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Incredibly rare Latin grooves reissued for the very first time on vinyl. Vision Divina is produced by New York City Latin music legend, Larry Harlow. Full of blazing

horns and wondrous drum rhythyms this title is sure to keep any dancefloor shaking. Originally issued on the legendary Coco Records imprint and long overdue for reissue with O.G. copies selling for $200+ when available.

Two-Piers, the label that brought you ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’ brings you the second instalment in the series ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’. A thrill-a-minute dive into the crazy awesome world of Garage Psychedelic Rock.

From the Psych sound explosion onto the underground club scene in the US and UK in the mid 1960s, to its discovery by a wider audience via the exceptional Nuggets and Pebbles compilation series in the 1970-1980s. Through its mainstream revival with the Garage sound of the late 1990 - early 2000s, to the current crop of exceptional bands flying the Garage Psych flag today, ‘Garage Psychédélique’ takes you on a journey and gives you a little taste of some of the finest music from the scene and the bands that blazed a trail for others to follow…..Sit back and enjoy the ride!

From the opening bars of The Sonics ‘Have love Will Travel’ through the Psych workout that is Count Five’s ‘Psychotic Reaction’ to the joys of ‘60s Beat Psych groups from the US such as The Paragons, The Preachers, The Strangeloves, The Squires, and the eccentric stylings of The Monks. The album careers along at a blistering pace of Garage Psych brilliance, jammed packed full of underground floor fillers a plenty.

US legendary underground acts such as The Electric Prunes, The Chocolate Watch Band and MC5 all deliver classic tracks for the cause, and singer-songwriter Harry Nilsson even makes a foray into the psych rock sound with ‘Jump into the Fire’.

In recent years such bands as Thee Oh Sees, Moon Duo and Allah-Las from the US have taken the Garage Psych influence and ‘60s sound and made it their own. A whole crop of bands such as White Hills, Gnod and Goat from the scene have evolved the music into a ‘Pzyk Rock’ feel with a darker and heavier vibe, but crucially still with the joyous undertones that the scene brings to its devotees.

The Garage Psych sound has influenced groups from around the globe with bands like Liverpool’s The Stairs ‘Weed Bus’, Scotland’s finest The Poets with ‘That’s the Way It’s Gotta Be’, The Bogeymen, a largely undiscovered ‘90s Psych Hammond band from France with ‘Electrocution’. Hailing from Sweden Goat bring us ‘Gathering of Ancient Tribes’ and The Hives their dancefloor anthem ‘Main Offender’. From Perth, Australia Pond’s Psych leanings on ‘Fantastic Explosion of Time’ are clear to see. Finally, Kevin Parker’s band Tame Impala were very influenced by the whole garage psych sound in their early band incarnation, as perfectly showcased here on the epic wig-out that is ‘Half Full Glass of Wine’ that closes the album.

This isn’t meant to be a ‘crate diggers’ album or a compilation of ‘obscure hard to find tracks’ to out-do your mates. It is quite simply a celebration of the Garage Psychédélique scene and a chance to revel in its brilliance and dance around your kitchen. If it means you go down a rabbit warren of discovery to unearth more gems and brilliant bands from the Garage Psych scene then job done!

Formed by high school buddies Andreas Gregor and David Rout, Techniques Berlin started in 1984 experimenting with synthesizers, drum machines and guitars. In the early stages, the band was heavily influenced by UK new romantic acts The Human League, Visage, Yazoo, OMD and Depeche Mode, as well as rising Canadian synth-pop bands Rational Youth, Men Without Hats and Trans-X. It took them a few years to master their electronic toys and create a unique blend of addictive electro-pop melodies and beautifully crafted alternative beats.

In the late 80s, Techniques Berlin played live on a regular basis and their 3 self-released tapes received frequent local airplay in Canada. Despite their moderate success, the band failed to secure a record deal. Eventually both members had developed a strong interest in the burgeoning electro-industrial scene. Dave and Andreas founded !Bang Elektronika and were working with Digital Poodle as live drummers. Both of these projects were soon picked up by record labels. Techniques Berlin played their last show in November of 1991 at the University of Toronto, debuting the last track they had recorded, fittingly called ‘Time Fades to Nothing’. Or so they thought…

The proliferation of Internet radio and streaming music platforms introduced the band to a new generation of fans, enabling Techniques Berlin to stage a remarkable comeback. Within the next years they released the compilation “Suburban Playgrounds and Concrete Beaches” (Fabrika Records), recorded a new album “Breathing” (Nadanna) in 2018 and offered a series of shows in Toronto, Montreal, Mexico City and Leipzig.

“The Language of Machines” compiles a selection of original recordings between 1985 and 1991, including some favourite tunes like ‘Dancing to the Fall of the Berlin Wall’, ‘Metropolis’, ‘Watching You’ and a few unreleased tracks/versions. Limited edition of 500 copies on double vinyl with gatefold sleeve.

a 1 I Desire Dave Vocal Version








j 10 And You LinnDrum Version




o 15 My Suburban Playground [Extended Remix]

Il progetto "Muzic Family", nasce da collaborazioni di lunga data con ar+s+ molto importan+, come Fred Ventura & Paolo Gozze/ aka Italoconnec+on, Roberto Tura/, Maury Pirotta aka Pirmaut, NU.MA., Annerley Gordon, Mark Hoogkamer...tu/ insieme per il nuovissimo singolo di Stylóo "I'm Gonna Dance", in 5 fantas+che versioni + una bellissima b-side, "Crimson & Clover"

Originally released on two tapes on Stucco, now available on vinyl. Ferocious, manic Punk via Austin, Texas. Overpublicised rock hack/full-time gobshite Charles Shaar Murray said of The Clash that they were ‘the sort of garage band who should be speedily returned to the garage, preferably with the motor running’. Now that’s all well and good, but what if I told you there was a band that sounded like they’d taken this to heart and replaced the petrol fumes with all the gnarliest uppers and the cheapest booze? Meet Texas’ Insane Urge, a band for whom no fidelity is too low, no riff is too snotty, and there’s no hook that wouldn’t sound better being crushed into the dirt by a combination of velocity and curled-lip, devilish delirium. This is their ‘Two Tapes LP’, compiling their (you guessed it) two tapes for Down South Tapes - and what a compilation it is! Rattling through 15 songs in 18 minutes, it condenses the primal chords of The Sonics, the dumb thrills of the Oblivians and the smash’n’grab speed of hardcore punk to create something that sticks to your synapses like paste. Almost feels like someone should call Bomp!, Sympathy For The Record Industry and Crypt to check this hasn’t leaked out of their archives - that classic raw vibe is unmistakeably here and it’s an instant winner. From the opening instrumental that shares its name with the band to the minute-long thrill ride of ‘Job’, ‘Two Tapes LP’ is rock’n’roll at its stoopid best (and trust me, you’ve gotta be smart to play this stoopid). It’s a record that’ll cement its place on your speakers, its brevity only serving to make you demand another immediate fix - which you’ll do again and again and again. If the band moniker reflects anything, it’s the fact that you don’t make music like this because you wanna. You do it cos you can’t see any other choice. Listen and love.

Ein sehr persönliches soziopathisches Juwel, das als futuristische Interpretation der Funktionsweise von Musik geliefert wird, eine melodiöse Brise mit einem Hauch von giftigem Lärm. Ein Album mit zehn Songs, dazu ihr zehntes Studiowerk. Die Gegenüberstellung des Konzepts des `dunklen Sonnenscheins', eine brütende Solo-Platte, auf der Kristin Hersh zusammen mit Freunden ihre klangliche Vision erweitert; ein quietschender Mix aus disharmonischer Schönheit, Rückkopplung und Phasenkreisel von einfach klirrender Normalität. Man stelle sich Dinosaurier Jr. und My Bloody Valentine vor, die Dylan Verse vertonen. Mit beiden Extremen des Klangspektrums: atonal und arrhythmisch, ein einzigartiger Sound und eine glorreiche Rückkehr zur Form für eine der wahren Innovatorinnen des Alternative Rock. "Imagine truly buying your own sunshine and charm, but also your darkness and violence; the two sides of your psychology showing each other off in relief. Songs can do that...we can't, really. Darkness we've seen." - Kristin Hersh, July 2018 "She's still as powerful a presence as she ever was." - Pitchfork "The prodigious output and commitment to quality is pretty staggering, but then Kristin Hersh is a very, very special musician." - The Quietus

500 only pressed. 80s alt country punk outfit, Lone Justice, with Maria McKee, Ryan Hedgecock, Marvin Etzioni and Don Heffington are in full flight with the release of a brand new 7”. Taken from their forthcoming album, Viva Lone Justice, ‘Teenage Kicks’ is a rambunctious slice of punk angst that sounds like it was recorded in one take. It’s a timeless anthem with a joyous riff that explodes into a hail of feedback. A favour returned as Maria McKee, the songwriter of Feargal Sharkey’s only solo hit ‘A Good Heart’, Lone Justice cover The Undertones’ Peel-approved favourite with the artwork of the single being a nod to the original. “As much as we loved Merle Haggard, George Jones, and many other authentic hard core Country artists, we were also deeply impacted by Punk; from the Velvet Underground (we were playing "Sweet Jane" live as early as 1983) to the MC5 ("Sister Ann" is on the album "Viva Lone Justice").” Backed with ‘Nothing Can Stop My Loving You’ that’s cut with a wild, squeezebox-powered interpretation of the George Jones and Roger Miller country stomp. “Speaking of George Jones, here's one written by George Jones and Roger Miller. Two of our favorites! We played this song at nearly every show starting in 1983. This ragged and right live recording captures the fire from a sold out show at The Palace in Los Angeles and features Jo-El Sonnier on lead accordion documenting the only time Sonnier played with LJ. "Nothing Can Stop My Loving You" is the only live track on Viva Lone Justice." // “A roots rock band that took Los Angeles by storm in the 80s and developed a smaller but deeply enthusiastic following outside the Golden State.

Born out of revelry and resolution in a redwood cabin tucked into the California coast, endowed with a spirit simmering in wanderlust, and ornamented with the rich traditions of the Louisiana bayou, 'Lonesome Highway' marks the resilient return of Irena Eide, aka Rainy Eyes. These are eleven songs of triumph, punctuated with perseverance and perspective, here to sober up the soul and send it back stronger onto the blacktop. If Rainy's 2019 folk-infused debut, 'Moon in the Mirror', revealed the truth, 'Lonesome Highway' tells poignantly and poetically of the consequences.

'Lonesome Highway' was written as Rainy reflected on the juxtaposition of her circumstances. While she basked in the joy of her recent entry into motherhood, she was simultaneously confronting a troubled relationship that had turned toxic. "Songwriting was my therapy. It was basically how I dealt with the pain and the trauma. The music helped me heal," says Rainy. "This album is about how I had to help myself. To take that pain and use it. For it not to destroy me, but to make me who I am."

Habibi Funk is thrilled to share a second collection of deep grooves and unreleased songs from Algeria's Ahmed Malek, often compared to Italian heavyweight Ennio Morricone. Malek’s music effortlessly switches between thematic jazz, funk, reggae and Algerian folk – creating indelible soundscapes that intersect the musical innovations made in African jazz by Mulatu Astatke, Bembeya Jazz National along with some of Europe’s finest experimental composers like Piero Piccioni and Janko Nilovic. “Musique Originale de Films, Volume Deux” is out June 28th, 2024 via Habibi Funk.

Whenever an interview asks about a “memorable moment” in Habibi Funk label history, one we always reference is how we got in touch Ahmed Malek’s (22K Spotify Followers, 285K Spotify Monthly Listeners) music and subsequently his family. It all started with us coming across Ahmed Malek’s music on YouTube in 2012. We were mesmerized by how effortlessly the music would switch between jazz, funk and Algerian folk while counterweighting it with an undertone of melancholia. Musical perception is different for every person, but there is a chance that his music will touch you in one way or another. At the time, we had just started the Habibi Funk label and we felt Ahmed’s music might be a good fit for the sound we were trying to highlight. Fast forward three years: we had become captivated with the idea of reissuing some of Ahmed Malek’s music. We knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to Ahmed’s music. We were on a DJ gig in Beirut playing old Arabic records and we mentioned our passion for Ahmed Malek’s music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek’s family. Two weeks went by before we heard back, and what we got was incredibly good news - her Algerian friend was the neighbor of Ahmed Malek’s daughter! We’re not spiritual people, but it felt like the universe wanted to see the release happen. We started to speak with Henya, Ahmed Malek’s daughter and she was more than happy with our idea. She assured us that her father would have loved the plan as well. She provided us with tons of awesome material, from great photos, to unseen video footage and unreleased tracks. Eventually we visited Henya in Algeria and we licensed some of her father’s music, first for one (Habibi 003), then for another (Habibi 005), then we eventually organized an exhibition in June/July 2019 – Planète Malek – Une Rétrospective – at the Musée Public National D’Art Moderne & Contemporain in Algiers, focusing on Ahmed Malek’s artistic life. We also produced a small movie about him that our friend Paloma Colombe shot and directed. “Musique Originale de Films, Volume Deux” is a deep collection of unreleased songs and stemmed grooves from the Algerian master, from jazz, funk, psych to reggae rhythms and Latin flavors, all under the sonic umbrella of “Planète Malek;” and to quote the maestro, “I didn’t choose music, music chose me.” Lead single is the subtlety funky “Thème Rythme Léger,” out May 3rd along with LP Pre-Order (coincided with Bandcamp Friday for a larger impact) a delicate sonic dance between flute, piano and Spanish guitar with a Bossainfluenced groove. The steady, swingin’ drum groove is cloudlike - definitely toe-tapping friendly so just grab a partner to feel the Rhythme Léger. Second single out May 17th is the reggae-infused “L’Empire Des Rêves” – a sultry sax melody weaves through a prismatic rocksteady thematic groove. 3rd and final single “Thème Djalti feat. Aïda Guéchoud” – is a true Western-inspired ode to his Italian counterpart Ennio Morricone. “Thème Djalti” features the haunting vocals of Aïda Guéchoud, and combines elements of baroque and Bossa-jazz in a timelessly thematic way that seems grandiose yet remains uniquely personal to your ears. Swelling strings, trumpet, fem vox, flute, and plucked guitar expertly arranged, feels like you’re riding a horse into the sunset. Focus track “La La La” is fiery afro-arab-funk of the highest order! Put on your dancing shoes as Ahmed cuts the rug and gets us grooving along. Sonically the cut sounds like if Ahmed ran into The JB’s and Fela Kuti at a Cymande concert. Driving guitar and organ solos vie over pulsating bass riffs and afro-funk drumming that’ll have you out on the dance floor in no time. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Ahmed compiled through found newspaper clippings and newsreels, also including unseen photos, scans and more. “Ahmed Malek: Musique Originale de Films, Volume Deux” will be out everywhere June 28th.

HIGHLIGHTS Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with 2 bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to 60's power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever. DESCRIPTION On August 11th of 1980, Stiv Bators, David Quinton Steinberg, George Cabaniss and Frank Secich flew to Vancouver, in British Columbia, Canada. They were there to do the West Coast leg of the "URGH! A Music War" tour. On the bill of the tour were Pere Ubu, Magazine, the Members, and they were billed as Stiv Bators and the Dead Boys or just the Dead Boys. After the tour they were supposed to embark on a 6-week tour of Australia, New Zealand, and the Far East. During the beginning of the Urgh Tour the Australian Tour was abruptly canceled. Greg Shaw who owned Bomp Records decided that since the band were already going to be in California that they should do Stiv's solo album which they had planned to do after returning from Down Under. So, Bators and the rest of the group set up camp at the infamous Tropicana Motel in West Hollywood and Greg booked them into Perspective Studios in Sun Valley, CA. Before going into Perspective, they went into Andy Chappel's Stone Fox rehearsal studio in North Hollywood, CA for a few days to rehearse the songs and arrange them for the album. "We had 'Evil Boy' (Zero-Secich), David Quinton's 'Make Up Your Mind' and my song 'A Million Miles Away'. We also rearranged mine and Stiv's 'The Last Year' changing the key from D to F# and making it much easier to sing in a power pop vein. In addition, we had 'Swinging A Go-Go' another great contribution by George Cabaniss. Stiv and I had written two more for the album 'Ready Anytime' and the album closer 'I Wanna Forget You (Just the Way You Are)'. We also had a moody dark instrumental (written by Cabaniss-Quinton-Secich) that we were playing around with for some time. Stiv was supposed to write lyrics for it, but he never got around to it, so we left it as an instrumental. It had a great vibe and reminded me of the John Cassavetes 1956 film "Crime in The Streets" and was thus christened that. The last song we picked for the LP was 'I Had Too Much To Dream (Last Night)' which was the one cover we did that suited Stiv's voice perfectly. After a few days of rehearsing at Stone Fox, we went into Perspective Studio in Sun Valley, California. Greg hired Thom Wilson (who would later become a famous punk rock producer of Offspring, Iggy Pop, Dead Kennedys, T.S.O.L., Bad Religion and many others). Stiv co-produced with Thom and Andy Chappel and Thom did the engineering." Frank Secich recalls. In September, after the "Disconnected" mixing sessions, Stiv went to Baltimore to film "Polyester" with Movie Director John Waters and actors Tab Hunter and Divine. Stiv then went to the UK to record with the Wanderers doing their LP "Only Lovers Left Alive". He wanted to have both bands going simultaneously but logistically and practically they all knew that could never work. The "Disconnected" Band would do one last tour to support the album release of "Disconnected". The LP was released by Bomp Records on Monday December 08th, 1980. Later that night, John Lennon was murdered in New York City. So many of the principal characters involved in the creation of "Disconnected" have passed on. Stiv Bators (June 3rd, 1990), Greg Shaw (October 2nd, 2004), Thom Wilson (February 8th, 2015), and George Cabaniss (July 17th, 2020). But "Disconnected" lives on and on and has left quite a legacy for itself. There have been over 100 cover versions internationally of the songs from "Disconnected" and it has been in print and reissued in various forms in many countries around the world. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.

To celebrate 10 years of one of London’s most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gómez and Nick the Record, it aims to transmit a taste of Tangent’s spirit. A party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties.

Friends for close to 20 years, music lovers, record obsessives and internationally renowned DJs in their own right, John and Nick have two lifetimes worth of musical knowledge to draw from. John a long-standing NTS Radio resident and compiler for Music From Memory. Nick one of the UK’s go-to record dealers, resident DJ since the ‘90s at one of Japan’s pioneering parties, Life Force, and co-captain / co-edit-expert of Record Mission with Dan Tyler (Idjut Boys).

In 2014, the pair decided to bring some of Life Force’s grassroots principles to the UK, whilst channelling underground clubbing institution Plastic People’s meticulous attitude to sound. Tangent grew from being a small gathering of friends, to an established fixture in London’s nightlife, whilst always maintaining a strict no guest DJ policy. “As London’s clubs have become increasingly reliant on international guests, we wanted to emphasize the importance of a club night growing through its residents”, John and Nick reflect. With 10 years of the duo at the helm, an intimate connection between DJ and dancefloor has been built, allowing for freedom of expression on both sides of the decks.

Tangent reaches around the globe and across different eras to make connections that stimulate emotional reverberations in the unfamiliar. Where the blissfully Balearic ‘Laberinto’ by Miguel Perikás, goes hand-in-hand with the Cameroonian hip-house of King B.’s ‘Love is Crazy’. The thundering ‘Amek Amek’ by L'Innovateur Djoe Ahmed et le Zoukabyle, rubs shoulders with the soulful Caribbean-influenced touch of Champagn’s ‘Bel Ti Négress’. And Pellegrin El Kady’s afro-cosmic ‘Seiva de Carnaval’, crosses paths with Kajou’s Kompa disco anthem ‘Tet Chajé’.

Tangent’s longevity is in part down to it having always embraced contemporary sounds. The sub-rattling bass of Srirajah Sound System’s stunning Molam dub stepper ‘Si Phan Don Lovers Rock’ and the slow, woozy mantra of leftfield dancehall explorer Androo’s ‘Lyriso’, are two shining examples.

This compilation represents an ongoing dialogue between past and present, transporting listeners to the heart of a pure musical experience, where open minds and open hearts are eager to follow the tangent.

Being back in the prairies after decades away opened up boxes of tightly wrapped insanity, delicate stuff, and bizarre things. The joy and sorrow of the place drives me into the Blues studio to make more art for you. It's made with big heart from way out West, to keep you alive and virile.”

Welcome back. Where's the party at? Son Of Dave's 11th album kicks off with homecoming outbursts. After 26 years in London UK he's back in the Canadian Prairies demanding as much attention as always. Themes of flat Midwest cities, classic-rock lovin' truckers, and a weird call for More Mayonnaise will keep his multitude of international fans chuckling. The usual Son Of Dave bag of tricks colours the album: Blues-harmonica, beat-box, cheap electric guitar, and that voice that shouts and croons his own brand of Blues infused old-school R&B.

As always, he messes with different rhythms: Funk, Boogaloo, Rock-Steady, or Techno, always doing it his own way. How do you categorize a Son of Dave album? He's become his own style, loved and shared by millions of fans worldwide. That's why you'll find his music in the Breaking Bad soundtrack and many more. You'll hear it on college radio or boomer generation blues radio programs from Switzerland to Argentina. A true maverick Bluesman.

Most of the record is done completely himself. All writing, instruments, editing, recording, mixing and artwork. You're welcome. Three exceptions are “Where's The Party At” , produced by long-time collaborator Tim Gordine in London, and two recorded on Vancouver Island by Zac Cohen at lovely Woodshop Studios, “Yahoos” and “I Told You All I Know”. The album will be released on July 12th. Four singles will lead up. Plenty of videos and fun coming. Shows and tours forthcoming.

The first time we discovered Emanuel‘s voice was during the making of Pinnacle Sound‘s album Soul Medicine (BAT 007), it was in 2021. Some slaps leave a deep and indelible mark. We knew then that a new adventure was about to be born. Everything comes in time to those who wait, and what was supposed to happen happened: Emanuel contacted Bat Records for the realization of his new project. Nations Shall Know is the fruit of this meeting.

Emanuel & The Bionites are the many facets of one man. A diligent producer, it is with a selection of his best compositions that he knocks on the door of Bat Records to put his unique style on tape. The idea is clear, to produce a Showcase album: for each vocal, a dub mixed by the flagship duo Dub Shepherds. From a children’s song with soulful power in the introduction to “Arkitect“, to Africa as the central theme on “Imansion“, to the pure song of praise on “Jah Love“, through warm riddims carrying texts with apocalyptic resonances like on the title “Nations Shall Know”, there will be something for everyone.


And in discomix, ladies and gentlemen, following Emanuel‘s favourite format! Latest illustration of a rising figure of a certain Roots revival in Europe, this album will reconcile young zealous dubbers and old reggae backpackers.

a a1. Arkitect (Discomix) 8.25
[b] a2. Imansion (Discomix) [7.28]
[c] b1. Jah Love (Discomix) [8.26]
[7.42]

Der Nachfolger des 2020er Tohu Wa Bohu-Albums! Das neue Lord Buffalo-Album Holus Bolus hat seinen Namen von einer antiquierten Redewendung, die "alles auf einmal" bedeutet. Der graue Dunst, der den Hörer mit einem geschickten Nebeneinander von dröhnender Violine, Gitarren, Schlagzeug und Gesang in den Bann zieht, ist von den ersten Tönen an spürbar.Das Quartett watet zwar in denselben düsteren Gewässern wie seine dunklen, gefühlsbetonten Brüder David Eugene Edwards/Woven Hand, All Them Witches, Emma Ruth Rundle, Earth/Dylan Carlson, Chelsea Wolfe und Nick Cave, doch das kreative Zusammenspiel von Einflüssen aus dem Nahen Osten und westlichem Americana-Folk führt das Album in seine eigene, einhüllende, meditative Richtung.Auf einer schlaftrunkenen Reise durch die Ikonographie der High Plains ist Holus Bolus düster und doch hoffnungsvoll - eine Mischung, die inzwischen zu Lord Buffalos bewährter Gewohnheit geworden ist. Klappcover, LP ist ice & aqua blue galaxy marble effect Vinyl oder Digipack-CD!

Der Nachfolger des 2020er Tohu Wa Bohu-Albums! Das neue Lord Buffalo-Album Holus Bolus hat seinen Namen von einer antiquierten Redewendung, die "alles auf einmal" bedeutet. Der graue Dunst, der den Hörer mit einem geschickten Nebeneinander von dröhnender Violine, Gitarren, Schlagzeug und Gesang in den Bann zieht, ist von den ersten Tönen an spürbar.Das Quartett watet zwar in denselben düsteren Gewässern wie seine dunklen, gefühlsbetonten Brüder David Eugene Edwards/Woven Hand, All Them Witches, Emma Ruth Rundle, Earth/Dylan Carlson, Chelsea Wolfe und Nick Cave, doch das kreative Zusammenspiel von Einflüssen aus dem Nahen Osten und westlichem Americana-Folk führt das Album in seine eigene, einhüllende, meditative RichtungAuf einer schlaftrunkenen Reise durch die Ikonographie der High Plains ist Holus Bolus düster und doch hoffnungsvoll - eine Mischung, die inzwischen zu Lord Buffalos bewährter Gewohnheit geworden ist. Klappcover, diese limitierte Version ist emerald green and gold color merge Vinyl!

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

SPEED und Hardcore sind zwei Worte, die zu einem Synonym geworden sind: Die in Sydney, Australien, ansässige Band hat das Genre durch
berauschende Live-Auftritte, Musikvideos und die Treue zu sich selbst für sich beansprucht.
Die fünfköpfige Band hat den Begriff ONLY ONE MODE geprägt, und so ist es keine Überraschung, dass er auch den Titel ihres ersten Albums darstellt
Das Debütalbum ist ein Beispiel für das Wachstum der Band, ohne dabei den SPEED-Ethos zu vernachlässigen. Das ist es, worum es ihnen geht:
Hardcore, hart gespielt, schnell gespielt, "für uns, von uns" - explizit, unmittelbar, definitiv - in Anspielung auf all die entscheidenden Bands, die vor
ihnen gekommen sind.
Im Juni sind Speed auch in Deutschand live zu erleben

SPEED und Hardcore sind zwei Worte, die zu einem Synonym geworden sind: Die in Sydney, Australien, ansässige Band hat das Genre durch
berauschende Live-Auftritte, Musikvideos und die Treue zu sich selbst für sich beansprucht.
Die fünfköpfige Band hat den Begriff ONLY ONE MODE geprägt, und so ist es keine Überraschung, dass er auch den Titel ihres ersten Albums darstellt
Das Debütalbum ist ein Beispiel für das Wachstum der Band, ohne dabei den SPEED-Ethos zu vernachlässigen. Das ist es, worum es ihnen geht:
Hardcore, hart gespielt, schnell gespielt, "für uns, von uns" - explizit, unmittelbar, definitiv - in Anspielung auf all die entscheidenden Bands, die vor
ihnen gekommen sind.
Im Juni sind Speed auch in Deutschand live zu erleben.

Enjoy The Ride Records proudly presents the Don't Fall In Love With Yourself Soundtrack.

Don't Fall in Love with Yourself is a documentary that explores the life of enigmatic musician and artist, Justin Pearson (The Locust, Swing Kids, Dead Cross, Planet B, Head Wound City, Deaf Club). From childhood tragedy to his rise in the San Diego punk scene, Don't Fall in Love with Yourself takes an in-depth look at a career made of blood, sweat, and spit.

Much of the footage has been sourced from dozens of VHS & Mini-DV tapes recorded over the past three decades. With never-before-seen footage of one of the most interesting and unique musical movements in recent memory. Interviews include Justin Pearson, Dave Lombardo, Eric Paul, Gabe Serbian, Jason Pettigrew, Travis Ryan, Jeremy Bolm, Jon Syverson, Molly Neuman, and more.

Don't Fall in Love with Yourself includes tracks from throughout Justin Pearson's career plus previously unreleased score music by Luke Hensgaw (Planet B), Alex Edkins (Metz) and Graham Walsh (Holy Fuck). It features music by The Locust, Swing Kids, Struggle, Crimson Curse, Retox, Planet B, and Justin Pearson/Gabe Serbian. Remastered by Dave Marino for vinyl.

Don't Fall in Love with Yourself is housed in an embossed silver foil laminated jacket, which includes a full-color double-sided insert.

Michael Bublés Album aus dem Jahr 2009 ist auf
limitiertem Lemonade Yellow Vinyl erhältlich.
Der mehrfache Grammy-Preisträger nimmt 11 Standards
plus zwei neue Originale als ultimative Platte über die
unvermeidliche Achterbahnfahrt der Beziehungen auf.
Mit "Haven't Met You Yet", "Cry Me a River", "You're
Nobody Till Somebody Loves You" und mehr, produziert
von David Foster, Bob Rock und Humberto Gatica.










j b3 - Baby (You've Got What It Takes) [with Sharon Jones










[j] b3 - Baby (You've Got What It Takes) [with Sharon Jones

After gaining recognition both in the Korean indie scene and abroad as vocalist/guitarist of Vidulgi OoyoO (shoegaze/post rock) and guitarist of JuckJuck Grunzie(noise/psychedelic), Ham relocated to Chicago where she began experimenting with home recording. In 2019, she released an EP comprised of intimate acoustic compositions under the name Sophysoon.

With Home in the Desert, Ham embraces the solitary action and lo-fi aesthetics of home recording to create a fuzzier, more expansive sound, inspired by the organized noise of bands she grew up with in Korea's indie scene. Home in the Desert, written and recorded in her apartment between 2021-2022, developed out of Ham's attempts to envision how skeletal guitar lines might sound when performed live at ear-splitting volumes by a full band. “I never expected that I would make loud music again, but one day I took my guitar out and started jamming on my own.“

As its title suggests, Precocious Neophyte's debut release negotiates the impossible longings for perpetual spaces and times of home. In doing so, Ham fills unstable distances with what KEXP calls "ethereal vocals and soaring melodies," and cradles the insecurities of isolation in overdrive warmth and many layers of distorted guitars.

After the success of two sublime digital releases with our
label's close friends, we're thrilled to announce our ¦rst-ever
vinyl release featuring two extraordinary local producers:
Hamatsuki and DJ Astrobee

Paolo Rocco delivers his ten-track debut album ‘Life In Pieces’ this April on FUSE.

Born Canadian of Italian descent, Montreal-based DJ and producer Paolo Rocco has emerged as one of the most consistent names within house music over the past decade, with a wealth of material via the likes of Hot Creations, PIV, Berg Audio, Constant Sound, Taverna Tracks, and Rutilance Records showcasing his own take on house, deep house, and minimal territories. Having closed 2020 with fresh music on his own RAWMoments imprint, late-April welcomes the arrival of his biggest project to date as he makes his label debut on London’s FUSE to deliver his eight-rack debut album, ‘Life In Pieces’.

A body of work rich in classy collaborations with artists such as Robert Owens, Alix Alvarez, Kiki & Mavi and slick solo production, ‘Life In Pieces’ delivers a blissful journey through Rocco’s rich sound palette, revealing the most in-depth project of his career while marking his long-awaited debut on FUSE in style.

Autorisierte Deluxe 2LP Ausgabe des von Henry 'Junjo' Lawes produzierten 'Evil Curse of the Vampires'.
Original Greensleeves zusammengestellter Dub-Klassiker, entscheidende Auswahl von Junjos klassischen, von Roots Radics angetriebenen Rhythmen, aufgenommen bei Channel One und gemischt von Scientist bei King Tubby's.
Das remasterte, ikonische Dub-Album ist jetzt mit einer zweiten Disc mit den Original-Vokalversionen versehen.
Streng limitierte einmalige Halloween-Pressung auf orangefarbenem Vinyl.

oreglo is made up of c-sé (keys), Linus Barry (guitar), Nico Rocco (drums) and Teigan Hastings (tuba), who all met growing up in London. Nico and Linus met at secondary school, before Nico went on to meet Teigan and c-sé through the youth organisation Tomorrow’s Warriors, bringing them all together.
Across the Not Real People EP, oreglo showcase their innovative take on multiple genres: freewheeling through heavy rock riffs to drill-inspired percussion and breezy reggae, the quartet have cultivated a unique sound that acts as a melting pot of all the sounds they know and love from London.
Since officially forming just over a year ago, they've already been hand-selected by Ezra Collective to win the 2023 Lambeth Sounds Emerging Artists x Cross The Tracks competition; played the recent Steam Down–curated World Island event in Leeds; supported Gabriels at Somerset House; composed for The 1975's North American tour; and have seen support from Steve Lamacq, Jack Saunders + more across national radio.

High Roller Records, insert, ltd 460, handnumbered

"Early Twenties" ist das kommende Debüt-Studioalbum der britisch-jamaikanischen und nigerianischen Singer-Songwriterin Cat Burns. Das Album wird voraussichtlich am 12. Juli 2024 über Since 93 und RCA Records veröffentlicht.

Cetu Javu was a German synth-pop band lead by singer Javier Revilla Diez and synth wizard and composer Chris Demere. They started with the band in 1984 and in the spring next year surprisingly reached the third place in a young talent festival in Hanover. Several other shows followed but the highlight was a concert in December of 1986 as the opening act of Erasure. Their first maxi single “Help Me Now” was released in the spring of 1987 on their own label’s. Through the mediation of Talla 2XLC, Cetu Javu got a record contract with major company ZYX Records and released their debut album “Southern Lands” in 1990.

When the song “A Dónde”, a B-side sung in Spanish included on the single “So Strange”, hit number two in Spain, the band surprisingly achieved a great success and toured all this country. The second full-length, “Where Is Where”, was released in 1992 in Spain. The success did not stop here and led Cetu Javu became very popular in some other countries such as Argentina and Mexico. Unfortunately, in 1994, between problems and having to make decisions about the future, the group withdrew from the music scene and each member moved to focus to other activities.

“Where is Where” is re-released contains the original album along with some extended versions and remixes from the singles “¿Por Qué?”, “Dame Tu Mano” and “Una Mujer”. Limited edition of 500 copies on gatefold sleeve and a poster.

“Come my lady/Come-Come my lady/ You’re my butterfly, sugar baby”…If there was a song-track to the turn of the millennium, Crazy Town’s “Butterfly” was it, starting with its appearance on the 1999 album Gift of Game and winding up with its reign at #1 in the charts in February 2001. Anchored by a sample of Red Hot Chili Peppers’ “Pretty Little Ditty,” it forever defined the term “nu-metal power ballad,” and was a rare-for-the-genre love song to boot! But the album from whence it came didn’t fly as high as it did, with over 2.5 million copies sold, just because of “Butterfly.” The Gift of Game brings the noise with an all-out alternative metal assault, and the band’s rappers—bolstered by guest appearances from KRS-One and Mad Lion—are markedly better than their rap/metal contemporaries. And then there’s the album art, created by member Shifty Shellshock’s father and uncle, which lends a vivid rendering to the fantasies of every teenage boy listening to “Lollipop Porn.” In short, this was a freakin’ HUGE record that somehow…somehow!...has NEVER been on vinyl. So how to handle its momentous debut on its 25th anniversary? Well, first, we’ve created an inner sleeve with all of the lyrics (and there are a lot of ‘em). Our sources also tell us that the very explicit hidden bonus track on the CD release has mysteriously made it on here. But when it comes to the vinyl, given what we anticipate is going to be, ahem, crazy demand, we have pressed the record in two different colors, one in “Red Devil Velvet” vinyl and the other in “Yellow Butterfly” vinyl. Come dance with us and Crazy Town…twice!

"Enjoy The Toons Records in partnership with Walt Disney Records and Enjoy The Ride Records, is proud to present the premiere vinyl release for Walt Disney Pictures' Chip 'n Dale: Rescue Rangers.

A comeback 30 years in the making, Chip 'n Dale: Rescue Rangers catches up with the former Disney Afternoon television stars in modern-day Los Angeles. In this hybrid live-action/CG animated action-comedy, Chip and Dale are living amongst cartoons and humans in modern-day Los Angeles, but their lives are quite different now. It has been decades since their successful television series was canceled, and Chip (voice of John Mulaney) has succumbed to a life of suburban domesticity as an insurance salesman. Dale (voice of Andy Samberg), meanwhile, has had CGI surgery and works the nostalgia convention circuit, desperate to relive his glory days. When a former castmate mysteriously disappears, Chip and Dale must repair their broken friendship and take on their Rescue Rangers detective personas once again to save their friend.

Featuring the fantastic score by Brian Tyler, featuring ""Chip 'n Dale Rescue Rangers Theme"" Performed by Post Malone and ""Disney Afternoon Theme / Whale Rap Performed"" by Andy Samberg, John Mulaney & Nathaniel Motte. The 2xLP album is available on an Enjoy The Ride Records exclusive color vinyl variant, a Mondo exclusive split color vinyl, and two additional colored vinyl variants.

Entdecken Sie auf diesem schönen Vinyl eine besondere Auswahl von 15 Klassikern der Kings of Soul Music. Mit Barry White - Stewie Wonder - Aaron Neville - Marvin Gaye...

Louis Armstrong ist nicht nur einer der Schöpfer des Jazz, sondern mit Trompete und unverwechselbarer
Stimme eine auch heute noch enorm beliebte Pop-Legende. Diese bislang unveröffentlichte Live-Aufnahme
ist ein neues Juwel im Katalog des Künstlers, der seine größten Hits hier in swingenden, mitreißenden
Versionen präsentiert.
Im Sommer 1968 reiste Louis nach London, nur wenige Wochen nachdem er mit seinem Überraschungshit
”What A Wonderful World” Platz 1 der britischen Charts erobert hatte, und nahm in den BBC-Studios
einen Auftritt voll ansteckender Vitalität auf. Er selbst hielt diese Aufnahme für eine der besten seiner
gesamten Karriere.
Fünf Jahrzehnte nach seinem Tod veröffentlicht Verve den Mitschnitt jetzt erstmals komplett und frisch remastert auf Vinyl, CD und in digitaler Form, begleitet von ausführlichen Linernotes von Armstrong-Biograph
Ricky Riccardi. Hier erlebt man „Satchmo“ in all seinen Facetten, mit Jazzklassikern wie “Indiana” und
“When It’s Sleepy Time Down South”, seinem Chart-Hit ”What A Wonderful World” und Versionen von
Evergreens wie ”Mack The Knife” oder ”The Bare Necessities” aus Disneys „Dschungelbuch“.

In 2018 Diagonal Records released an intriguing, three track, hand stamped, white label
12” of dancfloor sampledelia by Shit & Shine onto an unsuspecting world. The lead track
on this 12” ‘You Were Very High’ turned a lot of heads and became a club oddity, being
played out by DJ’s around the world – and some movers and shakers have hailed the 12”
as “Shit & Shine’s best ever release.”
Now in 2024, as the original 12” has become a bit of a collector’s item, trading hands for
£60+ on Discogs – Shit and Shine and Rocket Recordings have decided ‘You Were Really
High’ deserves a one off repress. This expanded version of the EP, which is housed in new
art and ltd to only 300 copies, also features a mighty extra track called ‘Dave, Have You
Ever Been To London.

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement. credits







g 07: Selam (Dub) [feat. Etsegenet Mekonnen]

"Early Twenties" ist das kommende Debüt-Studioalbum der britisch-jamaikanischen und nigerianischen Singer-Songwriterin Cat Burns. Das Album wird voraussichtlich am 12. Juli 2024 über Since 93 und RCA Records veröffentlicht.

Kiioto ist das Liebeskind von Lou Rhodes, der für den Mercury Prize nominierten Singer/Songwriterin und Mitbegründerin des Trip-Hop-Duos Lamb, und dem mehrfach mit Platin ausgezeichneten Songwriter und Keyboarder Rohan Heath. Gemeinsam haben sie ein Album aufgenommen, das gleichermaßen instinktiv und neugierig ist: "As Dust We Rise" basiert auf den Wegen, die die beiden bis zu diesem Punkt eingeschlagen haben, und ist getragen von einem Spirit ständiger Erkundung und Entdeckung.

Die Songs wurden in den Heimstudios von Lou und Rohan in London und Wiltshire geschrieben und teilweise aufgenommen und anschließend in das Studio des Produzenten Simon Byrt (Emiliana Torrini, Charlotte OC, Jessie Ware) gebracht. Zu den Mitwirkenden gehört Valerie Etienne von der Acid-Jazz-Band Galliano. Byrts Befürwortung analoger Aufnahmen und Vintage-Equipment erwies sich als entscheidend für den warmen und organischen Klang der Platte, der mit Hilfe von Gastmusikern an Live-Schlagzeug, Streichern, Bass, Gitarre und Horns liebevoll ins Leben gerufen wurde: kollaborative Prozesse, sagen Lou und Rohan, die sie auf ihrem nächsten Album weiterzuentwickeln beabsichtigen.

"Es ist eine Platte, die vor den großen Themen des Lebens nicht zurückschreckt", sagt Lou, "wir haben dafür irgendwie die Ärmel hochgekrempelt."

"1996-97? Yeah, that’s when New York was still NEW YORK!

That was around the time we really started to get hold of exotic herbs. Copper Haze, hydroponic! The vibes in the studio were always lovely. I had hair at the time! Dread-Locs down to my shoulders... I was still rockin’ the Wallabees, or British Walkers as we called them - representing for Brooklyn and my West Indian roots!

There was no social media, no supervision, nobody all up in our business… It was classic "mind your own business" NYC Vibes! I was DJing at a lot of the hot clubs and THE hottest afterhours in the city. There were nights when I saw Micheal Douglas roll into the afters with Grace Jones - they were there to party and unwind and I was there dropping the dope tracks for the people.

When it was studio time, with my homie Matt Echols...I was probably setting things off with some quality herbage, a big ass bag of Funyuns and my trusty SP-1200, lol. I had picked up some tips and tricks from Todd Terry and by '96-'97 I was a Shaolin with it myself! This was around the time tracks like "Flowers" and "Only Love Can Break Your Heart (Dub)" were tearing up the clubs. I wanted to be able to get my ideas out with no problem, and by then I had a lot of confidence...

Being able to Dj in some of the hottest NY hot spots at the time, I was able to really see what worked and what didn't on the dancefloor. The best House Dancers from around the world and around the Tri-State area would be at my jams. I'm talking Ejoe, Voodoo Ray, maybe kids from the Mop-Top Crew... I was definitely taking note of the kind of rhythms and sounds that would make them go crazy on the dancefloor!

And that's how we went about it - I laid down the rhythms that made it happen in my sets and translated the vibes I was picking up from NYC itself. Matt threw down musically and we were just being as creative and inventive as possible! But we always kept in mind that our job was to make the people on the dancefloor jump!

A lot of the jams from those days got signed to various record labels, we dropped a lot of them on our own label...and some of them ended up in the archives - until now!"

- DJ Romain