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Faitiche presents Groupshow’s Greatest Hits: The ten tracks on this first vinyl album by Groupshow (Hanno Leichtmann, Andrew Pekler, Jan Jelinek), recorded between 2005 and 2018, document concert recordings and studio improvisations by the trio.

In improvisation there are no mistakes, only missed opportunities. Groupshow found their first opportunity in the routines of live performance and they used this opportunity to break with these routines. The trio consisting of Jan Jelinek, Hanno Leichtmann and Andrew Pekler came together in the context of Kosmischer Pitch, playing live versions of the music from Jelinek’s 2005 studio album of that name. During this project, the musical interaction between the three participants quickly emancipated itself from the original programme, departing from fixed roles and finding a distinct form in constant change.

Groupshow sessions – rehearsal, concert or recording – are always improvised. The interplay of the various sound sources, converging from the directions of “electronics”, “percussion” and “guitar”, does not follow the Krautrock wave logic of crescendo and morendo. Jelinek, Leichtmann and Pekler have established a method of transparent density in which links and breaks are not concealed but remain audible. The music works through attraction and repulsion, with a loosely organized structure that always leaves enough room for the next intervention.

The principle here, repeated even in the smallest units, is that of duration. Groupshow think of their music in terms of an installation: no starting point, no dramaturgy, and ideally no end. Concerts take place not raised up on a podium, but in the middle of the room on a level with the audience, who only enter the space with the musicians and instruments once their interaction is already underway. In 2008, Groupshow used this approach to create a live soundtrack for Andy Warhol’s film Empire, over the full length of eight hours and five minutes.

Recordings in general and the “Greatest Hits” format in particular are another key aspect of this ongoing work on a collectively modulated continuum. The ten tracks on this first vinyl album by Groupshow, recorded between 2005 and 2018, document the ephemeral capturing of opportunities that were not missed. Extracts and essences of an endless movement of searching. The sprawling form of the whole, suspended in succinct, separate units.
To paraphrase Lao Tzu and Roland Barthes, one might say: Once their work is done, they are no longer attached to it. And because they’re not attached to it, it will remain.

Arno Raffeiner, 2022

With the recent release of "Don't Let The Sunlight Fool Ya," the chart-topping full-length album from NYC reggae legends The Slackers, we wanted to bring you two more brand new songs! We're giving them the best treatment possible by pressing them on 12" UV digitally printed vinyl. "New York Berlin" is commentary on friendship during changing times in center cities. Both friends and neighborhoods were treasured despite their flaws but both ended up going away. The moral of the song is to remember to love everyone around you while they are around you. Meanwhile, "Tell Them No" is a song of empowerment and finding one's inner strength through adversity. Based on trombonist and vocalist Glen Pine and his nephew's real-life struggles with bullying, the song encourages its listeners to rise above the fray and not to let detractors get the best of you. Stand up for yourself, fight back, then allow yourself to heal. When listening to these two tracks, it's easy to see why The Slackers have been going strong for over 30 years. With unparalleled charm and wit, these two songs are yet another example of the timeless songs this incredible and special band can craft! Limited to 1500 copies -get one whilst you can!

It's an all electronic affair, harmonically maximalist, predominantly symphonic-synthetic, requiring active listening. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works full of sound, euphonic and vivid in nature.

The making of this album was intentionally a very personal process, going into self therapy territory at times interpreting the composer's contemplating mind dealing with tolerance, destruction, compassion, misery, grace and tyranny in an auditory manner. Some pieces function as challengers of musical structural habits, provoking the short attention span culture, others present a problem-solution scenario, collectively via a neoteric noise aesthetic and detailed melodic weaving. Ultimately, the objective was to engineer an assortment of works, awash with euphonic sound vivid in its essence, with a deep focus on various synthesis techniques within a compositional framework.

Dedicated to Peter Rehberg aka Pita

Ata 'Sote' Ebtekar composes music with a deeply-held conviction that rules and formulas should be deconstructed and rethought. He alters musical modal codes from their original tonality and rhythmic tradition to achieve vivid, synthetic soundscapes. Over the last three decades, his work has been published by labels such as Warp, Sub Rosa, Opal Tapes, Diagonal, Mute and Morphine, among others. In 2018, he founded a new label called 'Zabte Sote', which focuses on releases by Iranian experimental electronic composers from around the globe.

Known for creating compositions that range from the delicate to the abrasive, using sounds both of acoustical and electronic origins, Ebtekar sees music as the expression of cultural habits in sound and anti-sound (silence). Seeking to expand such traditions he creates music that, while rooted in many cultures at once, belongs to none in particular. Sote's work deals with various blueprints, in particular his solo all synthetic music, his electroacoustic audio/visual group project, and his multi-channel sound installations. Sote is on the jury panel of The DAAD Artists-in-Berlin Program, and has created commissioned work for and performed at a.o. Berghain and CTM Festival (Berlin), Unsound Festival (Krakow), Cafe Oto (London), Jazzhouse (Copenhagen), TodaysArt Festival (The Hague), Bozar (Brussels), Ultima Festival (Oslo), Donaufestival (Krems), Donaueschinger Musiktage, Mira (Barcelona), Terraforma (Milan), and many more.

Clear Splatter Vinyl

We are proud to present this long player in our catalog. Zolex is one of the most influential and groundbreaking artists of the European Techno scene. He produced many classic anthems like 'Time Modulator' -one of the first underground techno tracks played on MTV (back in the days MTV still played music)-, Beautiful Inside, Yes & No,... But also under various aliases and groups like Carat Trax,
Asphyx, Dirty Jackers.

Zolex is still an active DJ and he has played on major techno events all over the world. For this release we selected 8 brand new tracks. All of these tracks are in his typical style. This package is like "the finest wine". We are not going to explaining all tracks separately, that would downgrade this promo-text. All tracks are unique, groundbreaking, massive, vicious, top notch and true gems. What we dare to say: buy it and you will play them all! And off course : Play it LOUD!

WRWTFWW Records is deeply honored to announce the release of Chu Ishikawa & Der Eisenrost’s soundtrack for experimental action drama Tokyo Fist, released in 1995 and directed by legendary director/producer/writer Shin’ya Tsukamoto (Tetsuo: The Iron Man and its sequels, Bullet Ballet, Hiroki The Goblin, Nightmare Detective). Previously only published on CD in Japan, the cult movie soundtrack is available on vinyl for the first time ever and housed in a heavy 350gsm sleeve.
The Tokyo Fist soundtrack gorgeously blends explosive industrial music, heavy percussion, martial rhythms and noise experimentations with contemplative ambient and emotion-filled synth soundscapes, perfectly encapsulating the nihilistic pain felt by the characters of the movie and the brutally visceral rebirth they go through. Ishikawa and Der Eisenrost’s compositions hit hard, sometimes truly terrorizing, sometimes heart-gripping in gloomy and bewitching ways. This is no holds barred music, a venture into the darkest yet most strangely beautiful corners of the human mind (and heart).
The late great Chu Ishikawa was one of the innovators of the industrial and experimental scene in Japan and has collaborated with Shin’ya Tsukamoto on numerous movies. He also worked extensively with Takashi Miike, another visionary filmmaker from his home country. Ishikawa was the leader of groundbreaking Industrial-Metal-Percussion unit Der Eisenrost whose live performances around Japan left an indelible mark on the genre’s history.
This new project by WRWTFWW Records follows previous Japanese soundtracks from the catalogue: Ghost in the Shell, Patlabor 2, Evil Dead Trap…and more to come.

For nearly 60 years, John Cale has been reimagining how his music is made, sounds, and even works. MERCY, Cale’s first full album in a decade, moves through true dark-night-of-the-soul electronic torment toward vulnerable love songs and hopeful considerations for the future with the help of some of music’s most curious young minds. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.

John Cale announces MERCY, his first new album of original songs in a decade, out January 20th via Double Six / Domino. For nearly 60 years, or at least since he was a young Welshman who moved to New York and formed The Velvet Underground, Cale has been reinventing his music with dazzling and inspiring regularity. There was the bewitching chamber folk of Paris 1919 followed instantly by the gnarled rock of Fear, the provocative and spare song cycle Music for a New Society followed more than 30 years later by mighty and unabashed electronic updates. Once again, here is Cale, reimagining how his music is made, sounds, and even works. His engrossing 12-track MERCY moves through true dark-night-of-the-soul electronics toward vulnerable love songs and hopeful considerations for the future.

On MERCY, Cale enlists some of music’s most curious young minds: Animal Collective, Sylvan Esso, Laurel Halo, Tei Shi, Actress. They’re only some of the astounding cast here, brilliant musicians who climb inside Cale’s consummate vision of the world and help him redecorate there. Cale turned 80 in March, and he’s watched as many peers have passed away, particularly during the last decade. MERCY is the continuation of a long career’s work with wonder. Cale has always searched for new ways to explore old ideas of alienation, hurt, and joy; MERCY is the latest transfixing find of this unsatisfied mind.



The writings and recordings that shaped MERCY piled up for years, as Cale watched society totter at the brink of dystopia. Trump and Brexit, Covid and climate change, civil rights and right-wing extremism—Cale let the bad news of the day filter into his lines, whether that meant contemplating the sovereignty and legal status of sea ice melting near the poles or the unhinged arming of Americans. Lessons from a life (still being) richly lived floated to the fore, too, nodded to on the previously released “NIGHT CRAWLING.” If we’re always regretting our past, aren’t we conscripting ourselves to permanent disappointment?

During “STORY OF BLOOD,” after the piano prelude gives way to a frame-rattling beat and synthesizers that feel like sunshine splashed across a snowfield, the voices of Cale and Weyes Blood’s Natalie Mering slide past one another, two phantoms trying to find a partner amid the modern din. “Swing your soul,” they both sing in aspiration. In the final verse, Cale remembers this existence is not just about himself. “I’m going back to get them, my friends in the morning. Bring them with me into the light.” The accompanying video by Emmy-winning director Jethro Waters is a mix of disturbing and serene featuring both Cale and Weyes Blood. Its deep tones and religious images emphasize the track’s dark, spiritual mood.

Cale elaborates: “I’d been listening to Weyes Blood’s latest record and remembered Natalie’s puritanical vocals. I thought if I could get her to come and sing with me on the ‘Swing your soul’ section, and a few other harmonies, it would be beautiful. What I got from her was something else! Once I understood the versatility in her voice, it was as if I’d written the song with her in mind all along. Her range and fearless approach to tonality was an unexpected surprise. There’s even a little passage in there where she’s a dead-ringer for Nico.”

The increasingly vital Jorkes makes a big step up to the acclaimed Live at Robert Johnson label with her standout Sweet Dreams EP. As with all Jorkes EPs, the artwork features photography shot by Daniel Rajcsanyi.

Jorkes has been making big and bold moves recently. She is the co-founder of the unique Freeride Millenium label which is a hotbed for queer dance music. German-born but Austria based, she has an influential residency at Radio 80000 alongside ParisBöhm and is a resident at Stuttgart's Romantica where she plays a thrilling mix of disco, house, techno and everything in between. She is someone who always serves to highlight the importance of the dance floor as a place of sexual and cultural liberation and this new EP is another innovative statement that comes as she rides a wave of high profile radio, DJ and media support for recent outings on her own label.

Opener 'You Will be Mine' is a song about obsessing after an unattainable stranger on the dance floor who disappears into the night. It's a silky disco house sound with chords that sing and a floating bassline that lifts you off your feet. The melodic motifs bring charm and cosmic energy and the whole track has a lush, musical feel. The equally excellent 'Robot Lover' muses on human detachment in this technological era of internet porn, dating apps and screen obsessions and how a robotic lover might be a better fit than a real life partner. It is another elastic and disco-tinged rhythm, with elegant chords and dancing keys over a suspensory bassline. Intimate vocal whispers bring tenderness to this timeless track.

On the flip side, 'Sweet Dreams' layers up infectious claps and tinny percussion over an irresistible deep house groove. It's a widescreen, symphonic sound that brings very real but subtle joy and closer 'CDEvaLo' is the name of a crossdressing male-to-female and sex-worker friend of Jorkes. She sings the introduction lyrics in Greek and they translate as "It was a very beautiful day, while we were sitting at the park we thought of going out for a coffee and realized we have no money and are absolutely broke. So we discussed about who is gonna put the wig on to "go and make a visit“ Greek slang for sex work so we'll have money again." It is a comment on the number of young people who arrived in Athens over the years to do cross-dressing sex work after being kicked out by their Orthodox Christian homes. The track flips the script with a more playful disco sound, characterful vocoder vocals and glossy synths over a jacked house beat.

This is an expansive EP that shows off the different sides to Jorkes's unique sound.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive.

When the franchise relaunched in 2018, Halloweenshattered box office records, becoming the franchise’s highest-grossing chapter and set a new record for the biggest opening weekend for a horror film starring a woman. In 2021, Halloween Killsearned the biggest opening weekend for any horror film in the pandemic era and simultaneously set a new record for a non-live event premiere streaming on Peacock.

As Halloween Endsmarks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Together they once again bring the celebrated music score to the horror movie series, one of the most distinctive aspects of the franchise to date

Similarly to the last two soundtracks, Halloween Endswas recorded in its entirety at John Carpenter’s home studio and Daniel’s studio. “The three of us compose,perform, and record all the music, and everything is mixed by Daniel together with John Spiker” says John Carpenter.

The unmistakable mix of software synths, vintage analogue equipment, and live instrumentation is utilized once again to provide the signature sound of Halloween. However, rumors have it that Halloween Ends is going to be somewhat different from the previous two films in the trilogy. With that comes an expanded soundtrack, one that matches the tone of a tangible rise in stakes and conveys the climatic feel of the film. The soundtrack of the third installment broadens old themes whilst creating new ones

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive.

When the franchise relaunched in 2018, Halloweenshattered box office records, becoming the franchise’s highest-grossing chapter and set a new record for the biggest opening weekend for a horror film starring a woman. In 2021, Halloween Killsearned the biggest opening weekend for any horror film in the pandemic era and simultaneously set a new record for a non-live event premiere streaming on Peacock.

As Halloween Endsmarks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Together they once again bring the celebrated music score to the horror movie series, one of the most distinctive aspects of the franchise to date

Similarly to the last two soundtracks, Halloween Endswas recorded in its entirety at John Carpenter’s home studio and Daniel’s studio. “The three of us compose,perform, and record all the music, and everything is mixed by Daniel together with John Spiker” says John Carpenter.

The unmistakable mix of software synths, vintage analogue equipment, and live instrumentation is utilized once again to provide the signature sound of Halloween. However, rumors have it that Halloween Ends is going to be somewhat different from the previous two films in the trilogy. With that comes an expanded soundtrack, one that matches the tone of a tangible rise in stakes and conveys the climatic feel of the film. The soundtrack of the third installment broadens old themes whilst creating new ones

EP, black vinyl Death doom metal group Kuolemanlaakso's most recent album Kuusumu, released to much critical acclaim in March 2022, will be followed up by a limited three song EP Kuolleiden laulu in December. Both the album and the EP were recorded in the same studio session in 2021, both share lyrical themes and cover art based on art by Evelyn De Morgan (1855-1919). "We knew already when entering the studio that we're going to record more than an album, as we had plenty of material to work on. When all ten songs were done, it felt natural to compile the album of the heavier epic songs and put the more unusual and catchy tracks on the EP. These three songs have contagious hooks and clean vocals", comments guitarist-songwriter Laakso. The title track on the EP is the band's most radio friendly track to date with a smoother production and an infectious chorus plus guest female vocals by Lotta Ruutiainen, who also performed on the album. The slow and menacing second track "Juuret jalkojeni alla" is a more complex composition, whereas the EP closing number "Rautasiivet" pays a visit to the same melancholic but catchy territory that Kent and Katatonia also inhabit. "The three songs on Kuolleiden laulu differ from one another considerably, and they present new sides to the band. Lyrically all three songs are fictional stories based on the 10-year volcanic winter that begun in 535 and has been described by historical scholars as 'the worst time to be alive'", comments Laakso. Aleksi Munter (ex-Swallow The Sun and Insomnium) plays keyboards on the EP, and it was produced, recorded, mixed and mastered by V.Santura (Triptykon), the man responsible for producing everything Kuolemanlaakso has released thus far.

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

Aaron Mader, known professionally as Lazerbeak, is a Minneapolis-based artist and producer. Over the past decade he has collaborated with everyone from reigning pop queen Lizzo (producing her entire debut album), Doja Cat, Dessa, bluegrass heavyweights Trampled By Turtles, indie supergroup GAYNGS, and the Grammy-winning Minnesota Orchestra, all while continuing to build and create with life-long comrades from his own Doomtree artist collective and notching production credits on everything from Lin-Manuel Miranda’s Hamilton Mixtape to the dark electro-pop of Banks’ critically acclaimed III album. Aside from being a founding member of the Doomtree collective, he is also the CEO and General Manager of Doomtree Records, handling the day-to-day operations, management, and inner workings of the crew and label. His latest solo album Lava Bangers II, the second in an on-going instrumental beat tape series, is being released in two-song monthly installments throughout all of 2022, culminating in a 20 song limited edition 2xLP physical release in January 2023.

The second single to be pulled from upcoming BBE album ‘Strata Records – The Sound of Detroit – Reimagined By Jazzanova’, ‘Saturday Night Special’ features remixes by Kai Alcé and DJ Amir & Re.decay, as well as The Lyman Woodard Organization’s 1975 original. Possibly the best-known piece of music from the Strata label’s diverse and innovative catalogue, the unique, low-fi, moody, understated aesthetic of ‘Saturday Night Special’ has captured the hearts of music fans and DJs worldwide. “When I first heard the Lyman Woodard Organization ’Saturday Night Special’,” says DJ Amir, “I thought it was a song from a Blaxploitation soundtrack. Once I realized that Lyman was from Detroit, I immediately thought that if there was ever a ’theme song’ for Detroit that ’Saturday Night Special’ would be it. There is such a cinematic vibe to the song full of grit, rawness, and determination that just soaks into your veins. This album/song will always be in my bag of records to survive the apocalypse with!’” When DJ Amir and Jazzanova began work on the ‘Reimagined’ project, breathing new life into the Strata Records archive, this jazz-funk classic was right at the top of the list of ‘musts’ for the band to re-interpret. “I had no idea what direction they were going to go, musically” says Amir. “The original song had been sampled more than a few times, but in my opinion, it was never done tastefully. However, from the first practice session, I knew that they were spot on with the right direction! Their version is the perfect blend of Detroit and Berlin!” Kai Alcé’s ‘NDATL’ remix of ‘Saturday Night Special’ (named, like his label, after his three hometowns of New York, Detroit, ATLanta) brings a sure-footed lightness to Jazzanova’s version of the song, making the absolute most of the track’s stellar horn solos. “After hearing the unreleased Kamasi Washington/Gregory Porter remixes he did, I knew I had to reach out Kai” says Amir. “With this remix, he stretches out the track into a seven minute groove, in the direction of a soulful house/future jazz interpretation.” Alongside his Berlin production partners, Re.decay DJ Amir turns in a low-slung rework of ‘Saturday Night Special’, using as many parts from the Jazzanova version as possible. “We tried to emulate the intro to one of my favourite jazz dance tracks, ‘Expansions’ by Lonnie Liston Smith” says Amir. Mission accomplished.

On his debut 12" EP, Chicago producer and bike messenger DJ HANK captures the feeling of racing against traffic and, as he puts it, "trying to make it out alive with the chaos of the city going around you."

DJ Hank grew up in North Carolina, Eastern USA. As a teenager, he began making rap beats on pirated music software while also DJing and playing keyboards in experimental punk band Whatever Brains. In 2011, at age 18, Hank moved to Chicago to pursue a career as a bike messenger. In a city dominated by 21+ clubs and venues, Hank gravitated to the famous footwork hub Battlegroundz due to it's all-ages inclusivity and raw energy. DJ Rashad, DJ Spinn and other luminary figures of the footwork community spun weekly, while dancers spanning multiple generations and crews battled it out on the dance floor every Sunday.

Through the underground network of Chicago footwork events, Hank became a close and frequent collaborator with international footwork collective Teklife. He has released music on Teklife's record label but isn't a member of the group itself. In similar fashion, he's loosely affiliated with dance group Take Ova Gang (TOG) founded by DJ Manny. Hank maintains a fluid relationship with the footwork culture from which his sound draws. Beyond collaborating with his friends, Hank has collaborated with Chilean rapper Catana, Berlin-based DJ Paypal, and Floridian DJ Orange Julius.

On "Traffic Control," however, Hank explores a wide range of sounds, from melodic to experimental, influenced by everything from UK Garage and Grime to Ghetto House and Snap music (or Southern Hip hop production in general). Artists like Kode9, MachineDrum, and Sherelle have been supporters of Hank's music, playing his tracks throughout multiple recorded sets. In a live setting, Hank has shared the stage with such influential acts as Loefah, DJ Deeon, Sporting Life, DJ Spinn, Traxman, and pioneering footwork artist Jana Rush, who has been both a friend and mentor to Hank during his formative years in Chicago.

Manuel Kabála is back on his own Kabála Records for the second installment of the label.

After his debut with “Polaris”, Manuel is back with “Blue Interference”, a new LP that will drive you into new realms and dimensions, leading you to a deeper understanding of Manuel's spirit, mind, and aesthetics.
Jazz, electronic, soul, blues, mystical atmospheres, frenzy rhythms... all going in one direction and resulting in a new record to listen to in one breath.

With so much going on in the world right now, it's safe to say we need to spread far more Joy then is circulating…

And who else deliver's Joy of this magnitude? The king of disco, Dr Packer. The Legendary Champion Records has enlisted the mirror ball man of the last decade to flip this absolute classic from Staxx and the gorgeous vocals of Carol Leeming. Perfect for sunsets AND sunrises, charge your cocktails!


DJ Feedback:

David Guetta - tasty update

Utah Saints - Minitsry Of Sound / FFRR - Cool groove. Production on point

DJ Kue - Dope!

MING - Nice one, I'll Play !!!

Steven 'Sugar' Harding - Milk & Sugar / M&S Recs - Love it!

DJ Rae - Good memories, nice work

Ember - Huge!

D.O.N.S. - Cool House tune. Support!

Black Legend - Defected / Simma Black - big one

Ruben Mandolini - Snatch! / Mother / Saved - Nice!

Sugarstarr - Defected / Toolroom / Vienna - Excellent

Tommie Sunshine - PACKER ALWAYS DELIVERS!!!

Vanilla Ace - Nice sounds

Kyle Kinch - Realm / Solotoko / Farris Wheel / HUGS - groovy

Severino - sweeet

MB Mgmt - top draw !

Jerk Boy - I've been eye'ing of this for a reboot for years ! I played this to death back in the day!..great remix !

Yolanda Be Cool - Sweat It Out / Club Sweat - cool...

With magical chemistry and crystal clear singing, Lily Arbor invites you to
a music experience without facades that feels both genuine and
vulnerable
To their tunes, the contemporary gray curtain suddenly opens to reveal that our
hopes and dreams are within an arm's reach. Felicia Darhult Störby and Lovisa
Nilsson have with skillfully composed songs and accurate lyrics proven that they
are a musical act to count on.Lily Arbor is a Swedish folk-duo formed in 2017 by
longtime friends Felicia Darhult Störby and Lovisa Nilsson. With a harmony
driven, heartfelt sound, complemented by deeply personal lyrics, they have been
described as "a music experience without facades, that feels both genuine and
vulnerable".The duo met in high school and bonded quickly. After high school,
they went their separate ways, traveling the world. After two years apart they
started writing music together as Lily Arbor.
The duo reuniting instantly proved to be fruitful, and the self produced debut EP
'Longing for the Sun' was released in 2019, followed by the single 'Where are you
going'. In early 2020 the second EP 'Better Minds' was released, also this self
produced.
This fast paced surge of creativity combined with a natural proneness for
songwriting led to praise and participation in Swedish media. It also let the duo
tour both Sweden and the world, opening for acts such as Israel Nash, Cordovas,
Sarah Shook & the Disarmers and Joshua Radin.
They had big plans for the year of 2020 and were going to play in Europe, but
everything was cancelled. They decided to record their self- titled debut album
instead.
The duo got their revenge and were touring in Europe in 2022 and in January
2023 we finally see the release of their debut album.

High-flying composer and tuba player Theon Cross returns with soaring new single, Wings Explaining the inspiration behind Wings, Cross says: "Conceptually, the song speaks of the metaphorical wings needed to take flight and embrace new changes and directions in life. It captures a feeling of freedom and symbolises a sense of progressive movement which feels significant as I move into a new chapter in my career." The single comes with a second track; an easy going, bassheavy cover version of reggae heroes Aswad's Back To Africa.

Before Mahjun (of which Souffle Continu reissued, in 2016, the two albums released on Saravah), there was... Maajun. Five musicians (Jean-Pierre Arnoux, Cyril and Jean-Louis Lefebvre, Alain Roux and Roger Scaglia) and three times as many instruments at the service of an electric-poetic guerrilla group moulded from folk and blues. The group’s unique album, “Vivre la Mort du Vieux Monde” evokes an (imaginary) association of Frank Zappa and Jacques Higelin, of Sonny Sharrock and the Art Ensemble Of Chicago. Under these conditions, Long Live Death!

“The most French of all the French groups, determined to take Maurice Chevalier’s place in American hearts.” This was how Rock&Folk presented Mahjun in 1977. So be it. But when “Vivre la Mort du Vieux Monde”, was issued, it was 1971, and the name, though the same group, was still spelled Maajun. So, let’s look back at the story.

At the end of the sixties, five blues fans decided to form a French group ready to break down the barriers: Jean-Pierre Arnoux (drums, vibraphone, saxophone), Cyril Lefebvre (guitar, organ), Jean-Louis Lefebvre (bass, violin, guitar, vocals), Alain Roux (saxophone, flute, harmonica, vocals) and Roger Scaglia (guitar, vocals). This was Maajun, and Vivre la mort du vieux monde would be their only album, but which would (nevertheless) be followed by those of Mahjun created later by Lefebvre (Jean-Louis) and Arnoux.

Recorded for the Vogue label, “Vivre la Mort du Vieux Monde” would disturb a number of people. This is mostly due to the lyrics, many of which were written by Gérald Escot-Bocanegra, who, while summoning the spirit of Lautréamont and Rimbaud, turned the Maajun musicians on to rock and free jazz. Add a bit of politics into the mix, and the release of the album was delayed for several months. But then, wasn’t it worth waiting for?

Because “Vivre la Mort du Vieux Monde”, a real concept-album, is an important and iconoclastic statement made directly in the face of (francophone) dreamers of all countries. Over heavy guitar riffs, psychedelic interludes or fantasy-fuelled digressions, Maajun built mazes on the advice of alchemists known only to themselves before heading off on a long march on the “cracking walls”. It was an ambitious project, but Maajun could handle it, going so far as to proclaim: “Tomorrow will be a huge party!” But as we can see “tomorrow”, is now!

We have a very limited amount of these available now for stores. 4LP boxset - white vinyl - edition of 300 - includes: The Dream Derealised LP, Lightnesses I & II LPs, Near Future Residence LP. It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.” Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such, but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.” Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

Expanding on the blueprint of previous releases, Trieste-born, London-based producer Sohrab is the Kalahari clan’s latest inductee. OYSTER43 is a distillation of the Italian producer’s stylistic scope in its purest form; impeccably crafted dance music with a healthy dose of prog.

Running deep with this one. Smartly refined constructions primed for meditative club use, the first four tracks are rendered in pristine detail. From the widescreen and tunnelling to straight-up utopian, there’s a life-affirming vitality like only the most quintessential '90s prog-house can achieve.

The record begins to veer into realms of dilated abstraction on the second plate. Where ‘Fleeting Thoughts’ unfurls like a slice of hi-tech IDM undergoing an ayahuasca ceremony, ‘Sunseeker’ and ‘Deconstruct’ keep the ritual going at a lysergic, slo-mo chug. ‘Crystal Clear’, on the other hand, evokes the ‘70s with a bucolic, avant-garde synth lullaby.

Mastered from the original master tapes and pressed at RTI on dead-quiet 180g vinyl, Mobile Fidelity's numbered-edition 180g LP of Local Hero gives the beloved effort audiophile-grade sound on a par with the reference-quality sonics afforded Dire Straits' Mobile Fidelity reissues. In each arrangement, Knopfler's methodical guitar lines emerge with supreme transparency and multi-hued textural detail. The intricate notes, finger-picked passages, and cosmopolitan lines come across as if they're transmitted just feet away from you in real time.

Ditto the diverse accompaniment, including the Celtic-themed effects, supplemental jazz accents, and folk inflections. The keys to the nearly 44-minute effort's success and continuity relate not only to Knoplfer's laidback style and low-key approach, but his ear for uncanny melody and blues traces. Woven acoustically and electrically, his tapestries benefit from the newfound airiness, openness, and balance that live on this reissue. No matter the instrument or treatment, the music arrives with pinpoint imaging and vibrant liveliness. Close your eyes, and the Mobile Fidelity version of Local Hero projects movies in your head.

For instance, take the closing "Going Home," a cherished instrumental whose proud spirit resonates with English football fans and features saxophone playing by the late, great Michael Brecker. Heard before every Newcastle United F.C. home game, it has become an anthem on both sides of the Atlantic. Or, look to "The Ceilidh: Louis' Favorite Billy's Tune" on which Scottish-flavored vibes and dance tempos conjure a festive jig until a transition gives the number a more subdued, romantic feel. Then, the pattern repeats. Seeking to expand beyond the parameters of Dire Straits, Knoplfer taps into a global economy of structures and sounds, and takes anyone with a sense of adventure along for the ride.

Not that his hallmark six-string is absent from the proceedings. It frames the lovely tin-pan whistle motif of the aptly titled "Whistle Theme," acts as a beacon for the elegant, vibraphone-kissed "Smooching," and pushes forward the jovial, top-down momentum of "Freeway Flyer," among other highlights. Knopfler also receives assistance from session pros Mike Mainieri, Steve Jordan, and Terry Williams, as well as vocalist Gerry Rafferty on the set's sole vocal tune, "That's the Way It Always Starts."

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Producer and multi-instrumentalist Ben Marc, who's emerged as a key figure of London's cutting edge jazz scene, has just announced his debut full length, a follow up to last September's widely acclaimed Breathe Suite EP (heralded by NPR, Pitchfork, The Wire, The Guardian, and more)

Glass Effect is an assured and accomplished 13-track realization of a singular vision that unifies a multitudinous profusion of influences (free-jazz, broken beat, hip-hop, electronica and beyond) into a sublime whole, underscoring the evolution of his quest for a distinctive sound: lambent, low-key, and yet dizzyingly intricate.


It's a rare talent that can link Radiohead's Jonny Greenwood, Ethio-jazz pioneer Mulatu Astatke, Afrofuturists Sun Ra Arkestra, and grime legend Dizzee Rascal, but Marc has long blurred musical worlds and criss-crossed boundaries. One of the reasons that he started writing Glass Effect, says Marc, was going to nightclubs in Ibiza and experiencing the heady sun- dappled euphoria of a summery dancefloor, as well as the beat-driven production of artists like Four Tet, Bonobo, Machinedrum, DJ Shadow, and Madlib.

Glasgow's First Lady of Jazz Carol Kidd, whose string of successful Linn recordings in the 1980's have made her a staple of international audiophile artists, returns with an all-new collection of delectable jazz and pop standards delivered in her inimitably smooth and heartfelt style.

Kidd has always been an artist celebrated for her cool, controlled phrasing and easy-going balladry, and her lovely new recording, BOTH SIDES NOW, is replete with her trademark inflection and warmth spread over classic songs by everyone from Rodgers & Hammerstein, Billy Joel, Joni Mitchell, and Richard Thompson. A songwriter of note, Kidd herself contributes two new tracks co-authored with Chris Anthony.

Impex's exclusive 180-gram 33 rpm LP, mastered by the superlative Kevin Gray at Cohearent Audio, features brilliantly detailed mid-tones, effortlessly stable bottom end, and crisp overtones. RTI's peerless pressing brings it all together for your listening pleasure.

Carol Kidd is an international award winning singer. She has been named 'Best Vocalist' at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. In 2006, Carol was a winner of the prestigious Nordoff-Robbins Tartan Clef Music Award and in 2017 she received a Lifetime Achievement Award at the Scottish Jazz Awards. Renowned for her impeccable phrasing and delivery along with an unforgettable ability to breathe fresh life into any jazz standard, Carol has cut a distinctive path through the Great American Songbook throughout her career with orchestral and trio backing, as well as performing as a unique and intimate duo with guitarist Nigel Clark.

A long line of admirers has included Tony Bennett, Vic Damone and Frank Sinatra, who invited her to open for him at a stadium concert where he remarked that, "Carol Kidd is the best kept secret of British jazz." After a sensational performance at the Tribute to Johnny Mercer show at the Royal Concert Hall in Glasgow, Sir Michael Parkinson observed from the stage that "If there is a better jazz singer out there I have yet to hear them!" Luminaries who have performed alongside Carol as her guests include George Shearing, Georgie Fame, Annie Ross, Benny Carter, Joe Temperley, Bobby Watson and Martin Taylor.

Following a battle with cancer, Carol returned to the stage triumphant in the summer of 2013 to give a powerful, emotional performance at the Glasgow Jazz Festival. In the wake of this homecoming, it is impossible to deny that Kidd is one of the most remarkable artists and performers of our time.

Classic Black Vinyl, DL card. Jane Weavers experimental ensemble in collaboration with Peter Philipson and Raz Ullah, Fenella returns with a hallucinogenic excursion into ambient textures and hypnagogic drones on new album 'The Metallic Index'. Taking further steps into their combined compositional universe with this follow-up to 2019's acclaimed Fehérlófia album. Loosely based on a genuine story accounting the short-lived abilities of a young psychic nurse in 1920's London, Fenella's niche muse justifies this celebratory return to vinyl but not once does it fall into the supposed tropes of staid hauntological-plunderphonics which repeatedly come to muddy our thirsty streams. Fenella make spirited melodic progressive pop music that pulsates with the same magnetism that fans of Jane Weaver's own The Silver Globe and Modern Kosmology have come to expect and hold closely. Handcrafted using a generous archive of some of the best vintage equipment in the country (partly recorded at Soundgas studios in Darkest Derbyshire) the sound structures you hear at the heart of this album form the basis for Fenella's best work yet, while the individual spectral vocalisations and ethereal electronics that circle the room capture this trio's return, as peripheral visions, in full-phantasmic bloom. "A sonic exaltation and refinement of craft, going further into the realms of atmospheric abstract cosmology blissfully morphed with the mythopoetic" The Quietus

The Owners are a band from Washington DC, featuring Dante and Catherine Ferrando, Alec Budd and Laura Harris.

Over the years, they have played in bands ranging from Iron Cross, Gray Matter, The Shirks and Ex Hex. Their first full-length is a split between Red Room Records and Dischord

The vinyl is a limited edition pressing on splatter vinyl.

Less than a hundred miles inland from the capital city of Lima lies the great Peruvian jungle, an untamed land of impenetrable forests and endless winding rivers. In its isolated cities, cut off from the fashions of the capital, a unique style of music began to develop, inspired equally by the sounds of the surrounding forests, the roll of the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked up from distant stations on transistor radios. With the arrival of electricity, a new generation of young musicians started plugging in their guitars and trading in their accordions for synthesizers: Amazonian cumbia was born.

Powered by fast-paced timbale rhythms, driven by spidery, treble-damaged guitar lines, and drenched in bright splashes of organ, Amazonian cumbia was like a hyperactive distant cousin of surf music crossed with an all-night dance party in the heart of the forest. While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going.

Radio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering
record producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city
reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best
tracks. Although many became local hits, few were ever heard outside the Amazonian region … until now.
With eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack
to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.

I'm talkin' about Beatmasters, but not the late 80s crew that saw collaborations with the Cookie Crew etc, I'm talking about the legendary Bristol beatmaster Boca 45 who has mastered, honed and polished his creative techniques and his distillation of beat making over the last 25+ years. Born out of hip hop and rooted firmly in the Bristol scene of Massive, Wild Bunch, and Portishead, Boca 45 aka Scott Hendy has successfully navigated an ever changing musical landscape with an unwavering connection and honest adherence to those very roots and ethics. It's what makes Bristol such a special place for art of all forms in the city, a DIY, earthy and passionate sound and vision that runs through all the artists that call Bristol home.
And so it continues with Boca's only 45 release this year in ‘22. It’s strictly Limited to 300 copies on High Quality Yellow wax with each copy stamped & numbered.
On this Bomb Donut he teams up with NYC Native Tongue OG Bam of The Jungle Brothers on hype vocals duties for 2 dancefloor burners.
The A side '(Do It) Fluid' goes straight for the jugular with an immediate phat rubbery bassline that precedes a beat that charges and swings between 4 to the floor and wild breaks. Everything else within the track is supporting that drum & bass, heaping bucket loads of flavour into the mix. And to make it even more tasty, the arrangement is a clear 'DJs Choice', eminently cut-able, mixable, and double up-able! The intention of this (and the flip) is most definitely to stick 'nasty faces' on everyone on the dancefloor.
So if you weren't already bleeding from a torn jugular from the A side, then the B side is going to do some serious damage to what is left of your vascular system. Picking up the tempo with a heavy-duty breakbeat that drives ever forward, 'Another Dimension' is peppered with fuzzed up riffs, Bam's hype vocals, and spacy flourishes. The result is a blistering dancefloor nugget heavily laden with urgency and vigour that DJs, dancers and breakdancers alike will be seriously wigging and poppin' out to. Ultimately these are classic Boca productions, full of the energy and verve we all know and love, honest, funky, raw, they have it all.
Both tracks are a step up from cut-and-paste, yet that ethic is loud and proud throughout (and has been a trademark of Boca's beats over the years).
It's perfectly reasonable to predict that this 45 will be going straight into the play crates of DJs across the world. And you can quote me on that.

Stay Up Forever unleash D.A.V.E.The Drummer and Chris Liberator (aka Dynamo City) on a collab with new acid techno whizz-kid Rats On Acid, bringing forth 2 killer acid techno juggernauts that reflect all the paranoia/distrust/misinformation/loss/trauma of the virus and it's impact on society in the past 18 months... throwing it back at us in a glorious frenzy of driving acid rhythms that is going to devastate dark warehouses and sweaty clubs ready to finally embrace a return to 'AVIN IT!!!

red/clear splatter vinyl

Shake Chain will also be performing at Marina Abramovic’s private view at Modern Art Oxford on September 23rd.

Shake Chain have been busy demolishing audiences and expectations for the best part of three years. Vocalist Kate Mahony sets that standard by starting each live performance by crawling from the back of the room through a disbelieving crowd’s legs in a shiny yellow raincoat. The resulting questions that frantically arise of ‘what’s going on?’, ‘am I hallucinating?’ and ‘is this part of the show?’ are hallmarks of how Shake Chain approach making their unruly, lyric-bespattered rock music.

The four-piece from London are completed by Robert Syres (guitar, synth), Chris Hopkins (bass, synth) and Joe Fergey (drums), all artists hailing from Goldsmiths College, Nottingham Trent and Wimbledon, University of the Arts. A mutual love of thought-provoking performance art and a yearning for disruption have helped Shake Chain lock into their wayward sound. Twitchy guitar lines jolt and jerk, synths burble noisily and tack-sharp drums pin things down for Kate’s reeling vocal to vault and slur. Kate’s singing has drawn comparisons with Yoko Ono, Su Tissue and even a seance with it’s unique embrace of flights of atonal fancy, head-first repetition and ecstatic frenzy. Opinion-dividing arguably, but singular in making Shake Chain dauntingly brilliant.

Shake Chain’s debut album ‘Snake Chain’ was recorded in the New Forest’s Chuckalumba Studios early in 2022. The tranquil setting only slightly skewed by the intense extratropical cyclone occuring outside. When asked to sum up the album the group collectively settled on it sounding like “crying in a Catholic sex dungeon with Eastenders on”, perhaps only half tongue in cheek given the soapy dramatics of opening track ‘Stace’. ‘RU’ is a stompy triumph of ad lib monotony, heavy and wonky, its vocal slowly unwinding into residual sense. Shake Chain’s songs are populated with cowboys, cherry-pickers, content-addicts, private investments, a careless driver called Mike, architects and by much lamentation at the state of our confusing existencies. This last point underlined in luminous marker pen with slow-building vortex ‘Highly Conpeptual’ and whispered closer ‘Duck’.

‘Copy Me’ races along with radiant headbangs of dynamic abandon, one part tumble, two parts pummel, “hold your breath til something changes” commands Kate whilst everything of course is in hammering flux. ‘Second Home’ is similarly coruscating yet bouyant, whilst ‘Arthur’ feels like it could tear inside in two amid sobbing wails and the twining of its disparate parts. Throughout all the unhinged freakouts, found sounds and blasting rhythms though is Kate’s questioning, resilient presence, anchoring everything. On bruising creeper ‘Birthday’ she asks most tellingly “Do we speak language or does language speak us? Is there a mouth in the middle of the desert? Do you ask how cups are designed? Would you say yes when you really mean I don’t know”? Shake Chain are cathartic and absurd, humorous and deadly serious yet always inspired. Its this tightrope walk which makes their album such a thrilling, vital listen.

The origins of Cos date back to the second half of the sixties when Daniel Schell joined forces with Jean-Paul Musette, Pascale Son and Robert Pernet to form Classroom. When Classroom split, Daniel Schell and Pascale Son moved ahead and formed Cos together with Charles Loos, Alain Goutier and Bob Dartsch. They produced an experimental jazz rock sound linked to the influences above mentioned, but without being mere copycats since they always managed to keep to their own personality.



Babel was Cos' third long playing release, issued in 1978. It represented a new step in the band's evolution with the addition of new influences that ranged from musique dodécaphonique, minimalist droning, or even a hint of disco, without turning their backs to their earlier love for Canterbury sounds or more conventional jazz-rock. Dirk Bogaert, Francis Cahen and Marc Moulin all played in its sessions, making this a superb sample of what was going on through the Belgian music scene in those days.



The Wah Wah reissue comes housed in a beautiful reproduction of the original sleeve. Limited edition of 500 copies, licensed from and with the collaboration of Daniel Schell.

"I was 27 when this album came out, LA was a whole different animal. I was going back and forth from NY to LA, touring a lot and trying to make progress for me and my close friends and family.

Oct 1 2002 seems like it was yesterday... The day we released the album, I got a call from Nas, completely caught me off guard. He complemented me on the writing of “Release Date” the first track on the album. Those are some of the moments I think of when I reminisce about dropping this project. It was such a turning point in my life, I was coming off of a huge push with “Restless” and the follow up had to be a smash, at the same time I was still finding my standing as a man, a young father, and an artist. It was always my dream to work with the people I’ve now been able to work with and I can listen to this album and remember exactly where I was and who I was with, it’s like time travel.

Fast forward 20 years later and I am thrilled to be able to share this body of work with you and more generations to come.

Thank you for rockin' with me for all this time.
Enjoy the 20th Anniversary Edition of MAN VS MACHINE,

From its dramatic intro, "Release Date," to the thundering West Coast march "Enemies," Xzibit's fourth and mythical album, Man vs. Machine produced by no less than Dr Dre, spent a total of 19 weeks on the "Billboard" 200 chart and was certified gold only a month after its release with over 500,000 copies sold.

The legendary album that features a heavyweight cast of featurings with the likes of Snoop Dogg, Eminem, M.O.P, Nate Dogg, DJ Premier and Dr Dre himself is now available for the first time since its original release, to celebrate its 20th anniversary!

















[q] D3. My Life, My World [Bonus Track]
[r] D4. What a Mess [Bonus Track]
[s] D5. (Hit U) Where It Hurts [Bonus Track]

Released on the heels of her breakthrough album Tapestry, Carole King's Music is every bit the equal of its more famous predecessor: a No. 1 smash that features impeccable songwriting, beautiful melodies, and extraordinary piano playing. In short, everything that's made King an institution. After of years of being overshadowed, this 1971 singer-songwriter classic has been given the audiophile treatment it's long deserved.

Sourced from the original master tapes and pressed on dead-quiet vinyl at RTI, Mobile Fidelity's numbered-edition 180g LP of King's second solo masterpiece is rife with intimacy, transparency, soulfulness, and you-are-there sound. Never before remastered, Music seems like a brand-new album as King's familiar voice, intelligent arrangements, and ace support band presented on a deep, three-dimensional soundstage. Your appreciation for and understanding of the depth of King's inspirational lyrics and performances will doubtlessly increase — this reissue brings you that much closer.

Accompanied by percussionist Bobbye Hall, drummer Russ Kinkel, guitarist/vocalist James Taylor, and a multitude of other professional wind musicians, King delves further into R&B and jazz-derived pop. Warm and cohesive, songs echo with simplicity and honesty. And as is typical of much of King's work, several of tunes here were later covered by other artists, including "It's Going To Take Some Time" (the Carpenters). Yet the originals trump the later renditions, and King's rendition of the standard "Some Kind of Wonderful" stands among the best ever recorded.

With Taylor lending more of a hand on Music than he does on Tapestry, King expands her reach on the piano and peppers the songs with graceful touches of saxophone, flute, pedal-steel guitar, and woodwinds. Ballads sway ("Surely"), gospel raises spirits ("Brighter"), and backup vocals float amid pop arrangements like clouds ("Song of Long Ago"). The most irresistible aspect? King's voice, infused with fondness, concern, joy, and a quiet power that parallels the delicacy and deliberate nature that define Music.

Mobile Fidelity's 180g LP is free of the limiting artifacts that have helped keep this record in the dark for the better part of the 80s, 90s, and early 2000s. Acoustic guitars, subtle brass elements, and soft percussion contribute to the enjoyment of the songs, and King's voice —pleasant, assuring, emotional — comes through with incredible clarity and inflection. The brilliance of Lou Adler's original production is restored to its full glory.

Aptly named, this companion to Tapestry is an aural and sonic delight.

The original creators of Psychobilly Music, The Meteors began as a reaction against soft neo-rockabilly music of the late 70’s rock revival era. Since then the loud, sneering lovers of horror, perversion and death have released a few dozen records and are still going strong, 40 years into their career of evil. Svart Records are hellishly excited to bring you an official reissue of The Meteors’ 2007 album Hymns For The Hellbound. Long out of print on physical formats, this authorised reissue comes with a secret bonus track, all pressed on pitch black or blood-dripping red vinyl and wrapped in a gatefold jacket.

The original creators of Psychobilly Music, The Meteors began as a reaction against soft neo-rockabilly music of the late 70’s rock revival era. Since then the loud, sneering lovers of horror, perversion and death have released a few dozen records and are still going strong, 40 years into their career of evil. Svart Records are overwhelmed with psychotic joy to present an official reissue of The Meteors’ 2003 album Psychobilly. Long out of print on physical formats, this authorised reissue comes with a secret bonus track, all pressed on pitch black or poisonous green vinyl and wrapped in a gatefold jacket.

Limited Orange/Blue Galaxy Vinyl

So we wanted to go back in to Westbeach with Donnell, but it turns out now he"s in rehab, and obviously is in no shape to record us. So Mr. Brett tells me to call his friend Ryan Greene. So I call Ryan and he records what is probably our best record. It turns out Ryan has really long hair and knows a lot of metal bands, but he"s pretty cool anyway. We record at Westbeach, but mix at EMI. This record takes about 3 weeks, which is about as long as we"ve ever spent on any record. We had a bunch of weird people come in to play steel drums and flaminco guitar and stuff. We covered a Mark Curry song too, which a lot of people don"t know. ("Perfect Government") . This record turned out to be our best selling record. Without any radio or video play, it ended up going gold. Pretty neat. -NOFX

Vieze Meisje is the singing, performing and all-encompassing second self of the mere mortal Maya Mertens. She writes idiosyncratic poetry that is at once heartwarmingly honest, hilariously funny and, at times, brutally elegant. Vieze Meisje has a fangirl/fanboy collaboration going on with her producing brother-from-another-mother Azertyklavierwerke, who composes acrobatic beats, loops and sounds for a deconstructed dance feast that ends incomplete sonoric mayhem. Once you have heard and/or witnessed Vieze Meisje, you are forever part of life’s Vieze Cirkel.

The Vivid label is yet another one from Burnski who also runs Constant Blanc and Instinct. He is s single handed garage hit making machine and he knows how to tap into the next gen, too. Here he calls upon Peaky Beats for a naughty and nasty three track affair that has retro feels but contemporary style. 'Can't Stop' opens up with a 2-step shuffle and steely hits, then 'Get Ready' gets more free and melodic with some boxing little melodic patterns and oscillating bass. Last of all is the most menacing and dark - 'Wildcat' flips into a dub wise swagger mid-way through that is going to blow up the clubs.