Buscar:d roots

Another PPU classic from 2008 back in print. PPU returns to their southern roots with South Carolina group, Initials lead by Danny Spencer. B Side features the Mastermix version by Beautiful Swimmers, Max D & Ari G.

Das neue Album der französischen Reggae-Legende Big Red, eine Hälfte des Duos Raggasonic, ist ein Trip in die Welt der Soundsysteme und des modernen Dub, ein gekonntes Navigieren zwischen Roots-Reggae und heutiger Bassmusik. Begleitet wird er von der jungen Generation französischer Dub/Reggae-Produzenten wie OnDubGround (ODG), Little Lion Sound, Radikal Vibration, Bisou Dub, Irie Ites und DJ Absurd, die den Tracks ihre eigene Note verleihen. Mit seinem unnachahmlichen Flow befasst sich Big Red mit sozial engagierten Themen wie institutionellen Rassismus, Polizeigewalt und die Exzesse unserer Gesellschaft.

Smutty Edits is the brainchild of Jeroen Van der Smut, a music aficionado who after indulging himself in kilos of Gouda Cheese, Fritjes with Mayo and Ban-cakes, left Amsterdam over 30 years ago for Anjuna Beach in India. Jeroen quickly got into Raving in the world of Goa Trance and electronic music. However, his love for Disco, Synth-Pop, and New Wave, where his musical journey began, brought him back to his roots. This passion led to the creation of Smutty Edits, as he decided to release carefully chosen edits from some of the most talented artists in the industry.

This first 12” features contributions from renowned artists who have left an indelible mark on the music scene. These collaborations ensure that each edit is of the highest quality, maintaining the integrity and spirit of the original tracks while adding a fresh perspective.

With occasional trips to Europe to reconnect with family and old friends, Jeroen remains deeply rooted in his heritage while continually seeking out new musical inspirations. Smutty Edits is set to release a series of records, each showcasing the label’s dedication to quality and innovation in Italo, Proto-House, Synth-Pop etc

worlds greatest dad, the four piece of Maddie Duncan on vocals and guitar, Keagan Krogh on guitar and keys, Matt Hendler holding down percussion and Ben Etter on bass and backing vocals, recorded their sophomore album partially at Maze Studios in Atlanta, while filling in the rest in their respective homes in 2020. The band doesn’t shy away from the emo/pop-punk influences that permeate their earlier recordings, but on their second LP have embraced their roots and, as Duncan calls it, the redneck emo sound that is deeply influenced by their youth growing up in the backwoods of Florida.

The latest full length album from Detroit mainstays Slum Village, F.U.N., has now made its way to vinyl. The 12-track project is their first album in nearly ten years and includes fresh collaborations with Larry June, Cordae, Eric Roberson, Robert Glasper , Karriem Riggins, Abstract Orchestra, Sango, Phat Kat, Daru Jones, Earlly Mac, The Dramatics and more. 2015's critically acclaimed Yes! further cemented T3 and Young RJ's ability to effectively carry on the legacy of the seminal rap group, retaining its essence while evolving its sound with fresh new energy. However, with last year's sold out tour in Europe, and the release of the Larry June and The Dramatics-assisted "Just Like You", it was revealed that the duo was back in the lab together working on a new Slum Village album. F.U.N. finds Slum Village expanding on their signature certain sound, but still staying close to their hometown roots: Young RJ explains- “We wanted to just try something new, so we focused on making Disco-inspired music,” and T3 notes that the recording process all “began with collecting old Disco records.” For fans who wonder why the sonic shift, and why the long hiatus between proper albums, T3 says “Slum is still here. We’re still relevant and we’re still trying to push the envelope. Sometimes people put too many rules on music, and without sounding cliche, we wanted to just have fun with this album.” F.U.N., indeed.

Born in Los Angeles in the early 1990s via a residency of week after week jam sessions at a dive club called Raji’s—then relocating to New Orleans—the band’s trajectory lasted about a decade and ended when Hurricane Katrina demolished their homes and the band members scattered. Key members included Vicki Peterson (Bangles), Susan Cowsill (The Cowsills), Peter Holsapple (The dBs, R.E.M.), and many more—including the only member who has been with them from the beginning, Mark Walton (Giant Sand, The Dream Syndicate). However, there were also several singer/songwriters (Carlo Nuccio, Gary Eaton, Ray Ganucheau) without an impressive pedigree that shine as brightly as their slightly more famous bandmates. The best possible comparison that we can make is that the Continental Drifters had a similar vibe to the classic roots combo Delaney & Bonnie & Friends—more of a “collective’ than a band—in which there were several distinctly original lead singers, blistering sidemen instrumentalists and an inspiring blend of both original and seminal cover songs with a southern fried blue-eyed soul approach that couldn’t be beat.

Back in circulation after over a decade, Jahtari's seminal "Jahtarian Dubbers Vol. 1 EP" receives the long-awaited reissue treatment, reviving the raw, 8-bit-infused dub vibes that defined a new era of digital roots music.

Originally released in 2008 and quickly disappearing into dub obscurity, this heavyweight 12" returns with four essential cuts that perfectly encapsulate the Jahtari sound—where chiptune meets the echo chamber.

The EP kicks off with Blaze Dem's "Roots Defender", a hypnotic concotion of deep basslines and eerie samples from a Swedish cult ritual, setting a heavy tone right from the start. disrupt's cinematic "Kozure Okami" follows, channeling Black Ark vibes through 8-bit synth explorations.

On the flip, John Frum delivers the hauntingly beautiful "January Dub", while Rootah's slomo slammer "Holy Mount Part 2" closes the EP with Lynchian, echo-soaked vibrations that linger long after the needle lifts.

Timeless tracks, mastered by CGB-1 at D&M in Berlin for maximum impact. Pivotal piece of Dub music!

Soul Jazz Records’ are releasing their classic release ‘Rastafari – The Dreads Enter Babylon 1955-83’ in a new one-off pressing limited edition blue coloured double vinyl edition. The album includes new tracks and is fully remastered from the original edition.

Spanning nearly 30 years of revolutionary music and featuring the music of Count Ossie, Johnny Clarke, The Mystic Revelation of Rastafari, Bongo Herman, Earth & Stone and many more, this is an in-depth look at some of the heaviest and righteous music ever made!
Soul Jazz Records' Rastafari: The Dreads Enter Babylon charts the many links between reggae music and Rastafarianism. The album comes complete with full gatefold and bespoke inner sleeves, containing stunning exclusive photography and extensive sleevenotes.

Rastafarianism had its roots at the start of the 20th century and became widespread in Jamaica following the visit of Haile Selassie, the King of Ethiopia, to Kingston in 1966. By the 1970s Rastafarianism become practically synonymous with reggae, as many roots reggae artists became known throughout the world, notably spearheaded by the success of Bob Marley and The Wailers.

As ‘roots reggae’ artists in the 1970s continued to spread the word of Jah (God) in their music, Rastafari reggae became the ultimate rebel sound throughout the world.

Admittedly, I'm not a great salesperson when it comes to running our little label. I do my best not to give into hyperbole or build something up too intensely if someone has not heard a new artist yet. I prefer to simply present the music and let the listener decide how they feel about it. However, we live in an age when the "story" put together by publicists, labels, and managers are often the driving force of an artist's ascension into the zeitgeist. And for me, that's always felt rather artificial, even when the narrative is genuine. But every once in a while, a project comes along that takes on a life of its own. And I can say without a doubt that the growth of Pale Jay's reach since we first started working with him has little to do with conjured narratives or clever marketing, but more to do with how the music makes the listener feel. It's that simple. In fact, Jay is so enigmatic and without a narrative that the mere absence of a story has become the story. Who is he? Where is he from? What's next? Some questions are better left unanswered in my opinion, my friend. Including the question, "Why does this music make me feel so much?" You're better off just sitting back, disconnecting, and letting Low End Love Songs by Pale Jay wrap you up. Enjoy and spread the good word. - Terry Cole

"Low End Love Songs", more so than previous releases, is a diary in form of song. I knew I just had to wait for the songs to be ready to be picked, like ripe fruit from a tree. Each tune encapsulates a distinct moment in my life, with music serving as my means of processing complex and sometimes conflicting emotions. In this album, I depart from loop-based song structures towards more intricate and lush compositions. Latin influences permeate the music, adding new layers of rhythms and textures to my soul-music roots. - Pale Jay

Als dieser exzellente Downbeat-Instrumental-Hip-Hop-Sampler 2002 erschien, waren Zero 7 für ihr brillantes Debütalbum "Simple Things" für den Mercury Prize und den Brit Award als bester Newcomer 2002 nominiert, ihr späteres, drittes Album "The Garden" erhielt 2007 gar eine Grammy-Nominierung. Zero 7 haben unglaubliche Musik gemacht, ihre Remixe stets mit Bedacht ausgewählt (so z.B. Terry Calliers "Love Theme From Spartacus") und sich zu einer hervorragenden Tourband entwickelt.

Die ursprüngliche ALN Vinylausgabe ist so begehrt, dass sie heute für teures Geld verkauft wird. Freuen wir uns auf den Soul-Klassiker "People Make The World Go Round" der Stylistics und die rare, von Roy Ayers produzierte Groove-Bombe "You Can’t Turn Me Away" von Sylvia Striplin. Don Blackmans "Holding You, Loving You" ist ebenfalls enthalten, das von Slum Village gesampelt wurde, die hier mit "Jealousy" vertreten sind, ebenso wie Herberts Boompty-Boom-Rub von Gainsbourgs & Bardots "Bonnie & Clyde". All diese Güte wird wieder für einen anständigen Preis erhältlich. Form ist vorübergehend, Klasse ist dauerhaft. Und Zero 7 sind eine Klasse für sich.

- Gepresst auf schwarzem 180g Doppel-Vinyl samt 30 cm großem Art-Print und Download-Codes für die ausgespielten Tracks und den Original-DJ-Mix in den Formaten MP3/FLAC/WAV.

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Brooklyn underground rap heroes Tanya Morgan drop a two-track heatrock of a 7-inch that lights up dancefloors while maintaining their true-school status with clever wordplay and progressive beats.

Since breaking on to the blog-era rap scene in 2006 with their debut LPMoonlightingand solidifying their status in 2009 with the now-legendaryBrooklynati, Tanya Morgan has represented the best of underground hip-hop. Your favorite rapper's favorite group, they combine trademark witty wordplay with tough, headnodding beats that demand rewinds and repeat listens. Bouncing back in recent years withRubber Souland other one-off cuts, the duo of Donwill and Von Pea has teamed with producer 6th Sense and quietly set about building the next chapter of their rock-solid legacy.

"Move It Or Lose It" is the latest manifestation of Tanya Morgan, a cut that is neither throwback nor trend chasing, but does double duty on the dancefloor as well as a headphone banger. Irresistibly funky, with Mathien's guitar and vocal the icing on top, and riding at a perfect tempo to get dancers bubbling, it got immediate attention from DJs when the group teased the digital version online.

The double A-side single continues on the flip with "Don't Look Up," another grown-man rap (as Von Pea asks, "How you want the old me acting brand new?") set to 6th Sense's progressive uptempo beat that recalls Q-Tip's adventurous recent productions, and featuring Mia Jae on vocals driving the chorus. Donwill's commentary on getting older and wiser in the music industry hits home to any of us who've been around the block: "Slow growth while the roots spread / Somebody said rap group's dead / They prolly wrote it as a sponsored ad."

Both cuts are primed to move feet and represent the continued lineage of quality underground hip-hop, proudly coming straight from the heart of Brooklyn as a collab with BK-based indy vinyl masters Names You Can Trust.

The mighty U Roy is the originator, the man who put the DJ phenomenon on the map and made it an artform. From Kingston Jamaica to the corners of all the Dancefloors, Clubs and Sound Systems across the world. U Roy (B. Ewart Beckford, 1942, Kingston, Jamaica) began his musical career spinning records for Doctor Dickies Sound System way back in 1961. The mid sixties saw him working for Sir George The Atomic before moving in 1967 to the man who best shaped his sound King Tubby on his Home Town HI - FI. Tubbys work in the dub field, dropping out vocals on his versions for the Sound Systems allowed U Roy to voice over these spaces adding to the excitment of the Dance!!!

U Roy moved into the recording arena firstly cutting two disc's for Producer Lee Perry 'Earths Rightful Ruler' and 'OK Corral' and then following this with 'Dynamic Fashion Way' and 'Riot' for Producer Keith Hudson. Producer Duke Reid seeing the protential in this new found form brought U Roy to his Treasure Isle Studios to voice over his back catalogue of Rocksteady Hits. His first three releases for Duke Reid 'Wake The Town', 'Rule The Nation' and 'Wear You To The Ball' held the Top 3 positions for 12 weeks in early 1970's.

We have compiled some of U Roy's best loved cuts from his mid 70's period when all were still looking at him for guidence.  The opening cut Call On Me sees him working over Delroy Wilson's 'Got To Be There'.  You Never Get Away gets U Roy answering Delroy Wison's 'Keep On Rocking'. Johnny Clarke's 'Time Gonna Tell' with rootsy bassline turns into Every Knee Shall Bow. Cornell Campbell the Gorgon himself gets his 'Check Mr Morgon' turned into Gorgon Wise. Johnny Clarke's Hold On gets reworked. Jeff Barnes 'Blowing In The Wind' tuned into Number 1 and alongside King of The Road which sees Lennox Brown blow his saxophone over the instrumental 'In The Swing of Things', was one of U Roys first releases. Linval Thompson's 'Let Jah Arise' is versioned to Joyful Locks. I Originate which lends us to the title of this compilation, says it as it is, a classic built over Dave Barker's 'Shocks of Mighty'. Linval Thompson again provides the backbone with his Cool Down Your Temper cut for U Roys version. The mighty Burning Spear's Creation Rebel although providing our next track, it is Johnny Clarke's version that gets worked over. Leo Graham's 'Birds of A Feather' turns into Stick Together. Soul Syndicates instrumental 'Goliath' grows into Riot. A big hit for Max Romeo Wet Dream sounds great under U Roy's new rendition.

Two extra tracks for the CD release of this album sees the great voice of Slim Smith on his 'Let's Stick Together' becomes ‘Ain’t To Proud To Beg’ and Cornell Campbell's 'Stand Firm' works with
U Roy to sign us off with ‘I Shall Not Remove’.  A fine collection i hope you agree to the Daddy of all DJ's who in his own words ''I Originate, so you must appreciate, while the others got to imitate'' says it all really……

Acclaimed folk-blues singer/songwriter Luke Winslow-King has recently inked a significant deal with the iconic Bloodshot records, coinciding with the label’s 30th anniversary, and marking a revival in the institution’s trailblazer history of outlaw country, folk roots, and rock n roll. To celebrate this exciting collaboration, Luke Winslow-King is set to embark on a midwest tour with guitar maestro Roberto Luti of Tuscany May 17 - June 1 of 2024. Tuscan Slide Guitar Maestro Roberto Luti is a founding member of the Playing For Change band and has collaborated with legends such as Taj Mahal, Keb Mo, Keith Richards, Ringo Starr, Dr. John and numerous others, accumulating over 100 million plays on YouTube. His unorthodox, angular and evocative slide guitar style is based on Mississippi and Chicago blues and is infused by soul and African roots traditions. Fans can expect the sincere and heartfelt roots blues stylings King has become known for, showcased alongside his continual artistic reinvention.

Admittedly, I'm not a great salesperson when it comes to running our little label. I do my best not to give into hyperbole or build something up too intensely if someone has not heard a new artist yet. I prefer to simply present the music and let the listener decide how they feel about it. However, we live in an age when the "story" put together by publicists, labels, and managers are often the driving force of an artist's ascension into the zeitgeist. And for me, that's always felt rather artificial, even when the narrative is genuine. But every once in a while, a project comes along that takes on a life of its own. And I can say without a doubt that the growth of Pale Jay's reach since we first started working with him has little to do with conjured narratives or clever marketing, but more to do with how the music makes the listener feel. It's that simple. In fact, Jay is so enigmatic and without a narrative that the mere absence of a story has become the story. Who is he? Where is he from? What's next? Some questions are better left unanswered in my opinion, my friend. Including the question, "Why does this music make me feel so much?" You're better off just sitting back, disconnecting, and letting Low End Love Songs by Pale Jay wrap you up. Enjoy and spread the good word. - Terry Cole

"Low End Love Songs", more so than previous releases, is a diary in form of song. I knew I just had to wait for the songs to be ready to be picked, like ripe fruit from a tree. Each tune encapsulates a distinct moment in my life, with music serving as my means of processing complex and sometimes conflicting emotions. In this album, I depart from loop-based song structures towards more intricate and lush compositions. Latin influences permeate the music, adding new layers of rhythms and textures to my soul-music roots. - Pale Jay

Seit mehr als zwei Jahrzehnten begeistert die irische Post-Rock-Größe GOD IS AN ASTRONAUT Hörer und Fans aus aller Welt mit einem einzigartigen
Sound-Universum, sowohl live als auch auf ihren Studiowerken. Zwischen stets vollen Tourplänen, kehrt das Trio aus Wicklow nun am 06. September
2024 mit einem frisch-gebackenen Longplayer über Napalm Records zurück!
„Embers“, das elfte Studioalbum der Band und ihre bislang wohl umfangreichste und grandioseste Produktion, beweist vom ersten bis zum letzten
Ton, warum GOD IS AN ASTRONAUT schlichtweg Meister ihres Fachs sind.
Die von den Brüdern Torsten und Niels Kinsella gegründete Band schafft hier ein weiteres außergewöhnliches Klanguniversum, und lädt die Zuhörer
ein, die Songs auf ihre ganz eigene Art und Weise zu erkunden und zu interpretieren. Die erste offizielle Single „Falling Leaves“ ist eine Reise durch die
Kürze unserer Existenz, von der Gründung bis zum Untergang. Der progressive, Uptempo-Album Titeltrack mit seinen eindringlichen,
Synth-geladenen, oftmals fast schon bedrohlich wirkenden Shredding-Passagen balanciert dennoch stets im Einklang zwischen Licht und Dunkelheit.
Songs wie der einfach epische „Odyssey“ laden auf eine aufregende Reise ein, in der sich alle Songwriting-Qualitäten der Band vereinen.

This is the second package of remixes for the hypnotic folk music of the Ainu a cappella group Marewrew. 
Ukouk Remixes Pt. 02 is dedicated to dub-infused remixes, featuring Elijah Minnelli and Peter Presto on a 7" single.
Elijah Minnelli is a producer of dub music. The London-based artist specialises in a fusion of folklore and dub, which he masterfully demonstrates on his latest release Perpetual Musket on the FatCat label. His remix of Marewrew's Uekap is a deep and breathing take on the mesmerising round singing vocals, dubbed in a live take through his mixing desk. The chopped vocals are used like percussion instruments. Elijah Minnelli has also contributed a moody DJ mix to the Pingipung podcast series, sharing some of his knowledge of pre-reggae roots music from the Caribbean and South America.
Pingipung founder Peter Presto remixes the same track, Uekap, with his unmistakable dubby playfulness. The vocals are merry, the groove stumbling and slow. The flute melody qualifies as a perfect stress antidote.
The electronic dub trio Cloud Management added their version of Honkaya to the digital package. There is an Andi Otto remix in the bundle, Hunpe Yan Na. The song is about a whale that has stranded ashore; Otto dubs the song with Heiko Gogolin’s bass clarinet, blown organ pipes and his cello. Finally, Californian folk wizard Contact Field Orchestra adds his atmospheric, haunted version of Etukuma Kara.

• The return of the award-winning 2009 release • Available on CD and limited-edition translucent red LP • On tour throughout 2024 Since 1999, the GRAMMY-nominated southern rock band NEEDTOBREATHE have quietly emerged as a dynamic force in music, from independently releasing their first album in 2001 to finding themselves playing arenas and receiving nominations for multiple Dove Awards, Grammys, and Billboard Music Awards. After releasing two successful albums, Daylight and The Heat, on Atlantic Records, the band their third album, The Outsiders, in 2009. The record quickly put them on the map, peaking at #20 on the Billboard 200 and at #2 on the Hot Christian Albums charts. The first single, “Lay ’Em Down,” reached #4 on the Hot Christian Songs chart, and other tracks crossed over to Triple A (“Something Beautiful” #12) and the Alternative charts (“Hurricane” #29). AllMusic gave the album four stars, claiming it “offers up another collection of sweeping, reverent rock songs [and] flirts with touches of roots rock and traditional gospel, from the title track's powerful Southern stomp to the sheer power of Bear Rinehart's voice." The Outsiders won the Dove Award for Rock/Contemporary Album Of The Year, and “Lay ’Em Down” landed honors as Rock/Contemporary Recorded Song Of The Year.

Two years later, the band would be on tour as the opening act for Taylor Swift’s Speak Now world tour, as well as performing alongside acts including Tim McGraw and Train. Since the release of this landmark album, NEEDTOBREATHE have reached arena-sized proportions, headlining iconic venues such as Bridgestone Arena in Nashville, TN, and four sold out shows at Red Rocks Amphitheaters in Morrison, CO. The band most recently performed at the 2024 CMA Awards in Austin, TX, with Jordan Davis, whom they also recorded an episode of CMT Crossroads with. Now, over fifteen years since The Outsiders was released and brought the band to greater heights, NEEDTOBREATHE are re-pressing the long sold-out record for the first time ever on translucent red vinyl.

Between December 2022 and January 2024, the collective De Niemanders (producer Rick Wiegerinck joined the team) visited asylum seekers' centers in the Netherlands with a mobile studio, searching for singers, musicians, and their music and stories. The music sessions were mostly filled with pure joy, while the conversations were heavy, hopeless, hopeful, cheerful, and everything in between. The collective connected with creative individuals from all over the world, who in turn introduced them to even more artists, writers, and storytellers. Rocco, Wout, and Rick quickly realized that they needed to offer more than ‘just’ the music album as a platform, so a completely unique Niemanders newspaper was born, and journalist Christianne Alvarado joined for a six-part podcast series.

Following their instincts, they created a new Niemanders album that became a genuine collaboration between the people they met and themselves. A significant difference from the prisons was that this time, the singers and musicians could be recorded in a mobile studio. As a result, the album is a mix of many singers and languages, telling the stories of their journeys, dreams, families, past lives ‘back home,’ and their current situation as refugees. There are songs inspired by the stories that residents of asylum seekers' centers told or wrote down, sung by Rocco, while other tracks emerged from writing sessions with singers Isma IP, Guy-El Mabiala, Q-Mars, and Hamid Reza Behzadian, and are also sung by them. The song material is a creative melting pot of colorful music that ranges from swinging afrobeat, highlife, desert rock, and rootsy psychedelia, but the alternative rock for which Ostermann and Kemkens are known also seeps through. You could say that, with few exceptions, each song is a film soundtrack for the text.

Unfortunately, the harsh reality of asylum procedures also intruded into some of the blossoming musical friendships. Due to a negative decision by the Immigration and Naturalization Service (IND), one of the great singers was forced to leave the Netherlands. This is just one example of the lack of control over—and the nerve-wracking wait for—an IND decision, which unfortunately seems to be something every person in an asylum procedure must endure. The asylum process can bring years and years of uncertainty and waiting, or sudden deportation.

Campo's debut album, released in 2012, was a milestone in the new South American music scene. The brainchild of Juan Campodónico - one of the creators of Bajofondo - combines sophisticated pop, electronica, and South American roots, uniting past and present in a unique way. Neo-cumbia, tango, and candombe shake hands with Britpop, soul, and trip-hop in a timeless album. A place where indie rock intersected with the great Latin bands of the 1950s, fringe genres like cumbia villera were transformed into sophisticated music, tango joined alternative pop, and track music became contemplative and landscaped. Juan Campodónico has a long artistic career (Peyote Asesino, Bajofondo) and extensive experience as an artistic producer on some fundamental records of Uruguayan and South American music (Jorge Drexler, Cuarteto de Nos, No te Va Gustar among others). In 'Campo' is a very heterogeneous group of composers, performers and instrumentalists from different genres and geographical locations (Jorge Drexler, Martín Rivero, Ellen Arkbro, Pablo Bonilla and Verónica Loza, among others). 'Campo' was based on the song format, jumping the limits of the Río de la Plata, immersing himself in rhythms, genres and forms of South American songs from the past and present, seeking the link with pop, rock and electronic music. The album -which received nominations for the American Grammys, the European MTV Awards and the Latin Grammys- broke schemes and prejudices. He brought together opposite worlds such as cumbia and britpop, songwriters and dance music, or bolero and electropop, finding beauty and sophistication in unexpected places.

The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages, Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes, pressed on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g SuperVinyl 33RPM LP is the definitive-sounding version of the groundbreaking work cited by Rolling Stone as the 378th Greatest Album of All Time. This reissue also represents the first time this gold-certified effort has been presented in audiophile quality. Benefitting from the ultra-low noise floor, superb groove definition, and dead-quiet surfaces of SuperVinyl, Run-D.M.C. now plays with a clarity, immediacy, punchiness, and directness worthy of the artistry, urgency, and intellect of the trio's material.

The brilliance of Russell Simmons and Larry Smith's production comes into view as if the music is being broadcast on a giant system in a small club — only more focused, lively, and unlimited. Free of dynamic constraints and fatiguing harshness, this LP invites you to turn up the volume and experience the raw, rough, invigorating songs that changed the look, sound, and feel of hip-hop overnight. Think the trio’s sparse framework of drum machines, tag-team rhymes, keyboard accents, and turntable scratches is stuck in the mid-80s? Spin MoFi’s SuperVinyl LP and gain new appreciation for the music, messages, and production on display on Run-D.M.C.

Recorded in the wake of two successful and pioneering singles, both included on the album, Run-D.M.C. effectively took a sheet of coarse-grit sandpaper to the polish, sheen, and linear presentation of all the hip-hop that preceded it. Stripped to bare-bones foundations, the songs grab your attention and shake you by the collar with a combination of industrial-leaning rhythms, staggered deliveries, dance drama, and hard, minimalist percussion. Then there are the lyrics.

The LP broadcasts a smart mix of boots-on-the-ground reports, uplifting advice, and then-nascent b-boy culture. In one fell swoop, its narratives and music rendered the scene’s proclivity toward glamor and softness passé. Run-D.M.C.’s tough, cool-minded fashion sense showed the trio walked its talk and gave fans — particularly those living in long-ignored urban areas — heroes which with they could identify. Kangol hats, black jeans, leather jackets, Adidas sneaks, and gold chains were the new currency.

In every regard, Run-D.M.C. signifies the birth of modern hip-hop. Never more obviously than on the groundbreaking “Rock Box,” where rap and rock were first fused. As the first hip-hop video to receive regular rotation on MTV, the track eviscerated racial and social boundaries, awakened musicians and listeners to new possibilities, and redefined both popular music and, ultimately, popular culture. As the Roots’ Questlove has stated, it “ knocked down many obstacles, enabling hip-hop to become the new gospel."

Such teaching includes the real-world scripture of “Hard Times,” utopian hopefulness of “Wake Up,” and observational truths of “It’s Like That.” Released as the group’s debut single well before its eponymous album, the latter tune established themes and outlooks Run-D.M.C. would embrace during its career. Namely, the keen awareness of various prejudices, economic ills, and disruptive violence as well as the knowledge that education, self-motivation, and hard work were the ways to escape disadvantages and disillusionment.

Inspired and inspirational, the song reflects the spirit and shrewdness that courses throughout Run-D.M.C. That includes a detailed account of the trio’s not-so secret weapon (“Jam-Master Jay”), purpose statement (“Hollis Crew (Krush-Groove 2)”), and a revolutionary hybrid autobiographical narrative-dis track (“Sucker M.C.’s (Krush-Groove 1)”) widely regarded as one of the best hip-hop songs ever created. The same can be said for every moment on Run-D.M.C.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Rising Japanese duo SUDO debut on Drumcode with the inspired ‘Real World’ EP.
The brothers Isao and Takashi – the former based in Berlin, while the other holds forte in their hometown of Kansai, Japan – have been grafting away at their craft for many years, never compromising on quality, while eschewing trends. Instead, patiently creating and waiting for their opportunity.

The duo remembers their first vinyl purchase from back in the ‘90s – a white label they’d later find out to be Underworld’s legendary ‘Rez’. It’s from these incendiary roots that ‘Real World’ takes inspiration. A trio of tracks imbued with depth, subtly and impact.

The title track is a deep barrelling trancey composition and is trippy in nature, conjuring visions of the Underworld classic, while never losing a future-minded ethos. ‘Construction’ starts as a chunky slice of percussive techno, before a mesmerizing ambient interlude takes the track to another realm. ‘Mercury’ is a transcendental slice of tech-trance that’s timeless in every sense. Bliss.

Having gathered up praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Gilles Peterson, Huey Morgan, The Guardian, Jazzwise and more, for his lauded ‘Crisis & Opportunity’, drummer and composer Myele Manzanza returns with the fourth instalment of his series, titled ‘Meditations’.

On ‘Meditations’, we see Myele revert to a purely acoustic line-up, channeling a focused and razor-sharp return to his Jazz roots. Showcasing an incredible level of musicianship between three musicians at the top of their game - including Matthew Sheens (Ross McHenry, John Patitucci) on piano and Matt Penman (Joshua Redman, Sfjazz Collective) on double bass - the trio exchange motifs over the length of 7 tracks.

Opening proceedings with frenetic rhythmic improvisation, complimented by melancholic and cinematic layers of sound, ‘Crayford’s Room’ is a tribute to Myele’s musical mentor back in New Zealand. Remembering his time as a student in Wellington, Myele shows his deep connection to his origins, manifesting itself as lament on ‘Winter’ and ‘Homesick’. Introducing hypnotic, contemplative melodies take centre stage on ‘Something Old Something New’ (the first single to be released from the project)’ It maintains a sense of tension and intrigue throughout, and intensity rises to a crescendo sending sonic particles sprawling into space.

Intuitive, darker and deeply contemplative, Myele shares his innermost thoughts on ‘Crisis and Opportunities Vol.4 - Meditations’. He divulges:

‘The personal angst and existential frustration I was going through across 2020 - 2022 I believe is well reflected here. The album is deeply informed by the musicianship and sound of my trio, Matthew Sheens on piano and Matt Penman on double bass. Knowing that musicians of their calibre were going to be involved gave me licence to go further in my writing, deploying odd time signatures, sharing the melody roles across the piano and the bass, and delving deeper into the nuances of what the acoustic piano / bass / drums trio can do. The compositions present a challenge even to the best musicians, and I knew that it was essential to have a team on this level to really move the music beyond an academic exercise and draw out the emotion and colour from the material.’

repress !

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

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.

The Slovak trio Berlin Manson was formed as a so-called apartment band in the dark days of Corona lockdowns. The founders Patrik Nagy and Adam Dragun compensated for the lack of cultural activities by creating new and original music, where Patrik provided D.I.Y. made electronic beats with live guitar playing and Adam provided his lyrics full of irony and criticism of the scene and society.

After the first successful concerts and singles, the cloud around the name Berlin Manson is steadily growing. It wasn't until a track and music video titled I'm not dancing I'm nodding my head that catapulted them into the limelight of the alternative scene, heralding their debut EP Life Ends When You're Thirteen (2022). Later, the original duo were joined by drummer Tomáš Tabiš, who is also in the band 52 Hertz Whale, whose album was also released under the Weltschmerzen label. Their concert performances have gained more momentum and their drive has made them one of the most popular club and festival line-ups in Slovakia and the Czech Republic.

After a successful collaboration on the 2023 single Hotel Kyjev with Pisht Kralovic a.k.a. FVLCRVM, the band is releasing their first full-length album Poor but Sexy, with which they are moving under the Weltschmerzen roof. The fusion with roots in electronica, punk, pustpunk, rave and HC is once again complemented by Adam Dragun's great lyrics, which alternate social engagement with sarcasm, irony and cynicism, or nostalgia and sadness. On the current release we can also hear collaborations with guests such as Katarzia, Edúv Syn, Fvck Kvlt, Temný Rudo, Dušan Vlk or Paris.

Human Worth are proud to present the killer second album ‘Celestial Devastation’ from UK supergroup COWER, featuring members of The Ghost of a Thousand, Petbrick, USA Nails, Yards, The Eurosuite and JAAW, with a portion of proceeds donated to charity. Featuring the musical might of Tom Lacey (Yards, The Ghost of a Thousand), Wayne Adams (Petbrick, JAAW, Big Lad) and Gareth Thomas (USA Nails, The Eurosuite) Cower is a collaborative project of 3 friends celebrating a lifetime of music exploration together. Each bringing their own distinct flavour to this new record, which pushes the boundaries even more than their acclaimed debut ‘BOYS’, exploring further into the realms on gothic darkness, but still with a real kick, highlighting the trio’s noise roots.

Recorded, mixed and mastered at Bear Bites Horse Studio by Wayne Adams, ‘Celestial Devastation’ explores the idea of technology becoming the guiding light in our lives, for better or worse. In the words of the band’s lyricist Tom Lacey “We give up a lot of decision making to the algorithm more and more, so these songs are an attempt to make sense of that. I think that kind of power speaks to certain type of men, they seem to want to try and harness it, make others see it’s value, so this record speaks a lot to tech bros and the weird cult of silicon valley.” Human Worth have pressed up a limited run of ‘Celestial Eco Mix’ vinyl, housed in a gorgeous package designed by Thomas Lacey using MidSommar AI – linking perfectly with the album’s themes. Featuring a super high gloss cover, with additional photographic inserts illustrated by Daniel Holloway. 10% of all proceeds will be donated to Hackney Foodbank, supporting people in crisis or trapped in poverty with compassion and dignity.

Trying to define what it is that makes Dr. John special is much like trying to define the word "soul'—you can surround it. But nailing it down is a whole ‘nother smoke. You can point to his sense of history, how he's never forgotten from whence he came, how his music always returns to his roots, even honoring the proud heritage of his native New Orleans. You can dissect his technique, marveling at the adroitness of the hands right and left; admiring the strong second line; respecting the tributes to his inspiration, Professor Longhair, apparent at every turn. And you can note how his peers consider his presence at a session as lending instant credibility to that particular project. "Upon the release of The Brightest Smile in Town, the reviews were effusive. Chicago critic Bill Knight’s comparisons to Fats Waller and James P. Johnson were high compliments indeed. Downbeat’s Jim Roberts called the playing 'graceful'; noting that the LP had a broader scope than its predecessor. Jazz Times’ Rhodes Spedale summarized: 'He’s never been in better form than here.' We kept in touch over the years. Mac was always generous and encouraging. Little did we know when The Brightest Smile in Town was released, what accolades lay ahead for Mac Rebennack and Dr. John. From the innovative guitar triumph 'Storm Warning' on the Rex label in 1959, to his 2012 Grammy-winning Locked Down album, Mac’s musical light shone brightly for seven decades. We were fortunate he chose to play for us. I’m sure he’d say that he was lucky too." - Jack Heyrman, Clean Cuts Producer

Thrasher is the soundtrack to a virtual reality video game about a creature that has a life cycle that traverses different psychedelic realities. Thrasher was composed and performed by Brian Gibson, bassist of Lightning Bolt. It is the follow up to the acclaimed best-selling game and soundtrack Thumper. The central character in Thrasher is a giant centipede like creature, so Gibson employed a lot of melodic sequences that resonated well with its segments moving through space. The soundtrack has the drive you might expect knowing Gibson"s work in Lightning Bolt combined with complex melodic structures that are absolutely irresistible. In addition to bucking the hyperreality trend in gameplay, Gibson"s DIY ethos and warehouse culture roots permeate the entire soundtrack. He says it best: "Thumper has that combination of psychedelic and iconic that takes me back to the Fort Thunder days. Thrasher is a further exploration into some of those motifs." We recommend that you play this record VERY loudly.

Montevideano: Luciano Supervielle and the Montevideo Philharmonic Orchestra" puts together a collection of pieces which, through a subtle accompaniment of electronic programming and synthesizers, generates a unique merge of orchestral music, Rio de la Plata music and new tendencies in electronic music and hip-hop. Montevideano could be considered a fundamental milestone in the career of Luciano Supervielle, who, together with the Philharmonic, managed to unite the worlds of classical music, hip hop and Montevidean roots with his compositions as never before. But more than a culmination, this album is at the same time the beginning of new paths and the continuation of the constant search for his own style.

2024 Repress


The Curtis Electronix saga follows up with new material from its head and curator CEM3340. Despite keeping its roots firmly into the deepest depths of electro, Future Tribe EP moves slightly away from his usual purism and across the four tracks manages to strike a careful balance between beauty and austerity, harmonizing elegance and restraint with the booming energy of techno and funk.

lassisches Roots-Reggae-Album von 1982, produziert von Prince Jammy bei Channel On und King Tubby's. Enthält die Hitsingles „Isim“, „Skism“ und „Ain't No Me Without You“ sowie den authentischen Titeltrack. Youthman Skanking ist eine hervorragende Ergänzung zu dem, was später als der Roots-basierte "Waterhouse Sound“ unter der Führung von Black Uhuru bekannt werden sollte. Wayne Smith & Jammy sollten später mit ihrem genreübergreifenden Hit "Under Me Sleng Teng“ die gesamte Musikwelt beeinflussen, aber mit Youthman Skanking fing alles an.

Diese Deluxe-Neuauflage von Youthman Skanking wurde von digitalen 24-Bit-Audioquellen remastered, die von King Jammy zur Verfügung gestellt wurden.

Packiging: LP Vollfarbige Hülle mit bedrucktem Innenteil inkl. Liner Notes und Fotos

The latest full-length from Kishi Bashi, Kantos is a work of exquisite duality: a party album about the possible end of humanity as we know it, at turns deeply unsettling and sublimely joyful. In a sonic departure from the symphonic folk of his critically lauded 2019 LP Omoiyari - a career-defining body of work born from his intensive meditation on the mass incarceration of Japanese-Americans during World War II - the Seattle-born singer/songwriter/producer's fifth studio album encompasses everything from Brazilian jazz and '70s funk to orchestral rock and city pop (a Japanese genre that peaked in the mid-'80s). Informed by an equally kaleidoscopic mix of inspirations - the cult-classic sci-fi novel series Hyperion Cantos, the writings of 18th century enlightenment philosopher Immanuel Kant, a revelatory trip to ancient ruins on the island of Crete - Kantos ultimately serves as an unbridled exaltation of the human spirit and all its wild complexities. During the earliest stages of creating songs for the album, Ishibashi's main intent was to return to his highly eclectic musical roots, in part by tapping into his jazz background and by delving into the dance-rock-leaning sensibilities he previously embraced as co-founder of Brooklyn-bred indie band Jupiter One. But not too long into the songwriting process, he stumbled upon an AI-equipped website capable of composing catchy song hooks based on a prompt - a turn of events that quickly catalyzed the existential inquiry at the heart of Kantos. Although his ruminations on AI, transhumanism, and humanity's troubled fate indelibly guided the making of Kantos, Ishibashi nonetheless views the album as "less of a warning about this kind of hubris but more a celebration of the very characteristics that make us human: desire, passion, empathy, and love." "If there's anything I want people to come away with when they hear this record, it's a feeling of excitement about the possibilities of human-created art," he says. "Even as we're learning more about all the amazing things AI can do, I think humans will always be one step ahead in terms of our creativity and innovation. There's still no limit to what we have to offer."

Thrasher is the soundtrack to a virtual reality video game about a creature that has a life cycle that traverses different psychedelic realities. Thrasher was composed and performed by Brian Gibson, bassist of Lightning Bolt. It is the follow up to the acclaimed best-selling game and soundtrack Thumper. The central character in Thrasher is a giant centipede like creature, so Gibson employed a lot of melodic sequences that resonated well with its segments moving through space. The soundtrack has the drive you might expect knowing Gibson"s work in Lightning Bolt combined with complex melodic structures that are absolutely irresistible. In addition to bucking the hyperreality trend in gameplay, Gibson"s DIY ethos and warehouse culture roots permeate the entire soundtrack. He says it best: "Thumper has that combination of psychedelic and iconic that takes me back to the Fort Thunder days. Thrasher is a further exploration into some of those motifs." We recommend that you play this record VERY loudly.

Thrasher is the soundtrack to a virtual reality video game about a creature that has a life cycle that traverses different psychedelic realities. Thrasher was composed and performed by Brian Gibson, bassist of Lightning Bolt. It is the follow up to the acclaimed best-selling game and soundtrack Thumper. The central character in Thrasher is a giant centipede like creature, so Gibson employed a lot of melodic sequences that resonated well with its segments moving through space. The soundtrack has the drive you might expect knowing Gibson"s work in Lightning Bolt combined with complex melodic structures that are absolutely irresistible. In addition to bucking the hyperreality trend in gameplay, Gibson"s DIY ethos and warehouse culture roots permeate the entire soundtrack. He says it best: "Thumper has that combination of psychedelic and iconic that takes me back to the Fort Thunder days. Thrasher is a further exploration into some of those motifs." We recommend that you play this record VERY loudly.

Søren Skov Orbit's debut album, "Adrift," is at once subtle and profound. The saxophonist and his collaborators have created something quite special and consistently deep. This record may not easily be classifiable, but the most interesting music creeps between the lines

Danish tenor and soprano saxophonist Søren Skov (Debre Damo Dining Orchestra) and keyboardist Peder Vind co-founded the trippy quintet Søren Skov Orbit in 2016 to explore “more jazzy ideas,” as the saxophonist puts it. Joined by a rhythm section steeped in contemporary improvisation and psychedelia, bassist Casper Nyvang Rask, drummer Rune Lohse and percussionist Ayi Solomon of the legendary 80's Ghanaian roots/highlife band Classique Vibes, the Orbit belts out a richly focused helping of broadly African-inspired modern jazz with a hazy sheen.

On the opening “Notifications of Nothingness,” Skov digs in his heels, a steely but languid unspooling of burnished tenor lines atop condensed, quavering piano and the thick footfalls of bass and percussion. As a tenor player, Skov has done his homework and has a kinship with Albert Ayler, Archie Shepp, J.R. Monterose, and the Dutchman Hans Dulfer, but he clearly has got his own robust phraseology and expressiveness. He also cites multi-reedists John Gilmore, Yusef Lateef, and Bilal Abdurahman as, “some of the players I’ve been listening to the most for the last 10-15 years.”

A healthy dose of reverb is present throughout the album, echoing Alton Abraham’s studio wizardry with the Sun Ra Arkestra or the trance-inducing and compressed fidelity of certain Ethio-jazz and Mystic Revelations of Rastafari sessions. Skov notes that, “everything is recorded live at the same time in the same room. I wanted to do it that way in order to catch the dynamics and authenticity of the music.” There is, in fact, a complex teeter- totter between crisp and hazy execution, achieved by a delicately balanced mix that keeps the group’s sound simultaneously advancing and receding. Vind’s phrasing is terse and introspective, a vibrating echo that nudges and reflects on Skov’s brusque tenor in a dance of sonic displacement.

“Orbiting” pits a chunky backbeat and the teetering, taut hand-rhythms of Solomon against an infectious, almost microtonal piano riff, while Skov’s arpeggios are clean and florid as he patiently rises up from under a carpet of funky loops. Following the freer “Reflections of Rif,” “Naration” lilts with a wink at “Footprints” and tugs between up-tempo polyrhythmic drive, clanging keyboard accents, and the innately steadfast keenness of the bandleader. The coupling of Solomon and Lohse is a big part of the group’s detailed energy; as the leader puts it, “Ayi knows everything about regional differences in drum patterns. He is always listening and super responsive, and his and Rune’s dynamics are amazing.” The music both presents a “vibe” and keeps the door open for engaging well under the surface as repeated listens will be extremely rewarding.

Limited pressing of 300 LPs ! 180gm VINYL LPS w/ INSERT & DOWNLOAD FILE UNDER : GARAGE ROCK / PUB ROCK "I wanted to make a very NOW album, our past was fantastic at the time but it was exactly that.the past. We've learned a lot since then and with the combination of influences and personal tastes we've concocted a combination of Raw Power guitar grunt, a touch of The Cars' pop sensibilities and Bad Seeds brood." Dave Butterworth Veteran rockers The Double Agents return with their third album New Motion a powerful new recording evoking directness and immediacy and marking their first release of new material in nearly two decades. The Double Agents' initial incarnation circa 2000 saw the fiercely independent quintet rise from humble stages to becoming one of Melbourne's most revered pub rock bands. They twice toured Europe and eventually shared the stage with iconic luminaries Dead Moon, Mudhoney, The Dirtbombs, Celibate Rifles, The White Stripes and The Black Keys before an amicable hiatus in 2008. New Motion is a modern Australian rock record and marks a departure from their garage rock roots, as best exemplified in their self released 2023 anthology compilation Best Bits. So Far spanning their first three releases. The familiar twin vocals remain, Kim and Dave summoning that deep Dead Moon energy, as does Ryan Tandy's singular lead guitar playing and the rock solid backbeat of Myles Gallagher, but the band's scope seems to have widened on this record, with the inclusion of longtime cohort Mick Stylianou (Saint Jude) adding style and harmonic punch on bass guitar and backing vocals. ..The New Motion sessions were tracked to analog tape by Finn Keane at Head Gap and Julian McKenzie at Newmarket with vocal post production by Dave Larkin (Dallas Crane), mixing by Callum Barter (Courtney Barnett, Kurt Vile), mastering by Mikey Young. Dave Butterworth also produced the album.

Wiederveröffentlichung des gefeierten Roots-Reggae-Harmony-Group-Klassikers aus dem Jahr 1977 mit Original-Artwork. Die entscheidenden Rhythmen kommen von The Aggrovators & The High Time Band. Aufgenommen bei King Tubby's. Excellent produziert von Prince Jammy. Enthält die drei seltenen und gesuchten Singles 'Jah Gave Us This World', 'Keep On Trying' und 'Black Black Minds'.

Luminice Blue Transparent Vinyl. Can you hear the war drums beating? Prepare for battle! Lost In Cult Records, Black Screen Records, Gaziter and Deadpan Games are proud to present Wildfrost: the Original Game Soundtrack. For the first time on vinyl, enjoy the complete and unabridged orchestral score from composer Paul Zimmermann. Rich with folk roots and powerful crescendos, it's the perfect soundscape for your journey through the cold. No Pengoons were harmed in the making of this vinyl. Composer Paul Zimmermann on working on this soundtrack and vinyl: "Writing the music for Wildfrost was a blast. I loved mixing a ton of different instruments from all around the world to bring to life the colourful and unique setting of the game. The gameplay can get very challenging, so I wanted to make sure the music felt playful and uplifting, while also providing those big and heroic moments for our boss fights. I'm super pleased to partner with Lost in Cult and Black Screen Records to bring this soundtrack to vinyl. Seeing the positive response from players has been amazing and I hope this vinyl, with its unique artwork by Nuri Durr and the additional extras, provides fans of the game and its music another great way to connect with the world of the eternal winter!"