responsible for other releases by both Robotnick and GMM.

Determining in this work is Dami’s adoption of the alphaSyntauri, also known as the first affordable digital synth (priced less than $2000 when it was released in 1980), which was playable through its own software, “alphaPlus,” on the Apple II computer. The same computer was used by Glessi to “draw” the 3-bit strips scripted by Zingoni recounting the joyrides of the Giovanotti Mondani Meccanici, three merciless cyborgs in black suit and sunglasses dividing their time between nightclubs, rapes and murders.

As Robotnick, Dami developed an innovative formula of Italo disco that was attractive to the dance floor yet at the same time highlighted the expressive properties of the instruments he used, notably Roland drum machines and Korg synthesizers. For the soundtrack of GMM’s videos and installations, he left aside the danceable synth rhythmics in favor of ambient sounds that produced rarefied atmospheres, psychological tensions, and enhanced states of consciousness.

Dami’s scores for GMM’s artworks could be associated with Italian avant-garde music of the 1970s and 1980s, ranging from composers who adopted electronics flirting with pop and songwriting to minimalist musicians exploring seriality and drones, including Franco Battiato, Roberto Cacciapaglia, Francesco Messina, and Riccardo Sinigaglia. Analogies could also be traced with the playful and humanizing approach to personal computers that characterizes the music output of Marcello Giombini and Doris Norton.

The futuristic escapism of minimal synth and ambient music’s psychological nature is infiltrated by drifting harmonics typical of new age, as if in search of a spiritual dimension of technology. Characteristic of the postmodern ethos of GMM Suite, in line with the humanizing approach to technology that is at the base of GMM’s computer comics, is the melancholic take at speculative dystopias in which human beings would find themselves increasingly trapped into identity crises: a true cyborg’s melodrama.

Re-mastering by: Kevin Gray

This is a reissue of a now out-of-print album from live trio date by the legendary LA-based pianist, composer and multi-bandleader, Horace Tapscott. Pianist Horace Tapscott is always at his best when he is leading a trio. Born in 1934 in Houston, Texas, Horace came from a musical family centered around his mother, Mary Malone Tapscott, who worked professionally as a singer and pianist. When Horace was nine, the family moved to Los Angeles. As a teenager in the late 1940's, Horace was surrounded by the music of Central Avenue: Art Tatum, Charlie Parker, Coleman Hawkins, Dexter Gordon, were among the many cats on the set. Around this time, Horace also began to take music lessons from teachers Dr. Samuel R. Browne and Lloyd Reese, whose other students included Eric Dolphy and Frank Morgan. Horace's musical studies included trombone in addition to piano.

In 1952, Horace graduated from Jefferson High, got married to Cecilia Payne and went into the Air Force. Horace played in an Air Force Band while he was stationed in Wyoming for his term of duty. After mustering out, he returned to Los Angeles where he worked around on various gigs until he joined the Lionel Hampton Big Band as a trombonist.

In 1959, Horace finally went with the Hampton Big Band to New York, where his friend Eric Dolphy introduced him to John Coltrane. A tough winter, a lack of gigs, and too many nights on the floor of a friend's art gallery finally sent Horace packing for sunny Southern California, where a life with wife and family awaited his return.

The sixties saw Horace emerge as a die-hard leader of the Avant Garde. Horace began to gain public notice playing with his own group, that included alto saxophonist Arthur Blythe, bassist David Bryant, and drummer Everett Brown II. Horace also appeared on records for the first time.

Horace was always outspoken about racism, politics, stereotypes, and social ethics. His forward-minded vocal presence on and off the microphone is as much a part of his art as his piano playing. As a result, he was labeled a "dissident," categorized as an "employment risk," and black-listed from the music industry establishment in the early 1970's. None of this slowed Horace down. He began gigging sporadically at Parks and Recreation events and for churches around Watts. This "dark period," with his only regular gig at his friend Doug Weston's Troubadour on Los Angeles' "Restaurant Row", was also a time of intense creativity.

Around 1977, Horace reorganized the Pan-Afrikan Peoples Arkestra with the help of several old friends and many new faces. The Arkestra performances involve singing, dancing, and poetry in addition to the music. Soon after the new group's debut, Horace came to the attention of producer Tom Albach who contracted Horace to record a number of albums for Nimbus Records. Albach also helped introduce Horace to an international audience by arranging several European tours.

The 80's saw Horace emerge as one of jazz's premiere solo pianists. He recorded several solo piano albums for Nimbus.

Can Love Be Synth are in love with old analogue machines and define their specific sound in the legendary Synthesizer Studio Hamburg. A synth collectors paradise hidden behind the big grey walls of a Bunker building and the club Uebel & Gefährlich between the Reeperbahn and Schanzenviertel district in Hamburg, Germany.

Their new song ‘Bunker’ is now available as a digital and vinyl release on A CLEAN CUT including fantastic remixes by Richard Fearless, Terr and quadratschulz.



The Bunker building is currently extended with a 54-meter-high superstructure for an ultra-violent instant gentrification. In the original version of the song the heavy blows of hammers are clearly audible. This sound journey from zen to noise is a beautifully shimmering ‘black hole made from music’, where implosion and explosion energetically meet. If it needed another reason for the clubs to reopen, this song would be the one - it is perfect for long nights and for days without light rays.

Shadow Kingdom Records is proud to present Hour of 13’s long-awaited
fourth album, ‘Black Magick Rites’, on CD and vinyl LP.
‘Black Magick Rites’ is the sweet sound of salvation...through damnation.
Hour of 13’s first full-length offering in over eight years, ‘Black Magick Rites’
was available digitally on the first of November 2020 for only 24 hours. Just as
uniquely, ‘Black Magick Rites’ also marks the first Hour of 13 album where he
handles not only all instruments, but also all vocals.
Indeed, Davis’ vocals evoke an ancient nostalgia, of doom metal before it was
“”doom metal”” - of the days when bands like Black Sabbath, Pagan Altar, and
Witchfinder General simply followed their respective muses wherever it took
them. And for Davis, ‘Black Magick Rites’ sees him taking his Hour of 13 muse
toward a rougher, more rock ‘n’ roll expression and yet tinged with an emotive
melancholy that resonates deeply within the soul.
No, no flavor-of-the-week “”occult rock”” cliches here, for Davis still prizes
blue-collared authenticity in his doom, but he likewise never lets it hamper his
immediately recognizable songwriting, which here ever so subtly inches closer
to classic deathrock territory (think the likes of early Christan Death and Voodoo Church).
Naturally, with a title like ‘Black Magick Rites’, an indulgence in occultism is expected, and you can literally feel the fingers of the black beyond reaching out
to you across every electric minute of this 44-minute monolith.

New York City 4-piece deliver a modern blues rock masterclass on their feisty debut album.

“A timeless classic rock sound that revels in lean riffs and raw emotion.” – Afropunk

In an age where artistic merit is awarded to those who shout the loudest, Dakota Jones pride themselves on an unwavering ability to leave a lasting impression. Spearheaded by Tristan Carter-Jones fierce and unashamedly uncensored songwriting, the band’s fast-growing reputation as formidable live act has stamped Dakota Jones with the hell-hath-no-fury power of Chaka Khan, the wild spontaneity of Janis Joplin, and the honey-dripping sensuality of Marvin Gaye. Their debut album’s message of proud black heritage and triumphant queerness manifests itself in Carter-Jones’ ability to challenge norms of adulthood and femininity as she takes a deep dive into some of life’s most visceral emotions.

Tristan Carter-Jones: “I’m a black, queer woman expressing myself through love and music. Some folks still find that to be a transgressive act in and of itself. I work to fight that idea. I write a lot about my
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sexuality and the ways in which I express it. Songs about sex and love bounce back and forth between songs about heartache, hangovers and self-medication, and the pleasure and pain of truly finding yourself. I don’t think we get to hear these things from a woman’s mouth as often as we should.”

Serving as an instant tone setter, the album opens with the line "Stretch marks from growing pains" with Carter-Jones lamenting the woes of adjusting to adulthood on lead single ‘Did It To Myself’ - her husky and commanding vocal instantly asserting its place in the spotlight. The atmosphere soon turns steamy on the flirtatious title track ‘Blacklight,’ whilst fantasising over a modern-day Bonnie & Clyde love affair the funk-laden ‘We Playin Bad Games’ packs a punch with its tale of free spirits entwined in a haze of late-night revelry.

Elsewhere, stories of caustic heartache twist the knife into wounded blues guitar riffs on ‘Like That’ and ‘Black Magic (That Power)’, in which Carter-Jones’s stoical voice never once faulters as she mourns the memories of a previous flame. Personal prayer ‘Lord Please’ recites empowered words of reassurance, and solidarity in the face of injustice erupts into a rallying cry for change on the classic sounding ‘Noise’ – written as a reaction to the 2016 US election. “I woke up after the election feeling pure panic and fear in my body,” remembers Tristan. “I wanted people in a place of privilege to stand up for what I was feeling, stand up for injustice, stand up for all of the things we need to change as a country. I wanted their rage, and I wanted their noise.”

Finally, the band’s tender tropes of togetherness eventually boil into gritty, guitar-slung balladry on hidden bonus track, ‘California,’ where, knees buckling under the weight of past trials and tribulations, Carter-Jones sets out on one final journey of self-discovery, hastily pulling out from reality and leaving only a dust cloud in her wake.

Production comes courtesy of the Grammy-winning John Wooler, ex Virgin Records A+R and founder of the Blues label Pointblank who has worked with everyone from John Lee Hooker and John Hammond to Isaac Hayes and Van Morrison. The album also features a wealth of hugely talented and accomplished musicians, including backing vocalist Kudisan Kai, former backing vocalist for the likes of Elton John, Chaka Khan, Anita Baker, Natalie Cole, Beck, Sting, Mary J. Blige and Jill Scott. Also present; Grammy winning keyboardist Jon Gilutin, who has spent years working with some of the industry’s most respected and iconic artists including Linda Ronstadt, James Taylor, Lady Gaga, Willie Nelson, Aretha Franklin, Diana Ross, Jackson Browne, Celine Dion, Bonnie Rait and Carole King. You’ll also hear the talents of acclaimed guitarist Michael Toles. Most well-known for being a part of the Stax Records group The Bar Kays, and for his contributions on famous records by Issac Hayes, Al Green, BB King, Johnny Taylor, Rufus Thomas, Albert King to name just a few.

Dakota Jones are a rising funk, soul and blues rock band from Brooklyn, New York City. Comprising of Tristan Carter-Jones (vocals), Scott Kramp (bass) Steve Ross (drums), and acclaimed musician Randy Jacobs (guitar) - former member of Was(Not Was) who has recorded for Seal, Bonnie Raitt, Tears for Fears, Elton John and many others. Though Carter-Jones and Ross first met in 1999 whilst at primary school, the band formed years later following a series of home jam sessions in 2016. The band’s collective alias originates from Carter-Jones’s middle name, ‘Dakota’. Dakota Jones have since released a string of acclaimed singles and EPs as well as received international attention for their track, ‘Have Mercy’ after it featured on Netflix’s 2019 film, Always Be My Maybe starring Ali Wong and Randall Park – and now after years of hard work and determination, the band are finally set to reveal their long awaited debut album. “We’d been regularly releasing EPs, waiting for our chance to come, and wondering what that would look like,” says Carter-Jones. “We didn’t realise until we started making this record that we needed to stop waiting for some break to come along, and just do it ourselves, independently.”

“Black Light really dives into a place of funk soul and everything that comes with it. There’s joy and dancing, sleek guitar licks and funky bass slaps. There’s pain and longing, and there’s the feeling of relief when you come out of that place and find your joy and purpose again. Black Light is my story.”

Black Truffle is pleased to announce Parampara Festival 13.3.1992, a stunning performance by Amelia Cuni captured live in Berlin almost thirty years ago. Milanese by birth and resident in Berlin for many years, Cuni lived in India for over a decade, studying the classical vocal style of dhrupad under masters of the form. Though perhaps known to many listeners primarily through her performances of the vocal music of John Cage and collaborations with Werner Durand and Terry Riley, she is recognised internationally as one of the great contemporary proponents of traditional dhrupad singing. These recordings document her performance at the 1992 Parampara Festival at the Haus der Kulturen der Welt, a landmark event celebrating the global spread of Indian classical music, bringing together Indian teachers with their international students.

Accompanied by Gianni Ricchizzi on vichitra vina (a plucked zither played with a glass ball slide) and her own tanpura, Cuni stretches out for a languorous side-long performance of the late night Raag Bageshri, the limpid tones of her vocal improvisations illuminating the droning strings like flashes of the moon revealed by rushing clouds. Initially working patiently through a series of subtle dialogues between Cuni’s melodic extemporisations and phrases in response from Richizzi’s vichitra vina, the performance builds to a series of strikingly beautiful, virtuosic held notes from Cuni at the beginning of its second half, before picking up some brisker rhythmic articulation on the way to its conclusion.

On Devino Amor, Cuni presents her own composition, a setting of mystical texts by the 13th century Franciscan friar Jacopone da Todi, elaborated through various traditional raags. Like the words used for most dhrupad compositions, the text Cuni has selected from da Todi praises divine love, thus linking her otherwise unorthodox use of Italian text to the dhrupad tradition. The result is a performance of a yearning intensity that communicates across any language barrier. On the final performance, Cuni and Ricchizzi are joined by Helmut Waibl on the two-headed pakhawaj drum for a piece using a 14 beat rhythmic pattern that sets in motion a cycle of tension and release, metrical dissolution and resolution, possessing a subtle grandeur.

Illustrated with archival images of the performance and accompanied by new liner notes from Peter Pannke and Lars-Christian Koch, Parampara Festival 13.3.1992 invites listeners to lose themselves in Amelia Cuni’s unique approach to ancient tradition.

First-ever vinyl issue of this killer comp from 94 (Cherry Red)

Side A/B oxblood, Side C/D milky clear. Comes with 18x24 folded poster. Spanning 4 sides of vinyl you'll hear one of the finest deathrock/goth/new wave bands of all time with songs from EPs/12"s/demos from 1983-1985. It's a release not to miss.

Formed in Keighley, West Yorkshire, during the Post Punk of early 1980’s out of the band ‘The Elements”, took their name from the title of the song “Chant of the Ever Circling Skeletal Family” from the 1974 David Bowie album, Diamond Dogs.
Something unique was brewing up a dark and broody storm in West Yorkshire at the time with bands like The Sisters Of Mercy, The March Violets, Red Lorry Yellow Lorry, Southern Death Cult (later became The Cult) forming the basis of what became the soundtracks to the Goth Subculture.
Skeletal Family soon gained popularity in the UK Independent Charts and furiously gigged the length and breadth of the UK and Europe, recorded tracks for the John Peels Sessions, supported The Sisters of Mercy during their 1984 Black October tour, released 2 studio albums ‘Burning Oil’ (1984) and ‘Futile Combat’ (1985) of which saw the release of Skeletal Family’s most successful single ‘Promised Land’ on Red Rhino record label.
Anne-Marie left Skeletal Family in 1985 to form Ghost Dance with Gary Marx, former guitarist of The Sisters Of Mercy.

An ecletic musical representation of infamous Rotterdam Jazzclub BIRD with well-known and lesser-known Dutch artists from the black music spectrum, varying from Jazz, soul, hip-hop to electronic music. Compiled by BIRD musical curators Philip Powel and Guido van Dieren.

Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown. The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown. The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

Necronautical have always been about exploring the darkness. Their very name means ‘To explore death’. It’s fitting, then, that on their fourth album, Slain In The Spirit, the Manchester band are pushing both their sound and their concept to the outer limits. Since forming in 2010, Necronautical’s name has become well respected among the British black metal underground. Across three albums –2014’s Black Sea Misanthropy, 2016’s The Endurance At Night and 2019’s Candlelight Records debut Apotheosis –their sound has become one rich in its skill with the dark side of metal. Ambitious and grandiose in its symphonic touches, this velvet glove hides beneath it an aggressive iron fist. On Slain In The Spirit, this is truer than ever. Everything has been taken to a degree beyond where the band have trodden previously, with the symphonic elements swirling even more dizzyingly above a metallic attack that hits with an almost machine-like ferocity. So much so that the band have transcended black metal altogether. Available on CD, trans amber 2 LP vinyl and trans amyethyst 2LP.

Maybe We Never Die, Anderson East's third release for Elektra/Low Country Sound takes the Alabama born, Nashville-based singer-songwriter’s seductively vintage voice in a decidedly fresh direction. The 12 tracks flow together with an overarching sense of ambience but maintain distinct musical boundaries. The energy toggles between a hunger for vulnerability in togetherness and a clinging to solitude as a romantic self-defense. There is consternation with the speed and volume at which the world operates and solace to be found in the simple act of getting up and going. And the beguiling title track, with its woozy strings swirling around East’s celestial falsetto as it curls towards the ceiling like smoke is, as they say, a whole mood; a sense of a single night’s dusk-to-sunrise contemplation. Collaborating once again with Dave Cobb along with longtime bandleader and now co-producer Philip Towns, East has found an enticing new avenue, one that maintains a connection to his past but keeps his eyes on the road ahead.

Maybe We Never Die is East's first new music since 2018's breakthrough album, Encore, which featured the Grammy-nominated #1 AAA radio single, "All On My Mind." Heralded by critics, The New York Times praised Encore as, “…an often lustrous revisiting of raucous Southern soul, rousingly delivered and pinpoint precise. He has a voice full of extremely careful scrape and crunch, but his howls never feel unhinged," while Rolling Stone declared, “On Encore, East’s influences meld seamlessly, stacking the album with Stax-worthy R&B grooves, gospel-blues ooohs and aaahs, surging keys and blasting brass.” Known for his magnetic live performances, East and his band have performed sold-out shows worldwide and have been featured on ABC's "Jimmy Kimmel Live!," CBS' "The Late Show with Stephen Colbert" and "CBS This Morning Saturday," NBC's "TODAY" and "Late Night with Seth Meyers," PBS' "Austin City Limits" and more.

’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.

In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.

Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace… and we could go on. That might all sound like marketing hyperbole, but not as far as Be With is concerned. It is a genuine wonder how an album this good could’ve passed so many people by.

But despite all the reference points, the similarities are really only skin-deep because the album sounds truly original. It occupies its own distinct, strange universe that feels dark and brooding one moment, bright and joyous the next. Ultimately, Taylor sounds like Taylor.

Although you wouldn’t know it from the credits, the album wasn’t the work of Lewis alone. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote Track, Song, Lucky and Damn with Lewis.

Lewis clarified all this in a Soul Jones interview with Dan Dodds in 2016. He explains how not giving Sabina the credit she was due at the time was an unfortunate consequence of where his head was at and he’s now trying to set the record straight.

Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.

On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there’s a murkiness in the seriously gritty funk/hip-hop instrumentation. Lewis Taylor can be a claustrophobic listen. Even its one-word, often seemingly throw-away track titles add to the sense of unease. In its most positive moments, there’s still a sense that things aren’t quite right. The magic comes from this compelling tension.

The languid, strutting “Lucky” is a sensational opening statement. Sinuous electric guitar winds around the shaking percussion with a killer bass line rattling your bones, and Lewis’s voice is sublime. Its six-and-a-half unhurried minutes manage to distill the work of Marvin, Al Green and Bobby Womack because yes, it’s *that* good. Up next is the tough, dusty drum and jazzy, unsettling psych-guitar workout of “Bittersweet”. Aaliyah described it the “perfect song”, which says it all. By turns loping and soaring, tightly coiled and blasting free, 25 years on its discordant, swaggering majesty still sounds like future R&B.

The swinging, blue-eyed funk of “Whoever” oozes sophisticated sunshine soul for hazy days before “Track” sweeps in. The music tries to lift us up, beyond the reach of the vocals trying to drag us back down as Taylor sings “my mood is black as the darkest cloud”. The spare, dubby electro-soul of “Song” closes out the first half of the album with barely contained dread as it creeps towards the lush, synth-heavy coda.

The smouldering “Betterlove” eases us into the second half, coming on like a languorous response to the call of “Brown Sugar”, before sliding into the shuffling, softly-rocking “How”. Somehow the remarkable “Right” manages to both warm things up and smooth things out even more. Taut yet luxurious, it’s definitely not wrong.

“Damn” was to have been the album’s title track and you might also be able to hear its influence on D’Angelo’s Voodoo, maybe most obviously in the chaotic closing moments of “Untitled (How Does It Feel)”. Building to a screeching wall of noise that suddenly cuts dead, “Damn” sounds like the natural end to the album, with the celestial a cappella “Spirit” serving as a heavenly reprise.

When it came to the sleeve, art director Cally Callomon heard Taylor’s music as “sideways off-camera glances at a plethora of influences he had” and wanted to interpret that visually: “I went off into night-time London to see if I could find his song titles in off-beam low-fidelity photographs. I even found a shop called Lewis Taylor”. With a slide for each of the album’s ten tracks, nine of them are on the inner sleeve and the slide for “Damn” makes the front cover. It should’ve been the album’s title, but concerns over distribution in the US scuppered this.

One of UK soul’s most fascinating artists, Andrew Lewis Taylor is an enigmatic figure and a hugely under-appreciated talent. A prodigious multi-instrumentalist who got his start touring with heavy blues/psych outfit the Edgar Broughton Band, he released two albums of psychedelic-rock as Sheriff Jack before Island signed him on the strength of a demo alone. But Taylor was destined to be one of those artists unable (or unwilling) to be pigeonholed and despite the best efforts of Island’s publicity department the music never sold in the quantities it needed to or deserved to. Island eventually let him go in the early 2000s and in June 2006, Lewis Taylor retired from music.

Typical for the mid-90s, this CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised. And as usual, the records have been cut by Pete Norman and pressed at Record Industry. The original artwork has been restored at Be With HQ and subtly re-worked to work as a double.

This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.

Black vinyl w/ standard sleeve. Juju is the brainchild of Sicilian multi-instrumentalist Gioele Valenti (Lay Llamas, Herself) and this Fuzz Club Session LP finds Valenti and band (Vincenzo Schillaci, Simone Sfameli) storming through four tracks at I Candelai in Palermo, Italy. The resulting session is released as a series of videos and pressed on vinyl. Due for release August 13th on London-based label Fuzz Club, the session comprises two tracks from their 2017 second album 'Our Mother Was A Plant' ('In A Ghetto' and 'And Play A Game') and two from 2019's 'Maps and Territory' LP ('Master and Servants' and 'Motherfucker Core'). Juju's worldly, genre-bending experimentalism fuses psychedelia, new wave and krautrock with touches of afrobeat, funk and zamrock and it's in a live setting, such as that captured here, where that captivating blending of sounds is at its most spellbinding and hypnotic. Juju's Fuzz Club Session (the latest in a series which has previously included the likes of A Place to Bury Strangers, Night Beats, Holy Wave, The Entrance Band and more) makes all too clear why the band have been praised as one that "resets the coordinates and makes the past seem startling new again" (The Quietus).

Having produced full albums for numerous buzzing names in the last couple of years, 38 Spesh has become recognized as one of the most prolific beatmakers in the new era of hardcore Hip-Hop. So, to mark this achievement, he has decided to start giving fans the instrumentals to their favorite songs with a new series titled Speshal Blends. The first volume of the series includes beats off of Che Noir's Thrill of the Hunt II, Flee Lord x 38 Spesh's Loyalty + Trust, 38 Spesh's 5 Shots EP, and more. The title of the series is a homage to MF DOOM’s classic instrumental collection, Special Blends. The album art also references DOOM’s series, but instead of playing on the Zig-Zag motif, the Speshal Blends covers riff off the logos of popular cigar brands most commonly used for blunts

After the exploration of snowy mountains of Alpestres, released on Hands in the Dark in 2018, French composer Matthias Puech ventures into new territories, sketching a cartography of the invisible where the journey, in chiaroscuro, is announced as a rite of passage. A Geography of Absence, as introspective as unpredictable, immerses the listener into a unique sensory whirlwind where organic matter becomes almost palpable. A researcher in theoretical computer science and an engineer at GRM, Matthias Puech constructs a dialog between synthetic music and field recording, capturing sounds that surround him and creating his own sonic language with the help of synthesizers he designs and develops; notably the Oscillator Ensemble and the Tapographic Delay, made by the American company 4ms.

Composed during a moment marked by ordeal and mourning, A Geography of Absence retraces an inner journey where the physicality of sound leads the listener into an initiatory tunnel filled with apparitions, ghosts, visions. With sound oscillations as a navigational map, we progress, step by step, through the meanders of an unknown world, dazzled by the prospect of a new synthetic horizon, an electronic biotope teeming with life and incarnations. Playing with time, space and matter in an approach similar to that of musique concrète, Matthias Puech combines ambient and noise, floating sounds and electroacoustic experimentations, thus shaking up our listening perspective, which finds itself walking through a parallel universe, strata after strata, sequence after sequence.

The trip begins with “Hollow”, as if on board a night train travelling at full speed through ghost towns. Or is it a spaceship? Removed from their original habitat, sounds – picked up during walks or moduled by synths – are free to be interpreted differently by everyone, according to the memories that shape us. Granular and metallic, this first piece takes us to an elsewhere in orbit. "Work Song" is built around the pulsation of the void, of space, where strange creatures and liquid emanations abound. We become fetus, cocoon coiled in the placenta, heart beating to the rhythm of the gooey choreography of the human body. "Chrysalis" awakens the racket that lies dormant in us, when the skin changes, when the transition takes place. One seems to recognize certain sounds stemming from nature but they could also be mirages, imitating reality to render the barely perceptible engulfing. “Tunnel Vision” brings out a herd of haunted bells, slowly swelling in a pastoral maelstrom, ending in a deafening buzz. Further on, the chirping of an animatronic bird mixes with the hooting of an owl: "A Faint Beacon" invokes a nocturnal vigil that mixes the crackling of a fire and icy gusts of wind blowing everything away. Like an epic, sucking the listener into the breach of a black hole in the center of the Milky Way, it's up to "Homeostasis" to conclude in the high spheres and contemplative vapors, where the balance of dawn announces a rebirth.

A Geography of Absence is a meticulous and sensitive piece that constructs a delicate symphony of extremes, between introspection and desire for the unknown. Accompanied by the ink work of the artist Léa Neuville, whose folds of prints sketch this imaginary atlas, Matthias Puech becomes a narrator of mental adventures. And succeeds once again in transcending reality to dig a path to the unspeakable.

First ever vinyl reissue of rare private pressed Florida Funk/Soul from 1980. Featuring founding members of 'The Winstons' (the 'Amen Break', most sampled track in electronic/hip hop music). 180g Black Vinyl Edition limited to 500 copies, comes with obi strip and insert featuring unseen pics & liner notes. Streetlife was a short-lived soul-funk band from the Tampa Bay area and released just one album in 1980. The group was composed out of several dynamic musicians (ranging from street players to college professors) but at that time nobody knew (yet) that their Nite Songs LP would become such a much sought-after private pressed holy grail within the record collecting community! Streetlife was founded in 1979 by Sonny Pekerol and Phil Tolotta who were both members of the top-selling 1960s Washington DC Grammy Award-winning hit band 'The Winstons'. Their track Amen, Brother is the most widely sampled instrumental in the history of the electronic music & hip hop genres_it would become known as the Amen Break. When `The Wintstons' story came to an end, Sonny Pekerol (founding member and originally playing the bass - then successfully evolving into the manager and promoter) and pianist/vocalist extraordinaire Phil Tolotta would continue their musical friendship/collaboration under the name `Streetlife'. Their high-energy sound got the attention of local crowds in no time_so the decision to record and cut a vinyl album came as a natural thing. Nite Songs (produced by Sonny & Phil, who also wrote the bulk of the songs) saw the light in 1980 and quickly gained attention and airplay (receiving radio & television coverage nation-wide). Described as the hottest band from the state of Florida, `Streetlife' had the magnetism to captivate you, be it on concerts, nightclubs or on vinyl. Other members included: Octavia (responsible for the amazing lead & backing vocals on the album), Mark Halisky (on keyboards & the writer of two songs on Nite Songs), Ray Butler (on drums), Mike Milhoan (on trumpet), Bryan Mann (on the guitar) and Stephen Nathan (playing the trombone, flugelhorn & doing the arrangements). Charles Davis also played bass in the band for a while (he and bandmate-drummer Ray Butler were members of the `Washington Jamb Band' back in 1977). Mike Flore (Sax) and Ramon Lopez (from the well-known `Stan Kenton Orchestra') would also join them on the Nite Songs recordings. Collectively `Streetlife' had more than 75 years of experience_and these extraordinary talents (with almost as many varying backgrounds) are meticulously coming together on the album we are presenting you today. The entire album is filled with sexy (yet strong) unique vocals that make the listener experience a lot of emotions, aggressive `slap & thumb' bass lines & small yet groovy horn sections _one can clearly hear the influences of artists like Otis Redding, Curtis Mayfield, as well as several Motown, acts like Marvin Gaye softly slipping in. If you like your songs either slow, sexy and groovy or prefer them fast-paced and more experimental & cosmic_look no further, Nite Songs has it all. This is THE perfect combination of slick soul, blasting Hammond B-3 organ funk, smooth jazz and melancholic R&B piano works. This album just begs for a prominent space in record collections fans and crate diggers worldwide!

* Pressed on special RSD color wax.
* Includes bonus limited edition flexi of an ultra rare recording performed by Roky Erickson.
* Pressed at RTI.

Texan Roky Erickson was one of the true mind-blowing pioneers of psychedelic music. The original leader of the Austin-based 13th Floor Elevators formed in 1965, Erickson and band invented a brand new style or rock & roll, one that was slightly unhinged while it explored the consciousness-expanding influence of LSD on music. After three years, the group imploded with mental issues and legal challenges, ending with Erickson being incarcerated for several years in the Hospital for the Criminally Insane in Rusk, Texas. When he was released in the early '70s the musician continued on his own trail, recording songs that had come to him in his far-flung cerebral wanderings. Erickson, who passed away May 31, 2019, is now celebrated on this 12-track tribute to one of the most original rockers ever.

The participants range the whole world of modern music, and each chose one of Erickson's originals to stamp their own imprint on. They include Billy F Gibbons, Lucinda Williams, Mosshart Sexton (a/k/a Alison Mosshart & Charlie Sexton), Neko Case, Mark Lanegan & Lynn Castle, Jeff Tweedy, Margo Price, Gary Clark Jr & Eve Monsees, Ty Segal, Chelsea Wolfe, The Black Angels and Brogan Bentley. The album is co-produced for release by Bill Bentley, executive producer of the 1990 Roky Erickson tribute album Where The Pyramid Meets The Eye on Sire Records, and Matt Sullivan, co-founder/owner of Light in the Attic Records.

The songs range from Erickson's debut iconic original, "You're Gonna Miss Me," recorded when he was a member first in The Spades and then the 13th Floor Elevators during the early '60s in Austin, to some of Erickson's later songs, like "If You Have Ghosts," which heard him exploring some of the outer limits of the human psyche. Each new recording is a stunning modern take on the sound that Roky Erickson gave the world over a half-century of writing, recording and touring. No one has ever equaled those explorations.

This truly is the music of the spheres, as Erickson once sang about his sound, as seen through the eyes and ears of those who are united in their love and respect for a person who dedicated his life to rock & roll. Roky Erickson, through the trials and tribulations of a man both imbued with greatness and haunted by darkness, never quit in his quest to share with others what he heard and saw. As he sang on the 13th Floor Elevators last recording, "May the circle remain unbroken."

**LONG OVERDUE REPRESS - CLEAR VINYL 300 COPIES ONLY** “With Ela’s music I feel emotional, engaged… I can’t help but feel she’s always looking for a sense of belonging and it
seems to inform all the music that she makes. Glasgow must have more of that belonging feeling than most
cities because she’s spent the most time here, an exotic bird in a rainy city she maybe finds a lttle bit of comfort in. It’s
a pleasure to have her here, in this awful time to be living in Britain, her illuminations feel important and hopeful. A
stubborn light; someone making great timeless music out of the humdrum of the everyday.” - Stephen Pastel
Movies For Ears is a retrospective collection of works by Polish-born, Glasgow-based artist Ela Orleans which
navigates almost two decades of songwriting in the heart of the global pop underground. This remastered collection casts
an ear over what Orleans might call the ‘pop sensibility’ within her back catalogue. Released previously on a number of
small DIY labels, Orleans’ music coincided with the explosion of auto-didactic musicians finding their voice in the age of
the blogosphere, artists emboldened by the democratisation of music-making afforded by the internet. From the outset,
Orleans’ childhood studying formal music mixed with cut-up techniques, sampling, sound-art and experimentation to
create a distinctive signature cloaked in an innate melancholy and playfulness. Fully remastered by James Plotkin,
featuring extensive sleeve-notes and rare photos from Orleans’ archive, Movies For Ears presents an appraisal of the
musician’s work, painting a portrait of an artist with an uncanny ability to evoke emotions and ghosts of memories in the
listener.
Each song pulls sunshine from its surroundings, moments of pleasure plucked from eulogies. The Season employs a
hypnotic loop with Orleans’s prophetic voice heralding the season we’re doomed to repeat. In fact the singer is often cast
as the changing protagonist in her songs: on Walkingman, a hazy ballad heavy with ennui, the narrator is laden with the
world’s weight, forever pacing a groundhog day world blank, a pissed-off actor in a Kafka-esque melodrama. On Light At
Dawn we’re in a seedy kitsch bar-room go-go scene, a ghostly rock’roll romance with shimmering percussion, poledancing
in a Lynchian half-dream. Movies For Ears’ moods straddle memory and fantasy: scratchily invoking halfremembered
exotica, the flickering shadows of europhile cinemas screens, a delicately woven world anchored in Orleans
existential meditations on longing, intimacy, solitude and the search for love. These rich textures in every song don’t
overpower some crystalised moments of emotion however: on In Spring Orleans sings simply “I have been happy two
weeks together,” summarizing that feeling of elation when emerging from a depression, a long winter. It’s a moment that
perfectly illustrates the lightness of touch and clarity in the singer’s voice.
The power of the loop and Orleans’ weaving songwriting that breaks its spell is illustrated perfectly by I Know. Over an
aching chord progression, the vocal takes flight into bittersweet loneliness, Pachelbel’s Canon played at a wedding where
only one person shows up. The repeated refrain “I know, I know” ascends to the heavens as the chords descend to the
dumps and the listener is left in the middle, happy but not knowing why, maybe a little changed, two weeks together. On
Movies For Ears, Ela Orleans lets us into a secret: the rare moments of joy to be found in the joins of the loop, the spaces
between things, the spring after the winter are the moments that last after the day has faded.

The Dandara: Trials of Fear Edition Original Soundtrack features over one hour of ethereal, surreal and organic music created specifically for the exploration of the Salt's surreal world. Blending eclectic electronic scores with sweeping, melodious soundscapes, Thommaz Kauffmann's score is like taking a ride into a new, wonderous land.

Dandara's light but incredibly strong presence was the starting point for all the sound presented in this album, consisting of a soundtrack that sounds hopeful and melancholic at the same time. Her lonely journey into the corrupted regions of Salt narrates each gesture made to fight the fears deep inside the Salt's most uncharted caves.

The textures and musical aesthetics in this soundtrack match a world that suffers from its abandonment to spontaneity, creativity, and vitality. It is with the presence of Dandara that there is a break in these standards imposed in Salt by an authoritarian regime.

Wrapped up in a beautiful, sturdy tip-on gatefold with a rough, black and white aesthetic, this vinyl 2xLP comes with two "Salt" white 180g in two printed inner sleeves.

Composed, produced and mixed by Thommaz Kauffmann

Artwork by Luísa Almeida

Game developed by Long Hat House

Published by Raw Fury

Spirit Tamer’ is the debut album from Mia Joy available on limited edition
Bright Pink and Classic Black vinyl and compact disc on Fire Talk.
A member of the Chicago Children’s Choir at a young age, the record sees Joy’s
dual backgrounds in music and poetry evolve into a juxtaposition between
soaring emotional synthpop and introspective devotional harmonies.
Past press has referred to Mia’s music as ‘warm, ethereal, endlessly layered,
and beautifully expanding’.
Filled with heady atmospherics and vulnerability that abounds through the
shapeshifting sonic palette, fans of Ana Roxanne or Hand Habits will find much
to love in this painstakingly crafted, endearingly intimate universe.

Having impressed with his 2019 debut album on Negentropy, the breaks/tech-house/minimal techno fusion of Rhythm Tension, Zweizig has been given a chance to showcase his wares on Constant Sound's popular Constant Black offshoot. The headline attraction is undoubtedly opener 'Manipulate Our Reflections', a spaced-out chunk of hypnotic late-night science that wraps wonky, Villalobos style electronic noises and pulsing pads around a locked in (but also surprisingly swinging) tech-house groove. Relic provides a chunkier and groovier remix that boasts darker noises and a more beefed-up sound, while bonus cut 'Vvoid' is a twisted, undulating acid-jacker.

Synth legend Suzanne Ciani, Demdike Stare’s Sean Canty & Finders Keepers’ Andy Votel come together on this killer hour-long 2014 synapse popper of a collaboration pooling the occasional group’s esoteric collage-based approach into a remarkably foreboding session pregnant with a dread that’s never quite resolved. Think Vladimir Ussachevsky, Todd Dockstader, Spectre and Company Flow melted thru the Deutsch-Italo industrial DIY tape era and funneled thru an almost impenetrable fog of Ann Arbor basement noizze.

Hustling some of Neotantrik’s most amorphous gestures, ’241014’ is a four-segment movement of reduced Buchla treatments, destroyed vinyl loops and scraping foley suspense; like a cosmic dream diary layered into a collage of drones and clatters. Little in Ciani’s extensive catalogue has hinted at what’s on display here; the joyful lullaby-pop of “Seven Waves” or metallic alien soundscraping of “Flowers of Evil” are only hinted at. She instead paints new sonic vistas, allowing space for her collaborators to make themselves known; Votel’s chiming toy autoharp and Bubul Tarang (a Punjab string instrument) add a distinctive flavor, while Canty’s grimy drones and noise-soaked textures drizzle pitch-black molasses into the cracks and crevices. Together, the effect is a bit like hearing Philip Jeck improvising over Popol Vuh’s peerless Moog-led debut “Affenstunde” or Demdike Stare knocking out impromptu reworks of Tangerine Dream’s abstrakt early run.

Perhaps unusually, the trio have still never set foot in a studio together, exclusively maintaining their practice in-the-moment and on stage when schedules intersect. So it’s all the more remarkable that their improvisations naturally find a democracy of role and such a heightened level of intuition, beautifully converging their thoughts to mutual, open-ended conclusions that leaves billowing room for interpretation. In a most classic sense, it’s like the sensation of sleep paralysis or dream/nightmare ambiguity, with a level of suggestiveness that’s disorienting from end to end.

For the first time the recordings are now available in high fidelity (there was a tape version a couple of years back) - now remastered by Rashad Becker to better represent the otherworldly scope of their actions on stage, from the NWW-like queues and drone of ‘Scanned Accents’ and keening silhouette of ‘Second Action,’ to new sections of subaquatic Porter Ricks-like murk in ‘Anti-Contraction’ and the levitating webs of synth and tactile, sampled textures in ‘Last Canción.’ Tape music and synth music have long shared a passionate embrace, and here turntablism coolly slides in on the action. Canty and Votel’s background in beat tape assembly and crate digging pays off: they’re keenly experimental creators but bring an unfussy sense of rhythm and performance that’s miles beyond any facile repetition of a nostalgia for vintage glory. Combined with Ciani’s delicate Buchla work - it’s a unique proposition.

The 9th album full length from Dutch melancholic black metallers, An Autumn from Crippled Children . As The Morning Dawns We Close Our Eyes continues the band's shift towards a more soothing, post new wave sound while still juxtaposing it with sharp, angular black metal.

Soundtrack to the film ‘Supernova’, composed by
UK cult folk rock hero, artist and poet Keaton
Henson (‘Something Better to Come’, ‘Young
Men’).
Pressed on classic black vinyl.
“Keaton Henson’s mournful score adds gravitas to
Firth and Tucci’s phenomenal turns.” - thejc “Keaton Henson’s music is an element worth
considering” - Variety
“A suitably moving piano-based score by Keaton
Henson also enhance the elegance of the story” -
heyuguys. Released in conjunction with the film.

Eamon Harkin, 1/2 of Mister Saturday Night Records and Nowadays in NYC, brings us a balmy 4 track EP, simultaneously full of longing, bliss, and hope. Adeptly oscillating between techno and house, these ear-worm, tastefully catchy tracks will find themselves perfectly at home both on reopened, outdoor summer dance floors as well as on bedroom stereo systems. If you do find yourself on a reopened dance floor, you may end up shedding a joyful tear to one of these.

Limited edition of 300 copies on black vinyl. Mastered by Dietrich Schoenemann. Design by Nick Owen. Photography by Frank Harkin.

This is the very first original soundtrack of our new Japanese Anime Collection!

MEGALOBOX is the tribute animation to the legendary Ashita no Joe, produced by TMS Entertainment and broadcasted worldwide since 2018 with a dazzling success.

MEGALOBOX Original Soundtrack is produced by mabanua (Manabu Yamaguchi) and features several renowned artists such as DJ TAKU, KOMA-CHI or Michael Kaneko. It was acclaimed by the critics for its unforgettable rhythm and melodies, inspired by a broad variety of genres such as hip hop, black music and rap.

This soundtrack is now entirely remastered for the sumptuous vinyl format!

The Megalobox Vinyl Edition features:

- The illustrated gatefold with Joe and Yuri

- 2xLP black color, housed in two illustrated sleeves

- A 12-page booklet with comments from the composer and the team (Yo Moriyama, Keiichirô Miyoshi) and the English translated lyrics from the songs

• The tracks from the group’s two 1984 EPs together on a swanky 10-inch vinyl LP. Inner bag features liner notes by Kris Needs incorporating new interviews with all three Delmonas and a series of great photos by Eugene Doyen.

• Sarah Crouch, Hilary Wilkins and Louise Baker started singing together as a unique spark of spontaneous magic inextricably linked to their boyfriends in the Milkshakes, then rocking a garage-punk antidote to shiny synth-pop and brash chart stars with a direct lifeline back to rock’n’roll’s original simplicity and wildness. After Billy Childish and Bruce Brand formed the Pop Rivets in 1978, the guys hooked up with Micky Hampshire and Russell Wilkins to found the Milkshakes. Sarah shared a student house with boyfriend Micky plus Billy. After she and Hilary, then dating Russell, sang backing vocals on the Milkshakes’ rollicking Beatles-translated take on the Shirelles’ ‘Boys’, Louise’s arrival turned them into a girl group pretty much by accident.

• “I loved the music the Milkshakes were playing,” Louise recalls. “Loved the small, intimate venues and most of the bands that played with them, especially the Prisoners. I’d gone with the Milkshakes to Belgium and was somehow persuaded to get up on stage and sing something. Next thing I knew, there was some kind of plan to get the three of us in the studio.” At first the three girls were called the Milk-boilers, renaming themselves the Delmonas by the time Ace Records’ Roger Armstrong and Ted Carroll suggested recording the EPs that furnish this collection. “I think we were asked to each think of three songs and turn up,” says Louise. “I mostly listened to music from the 60s: lots of girl groups, Irma Thomas, Dusty Springfield, Bo Diddley, Velvet Underground, Kinks. Bruce had the best record collection; Mel Tormé was in there somewhere and one of my faves. Sarah came up with doing the Doors cover.”

• ‘Comin’ Home Baby’ was written as an instrumental before Bob Dorough added lyrics and Mel Tormé recorded it in 1962. The Delmonas’ finger-clicking, noir-dynamic version kicked off their first EP with authentic-sounding 60s production resonance, iced with mysterioso organ. The Cookies scored a hit with Goffin & King’s ‘Chains’ in 1962, the Beatles’ version providing the Hamburg Star-Club template for the Delmonas’ energised rendition. The first EP, “The Delmonas Volume 1”, rounded off with two songs from the Childish-Hampshire songwriting partnership: ‘Woa’ Now’ and ‘He Tells Me He Loves Me’, the latter recalling the New York Dolls covering the Shangri-Las’ ‘Give Him A Great Big Kiss’, mainly because it has similar chords.

• “The Delmonas Volume 2” opened with Sarah’s idea of covering the Doors’ hit. “We thought, ‘How would the Kinks have played it?’” she affirms. ‘Hello, I Love You’ had got the Doors into hot water with the Kinks’ publishers for its resemblance to ‘All Day And All Of The Night’. The Delmonas home in and highlight that similarity, adding bonkers psychedelic drop and evocative new coda. Their surf-tinged version of the Milkshakes’ ‘I’m The One For You’ is followed by the swampy screaming of ‘Peter Gunn Locomotion’, a cover of a 1963 single by Freddie Starr in his pre-stand-up comedian days as singer with the Midnighters. The set closed with the sultry organ-led vamp of the Milkshakes’ ‘I Want You’, the nearest the Delmonas get to the slowies Sarah helpfully points out they referred to as “shag songs”.

• All these tracks would re-appear on their “Dangerous Charms” album, along with out-takes and recordings from a BBC session, before the original trio splintered, leaving Sarah and Hilary to return for further adventures as Ludella Black and Ida Red. The eight tracks here capture a moment when three fun-loving friends got to live out some musical fantasies and had a blast doing it. 37 years later, it sounds just as contagious.

 Eight years passes like nothing for Birds of Maya. Their fourth
album kicks out the Philly jams with every bit as much fervour
as their earlier releases - in fact, as it was recorded in 2014, it
kind of is one of their earlier releases.
 A long era of dull ringing and nothing else in our ears is over.
Once again, winds of warm guitar and humid thunderheads of
bass and toms rumble all around. With ‘Valdez’, Birds of Maya
are back in flight. And like the first song title explicitly states, this
latest is a soaring blast of riffers, rife with punk rock abandon,
sludge, treble, distortion, neck-throttling rock ‘n’ roll solos,
pummelling drums and bass and half-shouted/half-gargled
vocals, all of it half on and half off the mic.
 ‘Valdez’ was recorded in 2014 at Black Dirt Studios in otherstate New York. After a Purling Hiss session there, Birds of
Maya got a bunch of tunes they liked into shape - that is,
different shapes on different days. But nice shapes. Once they
got to the studio, they loaded in and set up, curious to see how
they felt playing in a different room. Pretty good as it turned out
- running through the songs that first night, they accidentally
recorded the whole album. Then they finished up the next day,
mostly. Trading the crushed harmonics of their basement tapes
for studio-grade mics, overdubs in the mix and only slightly lessbruised harmonics, their roiling essence not only survives but
thrives, non-stop, on ‘Valdez’, stuttering, screaming and
stomping through six circuitous numbers.
 At the time this was recorded, Birds of Maya were standing on
the other side of ten years kicking around town, suddenly far
away from the primordial ooze they’d flopped forth from. The
streets where all this had happened on were changing, with new
money rolling in, but they were the same old Birds, content with
their libations and ear-splitting variations on old favourite
Stooges chords. The cover art of Valdez is a couple of images
from those days, glimpses at the old grass roots before they
were ripped up by developers to build condos. But nothing ever
really goes away. ‘Valdez’ is a totem of the wildness that refuses
be tamed

RECORD STORE DAY 2021 TITLE!!!
The Bruisers - Singles collection 1989-1997 - Vinyl re-issue - long out of print now available once again on limited collector's classic black double vinyl!!

Svart Records reissue of Morbus Chron’s game-changing atmospheric Death Metal album “Sweven”, together with the remastered ltd ed. EP “Saunter Through The Shroud”. Gatefold sleeve with original Sweven booklet included. Pressed on black vinyl and limited dark green vinyl (400 copies). On “Sweven”, Morbus Chron carved out their very own territory of unorthodox death metal, far beyond their raw and simple initial style, adding many uncanny acoustic parts to create a nightmare world of utter horror. Together with producer Fred Estby (ex- Dismember), the band found a warm, yet haunting sound to go with their vision. The resulting soundscapes spread out like a wasteland of death and terror, sending chills down the hardest of spines. Guitar and drum patterns flow in various directions, building cathedrals of darkness in which tormented vocals echo in agony. The EP ‘A Saunter through the Shroud’, was a revelation upon its release in July 2012, displaying tremendous progression from previous efforts. Instead of playing it safe, sticking to traditional death metal patterns, Morbus Chron had started to transcend the genre to incorporate elements of progressive rock as well as black metal. With patterns oozing of Voivod, Atheist and Darkthrone, as well as Death and Autopsy, Morbus Chron was on their way to something majestic. Possessing unrelenting integrity, the band shunned all trends to go further into the unknown with “Sweven”. Smell the coffin with these two pioneering recordings, available in one lush package for the first time! Morbus Chron’s idiosyncratic legacy has never sounded or looked finer.

Svart Records reissue of Morbus Chron’s game-changing atmospheric Death Metal album “Sweven”, together with the remastered ltd ed. EP “Saunter Through The Shroud”. Gatefold sleeve with original Sweven booklet included. Pressed on black vinyl and limited dark green vinyl (400 copies). On “Sweven”, Morbus Chron carved out their very own territory of unorthodox death metal, far beyond their raw and simple initial style, adding many uncanny acoustic parts to create a nightmare world of utter horror. Together with producer Fred Estby (ex- Dismember), the band found a warm, yet haunting sound to go with their vision. The resulting soundscapes spread out like a wasteland of death and terror, sending chills down the hardest of spines. Guitar and drum patterns flow in various directions, building cathedrals of darkness in which tormented vocals echo in agony. The EP ‘A Saunter through the Shroud’, was a revelation upon its release in July 2012, displaying tremendous progression from previous efforts. Instead of playing it safe, sticking to traditional death metal patterns, Morbus Chron had started to transcend the genre to incorporate elements of progressive rock as well as black metal. With patterns oozing of Voivod, Atheist and Darkthrone, as well as Death and Autopsy, Morbus Chron was on their way to something majestic. Possessing unrelenting integrity, the band shunned all trends to go further into the unknown with “Sweven”. Smell the coffin with these two pioneering recordings, available in one lush package for the first time! Morbus Chron’s idiosyncratic legacy has never sounded or looked finer.

One of the most significant collections in Trojan’s immense catalogue, the ‘The Trojan Story’ album dramatically changed the perception of Jamaican music among the general British public outside of the country’s Afro-Caribbean population.

Prior to its release in 1971 there had never been an attempt to present a comprehensive anthology of the island’s musical development, with vintage ska, rock steady and reggae widely regarded as obsolete and of precious little merit.

The treble disc set, which became an instant best-seller, had been the brainchild of Trojan’s label manager and Black Music fan, Rob Bell, who, assisted by Trojan stalwarts, Dandy, Webster Shrowder and Joe Sinclair, produced arguably the most significant Jamaican music retrospectives of all time.

Now, 50 years following its original release, this hugely influential album has been revisited by Bell, along with reggae musician, Rusty Zinn, who have succeeded in improving what was already an almost perfect collection.

Presented in the original eye-catching artwork, the set is further enhanced by a highly illustrated 50-page booklet in which Bell relates the stories behind the release and the 50 tracks featured on the compilation.

80’s Thrash Metal in the vein of early Slayer, Sepultura and Sodom. Completely dedicated to old school horror movies! Video Nasty is a Thrash/Death/Speed Metal project from Calgary/Vancouver, Canada started by Jordan Schritt. Jordan wanted to start a project which lyrically dealt with all of the 70’s/80’s/90’s slasher/horror movies he adored. This together with furious Metal was the perfect combination. He started to compose a bunch of songs and wrote lyrics to these songs that were all tied to one specific movie per song. Once he gathered enough material to record an EP Jordan asked a few friends to participate in this project. He also made sure that the artwork for this EP was perfect for the content. All in all this EP rages and rips as gruesomely as all the movies the lyrics were based on. Furious 80’s Thrash Metal with lyrics comprised of all the filth that deranged moviemakers came up with.

Official vinyl reissue of this early Children of Bodom cult classic. Remastered by Anssi Kippo at Astia Studios, and featuring a few bonus tracks on an extra disc.

"On June 11, rock legends KISS will launch their new official live bootleg series, KISS – Off The Soundboard, with Tokyo 2001, recorded by the band at the Tokyo Dome in Tokyo, Japan on March 13, 2001. This marks the first in a series of upcoming live releases through UMe and will be available as a 3-LP standard black vinyl set and a 2-CD set.
Tokyo has always held a special place of importance throughout the KISStory of the band and Off The Soundboard: Tokyo 2001 captures KISS giving the packed 55,000 seat venue the quintessential KISS live experience, direct from the soundboard with such classic anthems as “I Was Made for Lovin’ You,” “Heaven’s On Fire,” “Rock & Roll All Night” and the #7 1976 Billboard hit “Detroit Rock City,” as well as rarities such as “I Still Love You” from 1982’s Creatures Of The Night. The 21-track concert is a celebration of the band’s musical legacy and features co-founders Paul Stanley and Gene Simmons, with Ace Frehley on guitar and Eric Singer on drums."

A HANDPICKED COLLECTION OF HIS GREATEST MUSICAL WORKS FROM FILM & TELEVISION, FEATURING MUSIC FROM NOMADLAND, THE FATHER, INSIDIOUS, THIS IS ENGLAND & MANY MORE

"The most syncable modern composer" Synchtank

The new collection Cinema features 28 breath-taking pieces that take the listener through Ludovico's incredible musical journey working in film & television, and includes two previously unreleased tracks** (see tracklist below)
Includes music from films and series such as the Golden Globe & BAFTA Award-winning and Oscar favourite Nomadland, another BAFTA Award-winning and Oscar favourite The Father, This Is England, I'm Still Here, Insidious, Dr Foster, Sense8 & many more
"I felt like he Ludovico and the character of Fern were walking in parallel; their shared love of nature connects them, and I knew then his music would fit perfectly with our movie" Chloé Zhao on Nomadland
Award-winning scores such as Fuori Dal Mondo (Oscar nominated, Echo Klassik award) and Sotto falso nome (Avignon Film Festival) are also included
Einaudi has become the biggest streamed classical artist of all time. His beautifully evocative music lends itself so perfectly to use in films, tv & advertising and has the incredible ability to provoke and enhance emotion.
This is why for many years directors have been using it to complement their images and continue to do so.
Famous fans & collaborators include Shane Meadows (This Is England, Dead Man's Shoes), Russell Crowe (The Water Diviner, Gladiator, Les Miserables), Chloé Zhao (Nomadland), Ricky Gervais (Derek), Eric Toldedano (The Intouchables), Clint Eastwood (J Edgar), Casey Affleck (I'm Still Here) & Darren Aronofsky (Black Swan).