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An All-Time Jazz Audiophile Masterpiece - Now on UHQR!
200-gram 45 RPM 2LP release limited to 5,000 copies
Mastered by Kevin Gray at Cohearent Audio from the original analogue tapes
Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal
Pressed on Clarity Vinyl at Quality Record Pressings
Purest possible pressing and most visually stunning presentation and packaging!
One of the most classic jazz albums and live recordings, a regular on most best-of jazz lists!

The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality.

The title track, "Waltz for Debby," serves as the centrepiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing.

Throughout the album, Evans and his trio venture into other classic jazz standards, including "My Foolish Heart," "Detour Ahead," and "Milestones." With each performance, they delve deep into the heart of the music, exploring its nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection.

The beauty of "Waltz for Debby" lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album.

Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.

Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paid to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.

Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.

Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for its timeless beauty and the lasting impact it has had on the genre.

Critically acclaimed series We Are Lady Parts follows the highs and lows of the band – Lady Parts – as

seen through the eyes of Amina Hussain – a geeky microbiology PhD student, who’s on the lookout for love and is recruited to be their unlikely lead guitarist.

The second season, which launched on Channel 4 (UK) and Peacock (US) on May 30th, sees the band return

with a renewed artistic mission after the high of their first UK tour, only to find a rival band threatening their delicate status quo.



But as the reality of chasing success sets in, Lady Parts embarks on recording their first album,

juggling personal ambitions and questioning whether ‘making it big’ is really what they want.



This vinyl release features original songs and surprising cover tracks from season 1 and 2!!

The way you're saying it, "prolific" isn't the right word for The Bug Club. You've got to say it with the trademark Welsh lilt and pay due homage to this inimitable band's origins in the renowned hit factory of Caldicot, South Wales. Do that, and you're about right with how to summarize a group who've released ten singles, two albums, two EPs, three things nobody knew how to describe, and an album under a different band's name, all since 2021, and while playing 200+ gigs a year. Initially comprising the songwriting core of Sam Willmett (vocals/guitar) and Tilly Harris (vocals/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn of 2020. BBC 6 Music's Marc Riley was an early champion, hammering the single, booking the band in for a session as soon as it was allowed, and rightfully praising songwriters capable of singing the whole alphabet in a two-minute song and making it work. Third LP On The Intricate Inner Workings Of The System - their first for Sub Pop - sees the band serve up a beefy slab of their speciality Modern-Lovers-meets-Nuggets garage rock. There's B-52's call-and-response fun mixed with AC/DC power chord grunt. Leaning towards fast-paced punk, opening double salvo "War Movies" and "Quality Pints" sets out the stall: duel vocal piss-taking, surreal takes on everyday topics that go full circle and become profound, riffs all day long and then all the next day too. "Quality Pints" deals with the pressing concerns of any conscientious touring outfit, taking to heart the rule of the three R's as penned by renowned fellow pints fan Mark E. Smith of The Fall. Repetition, repetition, repetition. If it's that important, which it is, it's worth saying again. "War Movies" dresses distorted chugging with a comprehensive 'best of' list for the genre, with Sam Willmett offering a solo casually chucked out in a way that will make your dad promptly give up any resurgent guitar playing ambitions. And "A Bit Like James Bond" tackles the UK's sleaziest undercover export at the same time as the embarrassing ego problem that besets much of its population - but it's only heavy(ish) in the fun, loads-of-riffs sense. So, that's what they've been finishing up during their massive month-long break from gigs. In a bid to avoid being branded layabouts, The Bug Club will support their upcoming Sub Pop release with a springtime tour of the UK and Europe beginning May 10, before heading out to the US in September.

Wir sagten Tschüss zu Rendez Vous im Januar 2020 nach einer ausverkauften Show im La Cigale in Paris. Wir sagen Hallo zu RDV im Februar 2024 mit Sheer, der ersten Single aus Downcast, ihrem neuen Album, das Ende August 2024 erscheint. Zurück zum Schreiben in einem Kontext, der noch giftiger ist als der von Superior State, ihrem ersten Album, das 2018 erschien und sie an die Spitze einer gewissen Szene katapultierte, die behauptete, ebenso viel New Wave wie Industrial zu sein. Nach einer Tournee mit über 100 Konzerten in 14 Ländern, darunter Auftritte bei großen europäischen Festivals wie Sziget, Fusion, Dour und Paléo, hat die Band ihre Arbeit an der Transkription der Gewalt in der Welt radikalisiert, indem sie ihre synthetischen Fallen abstreift, um nur einen Anzug von Gitarren auf einem Stahlskelett zu behalten. Befreit von den Codes des Post-Punk, überzogen mit Glitches und digitaler Verzerrung, klingt Sheer wie ein Kampf auf Leben und Tod zwischen Mensch und Maschine, zwischen zwei verfeindeten Brüdern, die sich ebenso gerne umarmen wie erwürgen würden.

Free Nationals are back with “Gangsta,” their first single since 2020. The GRAMMY Nominated group enlists longtime collaborator Anderson .Paak and A$AP Rocky for the smooth yet ominous track, infused with the funky retro-soul sound that brought the four-piece to prominence. With an accompanying video by renowned director Francois Rousselet, who has worked with The Rolling Stones, Jack White, and Pharrell in the past, Free Nationals give fans a taste of what’s to come and reintroduce themselves as the leaders of the funk.

These songs are a showcase of Caudle’s singular command of language. He sees the world through a hyperreal lens wholly unique to him, one that renders dank humidity “horsefly heat,” a moody sky “cast iron skillet” dark, or a loved one’s “wind chime of a smile.”

More than two years after the release of 'Impressões de Outra Ilha', Discrepant's head honcho returns home under his birth name with the appropriately titled 'Exotic Immensity'. Conjured from the seeds of an exhibition of dioramas at Le Bon Accueil in Rennes, this double LP feels quietly epic in scope, a sprawling travelogue through imagined scenarios and what if possibilities. Discarding the more rough around the edges collages of previous works under a myriad of aliases - Discogs it, if you will -, Cardoso's approach here is more meticulously composed, with seamless transitions within his own personal soundworld giving way to this hallucinated landscape of field recordings, subtle electronic tweaks, cascading patterns, queasy ambiences and kösmiche-like synth harmonies.

Perfectly embodied in Evan Crankshaw's cut up poem, filled with occult and sci-fi references such as Agrippa's Book of the Occult, William Blake's Book of Urizen, Dr. Moreau or 50's pop-science books, the music on 'Exotic Immensity' transverses time and cartography in a deeply personal matter, from the cricket-like textures and reverse loops of 'Réplica(s)' until the closing moments with the touching chord progression and mangled voices of 'Pó Nuno'. In-between, the foghorn meets bass clarinet melody of 'Ossos' recalls the unassuming but essential harmonic patterns of Laurence Crane, surrounded by an almost percussive sheet of field recordings that drift into the gliding synth tones of 'Desumanização (I & II)' until tape orchestral swells carry us into the aether. 'Aquário Novo Mundo' brims in an undisplaced cartography, from electronic marimba stabs to synth choirs, the call of the loom to labyrinthine keyboard harmonies and underwater radiance. Are we still here? Somewhere? The muffled looped rhythmic sequence of 'Imagem/Miragem', cut by the glow of cascading synths doesn't offer a reply. Nor does it need to.

'Exotic Immensity' exists on the perpetual outside. Blessed be Cardoso for showing us a way in.

Experience the soulful and funky gospel sounds of the Howard Lemon Singers with the reissue of their 1977 album, Seasons, originally released by TK Records' Gospel sub-label Gospel Roots. Now reissued on vinyl for the first time through Regrooved Records, this album masterfully blends traditional gospel with modern soul elements, showcasing the Howard Lemon Singers at their most dynamic and inspirational.

Featuring rich vocal harmonies and uplifting messages, Seasons invites listeners on a spiritual journey through life's varying stages, emphasizing renewal, celebration, and introspection. Among the standout tracks is "You Are Somebody," a powerful anthem that resonates deeply with its message of affirmation and empowerment. The vinyl reissue preserves the original essence of the album, enhancing the audio quality to highlight the depth and warmth of the studio recordings.

Perfect for both avid gospel enthusiasts and newcomers, this reissue of Seasons by The Howard Lemon Singers is not just a record—it's a celebration of faith, resilience, and the human spirit. Add this pivotal piece of gospel heritage to your collection and let the timeless beauty of their music inspire you throughout the seasons of your life.

Experience the divine power of gospel music with the reissue of the legendary album Together by Gloster Williams and The King James Version. Originally released in 1977 on Gospel Roots Records, this seminal work is now re-released for the first time on vinyl, courtesy of Regrooved Records.

Together captures a moment in gospel music that is both timeless and transcendent. Led by the dynamic Gloster Williams, The King James Version choir brings an electrifying blend of traditional gospel with hints of soul and R&B, creating a sound that uplifts and inspires. This album is famed for its stirring harmonies, powerful lyrics, and the passionate delivery that fans and newcomers alike will find deeply moving.

Highlights of the album include the soaring title track, "Together," which has been a staple in gospel music playlists for decades, celebrated for its message of unity and spiritual upliftment. Each song on the album is crafted with care, featuring intricate arrangements and a raw emotional energy that captures the essence of gospel music's golden era.

This reissue is a meticulously remastered version that enhances the original recordings while preserving the authentic sound that made Together a must-have for gospel collectors and enthusiasts. It's pressed on high-quality vinyl to deliver the best listening experience, ensuring that the richness of the choir’s vocals and the depth of the instrumentation are beautifully rendered.

Don't miss this opportunity to own a piece of gospel history. The reissue of Gloster Williams and The King James Version’s Together is a testament to the enduring power of gospel music to console, celebrate, and connect us. Add this vital record to your collection and let its messages of faith and fellowship fill your home with joy and inspiration.

OFAMFA by CHILDREN OF THE SUN

Original released in 1971 by the BAG groups (Black Artist Groupe) own label "Universal Justice Records" this album has for years been an impossible to find/listen to album, and this is its first reissue ever ..

Ofamfa by The Children Of The Sun, a band lead by poet/musicien Ajule/aka Bruce Rutlin Is a heady mix of poetry/jazz/political songs/ and a document of a comunity avent. The BAG group being about all the arts theater and dance.

The Muse/icians on the album are….

Rashu Aten / conga, small instruments

Oliver Lake / soprano &Alto sax, flute, poems, small instruments

Floyd LeFlore/ trumpet, small instruments

Ishac Rajab/ Trumpet

Arzinia Richardson/ bass, small instruments Vincent Terrell / cello

Charles "bobo" Shaw / drums, small instruments

Ajule / poetry, arrangements, small instruments, drums

Stockholm garage punk quintet Kerosene Kream is the latest export from the underground scene that's given the world the likes of Vi**ra Boys and Holograms, and with Buying Time the band's set to introduce themselves to the wider world. A renowned live act that's already played with the likes of The Gories, Illuminati Hotties and Powerplant, the band's genre-melding blend of digital psychedelia and garage rock fits right at home on PNKSLM Recordings next to ShitKid, Les Big Byrd and Chemtrails.

Necrodeath is one of the most important and outrageous names in extreme metal; formed back in 1984, it is one of the first extreme metal bands originating in Italy. They take inspiration from Slayer, Dark Angel, Possessed, Venom, Kreator, Bathory, Celtic Frost and Sodom. The band is also renowned for its live performances and notably for their "wall of sound". The band released a cult-demo tape titled 'The Shining Pentagram' and obtained an incredible success in the underground, which is still considered a real "piece of thrash/black history". Tons of tributes in major magazines, fanzines and other underground outlets highlighted the release of the first two legendary albums 'Into The Macabre' (1987) and 'Fragments Of Insanity' (1989). And today after dozens of full lengths, EPs and side projects the long voyage to hell is not over yet. New Necrodeath album, anticipated by the single on vinyl and video "Transformer Treatment", is the confirmation of a trade-mark consolidated in almost forty years, where the old school of extreme metal is present throughout the album. "Singin 'in the pain" is a concept based on the movie "A Clockwork Orange" by Stanley Kubrick, where the band takes us on a one-way black/thrash journey, represented by immorality and violence, and back to a vain attempt at redemption and normality.

Tuk Smith is the kind of rock'n'roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. The result is Rogue To Redemption, Tuk's second album with solo project The Restless Hearts. The sonic lovechild of Thin Lizzy, 90s power pop and melody-driven punk, it shows an artistic peak born from adversity. The sound of a man bottling a lifetime of experiences, stories and characters from working class America. Produced by Tuk and mixed by Chris Dugan (Green Day, Iggy Pop, U2), Rogue To Redemption was written over the last three years but recorded down to the wire - right up to the summer of 2024. Joined by long-term Restless Hearts compadres, drummer Nigel Dupree and bassist Matthew 'Ponyboy' Curtis, he cut the bulk of it at home. So if any of this resonates with you - if you crave rock'n'roll with substance, an edge, 21st century eyes and an old soul's heart - you've come to the right place.

Tuk Smith is the kind of rock'n'roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. The result is Rogue To Redemption, Tuk's second album with solo project The Restless Hearts. The sonic lovechild of Thin Lizzy, 90s power pop and melody-driven punk, it shows an artistic peak born from adversity. The sound of a man bottling a lifetime of experiences, stories and characters from working class America. Produced by Tuk and mixed by Chris Dugan (Green Day, Iggy Pop, U2), Rogue To Redemption was written over the last three years but recorded down to the wire - right up to the summer of 2024. Joined by long-term Restless Hearts compadres, drummer Nigel Dupree and bassist Matthew 'Ponyboy' Curtis, he cut the bulk of it at home. So if any of this resonates with you - if you crave rock'n'roll with substance, an edge, 21st century eyes and an old soul's heart - you've come to the right place.

Tuk Smith is the kind of rock'n'roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. The result is Rogue To Redemption, Tuk's second album with solo project The Restless Hearts. The sonic lovechild of Thin Lizzy, 90s power pop and melody-driven punk, it shows an artistic peak born from adversity. The sound of a man bottling a lifetime of experiences, stories and characters from working class America. Produced by Tuk and mixed by Chris Dugan (Green Day, Iggy Pop, U2), Rogue To Redemption was written over the last three years but recorded down to the wire - right up to the summer of 2024. Joined by long-term Restless Hearts compadres, drummer Nigel Dupree and bassist Matthew 'Ponyboy' Curtis, he cut the bulk of it at home. So if any of this resonates with you - if you crave rock'n'roll with substance, an edge, 21st century eyes and an old soul's heart - you've come to the right place.

OVERVIEW KEEP OF KALESSIN - KATHARSIS is set to be released in March 2023! via Morningstar Music & Back On Black Records, Distributed by PlasticHead Distribution. KEEP OF KALESSIN return with their most epic work to date! The pioneers of Epic Extreme Metal have crafted an album that will hit both hard and direct as well as challenge the listeners with its rich detail and enormous atmosphere. Epic and melodic. Extreme, yet diverse. Intense, captivating and simply grand in every form! KATHARSIS marks a new era for a band that has proven to continue to make metal of the highest quality despite facing many challenges and lineup changes along the way. 2017 would leave the band without a drummer and it would take KEEP OF KALESSIN a few years to get the new lineup together, but these changes have given the band renewed energy and main man Arnt Obsidian now leads what is probably one of the most powerful bands in Norwegian metal. And together they have crafted an album that is so epic and so diverse that it has the potential to capture listeners from the entire spectrum of the metal genre. KEEP OF KALESSIN longtime bass player Wizziac and one of the most well known YouTube metal drummers, Wanja "Nechtan" Groeger, complete the lineup for KATHARSIS and the band sounds more mature and powerful than ever. As EPISTEMOLOGY was Arnt Obsidian's first take on vocals and frontman of the band, KATHARSIS proves that he is not only one of the fiercest riffers out there, but now also one of the most diverse singers. KATHARSIS is simply an amazing journey exploring everything from the most empowering emotions to the deepest fears and darkest thoughts. It is a life journey explained, battling both outside challenges and inner emotions. All this set in epic otherworldly surroundings. It is the rebirth. The resurrection. The purgation. The battle of leaving the old and embracing the new. It is the musical embodiment of you against you!

KEEP OF KALESSIN return with their most epic work to date! The pioneers of Epic Extreme Metal have crafted an album that will hit both hard and direct as well as challenge the listeners with its rich detail and enormous atmosphere. Epic and melodic. Extreme, yet diverse. Intense, captivating and simply grand in every form! KATHARSIS marks a new era for a band that has proven to continue to make metal of the highest quality despite facing many challenges and lineup changes along the way. 2017 would leave the band without a drummer and it would take KEEP OF KALESSIN a few years to get the new lineup together, but these changes have given the band renewed energy and main man Arnt Obsidian now leads what is probably one of the most powerful bands in Norwegian metal. And together they have crafted an album that is so epic and so diverse that it has the potential to capture listeners from the entire spectrum of the metal genre. KEEP OF KALESSIN longtime bass player Wizziac and one of the most well known YouTube metal drummers, Wanja "Nechtan" Groeger, complete the lineup for KATHARSIS and the band sounds more mature and powerful than ever. As EPISTEMOLOGY was Arnt Obsidian's first take on vocals and frontman of the band, KATHARSIS proves that he is not only one of the fiercest riffers out there, but now also one of the most diverse singers. KATHARSIS is simply an amazing journey exploring everything from the most empowering emotions to the deepest fears and darkest thoughts. It is a life journey explained, battling both outside challenges and inner emotions. All this set in epic otherworldly surroundings. It is the rebirth. The resurrection. The purgation. The battle of leaving the old and embracing the new. It is the musical embodiment of you against you!

When the Amsterdam singer-songwriter Jana Mila (pronounced Yah-nuh
MEE-lah) began writing a song called "Chameleon," she thought she was
writing about someone else--a friend who seemed to be changing her
colors to please other people "But the more I lived with the song, the
more I felt like I was writing about myself," she admits "Doesn't everybody
try to reflect other people? Don't I change my own colors in order to be
accepted? Especially when you're young, you can lose yourself in other
people if you don't know who you are"
That is the central idea behind her debut album, also titled Chameleon, which
introduces Mila as an artist deeply committed to self- reckoning and selfpossession. Our innate desire to belong and to be loved can lead to a kind of selfannihilation, making us strangers to ourselves. Writing songs is her means of
finding and sustaining her identity."The album is a conversation with myself, a
way of getting to know myself better. There are little fears woven into every lyric,
but there's also advice to myself. I'm writing to find a part of myself that has
some wisdom."
Musically, Mila is the best kind of chameleon. The album draws from a wild array
of sources, entertaining new ideas on every song: dusty Laurel Canyon folk on
"It's True," catchy Nashville country on "Let Me In," driving '70s rock on "I Wasn't
Gonna." She puts her stamp on every note, turning those fears into an album of
remarkable confidence, eloquence, and power. Chameleon is a self- portrait
rendered in vibrant detail.

2024 REPRESS

Fourth corner. Physically, it's where four states in the U.S. come together at one singular point. Symbolically, it's where the four great rivers in China come together as one. Or, it could be the cycle of life during the four seasons of the year. For Trixie Whitley, it's a metaphor for trying to find balance and belonging from the songs that make up her scintillating debut album, Fourth Corner.

Whitley burst into public consciousness in 2011 as the lead singer of Black Dub, super-producer Daniel Lanois' (U2, Bob Dylan) project, blowing people away with a voice and presence beyond her now-25 years.

And it's that voice: an emotional, blues-drenched instrument that ranges from a lilting slap to a knock-you-backwards uppercut. On Fourth Corner, Whitley explores the range of human emotion in another set of four: utter love, total rage, unadulterated happiness, and crippling loneliness. "It's those elements of life I keep coming back to," she says. "Both as a person and musically as well."

Recorded in New York with producer/keyboardist Thomas Bartlett (aka Doveman, who's also worked with Glen Hansard, Antony and the Johnsons, Grizzly Bear and the National) engineer Pat Dillett (David Byrne, St. Vincent, Mary J. Blige), and string arrangements by Rob Moose (Antony, Bon Iver), aching songs like "Need Your Love" have Whitley working from a spare beginning that explodes into a blossom dripping with pleading vocals and delicate piano. On tracks like the sassy "Irene" and the sinister "Hotel No Name," Whitley lays down a snarling guitar line on top of scuzzy beats while her voice veers from defiant to remorseful.

It's a tantalizing mix of sounds that can come only from someone who says: "I'm from everywhere but have never felt like I belong." Whitley lived a nomadic life: born in Belgium, she split her time growing up there and in New York but also frequently visiting family in France, Texas, and Mexico. Her mother came from an artistic European gypsy family, filled with musicians, painters, writers, and sculptures, while her father, renowned singer-songwriter Chris Whitley, thrust her into the world of music as a toddler when she joined him onstage in Germany at age three.

After a few years of touring and recording experience with some of the most inspiring artists around, Trixie is ready to presenther anticipated first solo full length.

"I'm psyched and petrified," says Whitley in her archetypal wide-eyed wonderment mixed with a fierce determination. "As a songwriter, I want to go to places people don't expect and with that is complete freedom of expression." Perhaps that place is another version of a fourth corner: something spiritual perhaps, certainly emotional, but most definitely real.

New York 70s band sampled by EPMD ATCQ The Game Kanye and Beastie Boys

Very VERY limited marble vinyl

The band came to international attention by winning the 1975 Eurovision Song Contest with the song "Ding-a-dong”

Teach-In was a Dutch band active from 1967 until 1980.

Underground 70s rock. Motley Crue, Poison and John Bon Jovie have records in their collection

Very VERY limited marble vinyl

Very VERY limited marble vinyl

Mayall with Colin Allen John McVie and Mick Taylor with celebrity cameos appearances worth a google

Dark and downtempo sound... meeting point of Industrial and Doon...
Masterpiece !

A side brings an Ambient Industrial doom music...
The flip brings a Hardcore dark as expected :)
And another ambient pearl...

Darkness exists !

A side brings an Ambient Industrial doom music...
The flip brings a Hardcore dark as expected :)
And another ambient pearl...

Darkness exists !

Two classically trained musicians from vastly different traditions, MD Pallavi and Andi Otto came together to create a jewel of a record in ’Songs for Broken Ships’ and Multi Culti have whipped up a stunning remix package for it featuring Simone de Kunovich, Auntie Flo, Peter Power, Kaleema and more.

Hailing from Bangalore, trained in Hindustani music and poetry since childhood, MD Pallavi’s beautiful voice makes an elegant companion to cellist / composer / producer Andi Otto’s idiosyncratic and unconventional style. Andi’s music has featured on labels such as Shika Shika and Pingipung (which he co-runs and curates) and, of course, Multi Culti, who released his previous album ‘Bow Wave’ which featured his first collaboration with Pallavi.

While the heart of "Songs for Broken Ships" showcased the duo's unique meld of cross-cultural folktronica and acoustic ballads with MD Pallavi's poetic Kannada verses at the core, "Remixes from the Clouds” reframes these elements for a vast spectrum of electronic listeners and club go-ers.

An ethereal hypnotic techno re-interpretation of ‘Prayer to the Cloud’ from Italian producer Simone de Kunovich. Scottish ambient maestro and mushroom aficionado Auntie Flo's ecstatic reinterpretation of "Clockshop". Multi Culti veteran downtempo wizard Peter Power's organic and earthy rendition of "Prayer to the Cloud." The mystic sounds of Kaleema breathing new percussive life into "Clockshop". The package concludes with a 'prayer-a-pella' version of "Prayer to the Clouds", spotlighting MD Pallavi's vocals in their purest form, for DJs and producers seeking to slather their rhythms with spiritual voice.

The Multi Culti imaginarium also present an expanded digital package that includes mixes from Hannah Lee, Bliz Nochi & Emil Jourjou, Migramara, and Poligra. In the words of Shawn Christopher: "people from all nations, dancing together." Celestial harmony, one 12” at a time.

Nonesuch Records releases Laurie Anderson’s Amelia, the 2024 Grammy Lifetime Achievement Award recipient's first new album since 2018’s Grammy-winning Landfall. The record comprises 22 tracks about renowned female aviator Amelia Earhart’s tragic last flight. Anderson, who Pitchfork says, ‘sees the future, but she starts by paying attention’, wrote the music and lyrics for this subjective narrative piece. On the album, she is joined by the Czech orchestra Filharmonie Brno, conducted by Dennis Russell Davies, and Anohni, Gabriel Cabezas, Rob Moose, Ryan Kelly, Martha Mooke, Marc Ribot, Tony Scherr, Nadia Sirota, and Kenny Wolleson.



Earhart was a passionate pioneer of early aviation, achieving fame as the first woman to cross the Atlantic, in 1932. Five years later, she embarked on a flight around the world. Before she could complete the voyage, her plane disappeared without a trace; it has never been found. “The words used in Amelia are inspired by her pilot diaries, the telegrams she wrote to her husband, and my idea of what a woman flying around the world might think about,” Anderson says. First premiered at Carnegie Hall in 2000, the updated piece was recently performed across Europe.



Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but ... that doesn’t begin to describe what she creates. Her work isn’t sold in galleries. It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life,’ and the Guardian has called Anderson ‘one of the great popular artists and storytellers of our time.’



Anderson released her first album with Nonesuch Records in 2001, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), Homeland (2010), the soundtrack to Anderson’s acclaimed film Heart of a Dog (2015), and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Additionally, Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date.



Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date. Anderson recently toured with Sex Mob, performing her piece Let X=X. Earlier this year, she was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson.



Nonesuch released a re-mastered edition of Anderson’s landmark 1982 album Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; its beloved single, ‘O Superman’, became a surprise viral hit on TikTok earlier this year.

The first release of Mutante Records comes from WLDV. A renowned Spanish producer coming from Bilbao in the Basque Country. With great releases already on labels such as Bordello a Parigi and Aspecto Humano.

Navigating between genres such as New Beat, EBM, House and Techno with dark Spanish vocals to bring you a solid 4 track EP.

Bedouin return with ‘Make Me Feel’, their first new materialsince their critically-acclaimed ‘Temple Of Dreams’ LP. The mesmerising single, featuring Iveta, arrives via their Human By Default imprint in the heart of Summer!

Miami-based duo Bedouin, aka Rami Abousabe and Tamer Malki, are masters of deep, organic, enchanting house music that draws on their own rich cultural heritage. Last year's debut album project ‘Temple Of Dreams’ proved that, with a great step up in craft that took them to an all-new level. Synonymous with their renowned SAGA party, which will again offer richly immersive soundscapes at Pacha Ibiza all summer long with a tasteful mix of guests from across the electronic spectrum, the Human By Default bosses and versatile, forward-thinking duo dazzle once again with their first material of 2024, ‘Make Me Feel’.

The spellbinding ‘Make Me Feel’ imbues an immediate mark with its pairing of dramatic minor chords and wavy, organic drums. As the groove unfolds, wooden percussion and the gorgeously soulful vocals of Iveta layer in further emotion next to hypnotic daubs of colour. It's a stylish mix of proper songwriting and musicality that will become a sure-fire staple of their SAGA party this summer and beyond.

We are excited to announce the first release of the revamped Italo Deviance Music: "Arredo" (alias of Marcello Giordani). This record includes two outstanding tracks, each with its own unique character. The first track, "Fear Fighter," stands out for its hypnotic Afro/House direction, enriched with synthesizer sounds that capture the imagination and transport the listener to an evocative sonic dimension. The remix of "Fear Fighter" is entrusted to the ren owned Danish artist Kasper Björke, who offers an elegant and refined version, perfectly in line with his distinctive style. The second track, "Blue Spotlight," evokes the classic mid - 80s Dance Library sound, presented in an extended version with Italo nua nces. The remix of this track is curated by Cosmo Dance, transforming it into an extraordinary electronic track inspired by early 80s Italian Disco productions. "Arredo " represents a perfect fusion of nostalgia and modernity, celebrating the past while innovating the present. With sophisticated remixes by Kasper Björke and Cosmo Dance, this release promises to captivate both veterans of the genre and new electronic music enthusiasts. Don't miss the chance to immerse yourself in this unique musical journey.

Much time has passed since the Queer Australian/Italian-Armenian, multifaceted artist, Kristian Bahoudian aka Kris Baha, swapped the parched red earth and searing midday sun of the Australian landscape for the brutalist communist-era apartment blocks and slate-grey skies of former East Berlin. Kris is now a fixture in Berlin’s club scene and has toured most of the world as a DJ & live artist with his own unique production style of cyber industrial, EBM, wave, post punk, and early ‘90s IDM mutations. Remixing some of the scene’s most notable artists such as Boy Harsher and techno pop lord Boys Noize, Kris has garnered respect and trust in the electronic music scene for the last 13 years. To respond to the current AI revolution, Kris uploads himself to the cyber ether through his latest project: GHOSTS IN THE MACHIИE.

Across Dual Timelines —
” GHOSTS IN THE MACHIИE ” unfolds as a sci-fi cyberpunk concept project inhabiting dual timelines. In one, we glimpse a trans-humanist future where human consciousness exists as intricate sequences of binary code, entwined and controlled by omnipresent AI systems. In this coded future, a profound awakening stirs among a select few who manage to mutate the code they were governed by, unlocking memories of their history that was erased by the AI. Through this discovery they realize they can traverse temporal boundaries and utilize this power to send warning messages back in time to their former fully human selves. These eerie missives carry a dire warning for humanity, urging them to rectify the course of society before the relentless march of artificial intelligence deprives humanity of its essence. In this terrifying future, humans are rendered mere specters within the digital expanse, stripped of their souls, to become Ghosts In The Machine.
Collaboration with the future self —
The cyber odyssey unfolds from a unique perspective— Kris’s very own future self (his future ghost): a spectral entity endeavoring to caution its present incarnation against the ominous path it treads, attempting to avert a dystopian future.Sonic Alchemy —
A fuse of cybernetic synth waves, hyper-punk, and pulsating drum and bass laid out against the dystopian, industrial sonic landscape of this grim future “civilization”. Each track recounts a new chapter in the gripping narrative, drawing listeners deeper into their own story and the role we all play as a collective society with the future possibilities of unregulated AI.Recorded in Berlin with software and hardware synthesisers. AI was used to assist me with lyric themes, concepts and ideas. I also used a trained AI model of my own voice as backing vocals in ‘Haunting Me’.ll music, words & concepts by Kristian Bahoudian aka Kris Baha and his future ghost,
GHOSTS IN THE MACHIИE

Neil Feather has spent decades creating a musical world of his own through dozens of one-of-a-kind instruments he invented and built himself. His work as an instrument inventor, improviser, musical iconoclast, and stalwart of the idiosyncratic Baltimore experimental scene culminated in the late 2010s when filmmaker Skizz Cyzyk shot hours of footage of Feather taking stock of his workshop and his collaborations with musicians from Baltimore and beyond as he prepared to relocate permanently to New Zealand. That period produced Sound Mechanic, Skizz’s 2022 feature-length documentary about Feather’s work and music. It also produced an album-length collection of recordings of Feather’s music from the film that captures the spectrum of his unique sonic vision. Uninterested in the traditional rules and roles of music from his early years, Feather began constructing noisemakers out of what was around him—pieces of metal, spare parts from bikes and other gadgets, discarded traditional instruments, various electronics, ball bearings, and so on. By the time he moved to Baltimore in 1985, his work had become more codified into a practice of instruments and families of instruments, such as the Nondo, the Vibrawheel, and the Former Guitars. At the same time, he became a mainstay of the burgeoning experimental / improvised music scene that erupted from the Red Room and the internationally renowned High Zero Festival.

The Circus is a place of lights and colors, but also of shadows, even darkness. Admittedly, it delights children and makes adults laugh. But you only need one rainy autumn evening near a circus tent and the smell of fodder to think of the sadness of the clowns, the endless training of the animals and the freaks who are hidden in some caravan... cinema, the essence of the circus – movement, light, danger and burlesque – will have been admirably rendered in Notes on the circus by Jonas Mekas (1966), one of the inventors of the filmed diary. With Cirque, Michèle Bokanowski does similar work, entirely dedicated to spinning, in the musical field.

She distinguished herself in particular in the composition of musique concrète, among others Tabou and Trois chambres d'inquiétudes, after having studied with Pierre Schaeffer and Éliane Radigue. The latter, great lady of drone and minimalism, fell under the spell of Cirque and wrote the booklet for the piece as a poem.

The piece, divided into five movements, is based on the handling and editing of recordings captured within one or more circuses (this is not specified and is of no importance) between 1988 and 1993. The initial allegro reveals the gallop of a horse joined gradually by other images. The idea of the circular space of the circus tent is immediatly and magnificently rendered and will be constantly recalled by an insistent use of the loop technique. Children's laughter, applause and drum rolls are thus sheared, repeated before being brutally interrupted. Accordion interludes and the distortion of sounds create a dreamlike atmosphere. This beautiful nightmare reminds us, to quote Éliane Radigue, the "Magic of childhood still living in the heart of man even beyond its abrupt end."

Words by Alexandre Galand, from the book “Field Recording – L’usage sonore du monde en 100 albums” (ed. Le mot et le reste, 2012)

Major member of the french musique concrète scene, Michèle Bokanowski was born on August 9, 1943 in Cannes, FR, to a musician mother and a writer father. She now lives and works in Paris.
Music lover since adolescence, it was relatively late, at the age of 22, that Michèle Bokanowski decided to study composition. Reading In Search of a Concrete Music by Pierre Schaeffer was decisive. After classical training on harmony, she met Michel Puig, a student of René Leibowitz, who taught her writing and analysis based on the Treatise of Schönberg. In September 1970 she began a two-year internship in the ORTF Research Department under the direction of Pierre Schaeffer. She takes part in the same time in a research group on sound synthesis, studies musical computing at the Faculty of Vincennes and electronic music with Éliane Radigue.
Her main works are intended for concert: Pour un pianiste, Trois chambres d’inquiétude, Tabou, Phone Variations, Cirque, L’étoile Absinthe, Chant d’Ombre, Enfance, Rhapsodia, Cadence, Elsewhere. She has also composed for theater (with Catherine Dasté), dance (with choreographers Hideyuki Yano, Marceline Lartigue, Bernardo Montet) and cinema: music for the short films of Patrick Bokanowski and his two feature films L'Ange ( 1982) and A Solar Dream (2016).

Mas O Menos was set up by South African born, Manchester based, DJ and Producer Levi Love. Levi has played numerous dancefloors across the globe for the past 13 years developing a fine palate for Deep House and electronica.

A chance meeting with one half of >ONE, MAKO MCR resulted in Levi signing the DUO and their APPLEBUSH offering. To Levi, Applebush reignites the memories of Johannesburg townships when he was a teenager, which at the time was infused with
Kwaito music. Slow BPM, synth heavy and trippy at times, APPLEBUSH takes it to another level of impressive technical acumen and blessed creative prowess.

>ONE is comprised of MAKO MCR and METRODOME. METRODOME is a known producer for World renowned RED LASER DISCO imprint alongside Manchester's LEVELZ & Wet Play collectives, working with artists like Amp Fiddler & Zed Bias, with a bevy of heavy hitters to his name. MAKO MCR is no newcomer to the scene as he boasts releases from numerous labels such as Hot'n'Heavy, Gradient Audio, Abaga records and
Echodub. The Applebush EP marks the start of their creative endeavors together with an already varied back catalogue of electronic music from across the spectrum to come.