Buscar:gra

Audiophile 180g Vinyl 33RPM LP
All Analogue Mastering by Chris Bellman at Bernie Grundman Mastering!

Pressed at RTI
Impex Treatment packaging featuring a 4-page heavy-stock booklet with rare photos and new historical notes by producer/author/historian Charles L. Granata



"Although Donovan had already captivated listeners with hits like 'Sunshine Superman' (a #1 Billboard Hot 100 hit in September of 1966) and 'Mellow Yellow' (#2 on the chart in December of that year), it's The Hurdy Gurdy Man issued in the fall of '68 that became a benchmark of the psychedelic era. The album artfully captured the essence of the moment with its fresh, smart and stylistic approach to songwriting, endearing melange of rock, pop, drone, folk, world and jazz overtones (coupled with deeper psychological undertones, i.e. transcendental consciousness and a yearning for an 'ideal' world).

"Musically, Donovan and producer Mickie Most made liberal use of multiple feels inspired by a wide range of styles, most remarkably the drone: a harmonic effect in which a note or chord is continuously repeated throughout a composition and commonly forms the tonality on which the piece is built. This brought an unusual and memorable quality to many tunes on the album, as did Donovan's whimsical, spiritual-esque vocals. Then, too, both 'The Hurdy Gurdy Man' and its namesake album reflect a tougher rock sound than the singer's earlier recordings."

—Charles S. Granata

Our AAA HQ-180 33.3-rpm LP was mastered from Epic Records' analog master tapes by Chris Bellman at Bernie Grundman Mastering, plated and pressed at RTI for flat and silent surfaces and incredible detail. The 4-page insert features a new appreciation by producer, author, and historian Charles S. Granata that puts in context the positive effects of Donovan's clever, innovative writing and performances.

Thug Life: Volume 1 is the only studio album by hip hop group Thug Life, started by rapper Tupac Shakur, it was released on September 26, 1994 by Interscope Records. The group featured Big Syke, Macadoshis, Mopreme, The Rated R and Tupac Shakur. Among the notable tracks on the album are “Bury Me a G”, “Cradle to the Grave”, “Pour Out a Little Liquor” (which also appears on the soundtrack to the 1994 film Above the Rim), “How Long Will They Mourn Me?” and “Str8 Ballin'”. The album was originally released by Shakur’s label Out Da Gutta Records. Due to heavy criticism on gangsta rap at the time, the original version of the album was scrapped and re-recorded with many of the original songs being cut. The album only contains ten tracks because Interscope Records felt many of the other recorded songs were too controversial to release. It has been said that 2Pac created two other versions of this album, with many of the songs still remaining unreleased. Urban Legends/UMC will reissue Thug Life: Volume 1 in 1LP 180 Gram black vinyl on 22nd November, 2019.

Following the much-lauded trio of meditations, from Woo, Davis Galvin and Graintable, that launched the series, "Cosmos" continues the label's gentle exploration of music to accompany moments of nurture and patience. This composition from E Ruscha V, once again mirrors the quiet and satisfying tending of the season ahead, creating space for contemplation and the witnessing of gradual transformation.

A multi-disciplinary artist rooted in Los Angeles, E Ruscha V approaches instruments as living entities, each with their own organic character. On Cosmos, his synthesizers breathe and pulse with natural rhythms, creating textures that emerge and recede like early morning mist in a garden. Echoing his work as a visual artist and much like gardening itself, there’s an innate understanding of when to tend and when to let things just be and evolve.

‘Cosmos’ follows a path that Ruscha began exploring with his 2018 release, "Who Are You", on Beats In Space and continued through recent works like ‘Green Mirror’ under his alias Secret Circuit and ambient pieces for the "Slow Show" performances. Each project has been a cultivation season that invites listeners to pause, observe, and connect with cycles of natural
emergence.

His work in both galleries and performance spaces – including MOCA Los Angeles, Lafayette Anticipation in Paris, and LUMA Arles – reflects this understanding of how the environment shapes experience.

A synthesis of where space, sound, and organic movement find their natural home.

Der Grammy-nominierte, New Yorker Komponist/Perkussionist Eli Keszler präsentiert sein neues, selbstbetiteltes Album. In den letzten Jahren kollaborierte Keszler mit Oneohtrix Point Never, Skrillex, Rashad Becker und Laurel Halo, komponierte die Filmsoundtracks für Olmo Schnabels "Pet Shop Days" (2023), Lotfy Nathans "Harka" (2022) und Dasha Nekrasovas "The Scary Of Sixty First" und lieferte mit Daniel Lopatin die Filmmusik für "Uncut Gems" (2019). Nach gefeierten Alben wie "Icons" (2021) und "Stadium" (2018) ist sein neuestes Werk ein freizügiger, Lynch-artiger Songzyklus, in dem Keszlers virtuose Darbietungen eine lebendige Landschaft abstrakt-elektronischer Klänge durchqueren. Das Album atmet, knarrt und seufzt auf 12 Tracks. Noir-artige Jazz-Torch-Songs machen huschenden Trommeln und filmischen, dubartigen Texturen Platz. Die Texte werden von fast unhörbaren Stimmen geflüstert und geweint, als kämen sie aus einem entfernten Raum. Mit Gastauftritten von Sängerin Sofie Royer und Saxophonist Sam Gendel.

Dateline: April 10, 1970. Setting: The storied Fillmore West in San Francisco, CA. Context: Miles Davis, three days removed from his first session for Jack Johnson and, with newly recruited soprano saxophonist Steve Grossman in tow, opening shows for countercultural heroes the Grateful Dead on the latter’s home turf. Result: The initial rumblings of a thrilling era in which Davis and his cohorts would again upend jazz and popular conceptions of the genre with music steeped in groove, improvisation, and hang-on-for-your-life adventurousness. All captured on Black Beauty: Miles Davis at Fillmore West.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity's numbered-edition 180g 33RPM 2LP set helps bring what went down that spring evening in Bill Graham’s venue to your listening room with exceptional clarity, balance, and presence. Originally only released in Japan in 1973 and unavailable in the United States until the late ‘90s on compact disc, this marks the first time Black Beauty has been issued on domestic vinyl. The wait is worth it.

Benefitting from quiet surfaces and excellent definition, these LPs present the band’s livewire energy and torrential storm of notes with captivating dynamics, pacing, and fullness. At its core, this audiophile reissue takes you into the walls of sound erected by a band learning on-the-fly the sheer power, will, and breadth of the electric jazz Davis was orchestrating and realizing, on the spot, would reach rock audiences that until that point had only a faint awareness of his mad-scientist experimentation. The sense of release and reach conveyed by these carefully restored records make it clear the veteran bandleader was in the process of a permanent shift that he’d chase for the next five years.

Given Davis was only a few months away from releasing the pioneering double album Bitches Brew, it shouldn’t come as a surprise that much of the fare here adheres to similar explorative approaches. Turbulent rhythms, provocative trumpet passages, and rich, saturated tonal colors that seemingly splash against a blank canvas take precedence over any traditional attempts at organization and melody. Davis and Co. intentionally play everything on a line with the bandleader signaling changes with his horn via coded phrases. The group speaks a common language — with each member having gone to achieve iconic status for their career contributions and technical prowess.

In the company of Grossman, Chick Corea (piano), Dave Holland (bass), Jack DeJohnette (drums), and Airto Moreira (percussion), Davis constructs themes around “Directions,” “Miles Runs the Voodoo Down,” “It’s About That Time,” the title track to Bitches Brew, and more from his then most-recent studio works and the in-progress Jack Johnson. His farewell to the popular standards that for nearly two decades remained a part of his repertoire arrive via a brief dalliance with “I Fall in Love Too Easily,” a shortened albeit aggressive “Masqualero,” and the “Theme” finale of “Spanish Key.” Initially, Black Beauty lacked specific track listings due to Davis’ increasing frustration with listeners over-analyzing his music.

In retrospect, it’s difficult to blame anyone for wanting to view what’s on display here with the aural equivalent of a magnifying glass. Leaning in rock directions, yet maintaining an ear for spaciousness and solos, Black Beauty survives as a snapshot of a thrilling moment amid a transitory period in which evolution came fast and furious. Just two months later, Davis would add another instrumentalist to the lineup in the form of organist Keith Jarrett, and the perpetually restless visionary would blast off to a more atmospheric and arguably more chaotic universe.

Consider, then, this live document a bridge to that galaxy and a breathtaking example of the possibilities of jazz itself.

Listen to This.” As the original working title for Bitches Brew, the instruction and invitation remains to this day as the best way to approach a record that shattered conventions, altered music history, and, 55 years later, still sounds far ahead of its time. The template for jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity’s UltraDisc One-Step 180g 33RPM 2LP vinyl set.

Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Davis conceived Bitches Brew by having the musicians stand in a semi-circle. There, he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Benefitting from the ultra-low noise floor and superb groove definition of this pressing, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint canvases laden with millions of colors and shades. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.

Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew set call attention to such matters. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. It is made for discerning listeners who desire to fully immerse themselves in everything surrounding the album, from the images to the tones. And this is one effort where every last detail matters.

Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to “put together the greatest rock and roll band you ever heard.” Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.

A without-a-net experiment involving interchangeable double-quintet lineups, Bitches Brew explores the previously unimaginable with electrified instruments — Fender Rhodes piano, processed trumpet, dissonant guitars, and bass among them — and an emphasis on feeling over composition. Mesmerizing and soothing, jarring and smooth, overt and subtle: The music seemingly covers an entire map of emotions and sensations, and like no record before, ties together the groundbreaking creativity of the multiple disciplines that were changing popular culture at the end of the 1960s and dawn of a new decade.

Conceptually, Davis described Bitches Brew as “a novel without words” and “an incredible journey of pain, joy, sorrow, hate, passion, and love.” The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles Davis used to conceive Bitches Brew.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called “converts”) are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

Welcome to Forms World.

Our fi rst outing takes shape as a 4-tracker from ADMNTi, delving deeper into the sounds that have shaped the Londoners aural palette.

'Second Hand Sushi' kicks things off to a rowdy start - a real slab of energy that consists of paces drum patterns, twisting synths, and gritty, rattling basslines.
This one's a no-frills dancefl oor destroyer. The steppy drums of 'Lost Fruits' pull us further in, paired with shifting subs and laced with soundbites that echo the era of tape packs and pirate radio.

As we fl ip to the B-side, ‘Diptych’ delivers a still pacey yet more soothing vibe, blending lush orchestral strings with warped vocal chops, all while keeping the head-bopping grooves intact. Rounding things off , a dub-tinged stepper which comes in the form of 'Shrublands'. Eerie chords evolve throughout the track, accompanied by melancholic flutes that bode well with the heavily delayed sax and wobbing basslines. Dialogue from London graff royalty weave in and out, as well as a certain Brooklyn king.

Steeped in Caribbean flavor and seasoned with a fistful of hand-percussion, "Yamar" was initially sidelined from 2009's Cult Cargo: Grand Bahama Goombay for feeling less like cargo than an authentic piece of pan-Americana. Phish fans may recognize this previously unattainable A-side as it as been a staple in their setlists since the late '80s, imported by bassist Mike Gordon who heard the Mustangs performing it in a Bahamian hotel. Backed with the sweltering "Words To My Song," this doubler-sider is a must for any sea side or pool side DJ.

Die erste EP von Bleed, "Somebody's Closer", wurde von der Band im Jahr 2021 zunächst selbst über digitale Plattformen veröffentlicht. Obwohl die EP, die sich auf den Alt-Rock/Metal der späten 90er/frühen 00er Jahre beruft, nicht in physischer Form veröffentlicht wurde, erregte die in Dallas, Texas, ansässige Band mit ihrer hauchdünnen Verzerrung - die Spannung und Atmosphäre gleichermaßen erzeugt - großes Aufsehen und erregte über mehrere gegenseitige Verbindungen die Aufmerksamkeit von 20 Buck Spin. Das Label brachte 2022 Vinyl- und Kassetten-Editionen heraus und machte so die Musik von Bleed einem neuen Publikum und einer breiteren Öffentlichkeit bekannt. Seitdem hat sich die Vorfreude auf das Debütalbum der Band in die Höhe geschraubt - und jetzt, wo der Frühling in den Sommer übergeht, ist es endlich soweit.

Die selbstbetitelte LP von Bleed behält die melodische Schwere und die straffen Songstrukturen der EP bei, taucht aber gleichzeitig kopfüber in den ozeanischen Dunst ein und treibt ihren Sound in ein Gebiet, das eindringlicher, unerbittlicher und hypnotisch üppig ist. Die Gitarren wiegen sich in aufgestapelten Wellen von Gravitationsangst, darunter pulsieren exzentrisch übersteuerte Rhythmen, und die Stimme von Gitarrist und Sänger Ryan Hughes schwebt ein und aus, manchmal distanziert und losgelöst, manchmal aufgerissen vor Verzweiflung. Die Texte bewegen sich in Fragmenten und spielen auf Themen wie tiefe innere Kämpfe, Bewältigungsmechanismen und das Verletzen derer, die man am meisten liebt, an. Es ist Musik, die nicht so sehr Aufmerksamkeit verlangt, sondern direkt in den Blutkreislauf sickert, die Art von Album, die sich nachts um 3 Uhr in einer Endlosschleife im Hinterkopf festsetzt.

Gleich zu Beginn werden kühne Schritte unternommen, um die Authentizität von Bleeds Universum in Bezug auf seine Inspirationen und Ambitionen auszuweiten. Die Art und Weise, wie Bleed diese Songs sich entfalten lassen, hat etwas Selbstbewusstes, sie wirken sofort und haben es nicht nötig, länger als nötig zu verweilen. Das Ergebnis ist ein Album, das sich massiv und doch intim anfühlt, brutal und doch schön, vertraut und doch einzigartig. Es hinterlässt nicht nur einen Eindruck, sondern hallt noch lange nach, wenn die letzten Töne verklungen sind.

**Gangster Music Vol.3: The Most Gangster Music Trilogy of All Time Comes to a Triumphant Close**

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before.

Gangster Doodles himself puts it best:
"It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

As always, the cover art is a vital piece of the puzzle. This time, Bootleg Garfield & Friends take center stage, bringing the same playful irreverence that has defined Gangster Doodles’ artwork for years. Fans are encouraged to engage, remix, and make the cover their own, staying true to the spirit of interactive creativity that has always fueled the series.

After years of meticulous curation, countless DMs, emails, and behind-the-scenes wrangling, Gangster Music Vol.3 is here to complete the trilogy in legendary fashion. Expect boundary-pushing beats, next-level lyricism, and a lineup that celebrates hip-hop in all its many forms.

“Thanks to everyone who’s actively supported and continues to tap-in. Believe & trust when I say I've got more dope stuff cookin’. STAY TUNED!! GANGSTER DOODLES 4EVER. 1LUV."

Gangster Music Vol.3 is out April 7th on All City. Stay tuned, stay tapped in, and get ready for the most gangster music experience yet.

Originally released in 1987 on a private cassette - this is the first vinyl release of the absolute gem. Comes with obi strip.

Masahiro Sugaya is a Japanese composer with a prolific career in music for film, television, and the performing arts. Renowned for crafting soundscapes that invite deep contemplation, his music blends synthesizers, field recordings, and traditional Japanese instruments, achieving a delicate balance between minimalism, ambient, and folk influences.

In addition to his experimental compositions, Sugaya has been a pivotal figure in Japanese television and cinema. He collaborated with NHK, Japan’s national broadcaster, creating soundtracks for documentaries and educational programs that explored both the everyday and the extraordinary. His ability to translate emotions and landscapes into sound has made him stand out in projects that connect the visual and the musical.

In cinema, Sugaya worked as an arranger for GONTITI, the iconic Japanese guitar duo, and contributed to soundtracks for renowned directors such as Hirokazu Koreeda. His work captures the stillness and subtleties of everyday life, resonating deeply with audiences.

The Pocket of Fever, originally conceived in 1987 as a soundtrack for Pappa Tarahumara’s avant-garde dance company, merges traditional Japanese elements with modern compositional techniques, reflecting the fluid and dreamlike choreography. The album shifts between nostalgia, as in Green of the Future, and the poetic hypnosis of Conversation with the Wind. These pieces invite the listener to explore deeply evocative and intimate sonic landscapes.

Now available for the first time on vinyl, this album was originally released solely on cassette and has been carefully remastered to preserve its delicate textures and vibrant sound. Presented in a limited edition, The Pocket of Fever remains essential for fans of ambient and experimental music. Inspired by figures such as Hiroshi Yoshimura, Midori Takada, and Brian Eno, this timeless masterpiece invites introspection and the appreciation of its serene beauty.

The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.



This seventh volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.



With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this seventh opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.

The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.



This ninth volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.



With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this ninth opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.

The iconic Hôtel Costes music collection, a veritable benchmark of Parisian luxury and refinement, continues to captivate lovers of sophisticated sounds. Famous for its unique blends of warm vocals, funk, jazzy and pop grooves, fusing electronic sounds and acoustic instruments, this series is a must for connoisseurs of refined music.



This eighth volume, orchestrated by the talented Stéphane Pompougnac, offers light electro soul and racy house, perfect for livening up the most elegant evenings and keeping the most reluctant dancing until the wee hours. The Hôtel Costes series has revealed exceptional talents such as Pink Martini, Flight Facilities, General Elektriks, Angus & Julia Stone and Brigitte, while mixing hidden nuggets with masters such as Gotan Project, Femi Kuti, Trentemøller, Thievery Corporation, Shirley Bassey and Grace Jones.



With over 5 million copies sold worldwide, following the resounding success of the reissue of the first six volumes, this eighth opus is finally available for the first time on vinyl. A true gem that will delight long-time fans and appeal to a new generation of listeners worldwide.

Repress!

Emotional Rescue and Utopia Originals join forces to release the pop, new wave, funk of Obscure Desire, a one-off project and EP from effervescent 80s Auckland, New Zealand that saw three friends come together to make a perfect piece of club pop history.

Revolving around the musical talent of Andrew Waldergrave, a trained pianist, music degree drop-out, who moved to the island’s cultural centre of Auckland and emersed himself in the arts and nightlife scene the city had to offer.

Working at Obscure Desire, a Fashion Boutique meets Salon, he became friends with Grant Mitchell and Giselle Trezevant, together forming not a band, but as they saw it, a project to make a record for their scene and beyond.

Coming from outside of the established band route of endless rehearsals, local gigs, growing a fan base and home recordings, they fell did not have the support network of indigenous New Zealand labels. As so often the case in unearthing these lost reissue gems, the artists took matters into their own hands, seeking to write, record and release themselves.

After meeting Trevor Reekie, head of the local Pagan Records label, he took on production duties. Collating the necessary musicians, the project grew from the one song to become a full EP, recording between a home 16 track studio and a full 24 track desk at Harlequin Studios.

Centred around the title song, it is a perfect pop moment. Waldergrave’s piano leads into an infectious groove of slap bass, gated drums, Reekie’s acoustic guitar and cut vocals, before Trezevant’s vocals propel the song to an 80s swing out vibrations. Coming in Extended, Harlequin and Instrumental (digital only) mixes, this was an overload of White Funk.

Here reduced to the best two versions, more room is given to let the other recordings breathe, first the gloriously anthemic instrumental Bullet. Intricate programming and production, lead into the pop sensibility of I Wonder, some kind of wonderful antipodean reimagining of Chris & Cosey finest pop moments, an optimistic paene that permeates the whole EP. Closing 4A, espouses the Jazz Funk, with Trezevant’s simple French lyrics telling of dreams of a lover’s image.

Released in 1986 with no local support from radio and TV, it became something of a “hit” record in New Zealand’s more discerning clubs, however the members soon moved to London and the project remained a one-off moment. Over time the EP has gained cult status to become globally desired that sees copies of the original 12” selling for $000s. Now at last available for a global reach, while remaining a personal, uplifting moment of time.

Slippery customer Harri Pierson returns with four more leftfield dance chops for your turntables.
'Forget It Mate' is an Australian prog obscurity given some TLC.

'Mr Miami' sounds like something from the golden era of Italian House but, in reality, comes from a very unlikely source.

'Spank Dat' is an acoustic version of a disco classic from a big act with impeccable balearic credentials.

If any track needed the vocals edited out of it, it's 'Just No!'.Now, it is finally safe to play.

This 12" has been mastered with love by the Grammy award-winning Frank at the Carvery for maximum dancefloor punch.

VINYL ONLY !

Johnny Mathis (born September 30, 1935) is an American singer. He is one of the best-selling recording artists of the 20th century. Starting his career with singles of standard music,

Mathis became highly popular as an album artist, with several of his albums achieving gold or platinum status and 73 making the Billboard charts. Mathis has received the Grammy Lifetime Achievement Award and has been inducted into the Grammy Hall of Fame for the single “It’s Not For Me To Say”. Although frequently described as a romantic singer, his discography includes traditional pop, Latin American, soul, rhythm and blues, soft rock, blues and country music.

On this compilation some of his greatest hits like “Wonderful, Wonderful”, “Chances Are”. Johnny’s voice & music has been used in countless Hollywood movies, TV shows, and even video games for theme songs & background music to enhance a particular setting or segment. Just to name a few: Family Ties, Gremlins, Criminal Minds, Soul Train, Goodfellas, The Simpsons, Desperate Housewives, EastEnders, Mad Men, and Close Encounters of the Third Kind.

Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.

This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.

It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.

Im Oktober 2023 kehrte der weltberühmte Cellist Yo-Yo Ma in die Boston Symphony Hall zurück, um mit
dem Boston Symphony Orchestra und seinem Musikdirektor Andris Nelsons die beiden Cellokonzerte von
Schostakowitsch zu spielen. Die kontrastierenden Werke erscheinen nun anlässlich des 50. Todestages des
Komponisten bei der Deutschen Grammophon auf CD und Vinyl.
Schostakowitschs Cellokonzert Nr. 1 in Es-Dur stammt aus dem Jahr 1959. Der Komponist widmete
es seinem langjährigen Freund Mstislaw Rostropowitsch, der auch die Uraufführung spielte. Für Yo-Yo Ma
war das anspruchsvolle Werk ein früher Meilenstein in seiner Karriere. Mit der ihm eigenen virtuosen Brillanz bringt er die kontrastreichen Stimmungen der Komposition, von dunkler Ironie bis hin zu ergreifender
Lyrik, zur Geltung.
Mit dem Cellokonzert Nr. 2 in G-Dur, das 1966 ebenfalls von Rostropowitsch uraufgeführt wurde, machte
sich Schostakowitsch selbst ein Geschenk zum 60. Geburtstag. Dieses eher reflektierende, in sich gekehrte
Werk wird seltener aufgeführt als sein Vorgänger. Wie der Boston Globe jedoch feststellte, ”hätte man
sich kaum einen besseren Weg durch dieses weniger vertraute Gebiet wünschen können als den Weg, den
Ma mit Nelsons und dem BSO einschlug“.

Bestselling second album from 2009 with eleven songs recorded in Mexiko, no overdubs, no effects ! - "Rules" followed the successful debut album "Dreams" from 2006. The song "1517" was used in the video game FIFA 10.

C r e d i t s
Bass: Marcin Öz
Drums: Sebastian Maschat
Electric Piano, Synthesizer: Daniel Nentwig
Vocals, Guitar: Erlend Øye
Vocals (A2): Denitza Todorova, Marcin Öz, Simone Rubi
Mixed by Norman Nitzsche
Recorded by and written-by The Whitest Boy Alive
Lyrics by Erlend Øye
Recorded at Glass Cube Studio and Funkhaus Nalepastraße, Berlin
Mixed at Villa Qrella
Artwork by Geoff McFetridge
Mastered by Bo Kondren

This April, Jessie Wagner releases her long awaited second solo album, “War Within”
on Little Stevie Van Zandt’s Wicked Cool Records. Jessie is a true multi-talent. She is a vocalist, songwriter, actor, model and dancer who possesses a unique worldview which she shares via her very personal songs.
Many of Jessie’s current fans know her best as a featured vocalist with some of the best known and most loved names in music. She launched her career within a year of moving to New York when she became a member of the world renowned disco group Chic, with Nile Rodgers. Jessie played to sold out crowds at London’s famed O2 Arena with Chic and then later on, with Kid Rock, with whom she also performed at the Grammys. Jessie then got to tour with her personal rock idol Lenny Kravitz and is featured in his tour documentary, “Just Let Go”. She performed with Stevie Nicks and Robert Plant at the Montreux Jazz Festival and sang on the platinum selling album “Rock and Roll Jesus”.

DJ Merci collabs with kickin’ up dust & shows his soulful side with a 4 Song EP incl. Track ’’Let’s Love’’ with Vocals by House Music Icon Robert Owens. Grab it while u can! (Download Card in Sleeve + Bonus Track „Dreams“)

Einst waren Rialto unverletzlich ("Untouchable"), sind aber bereits Ende der 90er erst morgens nach fünf heimgekommen ("Monday Morning 5.19"), nun kündigen die britischen Kult-Britpopper ihr erstes neues Album seit 24 Jahren an: "Neon & Ghost Signs" wird im April 2025 über Fierce Panda Records veröffentlicht. Es ist eine Reunion, die nicht so sehr von der Sehnsucht nach der Vergangenheit angetrieben wird, sondern vielmehr von der Dringlichkeit, das Beste aus dem Jetzt zu genießen. Vor sechs Jahren wurde Sänger und Songschreiber Louis Eliot während eines Spanienurlaubs für eine Notoperation ins Krankenhaus gebracht und ist dabei kurz dem Tode nah gewesen. Seine vollständige Genesung war eine Epiphanie. "Man könnte meinen, wenn man dem Tod sehr nahe ist, sollte man anfangen, sich um sich selbst zu kümmern", sagt er. ,Aber ich bin einfach mit Vollgas meiner Jugend hinterhergejagt. Ich dachte mir nur: Egal, vielleicht bin ich nächste Woche nicht mehr da, ich stürze mich einfach rein." Ein Teil von Eliots Wiedergeburt bestand darin, dass er eine langjährige Beziehung hinter sich ließ, um erneut in die Londoner Club-Szene einzutauchen. Ein bedeutender Teil davon waren die Romantik und die Verwundbarkeit, die er dort fand. Ein anderer Teil davon war die Erkenntnis, dass die Songs, die in dieser Zeit entstanden - Lieder über Liebe und Verlust, Hedonismus und Reue, die in wehmütigen Geisterstunden spielen - ein Ruf aus der (eigenen) Vergangenheit waren. Neon and Ghost Signs eröffnet in gewollt simpler und eingängiger Dancefloor-Ästhetik mit der ersten Single "No One Leaves This Discoteque Alive". Eliot, mit einem lasziven Brel-Knurren, vergießt Tränen in der Discotheque, ist "der Hund der Londoner Stadt", wo "die Laken mit Gold befleckt sind", der darauf aus ist, "seinen Kopf zu verlieren" und Liebe als perfekten Sturm zu erleben. Es ist der Auftakt zu einem "Durch die Nacht mit...", den das gesamte Album mit der von Rialto bekannten Widescreen-Pop Leidenschaft verfolgt. Rialto waren in Südostasien Superstars mit Doppel-Platin und in Großbritannien immer ein hochgelobter Kult, aber zweifellos eine Band, die ihrer ästhetischen Zeit voraus war. Nach dem zweiten Album Night on Earth im Jahr 2001 löste sich die Band auf und Eliot arbeitete regelmäßig mit Grace Jones und Danny Goffey von Supergrass zusammen; als Songwriter schrieb er u. a. das mit dem Ivor Novello ausgezeichnete "Leave Right Now" für Will Young; er veröffentlichte 2004 ein Soloalbum und 2010 eine sehr ländlich klingende Platte als Louis Eliot And The Embers und veranstaltet das Port Eliot Festival in Cornwall mit 8.000 Besuchern. Als col. LP, CD oder MC!

One of the UK’s most exciting breakout stars of the past decade, Rebecca Lucy Taylor AKA Self Esteem emerged from cult favourite status to mainstream hero following the huge success of her empowering, truth-telling 2021 single ‘I Do This All The Time’. The song resonated intensely as a perfect example of Taylor’s affectionately termed ‘trojan horse’ or ‘salad and chips’ approach, fearlessly packing important, emotive messages into witty, resonant pop music.

Self Esteem’s wildly acclaimed second album Prioritise Pleasure quickly followed, tackling the hypocrisies and joys found in her experiences of modern day womanhood across dating, friendship, comparison culture, self love, women’s safety and sexual assault and much more. Prioritise Pleasure received Mercury Prize, BRIT Award, Sky Arts and NME Award nominations, was crowned The Guardian and Sunday Times Culture’s Album of the Year, and ‘I Do This All The Time’ was also named The Guardian’s #1 song of 2021.

Quite the opposite of an overnight success, Taylor spent a decade as one half of indie duo Slow Club before adopting the pop star persona she’d always dreamed of. She released her first Self Esteem album Compliments Please in 2019, featuring fan favourite singles ‘The Best’, ‘Girl Crush’ and more.

Gathering a passionate and vast legion of fans ever since, Taylor has appeared on The Graham Norton Show, Celebrity Gogglebox, Friday Night Live & Taskmaster, performed three times on Jools Holland including the NYE Hootenanny, graced the covers of magazines from Grazia to NME to Sunday Times Style, and is one of a handful of artists to have been playlisted across BBC Radio 1, 2 and 6 Music simultaneously.

Having reached new heights of acclaim, Taylor continued to grow, diversify, and create in 2024. Branching out into the world of acting, Taylor starred in a regular role in the Sky series SMOTHERED before completing a run playing Sally Bowles in the multiple Olivier Award-winning production of 'Cabaret at the Kit Kat Club' in London's West End. Starring alongside Jake Shears (Scissor Sisters) as Emcee, the pair’s time on stage was extended due to popular demand and showcased the sheer range of talent in Taylor’s repertoire. Last year’s releases ‘Big Man’ and ‘Love Second Music First’ followed a collaboration with Becky Hill on her song ‘True Colours’.

Embark on a funky synth-drenched journey as the cosmic count Jimi Tenor reunites with Timmion Records' soul architects Cold Diamond & Mink for yet another album. When placed side by side with the fellows' recent effort "Is There Love In Outer Space? "July Blue Skies" glides on a slightly more raw and mystical plane. Crafted over fiery sessions between Tenor and Cold Diamond & Mink, this vinyl release offers six soul-grasping tracks ranging from mellow groove to soundtrack funk. The album's opening title song kicks off with an extended analog synth intro which eventually develops into a sweet romantic invocation, painting a sonic canvas reminiscent of a boundless summer sky. The most vocal tune of this quite instrumental set of songs "Sky Train Baby" propels the listener on a locomotive ride through the star systems while "Venus of Barsoon" with its drum breaks and fuzz sounds blast you straight into sci fi movie funk territory. The album's B-side opens with "Ikuchi," where Tenor's always trusted flute and tenor sax take the spotlight over the slinky library beats. Closing the album we discover two single releases, the sublime "Summer Of Synesthesia" and the demonic "Tsicroxe" both completely worthy to hear sequenced inside this album as well. This album might be just the Spring jam that you needed in your life.

4 Jahre nach dem schieren Ansturm von "Sumerian Promises" kehren Sijjin mit ihrem zweiten Werk "Helljjin Combat" zurück. Das Album beschwört sein eigenes Leben voller satanischer Bilder, teuflischer Ausschweifungen und biblischem Fatalismus. Sijjin folgen dem festen Pfad, den sie einst eingeschlagen haben, wenden sich aber endgültig der Hölle zu.

Aufgenommen live in den BlackStorm Studios in Karrantza, Baskenland & verziert mit einer authentischen und völlig trockenen 80er Jahre Analog-Sound Produktion. Obendrein klang Gerickes Gesang noch nie so dreckig wie auf "Helljjin Combat". Sijjins neuere Richtung konzentriert sich auf umfangreichere Songstrukturen, wie sie von den Paten des Metal-Wahnsinns Mitte der 80er praktiziert wurden, dabei kommen einem so berüchtigte Namen wie Infernäl Mäjesty, Nasty Savage, Possessed, frühe Slayer oder Megadeth in den Sinn.

Zusammenfassend lässt sich sagen, dass das Trio von Sijjin bei seinem Kampf in der Hölle einmal mehr bewiesen hat, dass es der Dreizack in der linken Hand des Teufels ist!

Die Modern Folk-Künstlerin Jensen McRae hat das Veröffentlichungsdatum ihres mit Spannung erwarteten zweiten Albums „I Don't Know How But They Found Me!“ bekannt gegeben, das am 25. April über Dead Oceans erscheinen wird. Zusammen mit der Ankündigung hat sie auch ihre neueste Single und das Video „Praying For Your Downfall“ veröffentlicht, ein Meisterwerk der Offenheit, das Witz und Charme verbindet, während McRae darüber nachdenkt, wie sie den Drang nach Rache an jemandem, der ihr das Herz gebrochen hat, loslassen kann.



Jensen McRae - Praying For Your Downfall (Official Video)



Vor dem Hintergrund von Herzschmerz, Selbstfindung und der Komplexität der Liebe ist „I Don't Know How But They Found Me!“ eine mutige Entwicklung für die junge Künstlerin. Das elf Titel umfassende Album, das in North Carolina mit Brad Cook (Waxahatchee, Bon Iver) aufgenommen wurde und an dem Nathan Stocker (Hippo Campus), Matthew McCaughan (Bon Iver) und ihr Bruder Holden McRae mitgewirkt haben, ist eine lebendige Sammlung von Songs, die von messerscharfen Texten und zeitlosen Pop-Melodien getragen werden. McRaes Stimme ist so vielseitig wie ihr Songwriting - mal flüsternd und strukturiert, dann wieder klar und hell. Es ist eine Stimme, die sowohl den Herzschmerz des Verlassenwerdens als auch die Stärke des Verlassens verkörpert.



Von Anfang an haben sich die Fans in Jensen McRae verliebt, für ihre scharfsinnigen, aufrüttelnden und klarsichtigen Songs. Ihr Songwriting ist verletzlich, ja, aber es ist auch stark, weil es sich nicht zurückhält. „I Don't Know How But They Found Me!“ zeigt McRaes Entwicklung von einer vielversprechenden jungen Künstlerin zu einer echten Songwriterin und Star. „Die tiefgreifendsten Entscheidungen meines Lebens“, sagt McRae, “haben sich oft wie Dinge angefühlt, die ich getan habe, bevor ich dazu bereit war, und in die ich hineinwachsen musste.“ „I Don't Know How But They Found Me!“ handelt davon, was folgt, wenn man dem widerstanden hat, von dem man dachte, dass es einen vernichten würde. Es geht darum, seine Grenzen kennenzulernen und zu erfahren, wozu man fähig ist. „Ich verband mich mit dem Gedanken, dass ich leicht unter dem Gewicht dessen, was mir widerfahren ist, hätte zusammenbrechen können, aber ich tat es nicht. Ich wusste es nicht einmal“, sagt sie, ‚aber ich war die ganze Zeit kugelsicher“. Jensen McRae ist in L.A. geboren und aufgewachsen und hat fast ihr ganzes Leben lang Musik studiert und gemacht. In der High School nahm sie am Grammy Camp teil und schloss ihr Studium an der USC Thornton School of Music mit einem Abschluss in Popular Music ab. McRaes Debütalbum „Are You Happy Now?“ schrieb sie größtenteils im Alter von 21 Jahren und war der erste Schritt zum Aufbau einer treuen Fangemeinde. „Are You Happy Now?“ navigiert die Identität von ihren tiefsten Grundlagen - dem Leben als junge, gemischtrassige schwarze und jüdische Frau - bis hin zu ihren persönlichsten Überlegungen - vertraue ich dir, vertraue ich mir selbst. McRaes Vertrauen in sich selbst hat sich mehrfach bestätigt, zuletzt und vielleicht am bekanntesten in Form des Songs „Massachusetts“. McRae postete eine Solo-Strophe und einen Refrain, kaum mehr als ein Stück eines Demos, und es fing Feuer im Internet. Covers, Duette und eine Lawine neuer Fans folgten, und McRae krönte den Moment mit einer fertigen Version und einer sommerlangen Tournee als Support von Noah Kahan. „I Don't Know How But They Found Me!“ nimmt McRaes mittlerweile beachtliche Fähigkeiten auf und macht sie massentauglich. „Savannah“ ist ein Song für alle, die schon lange dabei sind. Der pulsierende, an Country angelehnte Song erinnert sofort an das Beste von Phoebe Bridgers, wobei McRae in einem akrobatischen Flüsterton über einer federleichten akustischen Gitarre singt. Wenn „Savannah“ sein Crescendo erreicht, wird klar, dass McRae eine Künstlerin mit einer ganz eigenen Kraft ist, wenn sich Klavier und Gitarre überlagern und McRae eine Reihe bissiger Anklagen mit Schärfe und Überzeugung vorträgt: "You swore you'd raise our kids to end up just like you / well you're a false prophet / and that's a goddamn promise." Währenddessen ist „Let Me Be Wrong“ eine echte Hymne, eine beschwingte Ode an die Ablehnung von Perfektionismus. Wiederum auf einem einfachen Gesang und einer Akustikgitarre aufbauend, steigert sich „Let Me Be Wrong“ Schritt für Schritt in seinem Trotz; die Gitarren schichten sich, das Schlagzeug nimmt das Tempo auf, und McRae macht Platz für die Fehler aller. Wenn McRae knurrt „fuck those girls got everything“, ist das ein Schlag voller Kraft und Verletzlichkeit, der darum bettelt, unisono so laut wie möglich gebrüllt zu werden. Der ungewöhnliche Titel ihres zweiten Albums? Er stammt aus einer Zeile in McRaes Lieblingsfilm „Zurück in die Zukunft“. Ein Hauptdarsteller überlebt einen Kugelhagel, und dieses Bild hat McRae sehr beeindruckt. „Ich habe mich mit dem Gedanken angefreundet, dass ich leicht unter dem Gewicht dessen, was mir passiert ist, hätte zusammenbrechen können, aber das habe ich nicht. Ich wusste es nicht einmal“, sagt McRae, “aber ich war die ganze Zeit über kugelsicher.“

Blurring the lines between the mundane and the mystical, ESKA’s latest album, ‘The Ordinary Life of a Magic Woman’, is a profound exploration of motherhood, artistry, and the delicate dance between daily rhythms and creative transcendence. For ESKA, these aren’t opposing forces—they’re inseparable threads in a richly woven life.

“It’s the sound of a first-generation, middle-aged African British woman living in post-everything Southeast London,” ESKA reflects.

After two decades of trailblazing collaborations with world-renowned artists – Moses Sumney, Grace Jones, Radiohead and Baxter Dury, to name a few - along with various accolades - including a Mercury Prize Nomination, ESKA’s new album stands as her most personal and compelling work yet. A self-directed journey, it sees her embracing her ultimate creative partner: herself.

Rooted in her eclectic musical upbringing, ESKA pulls inspiration from the sounds and influences that have defined her journey, breaking free of conventional boundaries. The result is a body of work that defies easy categorisation—bold, dynamic, and unmistakably hers.

Blurring the lines between the mundane and the mystical, ESKA’s latest album, ‘The Ordinary Life of a Magic Woman’, is a profound exploration of motherhood, artistry, and the delicate dance between daily rhythms and creative transcendence. For ESKA, these aren’t opposing forces—they’re inseparable threads in a richly woven life.

“It’s the sound of a first-generation, middle-aged African British woman living in post-everything Southeast London,” ESKA reflects.

After two decades of trailblazing collaborations with world-renowned artists – Moses Sumney, Grace Jones, Radiohead and Baxter Dury, to name a few - along with various accolades - including a Mercury Prize Nomination, ESKA’s new album stands as her most personal and compelling work yet. A self-directed journey, it sees her embracing her ultimate creative partner: herself.

Rooted in her eclectic musical upbringing, ESKA pulls inspiration from the sounds and influences that have defined her journey, breaking free of conventional boundaries. The result is a body of work that defies easy categorisation—bold, dynamic, and unmistakably hers.

Remastered from the original tapes by Kevin Metcalf and then reissued for the first time in 2009 as part of the WORLD IN YOUR EYES 3CD set on Reactor.

Now re-mastered for vinyl and re-cut to lacquers by Shawn Joseph / Optimum Mastering and issued as TWELVES. (ref: the 3 x 7” set SEVENS released 2020)

Each side of this 3LP set has one of the 12”s in full, 16 Dreams / Spinning / Collision / Black Sun / Arc-Lite...as well as the promo only LIVE 12” Prisma Uber Europa. The 12” cover of each LP has the relevant sleeve on each side to recreate the original sleeve image, and each 12” side will have labels as close to the original designs as possible.

Hear Loop expand their sound from the Stooges / Velvets / garage pyschout of 16 Dreams, into the Spinning era and then develop their motorik fuzzed-out nihilistic pummel through the Collision and Black Sun EPs to finish this set with the Arc-Lite side, possibly Loop at their most visceral. Unable to be pigeon holed like most bands of this time, their live shows also wiped the floor with everyone as evidenced on the Prisma Uber Europa 12”.

Not reissued on vinyl when first remastered, now its time. PLAY LOUD

For the first time on vinyl, all of the 12” single releases from loop, remastered by Kevin Metcalf in 2008, and originally part of the WORLD IN YOUR EYES 3CD set (also being reissued ). Remastered for vinyl and lacquers cut by Shawn Joseph / Optimum Mastering in January 2025. Packaged so that each side of the LP is one complete LOOP 12” in chronological order (all 5 released 12”, plus the limited Live Promo 12”), with printed inner bags displaying original single cover art, and indeed, labels replicated to match original 12” label for each side/single. Has tracklisting insert also.

Babez For Breakfast is the fifth studio album by the Finnish rock band Lordi. For this album, the band worked with million-selling hard rock and metal producer and mixer Michael Wagener (Metallica, Megadeth, Alice Cooper). The album also features guest appearances by none other than Bruce Kulick (KISS) and Mark Slaughter (Slaughter). The album entered the album charts in Finland, Greece, and Germany. Babez For Breakfast is available as a limited edition of 666 individually numbered copies on blood pink & red marbled vinyl and comes with a sticker sheet and a 4-page booklet.

Das traurige Mädchen aus dem Soft-Grunge der 90er Jahre. Beziehung am Ende, schwanger, Oma stirbt. Die übliche 21. Reise um die Sonne. Zwischen Erics Trip-Alben, Freunden und wechselnden Kleidergrößen klimperte Julie ihre niedergeschlagenen Schlafzimmer-Pop-Tagebücher durch ein Rat II-Verzerrerpedal und verließ die Szene. Die erweiterte Ausgabe zum 29. Jubiläum enthält seltene 7"-Tracks und ein Foto von Julie mit ihrem Hund Samantha.

Das traurige Mädchen aus dem Soft-Grunge der 90er Jahre. Beziehung am Ende, schwanger, Oma stirbt. Die übliche 21. Reise um die Sonne. Zwischen Erics Trip-Alben, Freunden und wechselnden Kleidergrößen klimperte Julie ihre niedergeschlagenen Schlafzimmer-Pop-Tagebücher durch ein Rat II-Verzerrerpedal und verließ die Szene. Die erweiterte Ausgabe zum 29. Jubiläum enthält seltene 7"-Tracks und ein Foto von Julie mit ihrem Hund Samantha.

Das traurige Mädchen aus dem Soft-Grunge der 90er Jahre. Beziehung am Ende, schwanger, Oma stirbt. Die übliche 21. Reise um die Sonne. Zwischen Erics Trip-Alben, Freunden und wechselnden Kleidergrößen klimperte Julie ihre niedergeschlagenen Schlafzimmer-Pop-Tagebücher durch ein Rat II-Verzerrerpedal und verließ die Szene. Die erweiterte Ausgabe zum 29. Jubiläum enthält seltene 7"-Tracks und ein Foto von Julie mit ihrem Hund Samantha.

"Live in Oberhausen", das zweite Live-Album von KANONENFIEBER, wurde während ihrer bis dato größten Headliner-Show in Oberhausen aufgenommen. 1.800 Zuschauer füllten die ausverkaufte Turbinenhalle II, um Teil der "Die Urkatastrophe"-Tour zu werden. Sechzehn der insgesamt zwanzig europaweiten Konzerte waren bereits Monate vor dem Beginn der Tour ausverkauft. Damit konnte die Band, die nur 2,5 Jahre zuvor ihre erste Liveshow gespielt hat, einen weiteren Meilenstein in ihrer Karriere setzen.In der Setlist finden sich nicht nur beliebte Songs des Debütalbums- "Menschenmühle" und der darauffolgenden EPs, sondern auch acht Tracks aus ihrer neuesten Veröffentlichung "Die Urkatastrophe".KANONENFIEBER über das Konzept von "Die Urkatastrophe": "Der Erste Weltkrieg beschleunigte den Weg in die Moderne und gilt als die "Urkatastrophe" des 20. Jahrhunderts, das von Kriegen, Gewalt und Vertreibungen geprägt war. Etwa 17 Millionen Menschen, Soldaten und Zivilisten, verloren ihr Leben, große Teile Europas wurden zerstört und ungelöste Probleme hinterlas-sen, die zu weiteren gewaltsamen Konflikten führten. Dieses Album soll die Opfer des Ersten Weltkrieges dem Vergessen entrei-ßen. Mögen ihre Schicksale auch nach über 100 Jahren Mahnung sein für die nachfolgenden Generationen," erklärt Noise.Der Black und Death Metal von KANONENFIEBER soll nicht nur unterhalten, sondern anregen, sich weiterzubilden und das Bewusstsein gegen die Verherrlichung des Krieges schärfen. Denn im Krieg gibt es keine Gewinner. Alle verlieren - ihr Leben, ihre Seelen, ihre Menschlichkeit. Der Krieg wird oft abstrakt und anhand von trockenen Zahlen und Statistiken dargestellt. KA-NONENFIEBER wollen die Geschichten der Namenlosen und Gesichtslosen erzählen, um einen kleinen Einblick in ihre persön-lichen Schrecken und damit in das größte Grauen für die Menschheit als Ganzes zu gewähren. Krieg.Das Album erscheint in den folgenden Formaten: Ltd. CD+Blu-ray Digipak, Gatefold 2LP and Digital Album.

Norman Westberg (guitar), Giridhar Udupa (ghatam, konnakol, khanjira, percussion) and Jacek Mazurkiewicz (double bass, electronics)An extraordinary meeting of three artists from three different musical worlds and three different continents. Norman Westberg (ex-Swans) and Jacek Mazurkiewicz have already released one album together "First Man In The Moon" in 2021 (published by the Swiss label Hallow Ground).In the new project, they are accompanied by Giridhar Udupa, an Indian master of ghatam (a clay percussion instrument that looks like a jug). The album will feature 3 long trance compositions, referring to ambient, krautrock, free jazz and Indian music.Jacek Mazurkiewicz describes the creation of this album as follows:"I met Norman Westberg while supporting the Swans tour in Poland as 3FoNIA. A few years later, during Norman's tour with Gira, we recorded a duet.The trio session took place similarly to the previous duet session during Norman's solo concert in Warsaw on the Swans tour.Recorded with Adam Toczko, a quick meeting on a day off from work.I invited Giridhar Udupa to the trio, whom I had met earlier during the period when I co-founded the band Limboski. I once invited Wacek Zimpel to play a few concerts with Giridhar. Wacek later created Saagara and I was wondering about some unusual musical context in which I would find myself with Giridhar. I was looking for an interesting sound configuration, but also a cultural one, with a different approach to creating music. I got the impression that for both Norman and Giridhar it was a fairly fresh meeting, not obvious. And on the other hand, ordinary - everyone did their own thing."Detroit guitarist Norman Westberg moved to New York in 1980 and became a part of the experimental music scene that was experiencing its golden age. Westberg himself became a permanent fixture when he joined the iconic avant-rock band Swans in 1983, and was the only member other than frontman Michael Gira to play with them for most of the band's run, both until their 1997 disbandment and his return in 2010. Westberg has also been involved with other legendary New York noise-rock acts, including Jim Thirlwell's Foetus and the post-Swans Heroine Sheiks, in which he played with Cows frontman Shannon Selberg; and in 2014, he joined the noise-rock supergroup Hidden Rifles, whose members included Mike Watt of Minutemen and Mark Shippy of U.S. Maple. Westberg's solo compositions, most often for solo guitar and a set of effects, draw on drone and post-minimalism, bringing to mind dark ambient passages from Swans albums.Giridhar Udupa is an extremely valued teacher and world-renowned artist, an Indian master of ghatam (a clay percussion instrument that looks like a jug). He was born into a family with long musical traditions. He began learning to play at the age of four, guided by his father. At the age of twelve, he already had his first performances behind him. He currently gives concerts alongside the greatest masters. He has received many prestigious awards. He performs in the USA, Spain, Canada, France, Switzerland, Germany, Oman and Kuwait. Giridhar Udupa is a member of the band of the Indian vocalist Bombay Jayashri, nominated for an Oscar for the best song for the film Life of Pi. He is one of the founders of the Layatharanga band. He also plays virtuoso other traditional instruments of South India, such as mridangam and kanjira, and is excellent at using the konnakol technique (a type of rhythmic vocalization).For three decades, the artist has been a global ambassador and icon of Carnatic music. He is the founder of The Udupa Foundation, a charity organization established in 2015 to promote Indian music, performing arts and culture. He has participated in recording dozens of albums. He is also well-known in our country thanks to his cooperation with Polish performers, which resulted in excellent artistic effects, such as the famous Indialucia - Michał Czachowski's group / project or the Saagara formation, led by Wacław Zimpel. Udupa also played on the album Lechoechoplexita, released by Leszek Hefi Wiśniewski, and on the album of the band Layatharanga, released in our country.Jacek Mazurkiewicz is interested in music in the broad sense. He puts his sounds together based on emotional impressions and pulse. Combining acoustics with electronics, he is constantly looking for a new sound. Solo as 3FoNIA, in a duet with Mikołaj Trzaska or Tomek Dąbrowski, the JMB trio with Wojtek Jachna and Jacek Buhl, in the Modular String Trio quartet, the Afrobeat quintet Faso Tamala are just some of his musical incarnations. With Patryk Zakrocki, as part of an audio mission, he massaged hundreds of pairs of ears in the Inner Ear Massage Office. He also deals with sound design, composing and producing music for films and theatre performances. He collaborated with many Polish and foreign artists.