Buscar:doors

The desire for a dancefloor couldn’t get much stronger right now. Mystery new label DISKOD supply the goods to satisfy that thirst with a double header of club-ready heat, baying for those club doors to open.

One side hits you with a peak time, disco-laced slammer, the other offers up a deep, subby, UKG flavour.

We know you've been waiting for this one since last summer! Caspa's debut on Youngsta's ridiculously on-point Sentry has been one of the most requested releases in a very long time. Hot on the heels of releases by dBridge, Nomine and Akcept, the Sub Soldier comes in hard with two absolute burn-ups...

'Gutter Riddim' is a stately spacious construction where every weighty element is carefully considered and plays a key role in the momentum. Tightly sprung tension buzzes through it with high voltage as Caspa lays down some of his darkest designs to date. 'Hot Head' hurls us even deeper into the shadows. A true teaser piece, the first bass line is a staccato stab that gives you just enough time to settle into the groove before the real big-balls bass line comes hurtling out of nowhere.

Rewind every single time, this has been causing uncut mayhem for the few DJs lucky to have it early enough. Timelessly gully and a perfect way to kick the doors of 2018 in. As those who were at Sentry's first anniversary at Fire earlier this month will corroborate: London's heart rate is pounding away at 140 again, some of the most crucial bass music is coming out of the city and Sentry, Youngsta and Caspa are slap bang in the heart of it. The wait is over... Enjoy.

A personal record for Mike shaped by memory, places, and renewal. Walking the streets of his birthplace, St. Louis, Zito reconnects with the sounds, stories, and hard lessons that forged his signature blend of soul-driven blues and fearless storytelling. Thirteen years after Gone to Texas, this album feels like a defining moment, marking a new chapter for Mike, his family, and a life reclaimed in the city that started it all. The songs paint vivid snapshots of city life and personal reckoning, from late- night regret and self-awareness to raw portraits of neighbourhood survival and street-level truth. Tracks like "Downtown at Midnight" and "Grand Avenue" capture the grit, temptation, and consequences of the past with unflinching honesty, grounding the album in lived experience and emotional weight . Zito's writing is direct and cinematic, pairing tough reflection with compassion and hard-earned wisdom.

At its heart, Outside Or The Eastside is a celebration of second chances, an album dedicated to better days, family, friendship, love, and joy found in everyday moments. Life's unpredictable paths open doors you never expect, and for Mike Zito, this record embraces that truth with warmth, humour, and swagger. It's a record about choosing connection over chaos and moving forward with gratitude, purpose, and the volume turned up

Welcome to the mind-expanding 1968 jazz recording of Bill Plummer and The Cosmic Brotherhood—where Eastern and psychedelic influences meld together to produce one of the trippiest jazz albums on Impulse Records. This LP is a much-sought-after sonic travelogue, with the pop-psych spoken-word sitar freakout of “Journey To The East” to Bill Plummer’s swinging, rapid fire/cool jazz compositions, to his covers that go straight to the heart of any 60’s genre-crossing jazz fans. Featuring an incredible who's who of the high-caliber talent bubbling over in the Los Angeles music scene at the time: Carol Kaye (legendary bass player of The Wrecking Crew), Maurice Miller (drummer in The Jazz Corps), Dennis Budimir (guitarist with Chico Hamilton Quintet, Ravi Shankar & Frank Zappa), Mike Lang (Piano with Flamin’ Groovies & Hal Blaine), Tom Scott (Saxophone with Gabor Szabo & Thelonious Monk), Ray Neopolitan (Bass for The Doors & Leonard Cohen), Milt Holland (Percussionist with The Wrecking Crew &
Captain Beefheart), Bill Goodwin (Drums for Mose Allison & Tom Waits).
Housed in a beautiful gatefold sleeve with iconic liner notes by Frank Kofsky, who comes out swinging hard in favor of the album, while shaking the dust off any jazz snobs left in the '60s who still were not ready to embrace the future of jazz. Produced by Bob Thiele who produced everyone from John
Coltrane, Art Blakey to Charles Mingus, this sonic rarity is yet another impressive vinyl reissue from the folks at Jackpot Records.

Cigarettes After Sex return with a double single that showcases both their future and their past. The single featured on the B-side, “Anna Karenina,” is a quintessential Cigs track, sensual, slow-burning, and emotionally oversized, with lyrics so confessional they verge on too much. But its inclusion of spoken word verses adds a striking new dimension to Greg Gonzalez’s world, expanding the band’s intimate palette. Its chorus (“I cried at the end of Anna Karenina, when she threw herself under the train”) might be the most Cigarettes After Sex lyric ever written. The A-side is a long-rumored fan favorite finally seeing release: a gorgeously faithful cover of The Doors’ “The Crystal Ship,” recast in the band’s signature haze. Jim Morrison’s romantic fatalism never sounded more at home.

“Duran Duran” aka “The Wedding Album” released in 1993 was a return to form for the band, charting in the top10 on both the UK and US album charts and spawning the world-wide hit’s ‘Ordinary World’ and ‘Come Undone’

Following in 1995, “Thank You” was an album of covers featuring songs written by Led Zeppelin, Bob Dylan, The Doors, Lou Reed and Elvis Costello. The album charted in the top20 of both UK and US charts.

Originally squeezed onto 1LP, both albums are highly sought after as neither have been re-pressed on vinyl since their original release. They are now spread across 140g 2LPs for the best sound. CDs will now be in paper sleeves as opposed to jewel cases.

“The Wedding Album” has a newly embossed sleeve and includes a 12” art card, and “Thank You” features a gatefold sleeve with a fold out poster replicating the original release.

Born into a musical family Al Manfredi started writing songs when he was child. As a teenager in 1965, he formed the Nuts & Bolts in the small beach town of San Clemente, California. Inspired by the Kinks, the Beatles and the Byrds, the group separated themselves from the pack by also performing original material written by Manfredi and band mate Mike Ingram. In late 1966 they changed their name to the Lost & Found and relocated to Phoenix, Arizona, where they cut a rare single, “Don’t Move Girl” b/w “To Catch the Sun,” which now commands high coin from ‘60s garage collectors. When they returned to San Clemente in early 1967 their music had taken a more psychedelic direction. The Lost & Found were riding high that year, until tragedy struck. Ingram was found hanged under suspicious circumstances and soon after Lost & Found drummer Mike Ryer died of cancer at the age of 19. Heartbroken, Manfredi gave up on the band scene completely and moved to Garden Grove to teach at his family’s music store. But alone, behind closed doors, he kept writing songs and working on his music, recording hours of tapes, often tracking all the instruments himself. In 1973 he chose six of his best songs, some of them written back in the Lost & Found days, and had them custom-pressed as an LP. Only a handful of copies were pressed, and most of these were sent out to various record companies in the hope of landing a deal. Despite the outstanding quality of the music, there were no takers. But decades later, collectors discovered the Al Manfredi album and hailed it a West Coast rock masterpiece. In his Acid Archives book, Patrick Lundborg called its discovery a deus ex machina and compared it to David Crosby’s first solo album and Hawaii-era Merrell Fankhauser, “not just the acutely captured mellowness, but the self-confidence and the talent.”This little-known West Coast rock masterpiece was rediscovered and celebrated by Acid Archives founder Patrick Lundborg and others around the time that Manfredi died in 1995. This version of the album, overseen by Manfredi’s son Exile, and with Manfredi’s story told by Ugly Things’ founder Mike Stax, presents the complete package of an incredible lost and found artist. Contains the album, as originally issued, on side A with unreleased music on side B.

"Collected Works and War of the Martian Ghosts" ist die ultimative Sammlung von Aufnahmen der lebenden Chicagoer DIY-Legende Dr. Charles Joseph Smith. Es ist auch die erste Archivveröffentlichung von Sooper Records aus Chicago. Die Musik hier ist zum ersten Mal überhaupt für alle zugänglich. Diese 90-minütige Sammlung umfasst 30 Jahre von Charles' selbstveröffentlichter Musik, darunter Konzertklavier, elektroakustische Experimente, elektronische Beats, freie Improvisation und zwei Instrumentalversionen seiner sich weiterentwickelnden Science-Fiction-Oper "War of the Martian Ghosts" (eine elektronische Version von 2023 und eine Klavierversion von 2018). Diese Doppel-Vinyl-/Dreifach-CD-Sammleredition enthält ein umfangreiches Booklet mit 9000 Wörtern über das Leben und Werk des Künstlers sowie Gedichten, Interviews, Zitaten und 30 Archivfotos. Dies ist ein Stück Musikgeschichte Chicagos. Die bemerkenswerte Geschichte von Dr. Charles Joseph Smith beginnt mit der musikalischen Begabung eines stummen Kindes und der zielstrebigen Art und Weise, wie er dieses Talent förderte, um es zu seiner Lebensaufgabe und Daseinsberechtigung zu machen. Charles erzählt von dieser künstlerischen Reise in seiner Autobiografie ,The 88 Keys that Opened Doors", einem selbst veröffentlichten Buch, das ein Leben beschreibt, in dem Musik der wichtigste Schlüssel war (und immer noch ist), um die großen Herausforderungen durch Autismus-Spektrum-Störungen (ASD) zu meistern. Seine Karriere als Musiker startet in der Kirche, führt ihn in die internationale Konzertszene und endet schließlich in Chicagos experimenteller Underground-Szene, wo sie seltsame Früchte trägt. Auf diesem Weg hat Charles Joseph Smiths kompositorische Stimme populäre Musik von Pop bis Jazz, den Gospel der Kirche, den Kanon des klassischen Konservatoriums, moderne Tanzmusik und den regelbrechenden Experimentalismus der DIY-Subkultur seiner Stadt, in der er seit über 30 Jahren eine tragende Rolle spielt, aufgenommen und verarbeitet. Seit Mitte der 1990er Jahre tritt Charles auf, tanzt und verkauft seine selbst veröffentlichten Musik- und Schriftwerke persönlich, oft bei lokalen Shows, die er regelmäßig besucht. In Chicago ist er als lebendes Symbol für die Kraft der Musik und den beliebten Gemeinschaftsgeist im Herzen der DIY-Szene bekannt. Dies ist die definitive Sammlung seiner Originalaufnahmen - auch wenn es unmöglich wäre, die ganze Bandbreite der Musik, Poesie und Prosa des produktiven Dr. Charles Joseph Smith zu erfassen.

In his 1954 book The Doors of Perception, Aldous Huxley theorized that every person lives and experiences life on their own island universe. We can try to explain our experience to others using language, symbols, and art, but we'll never be sure that we're feeling something precisely the same as anyone else. This line of thinking has become a source of inspiration for many prolific artists. Now, Cincinnati-based producer Jason Grimez is inviting us to hear what it sounds like on an island of his own creation. The Island of Dr. Bionic is the third installment in Dr. Bionic's Terrestrial Radio series. Due out 5/2/2025 on Chiefdom Records, it's a collection of instrumental fusion for fans of hip-hop, jazz, funk, and beyond. Grimez is the producer, mixer, and mastermind behind Dr. Bionic. He's a Cincinnati-based creator with a deep understanding of 90s hip-hop and DJ culture, and he draws inspiration from music of all kinds. Grimez' ever-growing catalog is best described as organic groove. He calls on a rotating cast of veteran musicians to join him at his home studio to write, record, and try out new ideas. Long-time listeners will find some familiar names in the liner notes, for good reason. 'Life Span' (track 14) features a head-bobbing beat from Marvin Hawkins. Nick Brown is responsible for the dreamy Rhodes performance on 'Shell Of The Soul' (track 11). If Charlie Suit's unforgettable sax performance on 'The Path Of Stars' (track 16) is stuck in your head for more than 3 days, please consult Dr. Bionic. Once the recording sessions are complete, the real production work begins. "We get together and record a ton of stuff, and then I'll go back and cut it and mix it together," Grimez explained. "It all finds a home over time."

The breakthrough album. Enrico Rava's second solo record, recorded in Milan in January 1973 and released on the German BASF label, is nothing less than a cornerstone of Italian jazz-rock - the record that caught Manfred Eicher's attention and opened the doors to ECM. Rava himself has called it his breakthrough, and history proved him right.

The lineup is killer: John Abercrombie on guitar, Bruce Johnson on bass, Chip White on drums. Four musicians operating at the absolute peak of early seventies fusion energy - electric, cosmopolitan, burning with that particular fire that only existed in that brief window when jazz met rock and nobody knew the rules yet. Abercrombie, already on his way to becoming one of the most distinctive voices in electric jazz guitar, delivers some of his most ferocious early work here. White's drumming is relentless, pushing the music forward with an intensity that never lets up.

If Miles' Bitches Brew-era speaks to you, if Ian Carr's Nucleus gets you moving, if you know Sun Ra's Lanquidity and Don Cherry's Relativity Suite by heart - this is essential listening. Rava's vision was already fully formed: South American rhythms, Mediterranean warmth, free jazz ferocity, rock power - all flowing together without borders or categories. By the early seventies, Rava had absorbed everything - the New Thing, the European free scene, the electric revolution coming out of Miles' studio - and forged something entirely his own.

The seven tracks cover serious ground. "Bunny's Pie" introduces the music with an almost cosmic atmosphere of suspense, hovering in that liminal space before it trails off into the up-tempo vibrant frenzy of "Trial N. 5" - Abercrombie and Rava trading swirling solos at full intensity, the rhythm section locked in tight. "Dimenticare Stanca" moves from Rava's expressive balladic intro into pure funk, guitar and trumpet steering over the rhythmic drive with absolute confidence. The title track carries the lyrical feel and cadence of an Incan-Peruvian folksong - that cosmopolitan spirit made audible. "Fluid Connection" rides a funky bass riff into fusion heaven, with standout trumpet and guitar solos that build and release with perfect tension. "Cheerin' Cherry" pays homage to the great Don Cherry - Rava's spiritual mentor and fellow traveler in world music - exploring a North African soundscape that points toward the global jazz to come. Johnson's "Peace" closes the album with a minute and a half of serene, blissful calm - a moment of stillness after the storm.

This audiophile reissue - cut from the original masters, pressed by Pallas in Germany on 180gm vinyl, housed in a thick laminated hand-glued gatefold - does full justice to an album that remains a collector's holy grail.

Don't sleep on this one. Limited Edition.

The Lost Highway of Hank Williams and the Highway To Hell of AC/DC are indeed the same damn road. Featuring 12 classic outlaw country songs done in their own inimitable style, the album was recorded completely live in the studio. The bad are supporting the release of the album as well as their 25th Anniversary with extensive live touring and festival throughout the UK, Ireland, and Western Europe throughout 2026. Full UK Tour starting FEB 11 Nerve Centre Londonderry. 12th Whelan's Dublin. 13th The Empire Music Hall Belfast. 14th Liquid Room Edinburgh. 15th PJ Molloys Dunfermline. 17th The Georgian Theatre Stockton-on-tees. 18th Docks Academy Grimsby. 19th Pocklington Arts Centre. 20th The Hairy Dog Derby, 21st Picturedrome Holmfirth. 22nd The Drill Lincoln. 24th 53 Degrees Preston. 25th Queens Hall Narberth, 26th HAYSEED DIXIE Cardiff. 27th Sin City Swansea. 28th Crickhowell. MAR 1st HAYSEED DIXIE Merthyr Tydfil. 3rd The Fleece Bristol, 4th Roadmender Northampton. 5th The Factory Live Worthing. 6th The Harlington Fleet. 7th MK11 Milton Keynes. 8th Hertford Corn Exchange.

Here we find ourselves, among the Canadian miscreants Egregore whereupon they return from whence the wind howls like a damned choir and the Earth knows no master, to chart a broader sonic wilderness via ‘It Echoes In The Wild’. And much as sea-rogues and freebooters sought fortune upon blackened waters, so too does Egregore venture musically into diabolic and ungoverned lands. Presenting something more expansive, elemental and untamed on ‘It Echoes In The Wild’, the early occult Black Death Metal lunacy embraces atmospheric breadth equally alongside primitive force to delve deep into not only geographic wilds, but the psychological, esoteric and spiritual hinterlands at the edges of complete madness. Dark invocations and secret tongues draw forth echoes from forest and fen, cave and cliff, tempting the temporally tethered to receive the curse, all the while driven by a primal, unknowable sardonic menace. Though the voyage be perilous, to succumb to ‘It Echoes In The Wild’ is to become ensconced in a lawless dominion of the soul in service of a higher call. Mirroring nature’s unbridled forces and the hidden echoes that dwell within, Egregore’s second album takes the band’s mystical insanity and magickal perversion to the edge of the abyss and plunges forward.

Following a triumphant first release, Archivio Records returns with another slab of golden era UK Techno House from a true master of the sound: Mark Ambrose

This versatile three track EP made up of 2 previously unheard and unreleased lost DAT productions, paired with a monstrous modern creation, from a man known for his uniquely trippy and boundary pushing take on the genre, presents the listener with a smorgasbord of peak time Tech House, hypnotic Techno and emotive Acid House.

The A side Mountain Storm is nothing short of an epic, instantly recognizable future classic! Punchy, percussion laden drums set the tone upfront, before a titanic, rumbling bassline blows the doors clean off! Disorienting vocals drift in and out before an eerily familiar string arrives by special delivery directly from the State of 808, building the tension required to set the stage for the main event: a haunting, poignant and highly relevant monologue for the times we find ourselves in today, delivered by a renowned, yet uncredited Jamaican poet.

B1 Get On Down takes the listener to the middle of the dancefloor, mid-set at a Techno-leaning after hours. Think Christian AB in a mischievous mood…

Obscure, industrial, fizzing drums start the show, followed by a stomping yet playful bass line, hip hop vocals urging you to get busy on the floor swirl around you, before a piercing arpeggio sends the listener to the cosmos, as the track peaks.

B2 Deep Sea couldn’t have a more appropriate name if it tried. A chugging, melancholy, submarine journey to the bottom of the Atlantic, presented at a lower BPM, making it equally perfect for the very beginning or very end of a set.

The Brooklyn-based record store proves their record label is no one hit wonder with this outstanding release from the Crayon Records head honcho. Unmissable.

This compilation brings together some of the best recordings by Los Indios from Bolivia, recorded during their brief time as a band, pioneers in blending beat sounds with garage rawness through a repertoire packed with covers of artists such as Deep Purple, Wilson Pickett, Eduardo Araujo (via Los Iracundos)_ The birth of Los Indios took place at a key moment for Bolivian music, in May 1968, during the "Festival de la Canción" held at the Félix Capriles Stadium. This event was a milestone for the so-called Bolivian new wave, featuring various groups from all over the country. A month later, Jorge Filipo Dalence, in association with Freddy Valdivieso, decided to launch their own band, Los Indios, ready to make their mark on the music scene. Their discography includes one LP and a handful of EPs released on the Caracol and Imperio labels. Their album not only showcases their musical talent but also represents an important moment in the evolution of rock in Bolivia. The combination of their unique style helped open new doors for other artists in the country's music scene. By 1969, the group was enjoying overwhelming success and widespread popularity. This is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history

In his own time, in his own tone and in his own company.

‘Win and lose without losing oneself’’ This line from French rapper Oxmo Puccino greatly accompanied David Walters while composing his fourth studio album. Over the eleven tracks on ‘Ti Love’, David took his time to find the right tone and in turn, tell his truth.

‘Ti Love’, is a French-Creole abbreviation for “petite love”, meaning ‘little love’, evoking that sweet fondness found in those small gestures and little acts of kindness.

Think of things like young kids' brotherly love or a stranger lending you a helping hand, while expecting nothing in return. It’s these motions that allow this album to feel full of real life, carried by beating drums that also pull at our heart strings.

Basing himself in a small village in Martinique, where David had not long since scattered the ashes of his late mother, the multi-instrumentalist decided to remain there and let the writing of Ti Love pour out from deep inside him. Taking influence from around the island, the energy from his makeshift studio set up in Fort de France, allowing a resilient yet grieving man to recount, let go and come to terms with his recent loss.

So embracing these new circumstances, on the rugged coastal Caribbean island of Martinique, David took up an artist’s residency in the island’s capital Fort de France, located near the town’s port is the ‘Manoir des Artistes’, a bustling recording studio space. A place where the walls shake as the latest sounds being created are blasted by locals and visitors alike. Most studio doors are wide open; as music here is a huge part of everyday life, feedback from encouraging neighbouring musicians is on hand and welcomed. A contrast to the isolation often assumed with working in more traditional music studios.

It was here in this stimulating environment that David recorded Ti Love’s initial demos.

With his first collaborator onboard, Neeweed, a 25-year-old producer and gospel expert who David met at the Martinique Jazz Festival.

Of the album’s initial versions of the record David recollects: ‘It took me three years to write it, then I rewrote it, reworked it. In the end I'm really glad I stepped back and listened to myself.’ I found a great ally in GUTS, who ended up being the artistic director of the record”

David surrounded himself with the right people who helped him express himself in the best possible way. He called on other friends and musical comrades; album opener and title track, ‘Ti Love’ features the incomparable Fatoumata Diawara (World Circuit Records / Africa Express) and further along additional production came in from; Izem, Art Of Tones, and GUTS himself, who all added just the right amount of ‘little love’ to this

project. Further helping hands came from Californian producer and DJ Captain Planet, who David was introduced to a few years ago. Closer to home, here in Europe, the German producer Bluestaeb appears on two tracks: the very catchy disco funk ‘Mr Maraboo’ and ‘Kite Koule’, the latter being the first single lifted from the album, where David invited Nigerian guitarist Keziah Jones.

Elsewhere on the album, fellow Heavenly Sweetness recording artist Blundetto contributed two tracks; the reggae ‘Voodoo Love’, which is David's tribute to Studio One, and the very sweet and resilient ‘Bon Voyage’, which closes the album... "It's gold, it doesn't need anything changing.” remarked David - ‘Bon Voyage’ is a goodbye to his mother, whose voice called him from the bottom of the sea one night while he was surfing during the full Moon.

Released almost 20 years after his debut album ‘AWA’ released on French imprint Ya Basta, home to Gotan Project and many others, David boasts a long list of radio supporters including; Gilles Peterson, Cerys Matthews and Don Letts at the BBC, while further field Cosmo Radio in Germany, and KCRW in Los Angeles.

On this new record, David has shown sincerity and vulnerability, while still honouring the infectious groove that he is known for the world over. Despite the upsets, a little love can indeed go a long way.

CREDITS:
Produced by Bluestaeb / Blundetto / Captain Planet / Izem / Art of Tones
A&R : Guts
Mixed by Mr Gib @ Onetwopassit
Except "Bon Voyage” and "Voodoo Love" mixed by Jerome “Blackjoy” Carron
Mastered by Benjamin Joubert @ Biduloscope
Art by Elliott Walters

Killer Groove Records proudly presents the debut 45 by Italian cinematic funk trio Atabasca. A syncopated journey where funk, psychedelia, and cinematic groove merge into a timeless narrative suspended between rhythm and vision.


"Cacopoulos" and "Kundela Mawedi" mark the birth of Atabasca's sonic universe: the first two singles from the upcoming self-titled debut album,which will be released on March 27 in limited-edition LP, CD digipack, and digital formats.

On the A-side, "Cacopoulos" is an impetuous, visionary ride that fuses the power of instrumental groove with the evocative imagery of library music and Italian golden-age soundtracks. From the first beat, listeners are drawn into a dry, dusty landscape driven by a primal drum groove and the acid twang of a guitar that evokes the spirit of classic Westerns. Indeed, "Cacopoulos" pays homage to I Quattro dell'Ave Maria (Ace High) and to the legendary Eli Wallach, the sly outlaw who turns deception into revenge, a subtle yet powerful nod that ties the trio's sound to imagery steeped in dust, dreams, and redemption.


On the flip side, the sound of an old lap steel guitar evokes the gentle waves of the sea, opening the doors to "Kundela Mawedi", a dreamy track with exotic tones and heavenly atmospheres. The sonic journey unfolds through hypnotic rhythms and echoes of ancient cultures, where ethereal voices and warm, entrancing bass lines intertwine with psychedelic riffs and evocative guitar melodies, merging into a soundscape rich in warmth and mystery. The chorus, with its unexpected choral chant, adds a spark of magic. An elegant twist that gently stirs the dreamlike mood and transports the listener into a new sonic dimension, steeped in mysticism and tribal vibrations. "Kundela Mawedi" is more than just a song: it's a sensory experience, a musical ritual where tradition meets psychedelia, sand meets sea, and the soul dances upon the waves of time.


Recorded in a single take, the session captures the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer, and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the tracks at Velvet Room Mastering Studio in Brighton.


A killer double-sider, blending psychedelic and funk moods with percussive, jazzy textures. A must-have gem for every groove-loving DJ.


Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment: this is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals), and Valerio Pompei (drums, percussion, vocals). Individually active for over twenty years on both national and international scenes, the three musicians came together in 2023 to create a project that merges experience, experimentation, and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.


Atabasca's sound moves through jazz-funk, world, and cinematic territories, weaving together afrobeat, desert, and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture, and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


Fans of Khruangbin, Surprise Chef, and instrumental psych-funk, take note!

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

The musical legacy of a night that will live on for years - Fermin Muguruza's 40th anniversary roar! Under the title "Akelarre Antifascista" (which literal translation would be "Anti-Fascist Witches' Coven", but loosely translated as Anti-Fascist Celebration), in a reference to the legendary Akelarre, a wild gathering of Basque witches, this album distils all the intensity, sweat and collective excitement of a night when thousands of voices joined together to celebrate not just a career, but a way of seeing art as resistance. On 15th February 2025, Madrid saw more than just a concert: it was a collective ritual, an anti-fascist demonstration in which thousands of voices came together as one to emphasize the tenacity of a voice that never surrendered. Four decades after lighting the fuse of combative rock in Euskal Herria, the Basque Country, Fermin Muguruza chose the capital of Spain, a city that closed its doors to him so many times and that he has described as "the heart of the beast", to make the definitive record of his 40th anniversary tour. The result is "Akelarre Antifascista", a live album that distils the history of a musical and political resistance that has spanned generations, languages and frontiers. The concert, sold out with 15,000 people, was an explosion of energy, memory and future. Right from the first chord, the Sports Palace of Madrid became an open setting, a free territory where bodies, rhythms, languages and flags mixed freely. Triple 180gr vinyl LP in trifold sleeve.

Hello Spiral returns to the same North London block, the same triangulated geometry of balconies and courtyard, but with a shift of orientation. His previous record looked outward from the eighth floor, these four new recordings move inside, into the building’s arteries. Joe explores the hallways of the complex where he has lived and listened for years, using the same tool as before, an iPhone and its voice memo app. The recordings were made in situ, each exactly eleven minutes, captured without ceremony.

The hallways feel different. Less private, less scenic, more neutral. They are the connective tissue between hundreds of domestic units, a space of transit rather than rest. The carpet absorbs certain frequencies. The fire doors catch and release pockets of air. The lights hum. Elevators drone in soft cycles of arrival and departure. These are the institutional sounds of shared living, yet once recorded they begin to behave strangely. A kind of internal weather appears.

As with the previous album, Joe remains attentive to what is often overlooked, irrelevant or discarded. The hallways, with their scuffs and signage, their coded access and polite functionalism, provide an unexpectedly rich field. The ambience is not shaped by storms or scaffolding, not by birds or street spill. Instead the material is the building’s own breath, its mechanical rhythms, the low frequency traces of neighbours, the occasional shuffle of footsteps that pass but do not return.

Joe talks about this record as a possible middle chapter in a trilogy. If so, it sits between the exposed openness of the balcony and whatever comes next. A hinge point. These recordings continue Joe’s long practice of defamiliarization, sharpening attention to the unnoticed while withholding narrative. They invite repeated listening, not for revelation, but for the subtle shifts that occur when a familiar space is treated as an instrument.

Stylóo celebrates Christmas 2025 with the new single "Happy Christmas" and an exclusive surprise on the
B-side.
Following the sensa%onal success of "Sweat," which was awarded Italo Disco Record of the Year 2025 and
sold out completely, Stylóo returns to surprise the audience with a special gi, dedicated to all their fans.
For Christmas 2025, Stylóo presents "Happy Christmas," a fes%ve single conceived as a sincere tribute to
their fans and a wish for light, hope, and energy for the new year that is fast approaching. The track merges
the ar%st's melodic sensi%vity with their unmistakable musical elegance, accompanying the holiday
atmosphere with a unique and recognizable touch.
Despite being a Christmas song, "Happy Christmas" maintains all the energy and dance imprint that have
always characterized Stylóo's produc%ons, combining rhythm, melody, and sophis%ca%on in a unique
balance.
The release is already accompanied by an elegant Christmas cover and its physical version, pressed on a
completely black vinyl, a refined and symbolic choice to wish a Merry Christmas and Happy Holidays 2026
through a sober and high-class aesthe%c.
Making this special vinyl even more exclusive is the surprise on the B-side: the unprecedented remixed
version of "Zombie Lady," signed by A.P. Mono, an interna%onally renowned DJ and producer. A,er producing one of the most appreciated versions of "Sweat" and recently contribu%ng an excep%onal remix
to Savage's latest produc%on, A.P. Mono gives "Zombie Lady" a unique and irresis%ble touch, making the
vinyl a true collector's item.
With "Happy Christmas," Stylóo officially opens the doors to a prolific, crea%ve, and even richer 2026,
confirming the special bond with their audience.
Merry Christmas and Happy Holidays 2026 from Stylóo.

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

Light in the Attic freut sich, Nancy Sinatras gleichnamiges Album von 1969 zu veröffentlichen. Diese neue Ausgabe und erste Vinyl-Neuauflage überhaupt von "Nancy" feiert eine der am wenigsten bekannten Phasen der verehrten Künstlerin. Nach drei Jahren im Rampenlicht und an der Spitze der Popmusik war Nancy Sinatra plötzlich in einer unerwarteten, aber irgendwie vertrauten Situation - ähnlich wie Anfang 1965. Sie war wieder einmal ohne Produzenten, ohne neue Songs und kämpfte darum, bei ihrem Label zu bleiben. Lee Hazlewood war Nancys Produzent und Duettpartner gewesen und hatte viele ihrer Hits geschrieben. Nach einer unglaublichen dreijährigen Erfolgsserie zog Lee plötzlich ohne Abschied nach Schweden. Nancy war überrascht und verletzt, aber sie machte weiter und entwickelte sich weiter. Sie fand einen Produzenten in ihrem langjährigen Arrangeur Billy Strange und entdeckte einen jungen Songwriter (und zukünftigen Superstar) namens Mac Davis, der ihr helfen würde, ihren Sound neu zu definieren. Dieses Album mit dem einfachen Titel ,Nancy" steht allein in ihrer Diskografie, versteckt zwischen ihren ikonischen Alben aus den 1960er Jahren und ihren funkigeren Werken aus den 1970er Jahren. Das Album enthält Country-Soul (,God Knows I Love You", ,Son of a Preacher Man"), zeitlose Balladen (,Memories") und eine atemberaubende orchestrale, bluesige Downtempo-Funk-Version von ,Light My Fire" von The Doors, die im besten Sinne an David Axelrod in Las Vegas erinnert. Es ist ein Übergangsalbum, ihr Abschiedswerk für Reprise Records, ein Favorit der treuen Fans und reif für eine Wiederentdeckung. Jede Vinyl-Ausgabe kommt in einer erweiterten Gatefold-Hülle (mit einem 12-seitigen Booklet), auf farbigem Vinyl und enthält eine Bonus-Flexi-Single mit dem bisher unveröffentlichten Titel "Longtime Woman (Early Alternate Version)", einem Outtake, das von Bob Elusive Butterfly Lind geschrieben wurde. Der Track mit dem atemberaubenden Gesang von Nancy und dem zarten Cembalo von Don Randi wurde von Lee Hazlewood während der Aufnahmen zum Album ,Nancy & Lee" im Jahr 1968 produziert.

GO:OD AM (10th Anniversary) 3LP vinyl by Mac Miller. Includes 3 bonus songs from the GO:OD AM sessions.

Originally released in 2015, the album, hailed by the likes of Billboard and Rolling Stone as the best of his career upon its release, marked Mac Miller's first for a major label and was regaled as "one of the most musically appealing hip-hop LPs of the year" by The New York Times. After surprising fans and critics alike with his second full length Watching Movies with the Sound Off, Mac returned with another adventurous album in GO:OD AM that marked the beginning of a rapid artistic evolution that unfolded across 2016's The Divine Feminine and 2018's Swimming.

Each 3LP package includes a special triple gatefold jacket printed on silver mirror board with die cut, two inner sleeves with photos printed on silver mirror board and a yellow bonus vinyl with a custom etching on the back.

100-07 / K-6000 / WAR GAMES.
Artist’s second release for 100 LIMOUSINES.
6 track12”, 140g record, 33 1/3 rpm.
Baroque Techno Rock from Detroit, MI

Born from a profound devotion to the piano and a reverence for the organic flow of life, byt’ surprises listeners by presenting "paths of sand", a remarkable creation by Amsterdam-based composer xico, offering sound and soul to those willing to listen beyond the surface.

Through the magic of experimentation, xico captured the fleeting beauty of the muse of improvisation, as described by Nachmakovich, transforming the ephemeral into something lasting. Performances recorded on the same old piano during the 2023 Kaalstaart Festival in the Netherlands have since evolved into a fully realized work. A journey of nearly three years of dedicated silence that began with Telva’s intuitive recognition of xico’s voice, starting with an invitation to her radio show and blossoming into a captivating fascination with what unfolded. This process led to the art of shaping the selected live recordings into a collector’s item, now materialized as a limited edition of 200 pressed vinyl copies, forever remaining as an artistic memento.

Perfectly attuned to the energy of the autumn equinox, paths of sand unfolds as an intimate reflection of music’s ability to hold what cannot be held, to speak what cannot besaid, and to embody what can never be described.

xico is a sound artist and improviser from Ibiza whose work explores the merging point between disruptive and post-natural soundscapes, crafting immersive sonic environments through compositions that unfold like ecosystems.

Encouraged by an understanding of chance as nature’s and awareness' most accessible voice, he focuses on creating generative live-sets with varying degrees of unpredictability. For him, subordinating human intention to nature’s order is a conscious choice, and making art through this lens becomes a statement and a spiritual practice. With his distinctive touch, his compositions resonate with the world in unexpected and profound ways, offering experiences you may never have heard before.

Haunted Heart: The Legendary Riverside Studio Recordings brings together the complete studio recordings by the Bill Evans Trio featuring Scott LaFaro and Paul Motian. Included are the albums Portrait in Jazz and Explorations, plus 26 alternate takes - 17 previously unreleased. The collection includes rare photos, introduction by John Densmore (The Doors), and new liner notes by Eugene Holley Jr. and audio is newly remastered by Paul Blakemore, with lacquers cut by Kevin Gray at Cohearent Audio.

”Haunted Heart: The Legendary Riverside Studio Recordings” vereint die kompletten Studioaufnahmen
des Bill Evans Trios mit Scott LaFaro und Paul Motian. Enthalten sind die Alben ”Portrait in Jazz”
und ”Explorations” sowie 26 alternative Takes – davon 17 bisher unveröffentlichte. Die Sammlung enthält
seltene Fotos, eine Einleitung von John Densmore (The Doors) und neue Liner Notes von Eugene Holley Jr.
Der Ton wurde von Paul Blakemore neu gemastert und von Kevin Gray bei Cohearent Audio geschnitten.

Monolith 45 series I

A new chapter emerges within Organic Signs.Conceived as a vessel dedicated to a single frequency, Monolith 45 is born to trace the lineage of progressive trance — that tribal, hypnotic, and ceremonial sound that carved its path during the early 2000s, and which today we reclaim with reverence.

Each release stands as a stone marker along this continuum: timeless signals that resonate equally with memory and vision. As with the broader work of Organic Signs, this new line will follow a dual path: rescuing forgotten gems from the past while also curating new music that embodies the same spirit.

Monolith 45 becomes the place where past and present intertwine, shaping a narrative that honors tradition while opening new doors for exploration.

The first monolith in the series carries with it two totems of the genre:
On the A-side, Magnetrixx – Intraferences, originally released in the year 2000 on the legendary Tatsu Records. Behind this moniker stands Stefan Lewin, not only a key architect of the progressive trance sound but also the mind behind ACL (Audiophile Circuits League), one of the most special modular synthesizer brands..

His work bridges eras: from shaping the trancefloor at the turn of the millennium to designing instruments that define modern electronic creation.On the B-side, Ticon – Lo Mi Hi, a track that saw the light in 2001 on Digital Structures, one of the most influential labels of that era.

Ticon are nothing short of mythical within this universe — pioneers whose sound blurred borders between deep grooves, psychedelic textures, and progressive structures, leaving an indelible mark that still resonates with dancers and producers worldwide.

With Monolith 45, we seek not only to preserve these transmissions but to project them into the present: to reawaken a sound that was always more than music, a tribal pulse, a ritual language that invited bodies and minds into collective trance.
This is our homage, our offering, and our way of extending the path forward.

New Wave of Alternative Hardcore! 217's debut album ' In Your Gaze " is a combination of different Hardcore schools mixed with dreamy, dark and intense moments. This is a turning point. Drawing inspiration from American old-school hardcore (Negative Approach, Uniform Choice, Slapshot, Madball, Bad Brains, Chain of Strength, Growing Concern), mid-'90s new school (108, Have Heart, Snapcase, Abhinanda), as well as math rock, hardcore, and alternative dark rock (Melvins, Botch, Bauhaus, Fields of the Nephilim, Stone Temple Pilots, Killing Joke, The Doors), 217 now presents itself with a renewed and at times dreamlike musical and lyrical identity.

Alina Kalancea's Impedance is an entirely instrumental album spanning four sides, contains powerful rhythmic sequences, heart-beating frequencies and hypnotic loops that are paradoxically encapsulated in carefully crafted compositions which are full of secret passages and hidden doors. Kalancea's work creates ungraspable sonic experiences, which overtakes you, immersing its listeners in powerful and mind-altering soundscapes. There's no quick payoff on Impedance. This is the sound of new, patient electronic music, full of depth and substance.

Alina Kalancea is a Romanian sound artist and composer based in Modena, Italy. She has studied sound design and synthesis with Enrico Cossimi and collaborated with producer Alex Gamez, and artists Julia Kent and Raven Bush. Highly recommended to fans of Eleh, Caterina Barbieri, Shasta Cults, Jessica Ekomane, Eliane Radigue, and Alessandro Cortini. Packaged in a deluxe, heavy duty tip-on gatefold sleeves printed by Stoughton; cut by Golden Mastering and pressed at RTI.

SKA was the name given to the music that came out of Jamaica between 1961-1966. Based on the American R&B and Doo-wop records that the Sound Systems in Kingston Town used to play. However, the American records style started to mellow out, while the Jamaicans preferred a more upbeat sound. So the Sound System bosses became record producers to cater for this demand. Sir “Coxonne” Dodd and Duke Reid led the way putting the top musicians on the Island in the studio to make music unmistakably Jamaican. A lot of their early recordings were cut at Federal Records before they built their own studios.

Federal Records was the first domestic Jamaican studio, based at 220 Foreshore Road, Hagley Park, Kingston. It opened it’s doors in 1961 owned by Ken Khouri who first licensed American records to the island of Jamaica, before cutting his own tunes, which were some of the first Jamaican RnB and Ska singles. Ken Khouri initial studio was Records Limited but very basic so with the help of engineer Graeme Goodall built the new studio complex at 220 Foreshore Road which also contained a pressing plant and disc cutting room. The studio was not only the forerunner for Ska music but the music that followed and in 1981 Ken Khouri sold the complex now on the renamed road Marcus Garvey Drive to Bob Marley who renamed the premises Tuff Gong Studios whose legacy carries on today.

We have compiled some of the best SKA SOUNDS that came out of the Federal Vaults, with some of the best artists, musicians from the time. The great Lord Tanomo, Don Drummond, Rico Rodriguez, Roland Alphonso, alongside some lesser known artist. However, one thing is for sure, the quality never drops on this fine collection of Ska Hot Tunes……

Fred Armisen, long known as one of the most curious actor/comedian/musician/ producer/ author/all-round good guys in the business, likes unusual ways of entertaining people. Like this one: 100 Sound Effects is an album that can be used as a library, an industrial tool for your own entertainment projects, or simply for brain-stimulating deep listening. From basic sounds to more abstract scenarios, 100 Sound Effects is an album like no other!

Released in 2015, Get To Heaven is the third studio album by British art-rock band Everything Everything. The album blends elements of indie rock, electronic, and experimental pop, showcasing the band's signature complex rhythms, sharp lyricism, and dynamic vocal performances by frontman Jonathan Higgs.Featuring standout tracks like "Distant Past", "Regret", and "No Reptiles", the album explores themes of political unrest, media influence, and societal anxiety, wrapped in vibrant, high-energy production. Get To Heaven received widespread critical acclaim for its bold sound and thought-provoking lyrics, solidifying Everything Everything as one of the most innovative bands of the 2010s.With its infectious hooks, intricate instrumentation, and emotionally charged songwriting, Get to Heaven remains a defining album in modern alternative music, appealing to fans of intelligent, genre-blending rock.This much sought-after cult classic is now reissued on 1LP for the first time in a decade. Get To Heaven is available as a limited edition on translucent magenta coloured vinyl.