Cerca:eur

Das 6. Album "Buch des Lebens" der Punkrock-Instiution aus dem Ruhrpott wird als Collector's Reissue neu aufgelegt und zwar so wie alle vergriffenen Vinyl-Alben aus der reichhaltigen Emscherkurve77-Vita in verschiedenen Farb-Editionen auf je 77 Stück limitiert! Erstmals 2015 veröffentlicht, markierte "Buch des Lebens" einen weiteren Meilenstein in der mittlerweile fast 25 jährigen Band-Historie sowohl bei den Fans als auch bei der Presse: "Ein Album, das Eindruck macht, weil es schlichtweg toll klingt." (Ox-Zine) "Hervorragende Texte, geniale Melodien und ein Gesamteindruck, der besser nicht geht. Die Band präsentiert das beste Album der bisherigen Bandgeschichte!" (Tough Magazine) "Mit ,Buch des Lebens' legen die Jungs der Emscherkurve, nach ihrem letzten Werk ,Dat soll Punkrock sein?!', nochmal eine ordentliche Schippe drauf. Hier wird euch alles geboten. Von Punkrockhymnen über mitsingtauglichen Liedern, für euren Abend mit Freunden, bis hin zu Liedern über die alltäglichen Nervensägen. Ein absoluter Kauftipp. (Plattenkombuese) 180gr Vinyl Reissue mit bedruckten Innenhüllen, jede Version limitiert auf 77 Stück weltweit.

After remaining unavailable for years, here's the long-awaited vinyl reissue of the debut album (originally released in 1972) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions -all sung in English- betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their '70s version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any '70s rock collector. DESCRIPTION Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of "Etcétera", they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -appealing Beatles-style melodies- and two songs from Saúl and Manuel's archives. 'Children', by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. 'It's a Sin to Go Away' was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.

Lovesick is an Italian based band formed of Paolo Roberto Pianezza and Francesca Alinovi. Two multi-instrumentalists, whose influences are deeply rooted in the American country, rock"n"roll and western swing music of the 40s and 50s. In addition to their vocal harmonies, Paolo plays electric and acoustic guitar, as well as lap steel, Resonator and Dobro guitar. Francesca plays double bass with the addition of a brush pad, a percussion built into the double bass to keep the rhythm with a drum brush. The duo is joined by Alessandro Cosentino on fiddle and drums. Lovesick have played as opening act for Ben Harper, JD McPherson, Zucchero, ToquinIo and Edoardo Bennato and they have played big festivals all around Europe, alongside the likes of The Offspring, Social Distortion, Walter Trout, Fu Manchu, Secondo Casadei Orchestra and Ten Years After.

Chicago's finest lyricist MC Juice, infamous from the mid 90s from beating Eminem in the Rap Olympics, is back with a scorching 9 track EP (3 instrumentals and an accapella included) on 12" vinyl! Following on from his two 45s on Nobody Buys Records and well as the hit album The Man, all of 3 of which rapidly sold out this is some of Juice's best work displaying his razor sharp wordplay and effortless flow to its fullest. The sound scape provided by Bankrupt Europeans for their 3rd collabo with Juice ranges from the upbeat & funky original version of All Day to the murky oboe of its remix, the dramatic strings on Where You Go and the sinister vibes of Unseen, in short, the perfect set up for Juice to get loose! We are beyond excited to be delivering some of MC JUICE’s finest ever work and there is a general feeling around Nobody-Buys-Records HQ that this may just be our finest release yet. Between the absolutely incredible artwork by the immensely talented Big Crunch, the beautiful marble vinyl, and the exquisite beats and rhymes, this EP is quite simply the perfect summer package. As always, every record is hand numbered!

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

‘Blind On A Galloping Horse’ serves as David Holmes’ first solo album since 2008’s ‘The Holy Pictures’.  A 14-track interrogation of the last decade, time spent watching a decaying, fraying Britain visibly buckling in real time while tending to his own battles with mental health. Holmes’ soundtrack to this inquiry is at times claustrophobic, often euphoric, driven by the rattle and snap of analogue drum machines, wild oscillations of droning analogue synths and the voice of Raven Violet, which beguiles and commands in a way that could part oceans.  On this album, there are songs of hope for an age of uncertainty; love songs to leap the barricades to and, on ‘Necessary Genius’, a comprehensive roll call of the great and good - those ‘dreamers, misfits, radicals, outcasts’ that we’ve lost and just a few who’ve managed to cling on in the churn of the 21st century. And there are elegiac electronics evocative of an endless Europe where pulsating, crackling rhythm tracks fuse with dreamlike textures and the underground pulse of psychedelic therapy to form something unique that feels nothing less than radical.  CD in 4pp digisleeve with 8pp booklet.  Double vinyl in 300gsm gatefold sleeve with reverse side print and 180gsm reverse side print inner sleeves.

Nach der "Temple Corrupted" EP (2022) und der anschliessenden UK/Europa-Tour konnten sich El Moono aus Brighton als neuer Favorit der Post-Hardcore/Post-Metal-Szene etablieren. Mit Einflüssen aus Rock, Hardcore, Metal und Grunge vereinen sich ausgefallene, oft umwerfende Riffs, gefühlvolle Songs und ausdrucksstarke Texte zu einem Sound, der sich schwer in eine Schublade stecken lässt. Als Teil des neuen britischen Undergrounds bekommt die als Genrephobiker verschrieene Band viel Lob von den einschlägigen Medien, während zwei ihrer Songs bereits im Soundtrack eines kommenden Horrorfilms Verwendung finden.

2024 repress

Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.

The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.

Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.

Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.

The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.

This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.

Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.

VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th.

Vengaboys is one of the most successful Eurodance acts in the world. With a string of global top 10 hits, including ‘Up & Down’, ‘Shalala Lala’, ‘We Like To Party’ and the UK No.1 singles ‘Boom, Boom’ Boom Boom!’ and ‘We’re Going To Ibiza’ they dominated the charts in the late 90’s and early 00’s. These songs have also been embraced by younger generations, with several global viral TikTok trends.

This brand new 14-track Greatest Hits compilation is pressed on transparent pink vinyl.

" Since the release of his previous album 'Paradise for all' , the profile of Guts has grown a lot to become one of the main french producer and a recognized name on the European scene.

His hit 'Brand new revolution' was played by many radios worldwide and even synchronized in Grand Theft auto V. His compilation series ' Beach Digginï' is now a reference for summer and quality music.

After 3 instrumental albums, Guts decided to come back to his Hip Hop roots (he created the french rap Band Alliance Ethnik in the 90s) and invited quality MCs and singers to join him in the studio. You can find on this album, some Hip Hop legend as Grand Puba, Masta Ace, Bob Power, Rah digga some singers as Cody Chestnutt, Patrice and a batch of new talents as Leron Thomas, Lorine Chia, Quelle Chris & Denmark Vessey, Dillon Cooper.

This albums contains hit singles like'Man Funk' Want it back (feat. Patrice)' Open wide'

Vinyl deluxe edition : double LP gatefold Replica sleeve with insert & download card.

About this release:


Without hip-hop, Guts wouldn't be half the producer he is today. Hip-hop as inspiration, a gateway to so many different musical styles, the trigger for a continually expanding musical bulimia, the springboard from which he dived into a bottomless musical well.
Hip-hop � which has been Gutsïtrue love for the last 25 years, despite its taking futile, gangsta and materialistic paths.
Hip-hop � which in quarter of a century has driven him to spend whole nights with samplers, drum machines, expanders and vinyl, tapping on pads, adjusting the drums and honing his samples.
Hip-hop � which is often done remotely nowadays by sending digital files back and forth. Guts has opted to make it shine like when it was all brand new, decided after three entirely instrumental albums to re-establish contact with rappers, vocalists, jazz players and soul men by packing up his productions and heading across the Atlantic to record them in their home surroundings in New York and California.
Backed up on production by the inexhaustible DJ Fab (Hip Hop Resistance) and supported from Paris by his label Heavenly Sweetness (�A French label spreading colourful music for the soul, Guts explores a host of styles, flows and atmospheres to build up a mosaic of 16 tracks, each nestling inside the other to form a single concept: Hip Hop After All."


[b] Open Wide [Feat Lorine Chia]
[c] The Forgotten (Don't Look Away) [Feat Quelle Chris &Amp; Denmark Vessey]
[d] Go For Mine [Feat Tanya Morgan]%U2028
[e] As The World Turns [Feat Rah Digga &Amp; Akua Naru]
[f] Man Funk [Feat Leron Thomas]

[h] Forever My Love [Feat Grand Puba]
[i] It's Like That [Feat Dillon Cooper]
[j] Want It Back [Feat Patrice &Amp; The Studio School Voices NYC]
[k] Enlighten [Feat Cody Chesnutt &Amp; Murs]

[m] Innovation [Feat Masta Ace]
[n] Come Alive [Feat Lorine Chia]

[p] Roses [Feat Leron Thomas]

Formed in Manchester over a decade ago, Hurts are an electronic pop band featuring vocalist Theo Hutchcraft and multi instrumentalist and producer Adam Anderson. Known for their striking and stylish videos, Hurts make epic, dramatic pop music that takes inspiration from a finely curated mix of influences including '70s Krautrock, '80s new wave, and '90s R&B. In August of 2010, Hurts' debut full-length album, Happiness, debuted in the Top 5 on the U.K. albums chart making it the fastest-selling debut album by a band in the U.K. that year. Featuring the singles "Better Than Love," "Wonderful Life," and "Stay," among others. The album was a huge success across Europe and Hurts' profile rose exponentially with the album reaching Platinum status 13 times over and 4 times Gold around the world including over 500,000 album sales in Germany alone. Several accolades followed in 2010, including topping the BBC's Sound of 2010 poll, winning a German BAMBI award, and garnering numerous nominations including an MTV Europe Music Award. The band have since gone on to win numerous awards including Best Band and Best Video at the NME Awards and Best International Newcomer at Germanys ECHO Awards. Hurts followed up in 2013 by releasing their sophomore album, Exile, which again hit the U.K. albums chart Top 10. The album again featured production from Hutchcraft and Anderson, along with Quant and Dan Grech-Marguerat, also featuring Elton John as guest Pianist on album closer “Help". Exile showcased a nuanced, somewhat more contemporary sound that incorporated more orchestral and rock instrumentation, yet retained all of Hurts’ core influences. In 2015, Hurts delivered their third studio album, Surrender, which featured production from Quant as well as Stuart Price (Madonna, the Killers) and Ariel Rechtshaid (HAIM, Vampire Weekend). The album spawned several singles, including "Some Kind of Heaven," "Lights," and “Slow. The epic video for “Lights", directed by Dawn Shadforth gaining the numerous nominations for Video of the Year. Two years later, they returned with the full-length Desire, featuring the singles "Beautiful Ones" and "Ready to Go.” Having sold hundreds of thousands of live show tickets around the world over the past decade, and often a fixture of the global festival circuit headlining stages around the world, the band have built an enviable touring fanbase including becoming one of the most successful British bands in Russia of the past decade.

The large and humanistic ensemble Black Lives , led by bassist Reggie Washington (brother of drummer Kenny Washington) and his wife Stefany Calembert, is working to fulfil a dream - some would say a utopia - that is as much musical as it is social. Musicians from the U.S., Africa, the Caribbean, and Europe are united by a common language in their fight for equality and justice. It's about the future of our societies, which are lost in the excesses of all-consuming materialism and mistrust of others. A natural convergence of musical and cultural aesthetics - jazz, soul, funk, hip hop, blues - is shaping a declaration of love and an act of resistance. Hearts beat fast and fists are raised high! The watchwords call for a world of unity, peace, and freedom. It's a strong belief in tomorrow. 'If you unite and struggle, it's possible to change.'

LIMITED EDITION SPLATTER VINYL WITH NEW ARTWORK
For over 15 years, Zu’s modus operandi of straddling and abusing musical genres has resulted in over fifteen unique album releases across labels such as Ipecac, Atavistic and Headz (Japan). Their experimental amalgam of metal, math, no-wave, noise and electronics, led acclaimed composer John Zorn to describe their sound as “a powerful and expressive music that totally blows away what most bands do these days”.

In the running for the title of “the world’s hardest working band,” Zu have performed over 1000 shows throughout Europe, US, Canada, Asia, Russia, Mexico and even Africa, touring with the like of Mike Patton (as the Zu/Patton quartet), also sharing the stage with Faith No More, Fantômas, The Melvins, Lightning Bolt, Sonic Youth, The Ex, and countless others. They have also collaborated with a vast number of musicians including Mike Patton, The Melvins, Dälek, Jim O’ Rourke, FM Einheit (Einsturzende Neubauten), Peter Brötzmann, Nobukazu Takemura, Eugene Robinson (Oxbow), Steve MacKay (The Stooges), The Ex, Thurston Moore, Stephen O Malley, Damo Suzuki (Can), Mats Gustafsson, NoMeansNo, Joe Lally (Fugazi).

CARBONIFEROUS is their masterpiece, originally released on Ipecac in 2009, it includes collaborations with Mike Patton, King Buzzo, Giulio Ragno Favero.

"For A Fleeting Moment" is the result of the dialogue between the Swiss photographer Simone Kappeler and the Japanese musician Tomotsugu Nakamura initiated by IIKKI, between March 2023 and May 2024.

Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he he has played with various genre of musicians and his works have been released by Kaico, Audiobulb Records, and more recently by the French label LAAPS.

Born in 1952 in Frauenfeld (Switzerland) where she lives and works, Simone Kappeler started taking pictures at the age of 11. After studying German literature and art history, she studied photography at the Zurich University of the Arts. During a three-month trip to the United States in 1981, she took her first pictures using cheap cameras, especially the Diana camera.
Hasselblad, Leica, Diana, Brownie, Polaroid, disposable camera, expired or infrared films, since 1970, Simone Kappeler has explored all types of photographic techniques. Her work, experimental and poetic, reveals to us the curiously foreign world that surrounds us.
Since 1982, ongoing projects in southern France and the Grisons.1982/83, studio in New York, conceptual photography and Super 8 films. 1983/84, theater photographer, Schauspielhaus Zürich. 2009, six-week photographic study of Japan, 2015 studio in New York. Her work was the subject of a first monograph: "Seile. Fluss. Nacht. Fotografien 1964–2011", edited by Hatje Cantz and is regularly exhibited in Galleries and Museum in Europe and United States.
For A Fleeting Moment is her first book gathered exclusively a part of her wide polaroid works from 2011 to 2023.

Fine Art Book, Ltd. to 700 copies:
Hardcover book printed on Glossy Modern Paper 170g/m2 // 104 pages, 19cm x 22.5cm, 66 photos // Front cover points and back cover logo embossed // Selective UV varnish // Hand-numbered.

Dieser bisher unveröffentlichte Konzertmitschnitt des Tomasz Stanko Quartetts, der im September 2004 in der Münchner Muffathalle aufgenommen wurde, ist ein faszinierendes Dokument, das einen besonderen Moment in der musikalischen Entwicklung der Band einfängt, zwischen den liedhaften Strukturen des Suspended Night Repertoires und den frei fließenden Improvisationen, die die polnischen Musiker später auf Lontano erkunden sollten. Der Auftritt in München war ein Höhepunkt in einem Jahr, in dem das Stanko Quartett eine Rekordzahl von Auftritten absolvierte, mit ausgedehnten Tourneen durch die USA und Europa. Der große Trompeter selbst zeigt sich hier von seiner charismatischen Seite, in hervorragender Form und sichtlich inspiriert vom energiegeladenen Spiel und der kommunikativen Kraft von Marcin Wasilewski, Slawomir Kurkiewicz und Michal Miskiewicz, den dynamischen jungen Musikern, dessen Mentor er war. Das Live-Album wurde von Manfred Eicher produziert.

First career spanning compilation on vinyl, covering studio albums, singles and unreleased tracks (2009-2023) by the acclaimed Peruvian instro band, Los Protones. A collection of intense recordings - mostly originals - which combine surf music, psych, garage, and tropical & Andean flavors. DESCRIPTION The Protones began their strange journey in Lima, Peru, in early 2007. The band's roots were as a side project for several members of Manganzoides, a well-remembered Peruvian garage rock band, but they quickly consolidated their own instrumental style that, to this day, combines musical genres from the 60s such as psychedelia, surf music and garage rock, sometimes paying tribute to Peruvian rhythms such as chicha and Amazonian cumbia. They are surely the only band in the world that has shared stages with Los Shapis and the New York Dolls, although not on the same night... Over the course of two decades they have played countless concerts, including visits to Europe and other Latin American countries. The music on this compilation comes from their four, full-length studio albums: "Los Protones", "Hijas del Diablo", "Maravilla!" and "Misión: OA4", in addition to the previous CD compilation "20 Monstruos! 2007-2015" and "Double Feature", a split CD with the Brazilian band Os Brutus. The group's current lineup includes Gonzaleo (guitar), Tito (drums), Jimi (keyboards), Andrés (bass) and Lucía (violin). Dance floor oriented tropical music at its best!

“With their debut record, the merry order of musically miscreants from Los Angeles bring you their eccentric, eclectic, electric Polywave experience” The core members are: Neight Trion (The Black Angels, The Shine Brothers), Rocky (Death Valley Girls), Jay Eraser (Grooms, Roya), Oh-Ra (?) and Malware (Dead Meadow). Recorded and mixed by Jason Simon at Tekeli-li Sound. Mastered by Howie Weinberg "World Destroyers’ Pleasure Club is a musickal order formed during the great plague of the 20’s in Los Angeles in thanks to a constellation of fortuitous alignments. In the midst of the isolation that connected all people across the globe, in that unsettling quiet, a vision was obtained of community, ecstasy and revelry. The vision took on a life of its own as the band found each other and continues to propel the unit forward in their journey toward its realization. When asked to describe their strange, mutant music some fans and even members have found it difficult to do so. For this reason they have chosen the term Polywave as their designated genre which they envision as including other forms of expression besides music, a tendency to be hyper-eclectic and bearing the distinguishing mark of a commitment to continual, intentional self-transformation. WDPC has performed at venues such as Permanent Records Roadhouse, Zebulon, Lodge Room and more, both headlining and supporting artists such as The Intelligence, The Black Lips and The Nude Party. Nicknamed The Mysterious Party Band, they’ve been told they sound like a “Gospel Devo” by DJ Al Lover (Fuzz Club Records), and drawn comparisons to Talking Heads, The Fall, Butthole Surfers and Peter Gabriel. As influences they cite artists as varied as Hailu Mergia, Psychic TV, Scott Walker, Fela Kuti and Red Crayola but these influences don’t necessarily reveal themselves sonically as much as resembling the spirit in which they were conceived. Artist Neight Trion, the principal songwriter, spends as much time on the lyrics as composing the music, aiming for both to be strong enough to stand on their own. Membership includes a revolving and evolving collection of instrumentalists and collaborative mimetic entities but the core members are Neight Trion, singer/keyboards (The Black Angels, The Shine Brothers), Rocky, bass guitar (Death Valley Girls), Jay Eraser, guitar (Grooms, Roya), Oh-Ra, drums (?) and Malware, synth (Dead Meadow). Hailing from all across the US and Europe their operations are based in the Los Angeles area. Armed with their eponymous debut released by Blow Your Mind Records based in Santiago, Chile, they’ll be coming to a town near you and preparing the way for the coming Polywave. This is only the beginning, the first stages of metamorphosis. They invite you to join them in their pursuit of the communal ecstatic experience

The vibrant genre Eurodance originated in the late Eighties in Europe and combines many elements of rap and rich melodic vocals with strong bass rhythms and cutting-edge synthesizers. The 2LP Eurodance Collected compiles the best hits from Eurodance, including Snap! ""Rhythm Is A Dancer"", Technotronic's worldwide smash ""Pump Up The Jam"", catchy sing-a-long self-titled Captain Jack track, Dutch group Vengaboys' ""Boom, Boom, Boom, Boom!!, Belgium's hit-wonder 2 Unlimited's ""No Limit"" plus 22 other guaranteed dancefloor fillers. Eurodance Collected is available on black vinyl and includes an insert.

New electro release from the Detroit homie Dr. Di'jital, who's celebrating his PHD in mechanical engineering. The man throws the classic Direct Beat hit Automatic Activity in the rebound, but not before going back to the European hood and grabbing Carl Finlow & Will Webb to drop two awesome remixes. Guaranteed 2 get the dance floor hoppin!

Formed by Kenny Clarke and Francy Boland, the Clarke-Boland Sextett, with the participation of numerous musicians from both Europe and the United States, made significant contributions to the development of jazz in Europe. At the core of this ensemble, the powerhouse sextet consisting of Kenny Clarke, Francy Boland, Sahib Shihab, Jimmy Woode, Joe Harris, and Sadi came together to record the album "Music For The Small Hours" in 1967, and it is now set to be reissued with an obi.

This album spans a wide range of styles, from standards like Burt Bacharach's "Wives & Lovers" to Brazilian and Afro-Cuban influences such as Luiz Bonfá's "Ebony Samba" and Dizzy Gillespie's "Tin Tin Deo." Additionally, it features original compositions like Shihab's "Please, Don't Leave," where he takes on vocal duties. The entire recording exudes a sophisticated and relaxed mood, showcasing the utmost skill of this formidable sextet. "Music For The Small Hours" is a masterpiece that deserves a place in the history of European jazz, boasting the ultimate level of refinement.

After playing with Mingus, Coltrane, Lady Day and Abbey Lincoln, inventive jazz pianist Mal Waldron moved to Europe and first reached Japan in 1970, where he met Idahoborn double-bassist Gary Peacock, who had played with Art Pepper, Bud Shank, Bill Evans and free-jazz giant, Albert Ayler before moving to Japan to study zen buddhism. First Encounter, recorded in Tokyo in 1971 for French producer Herve Bergerat, shows that the intense pairing was quite natural, the harmonic dissonance of Waldron’s “She Walks In Beauty” contrasted by the up-tempo groove of Peacock’s “What’s That”; future Native Son founder Hiroshi Murakami makes important contribution on drums.

Sometimes music is supposed to feel weird and indescribable. It’s the moments of clarity within the dense, sonic mess that often feels the most satisfying. That’s the space that Earth Tongue occupy. At times, their songs are shrill and disorientating, other times their reverb-washed textures and instantly- familiar hooks can wrap you in a warm, loving embrace. The one consistent thread through their music, however, is the thick and all encompassing fuzz. Guitarist Gussie Larkin has become a master of the fuzz-smothered riff, and along with Ezra Simons’ off-kilter drumming, they’ve been sending punters into transcendental states since they began gigging in their home town of Wellington, New Zealand in 2016. Floating Being will be released this June 21st. The album was pieced together throughout their travels of Australia and Europe, with the finishing touches being added in their hometown. The album contains songs they’ve been playing live for the past year, and it captures the raw, primitive energy that exists within their live performance. Earth Tongue embrace the imperfections in their playing and recording - drawing influence from early 70s psych and prog rock. The last thing they wanted was to create a shiny, over-produced record - with that in mind, they recorded the drums to an old 8-track Tascam reel-to-reel in a friend’s garage in Melbourne. The result is a punchy, raw and fuzzy journey into psych-rock with songs that weave between melodic and jarring. Unexpected twists and turns leave the listener in a disorientated yet satisfying haze.

INFINI-T music (CHALICE SOUND) presents a brand new 7” - 45rpm vinyl release: Nytto Dread “KUSH", an original song mixed by Roberto Sánchez at A-Lone Ark Muzik Studio and mastered by Ibon Larruzea, Euridia Estudios.

Nytto Dread unique style alongside the Emeterians vocal trio on the backing vocals, with an instrumental made by the legends: Mafia & Fluxy, alongsinde the international known Spanish Forward Ever Band.

Experimental prog act East Of Eden’s daring debut album Mercator Projected was released by Deram in 1969. Former Graham Bond Organisation bassist Steve York and drummer Dave Dufort supply the tough rhythmic backbone on which frontman Geoff Nicholson weaves his edgy guitar, with Dave Arbus’s electric violin supplanting what would normally be played on rhythm guitar, Adrian Martins’ sax and flute completing the picture with central European melodies. Hard rocking, melodically meandering, and including a one-off take of ‘Eight Miles High,’ this is prog with a bold difference. A killer set from start to finish!

“Joe McPhee’s first international release, Black Magic Man, was issued on the newly formed Hat Hut imprint in 1975. It was a watershed moment for the 35-year-old musician. Based in Poughkeepsie, New York, he was too far away from Manhattan to have participated extensively in the Loft Jazz happenings of the decade. European exposure, however, would give McPhee an alternative circuit, something of an escape route from the trappings of American cultural myopia. “In support of the new record for this Swiss label, McPhee invited John Snyder on a European tour in October 1975. Snyder was a synthesizer player with whom McPhee had made the duet LP Pieces Of Light, released a year earlier on CjR. The two musicians developed an extensive repertoire, playing diverse spaces in the Hudson Valley. Geographically close gigs were a plus, since it took extra energy to hoist Snyder’s ARP 2600. “McPhee and Snyder were invited to play at the Willisau Jazz Festival in Switzerland. If you compare this live record with Pieces Of Light, a studio effort, it’s considerably more open. South African drummer Makaya Ntshoko is rolling thunder on the choral ‘Voices,’ shuffling under Snyder’s bubbly beat on ‘Bahamian Folksong.’ It is quite a special combination, enough so that Hat Hut chose to release it as their next LP, Hat Hut B in their alphabetical series. The Willisau Concert represents the sound of Joe McPhee opening up, opening out, expanding his field of operations to include new figures, fresh experiences, new continents of sound.” —John Corbett (excerpt from the liner notes)

Nick Garrie was an unknown backpacker until his music was discovered in the late ’60s while busking in the South of France. Recognising his talent, work on a collection of recordings followed which would culminate in his legendary debut album The Nightmare of J.B. Stanislas. Set to be released in 1969 on the influential French label Disc’Az, however due to the suicide of the label’s founder, Lucien Morisse, shortly before the album’s release date, only about 100 copies of this psych pop/soft rock masterpiece came into circulation. It became a cult album in the truest sense and was finally reissued almost 40 years later. With the death of Morisse, Nick took some time away from recording only to return under an alias, writing with Oscar and Golden Globe winning composer Francis Lai. His directory of credits only grew as he worked with Paul Samwell-Smith (The Yardbirds), Alun Davies (Cat Stevens’ Band), drummer Gerry Conway and Leonard Cohen. Nick Garrie grew his audience in Europe, penning an album that would top the charts in Spain. In 2005 the album The Nightmare of J.B Stanislas was reissued, achieving critical acclaim from The Independent, BBC & Record Collector. Nick’s resurgence combined with fascination of his back story led to a new generation of music fans and musicians appreciating Garrie’s work. In this tim he was collaborated with the likes of Duglas T. Stewart (BMX Bandits) Norman Blake and Francis McDonald (Teenage Fanclub) and Gary Olson (The Ladybug Transistor). Now, for the first time ever, the classic title track is to be released as a 7” single. It is also the first ever vinyl release of Nick’s work on a UK label. The B side is a song close to Nick’s heart Around the World. This track was also written in the ’60s but had never been recorded before. It was recorded at Nick’s home in late 2023 with the help of fellow 9X9 recording artist Jamie Whelligan and musician/producer Nick Frater.

Jaqee's last album with the promising title "Fly High" leads the inclined listener into a sometimes idiosyncratic fermentation of street-ready R'n'B, pop aesthetics, jazz intellect, world music earthiness, chanting Afro soul and sensitivity and softness of classical music and orchestral warmth, which is defined by Jaqee's voice throughout all tracks, but never overridden. Thilo "Teka" Jacks, who produced "Fly High", is looking for musical salvation and the courage to change things up in order to illustrate unity, also in busy, heated, African sub-currents like High Life, but also in European dancefloor stereotypes and even traces of soca and merengue, all of course always only thought of, because the real main actor is and remains Jaqee's sustained singing, her unique intonation and her voice, which sometimes sounds clear and angry, other times fragile and sensitive - that's the way it should be. Despite or precisely because of this immensely expressive character of the album, it is advisable to listen to the work several times: Jaqee makes music with sophistication and expression and a look that also allows for sheer black music entertainment, "Fly High" proves this with lasting effect. "Fly High" is now available on vinyl for the first time.

FTB’s 1971 ‘Satori’ reissue: white vinyl edition, get it now!

Originally released in 1971, this album marked a significant milestone as the first Japanese artist's work intentionally tailored for international audiences. It made waves not only in Japan but also in the United States and Canada, where the single "SATORI PART 2" climbed to number 8 on the charts. The album's distinctiveness lies in its infusion of Eastern and Japanese musical elements, a reflection of the growing interest in Oriental philosophy across Europe and America during that time.

In the early '70s, Japan was transitioning from the pop-centric GS genre to a more folk-influenced sound, with rock still finding its niche. Despite this, FLOWER TRAVELLIN' BAND garnered support for their pioneering sound, both at home and abroad, maintaining their popularity over the years.

"Toujours l'été" is the very first Les Négresses Vertes Best Of on Vinyl. 12 classic track on white vinyl edition fairly priced , from" Sous le soleil de Bodéga", "Voilà l'été" to "Zobi La mouche " and Massive Attack's cult remix of "Face à la mer " .
Les Négresses Vertes are a cult french alternative band formed in 1987 with a unique sound. The original line up was a group of 9 friends, some of them never played music before : we can say they very quickly improved . They can be best described as a fusion of world music and alternative rock. Their particular music influences were Raï, Mediterrean music and French café / chanson française up to lyrics. They were in the same time a big band & a rock band with tremendous concerts throughout the UK & Europe . After two first and cult albums "Mlah" & "Famille Nombreuse" and the death of the former charismatic singer Helno, the band decided to keep on playing with Stéphane Mellino & (Matias) Canavese replacing Helno as the main songwriters & singers. After "Zig-Zague" & "Trabendo" albums, they disbanded in 2001.
Following a few live reunions , Stéphane & Iza Mellino ,original members, reformed the live band in 2018 to celebrate the 30th anniversary of cult debut album "Mlah" with an intensive French tour. They have kept playing since and will be back onstage from late spring 2024 for a 30 dates new tour visiting a few countries and very likely to be extended in 2025. Longue vie aux Négresses Vertes

Mika Miko were a band from Los Angeles from 2003-2010 playing a mix of danceable, post punk and late 70's style power pop and street punk. Formed by sisters Jennifer and Jessie Clavin (who would later form Bleached) with high school friends Michelle Suarez, Jenna Thornhill and drummer Jon Erik Edrosa. After a 7" EP in 2004 (PPM) they signed to Kill Rock Stars in 2006 with new drummer Kate Hall to release "C.Y.S.L.A.B.F." which would see them tour throughout the US, Europe and Japan. Returning to PPM in 2007 to release their "666" EP, and their second and final LP (with another new drummer, Seth Densham) "We Be XUXA" in 2009, they disbanded in 2010. Mika Miko were highly influential and integral to the LA scene in the early and mid aughts surrounding the all ages club The Smell. This limited edition of 300, silk screened cover + poster LP is a "Best Of" compilation of their previous work compiled by the band.

"Different Breed", das während ihrer Europatournee 2022 Abend für Abend akribisch ausgearbeitet wurde, würdigt alle charakteristischen Merkmale, die die Band ausmachen: wuchtige Riffs, Orchestrierung, Indus-Passagen und mitreißende Refrains, und bringt sie gleichzeitig mit dem über die Jahre erworbenen Know-how auf den neuesten Stand.

Abgemischt und gemastert von Chris Coulter (Arcane Roots, Idles) in London, bietet "Different Breed“ dem Hörer ein kompromissloses Eintauchen in eine Welt, die rau und dunkel, aber auch melancholisch und voller Hoffnung ist.

Artwork wurde von dem Maler Mathieu Questel gefertigt.

Kurtis Walker - better known by his stage name Kurtis Blow - was the first rapper and hip/hop artist to be signed to US major record label Mercury in 1979. His first single ""Christmas Rappin"" became an instant classic selling nearly half a million copies on 12-inch. The follow-up single ""The Breaks"" sold more than a million copies, making it the very first rap single to be certified Gold. Kurtis Blow's self-titled debut album was released in 1980 and due to the success, he performed in Europe and Japan spreading the new hip hop sound all over the world. During his career, Kurtis Blow has released a total of fifteen albums and a slew of solo singles such as ""Throughout Your Years"", ""Hard Times"" and ""Tough"". The tracks ""America"", ""If I Ruled The World"" (which was later sampled by The Fugees and Nas) and ""Basketball"" further cemented his hip hop legend. Next to his solo work, he also as collaborated with The Fat Boys, Run D.M.C., Sheila E. on ""Krush Groovin'"" from the 1985 influential hip hop movie Krush Groove, René and Angela's ""Save Your Love (For #1)"", and ""Funky Stuff"" together with 2024 Rock And Roll Hall Of Fame inductee Kool & The Gang. The 2LP Kurtis Blow Collected is an overview of the biggest and best hits by one of the original Godfathers of Hip Hop.

1993 Chick Corea - the venerated 27-time Grammy winner and National Endowment for the Arts Jazz Master - unveiled the second incarnation of the Elektric Band. With the brand new lineup of guitarist Mike Miller, bassist Jimmy Earl and drummer Gary Novak, and saxophonist Eric Marienthtal (the lone holder over from the first iteration of the Elektric Band,) Corea, approached this ambitious outing in the same way he had done everything throughout his career, by pushing the boundaries of what modern jazz is.

With material written with these specific players in mind, Corea gathered this group of remarkably flexible musicians into Mad Hatter Studios in Los Angeles. Recorded almost entirely live in first takes, the album is notable for its “less is more” approach to Corea’s particular style of genre bending composition. Though the focus may have been more on acoustic piano than synths, the same proficiency, spontaneity, impeccable execution and jaw-dropping display of chops that characterize the five first Elektric Band albums applies.

Of special note here is the inclusion of the track “Final Frontier”, originally released exclusively on the Japanese and European editions. This all out burner is the lone tune on the record featuring Corea on a synthesizer.

Written as an answer to “Got A Match” from 1986’s The Chick Corea Elektric Band album, it’s an uptempo showcase for the players to stretch out and the kind of track that exemplifies the jazz fusion that Corea and his groups came to define."

Tiny Habits were formed in Boston, MA by artists Maya Rae, Cinya Khan and Judah Mayowa. The three singer-songwriters met at Berklee College of Music and the band was born at the beginning of 2022.

They started out by sharing covers recorded in the stairwell of their dorm and posting them on social media. Focusing on beautifully intimate three-part harmonies the trio's enticing signature sound, offered exquisite, reimagined versions of songs from across a spectrum of styles and quickly drove them to viral success.

They received recognition and early support from artists as diverse as David Crosby, Marcus Mumford, Phoebe Bridgers, and Noah Kahan. Collaborations include work with Mark Ronson, JP Saxe and Lizzy McAlpine, who they supported on NPR’s Tiny Desk

Their debut EP “Tiny Things” was released in April 2023 and established them as one of “the” bands to watch in the year ahead.

In early 2023, the band opened for Gracie Abrams “Good Riddance Tour” across North America, followed by their own sold-out US “Tiny Tour” At the end of 2023, the trio opened for Noah Kahan on his “Stick Season Tour” across Europe, followed by a sold-out headline show in London. In January 2024, the band rejoined Gracie Abrams, opening for the Australian leg of her “Good Riddance Tour”. This was followed by a sold-out headline show in Melbourne and a performance at the Minetta Lane Theatre in New York with Kacey Musgraves. The New Yorker recently wrote a feature piece on the band, coining them “The Prodigies of Harmonies”.

Auf ,From The Source", dem ersten neuen Studioalbum von Causa Sui seit vier Jahren, hat die Band eine ihrer ehrgeizigsten Musiken überhaupt geschaffen - eine Reise durch die Klanglandschaften, die den Sound der Gruppe ausmachen, und ein Vorstoß zu neuen Horizonten. Mit ihren Verbindungen zu Jazz, experimenteller und Ambient-Musik sind Causa Sui so etwas wie eine Anomalie in der ständig wachsenden europäischen Psychedelic-Rock-Szene. Sie gehen immer ihren eigenen Weg. Nie zuvor wurden die weitreichenden Einflüsse der Gruppe so sorgfältig miteinander verwoben wie auf ,From The Source", von groovigem Zamrock und elektrischem Jazz bis hin zu schwebendem Post-Rock, Sabbath-Riffs und hypnotischer Kosmik. Das Album wurde in monatelangen Sessions im eigenen Studio aufgenommen, wobei jeder Teil durch intensive Erkundungen schrittweise verfeinert wurde, aber dennoch Raum für Improvisation blieb und die Magie der klinischen Perfektion vorgezogen wurde. Das Temperament der Musik reicht von eisern heiß bis eiskalt, mit allen dazwischen liegenden Ebbe und Flut. Die dynamische Bandbreite war schon immer von zentraler Bedeutung für Causa Sui, aber auf diesem Album erforscht die Band sie in einem neuen Ausmaß - jeder Track dreht und wendet sich und führt den Hörer nahtlos auf unvorhersehbare Pfade. Der Höhepunkt des Albums, und wohl auch des einzigartigen Ethos der Band im Allgemeinen, ist die seitliche Odyssee ,Visions of a New Horizon" - eine 24-minütige Suite in sieben Teilen. Ein angemessener Abschluss des Albums, das in diesem Jahr das 20-jährige Bestehen der Band markiert.

Die schottische Progressive-Post-Metal-Band DVNE wird ihr neues Album "Voidkind" am 19. April über Metal Blade Records veröffentlichen. Die 2013 in Edinburgh vom Franzosen Victor Vicart und dem gebürtigen Schotten Dudley Tait gegründeten Progressive-Post-Metal/Sludge-Künstler DVNE haben seit ihrem zweiten Album, dem kaleidoskopisch hypnotisierenden "Etemen Aenka" aus dem Jahr 2021, mächtig Dampf gemacht. Die LP, ihre erste Veröffentlichung für das legendäre Label Metal Blade Records, war ein konzertierter Aufstieg für diese rätselhafte Band, der es DVNE ermöglichte, in Großbritannien und Europa auf Headline-Tour zu gehen und Spots auf so anspruchsvollen Festivals wie Hellfest, ArcTanGent, Desertfest, Damnation und Resurrection zu bekommen. Die Live-EP "Cycles Of Asphodel" aus dem Jahr 2022 mit neu interpretierten Titeln des Albums sorgte für eine stetig wachsende Fangemeinde, und jetzt, im Jahr 2024, wird das dritte Album "Voidkind" die fünfköpfige Band (mit Maxime Keller an den Keyboards) an die Spitze ihres Könnens katapultieren.

The Flenser is pleased to announce the release of Living Is Easy, the latest EP from ecstatic black metal band Agriculture. Ecstatic black metal from Los Angeles. Follows up 2023's critically acclaimed debut. A new EP plus first vinyl release of their first EP. Appearing prominently at the 2024 edition of Roadburn. US and European tour dates in the works through 2024. Video for title track featuring Flenser goons, Chat Pile. This new EP will be paired with the band's debut EP, The Circle Chant. For the first time, both EPs will be pressed together on a single 12-inch vinyl record as well as a cassette format Living Is Easy represents a significant new statement from the band. With their debut self-titled, Agriculture embarked on a journey to explore how heavy music can provide insights into the joys of life, both everyday and divine. Their extensive touring with this material led to a profound experience of ecstasy, surpassing expectations as they shared the intensity and joy of these songs with audiences worldwide. This experience was a catalyst for the band, inspiring them to delve even deeper into the realm of "ecstatic black metal" music. They believes that with this release they have pushed this concept to its limit, resulting in a transformative explosion of sound and meaning. The record delves into themes of community connection, holiness, violence, and the cycles of life. The title track is especially notable, featuring a retelling of a story from one of the Buddha's past lives. In this narrative, the Buddha encounters a starving family of tigers and sacrifices himself to save them, a tale of serenity and selflessness. This story resonates deeply with the band, reflecting the humility and inspiration they find in their collaboration and echoing the generosity and interconnection they strive to explore through their music. Touring holds a special place in the heart of Agriculture. It brings them immense joy to share their music, visit new places, and meet new people in cities around the world. This constant interaction with diverse audiences serves as a continuous source of inspiration for this work. Agriculture is eager and excited to share Living Is Easy as well as give new life to the first vinyl pressing of The Circle Chant. Black Vinyl!