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Luther Vandross was more than just a great singer. An elegant and warmhearted New Yorker who became one of popular music's most beloved performers, from his solo breakthrough in the early '80s to his untimely death in 2005, Vandross was a vocalist whose understanding of singing as an art form was so profound, he changed notions of what it could be. On March 23, 1977, Vandross's album 'This Close to You', with his group Luther, enchanted listeners with soulful tunes and deep lyrics, further cementing his status in the music industry. This is a x12 trk, standard Black LP vinyl & CD. Marketing activity.

Los York's became the epitome of Peruvian garage sound. 'Abrázame' features a beat-influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band resulting an irresistible Latin garage hipshaker! Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'! Los York's became the epitome of Peruvian garage sound, and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The original version of 'Abrázame' was included in this album and also released as a single. Although clearly based on Don Covay & The Goodtimers' r&b classic 'Mercy Mercy', the recording features a beat influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band, Pablo Luna, resulting an irresistible Latin garage hipshaker! A rawer, fuzzier version of the same song was released one year later and renamed as 'Abrázame baby'. How cool and handy is to have both versions together on one single artifact? Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'!

The vinyl os the first release in archival series celebrating the legacy of Robert Hunter, primary lyricist for Grateful Dead and main collaborator/songwriting partner for Jerry Garcia. Deluxe reissue of 1974 debut solo album. This Deluxe Edition introduces a freshly remastered version of the original album alongside 16 previously unreleased recordings, including alternate versions of album tracks and several session outtakes. All the music has been remastered from the original master tapes by GRAMMY® Award-winning engineer David Glasser using Plangent Processes tape restoration and speed correction.

The classic 1981 collaboration returns expanded! • LP features two previously unissued tracks, CD/Digital adds four more Packaging features photos and new liner notes from John DeAngelis “I’m more proud of this album than anything I’ve done since I got my first gold record, toured with Elvis Presley, and joined the Grand Ole Opry.” —Skeeter Davis “This album was recorded with love all over the tapes. For us, it was the best.” —Terry Adams (NRBQ) After working with her sisters in The Davis Singers, Skeeter Davis embarked on a storied solo career. With nearly 40 charting singles between 1957–1974, her recording of “The End Of The World” (Produced by Chet Atkins) hit #2 on both the Pop and Country charts, #1 Adult Contemporary, and #4 R&B in 1962. Think about that! Since Skeeter had already crossed perceived genres, the thought of the collaboration with music’s Pandora’s Box known as NRBQ shouldn’t seem difficult to grasp. Terry Adams’ discovery of David Sisters 78 RPMs saw tracks added to early NRBQ set lists. The pairing was meant to be. She Sings, They Play was a natural coupling, and was issued to critical acclaim in 1985. “We had more fun making this record. What other group would think to do ‘Someday My Prince Will Come’ in 4/4 time?,” asked Skeeter Davis. She Sings, They Play returns nearly four decades after its original release, remastered and including six previously unissued bonus tracks – two studio outtakes appear on the LP while those and four more live tacks are now available on the CD/Digital version. The packaging contains updated artwork, photos from the sessions, and insightful liner notes from John DeAngelis. It’s a fresh look at an incredible union of two groundbreaking artists. She Sings, They Play. You enjoy!

Following their four-song demo from 2022, FUERA DE SEKTOR are back with their debut LP. Sharing members with BARRERA and ALGARA, the Barcelona-based band have carved their own sound, mixing the amphetamine edge of 80’s punk with the angular post punk sensibility. The extremely isolated guitar work takes centre stage, navigating a sea of mid-tempo riffs, and backed by an extremely solid rhythm section to perfectly seal the recording. Think the pop side of LOS ILEGALES or LOS TRAIDORES, the sexuality of DESECHABLES, and the uniqueness of LA’s X. FUERA DE SEKTOR lyrics look at the world from an existentialist angle with a dark and poetic approach to complement their music perfectly. Full of desire, lust, loss and confusion, each song unravels as a very modern anxious tale. It's an album that stands on its own in the current DIY landscape

Fifth solo album from saxophonist Julius Gabriel. Born out of new sounds and rhythms that the musician discovered during the pandemic, “Tales From The Subterranean” embodies a blend of primal energy and inventive exploration across twelve tracks. The opener “Time Riding” sets the mood, a tearing rhythm that sounds like a frenetic tap dance. It invites you to move and when you get to “Footworks” you are all set up, merging saxophone finger percussion with a continuous siren whisper emanating from the instrument, provoking euphoria, fear and satisfaction all at once. Moving on, you start to understand the sense of discovery behind the record and the needs Julius had, like to construct a saxophone with drone capabilities and closer to an idea of natural sound. “Hailing From The Mountains” has a meditative tone; “Westward At Sundown” feels like a ballad. Born from darkness yet radiating with newfound light, “Tales from the Subterranean“ stands as a testament to the resilience of artistic expression. It is primal music.

All music composed and performed by Julius Gabriel on electroacoustic tenor saxophone and twin soprano saxophone.

Named "one of Europe"s most versatile and curious players" by Downbeat Magazine, Polish trumpeter Tomasz Dabrowski returns with the sophomore album from his internationally acclaimed septet. Following their eponymous 2022 debut, the ensemble proudly presents "Better",set to release on March 29th on April Records. With an atypical lineup featuring the cream of the crop of the Polish and Scandinavian contemporary improvisation scenes,"Better" captures the edge and energy of a live performance extended and elevated by the use of electronic instruments and textures. Drawing the listener in with its refined sense of space and pace, the record sees the septet navigate their way through Dabroski"s open compositional ideas, passing melodic structures around the ensemble and evolving through ethereal ambient soundscapes, scorching solos and adventurous cacophonies of collective improvisation. Drawing on a year"s worth of experience performing extensively together as an ensemble, the level of intensive listening, interactivity and trust within the group enables each instrumentalist to fearlessly contribute their voice. "Every track has a unique twist. "Upright" plays with form. "Bonzer", the use of instrumentation. "Hale & Hearty" explores textures." A testament to the ensemble"s commitment to artistic growth and creative evolution, "Better"reminds us to consider what we all can and should strive for. It"s an inspiring message that manifests in the music and radiates through every aspect of life. "We should all strive to do better. To be better versions of ourselves and observe how it resonates within and in those around us," Dabrowski says.

Eclectic Beats Music release number 6 comes in the form of a vinyl 7” single with two Latin broken beat cuts!
The A side is a collaborative remix from Born74 and Fradinho, twisting Jorge Ivan Martin’s original track “Yo Tambien Baile La Conga” into a broken beat remix, enhancing the Latin flavours with a dance floor direction, topped up with Frank Santiuste’s trumpet solos.
On the B side, Fradinho digs out one of his earlier unreleased Latin tracks and gives it a broken beat flavour, with a Funk fusion through the bass line and synth solos and brass hits.

Jorge Ivan Martin bio

Cuban musician, composer, arranger and music teacher, Jorge Ivan Martin, spent 13 years teaching Tres in Cuba.
He is now based in Spain and still lectures at some universities in Madrid.
As a musician, Jorge blends Bossa, Reggae, traditional Cuban music with Jazz and Funk and is a Latin Grammy nominated artist with several other nominations and awards.
He has collaborated with a plentitude of Latin artists and also invited the trumpet player Frank Santiuste to add some flare to the Born74 and Fradinho remix on the “Latin Broken Beats” release.

Born74 bio

Andrew Nicholas, known as Born74, delves into the fusion of funk and Nu Jazz.
His music has been released on various labels such as Tru-Thoughts, Acid Jazz, Eclectic Beats Music, Ramrock Records, and Colin Colin presents.
Born74 has collaborated with Arema Arega (Havana Cultura), ONJ (jazz re-freshed, Tru-Thoughts), and Mark Norton (The Fantastics, BBE Records).
Additionally, Born74 is a member of The Earthsouls.
Noteworthy remix credits include Str4ta (Gilles Peterson), Nimbus Sextet (Acid Jazz), and Fradinho (Eclectic Beats).
Born74's tracks have been featured on jazz compilations like Jazz Dance Fusion (Z Records) and Sol Vibrations (MJDC).

Fradinho bio

Fradinho (Rui Fradinho) is Lisbon born Portuguese, having lived in London for 12 years and returning to Portugal in 2020.
Rui's musical base stems from a diverse range of music: rock to pop, house to techno, through jazz, soul, funk, world music, hip hop, drum and bass and from breakbeat to his main passion and current music production focus, broken beat / bruk / nu jazz.
Rui runs his own record label, Eclectic Beats Music, with 6 vinyl releases, and has released remixes for artists like Sentinel793 (Universal Magnetic), Deborah Jordan (Futuristica Music), Str4ta (Colin Curtis Presents), David Borsu (Broadcite) amongst other artists and labels.
Highlights of his DJ career so far (other than his 6-year residency at Sociedade Anonima), are the Bicaense Cafe and Lux club in Lisbon. Earlier in 2017, he did a stint on London’s Back2BackFM, playing at Dalston’s Club Makossa, the BBE Store in East London, closing the Chill Out Gardens stage in Portugal’s Boom Festival 2018, DJ’ed at Gilles Peterson’s first edition of We Out Here festival in 2019, played Lisb-On festival in 2022 and currently guests at Birmingham’s BrukUp broken beat night (having played there 5 times with Adam Rock, Laura Crossley, Bruk Boogie Kru, Marcia Carr & Kwai and Yoofee).

"The Border" ist das 75. Solo-Studioalbum des legendären Country-Künstlers Willie Nelson mit neuem Material. Produziert von Willies langjährigem Mitarbeiter Buddy Cannon, enthält "The Border" vier neue Titel aus der Feder der beiden, kombiniert mit einem halben Dutzend Songs von einigen ihrer Lieblingssongwriter, darunter zwei, die von Rodney Crowell sowie Shawn Camp, Mike Reid und Bobby Tomberlin geschrieben wurden. Unterstützt von einigen der besten Musiker Nashvilles ist das Album ein weiterer sofortiger Klassiker, der auf sein letztes Album mit neuem Material "A Beautiful Time" folgt, das bei den Grammys 2023 als bestes Country-Album ausgezeichnet wurde.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Ethio-jazz composer Dawit Yifru dropped a real classic when he first released his self-titled solo instrumental album. It is strictly a compilation of 11 songs that he wrote and recorded during the 70s and have since been restored and remastered from original cassettes. They helped to make him one of the most notable artists in one of the most important eras in Ethiopia's music history as he mixed up Ethiopian Chickchika music, Twist, Congolese Rumba, and Waltz styles that all represented that time in music in the Horn of Africa country. This collection is the first in a new series from Muzikawi's Archive & Research project which looks to shine a light on some of Ethiopia's most celebrated but not internationally renowned sounds.

Attention, aficionados of sublime pop music! Jim is, in fact, the older brother of pop singer Gerry Rafferty. Following two albums of sophisticated, melodic material with strong emphasis on vocal harmonies (not dissimilar to his brother"s work), Jim entered the 80s with no record deal, but good new tunes to shop. His original demos provided chart fodder for Frida (late of Abba), Clannad and Ian Matthews, but Jim"s versions outshine them all!"I See Red" was picked up by Phil Collins for Abba star Frida"s 1982 solo album.The flip-side of Jim"s "I See Red" has its own cover history - "Fear Strikes Out" first appeared on Ian Matthews" 1984 LP, Shook. Now, some 40 years later, the superior versions of these two Jim Rafferty originals arrive on a 7" single.

Favorite Recordings proudly presents this new official single reissue of “Feel So Good Inside”, by Lamar Thomas. A killer deep-disco and very rare collectable single, fully coordinated for reissue by French respected DJ and Tropical rare-groove specialist, Waxist Selecta.

Lamar Thomas is an American singer, composer and producer who made a short solo career in the 70s, and then formed the duo Thomas & Taylor. He has also penned few songs for Johnny Bristol, Garland Green, Nancy Wilson, Maynard Ferguson, or Johnnie Taylor among others.

In 1980, he recorded this 2 tracks single for MCA Records, who released it on a 7inch left almost unnoticed at that time. 30 years later, this brilliant disco production has become a classic rare-groove title for a few DJs and diggers, with among them, French collector and DJ, Waxist Selecta (aKa Julien Minarro).

Schooled about this rarity by DJ Klas (aKa Josh Goldman), he then made it a real favorite in his various DJ sets. Curious to learn more about this forgotten piece, he also liaised with Lamar through the web, and discovered that all the masters had burned in a California fire at Universal.

As Julien already worked on an upcoming reissue project with Pascal Rioux and Favorite Recordings (more details in 2015), he offered him and Lamar to arrange a proper official reissue and produce a new master from his own vinyl copy. Coming out in a 12inch version built for dancefloors, the package also includes a great extended mix by Waxist.

Turman first came onto the industrial scene in the late 70’s as the ominous ‘other half’ of legendary noise outfit NON. Shortly after recording the classic 1977 single Mode of Infection, Turman went on to pursue his own unique vision as a solo artist. Fusing every possible influence at his disposal while laying his ideas down on self-released cassettes like Flux (1981), Spirals of Everlasting Change (1987), Way Down (1987) and the massive Chapter Eleven cassette box set (1988). After a hiatus Turman resurfaced in 2005 to team up with seminal noise musician Aaron Dilloway. Since then, he has been gradually adding new titled to his already impressive discography.

For this archival release Turman selected 7 tracks that were recorded between 1980 and 1984. A welcome supplement to his library of avantgarde music that was released in the 80s. This album fits in nicely between the early industrial noise, the long-form minimalism of Flux and the rhythmic industrial of Way Down. Focusing on slowly shifting hypnotic loop-based layers of sound, it covers a specific side of Turman. It feels like there’s a direct link to his earliest works but it’s also a precursor to some pieces that were recorded much later. A missing link that finally gives us the opportunity of a complete overview of his early audio work.

All 7 tracks on this album have a connection to the written word in the form of a poem. Scans of the original typewriter poems are included together with collages and drawings from this specific time frame to create an essential and singular piece of art.

Black Cassette Tape, handmade printed fabric case, riso printed paper cover, DL code.
Limited to 40 copies.

Tot Onyx is a solo project of Tommi Tokyo, who loves to work with sound and body. As the founder
of the experimental live act group A, Tommi has explored her ideas of breaking the preconceptions
of live performance by incorporating use of the body, live-painting, noise and poetry. Adept at
bending expectations, the band’s formative early work echoes the experiential vocabulary in which
Tommi continues to develop today. A practice in the rejection of tradition and cliché, which in Greil
Marcus's words, "Share the principles of negation, rebellion, destruction and détournement”.
Her rst self-released EP T.O.1 is a collection of fragments of Onyx's live performances from recent
years, recorded in her studio as part of her creative process during the preparations. While her
albums (1st album Senno I released in 2022 on iDEAL Recordings, and the forthcoming album in
2024, info tba) are highly conceptual and revolve around specic subjects, this EP serves more as her
diary, in which she aims to share with the public how her thoughts are shaped by time through the
practice of performing live.

Black Cassette Tape, handmade printed fabric case, riso printed paper cover, DL code.
Limited to 40 copies.

Tot Onyx is a solo project of Tommi Tokyo, who loves to work with sound and body. As the founder
of the experimental live act group A, Tommi has explored her ideas of breaking the preconceptions
of live performance by incorporating use of the body, live-painting, noise and poetry. Adept at
bending expectations, the band’s formative early work echoes the experiential vocabulary in which
Tommi continues to develop today. A practice in the rejection of tradition and cliché, which in Greil
Marcus's words, "Share the principles of negation, rebellion, destruction and détournement”.
Her rst self-released EP T.O.1 is a collection of fragments of Onyx's live performances from recent
years, recorded in her studio as part of her creative process during the preparations. While her
albums (1st album Senno I released in 2022 on iDEAL Recordings, and the forthcoming album in
2024, info tba) are highly conceptual and revolve around specic subjects, this EP serves more as her
diary, in which she aims to share with the public how her thoughts are shaped by time through the
practice of performing live.

very dope.

With this EP an attempt is made at documenting the vibrant action happening during the late 1970s and early 1980s in the Pioneer Valley area of Western Massachusetts, US. The story is richer than the snapshot we present here, and a more detailed account is to be found in the accompanying book that can be purchased separately.

The Five Colleges in Hampshire County congregated a vast student population that inevitably interacted with the towns in the area. Bars, music and record stores, live music and a lot of experimentation and free thinking. Hampshire College, especially, promoted new approaches to teaching, subjects that might be considered radical by some even today, although a more favourable context would now surely exist for openly debating such topics as American Indians, Kayak Design, Black Oral Tradition, Food Management, etc. And the music? The immediate "punk effect" motivated the creation of numerous bands, many short lived, others evolving into New Wave / Power Pop territory, eventually crossing into Post-Punk experimentation. What is captured in "Noho EP" is a more electronic disposition, favoured by the existence of EMS gear and other equipment at Hampshire College and University of Massachusetts. We chose to focus on a group of musicians who, for a time, played together in different combinations under the loose umbrella of the Tekno Tunes label and the structure around it.

These musicians come from very different backgrounds and the nucleus portrayed here consisted of Christopher Vine, Elliott Sharp, James Whittemore and Nicholas Brown.

Of the several line-up changes The Scientific Americans went through, it was actually only the duo of Chris Vine and Jim Whittemore who recorded "Among Bodge Watt". Never before released, it is a companion piece to their track "El Salvador" available on the 1981 ROIR tape-album "Load & Go!". The Sci Ams were founders of the Tekno Tunes label and also created the Tekno Tours "concert promotion agency", under which name they exposed local audiences to bands such as The Stranglers, The Slits, Pylon, Pere Ubu, The Psychedelic Furs, The Bush Tetras, Steel Pulse, etc. Their own sound kept progressing but at its best there's a solid dub undercurrent, pretty obvious in "Among Bodge Watt".

Human Error was born out of a collective jam by Chris Vine, Elliott Sharp, Jim Whittemore and Nick Brown. Elliott Sharp had moved to Northampton in August of 1978 and naturally became involved in the local music scene, hooking up first with Whittemore at a hi-fi audio store where he worked at the time. Basement jams followed stimulating conversations, and other musicians joined the sessions. "Clandestinator" sounds gorgeously loose, an effortless groove coming from a quasi-dub set-up. Nothing here seems calculated, the music just flows, contagious and irregular as the handclaps in the mix.

The Higher Primates later evolved into a "proper" band but started as Nick Brown's solo project. The Primates only ever released a (now sought-after) 7" single in 1980 (on the Tekno Tunes label, precisely). Both tracks on "Noho EP" were recorded the following year and never released until now. "Auto Music in the Disco Dub Style" is self-explanatory, with a steady, mid-tempo TR808 beat running through, supporting synth squelches, echoes and reverbs, a fat bassline, dissonant melodic lines and odd vocal snippets. Kind of a DJ tool when the concept was barely in place. The more uptempo "Teresa Variations" adds a Fender Jazz bass and Selmer sax to the electronics. It actually sounds more "Disco", even with the robotic, unintelligible vocals. On top of this, the vibe is sealed by the overall Radiophonic Workshop analogue strangeness applied to a dance beat.

A sparsely documented yet iconic era for Ted Milton's psycho-funk afro punk fake no-wave pogo jazz group Blurt has been brought to life with an expansive collection of restored versions of live performances. Captured on early camcorders during the frenzy of counter-cultural activity that characterised Europe around the fall of the Iron Curtain, these recordings of Blurt, recently posted by fans on YouTube, are a visceral reminder of a scene whose influence is writ large on today's alternative music culture.

Ted Milton's trio have produced an impressive string of albums, not to mention his numerous solo recordings. Featuring 15 tracks spanning their extensive discography from their 1980 debut single – also the title of this collection – “My Mother Was A Friend Of An Enemy Of The People” to 1999’s “Eat Up Your House”, this live collection of performances have been digitised by whatever means available. The original sound captured by the inbuilt microphones of these camcorders and the videos concerned are in many cases the only documentation of an iconic era whose zeitgeist was so masterfully epitomised for many by Blurt.

Refurbished / restored/ repurposed using new AI tools there is a spectral roughness to them but surfing on these reconstructed waveforms, the inimitable machinations of Blurt ride out once again, emerging from a pixilated oblivion to put into perspective the peculiar absurdity of our human condition.

Bank NYC is very excited to present the definitive statement of Collector, "No Prospects". Collector is the solo guise of Jason Campbell, resident of Newcastle, Australia. Since 2014, Campbell has been channelling the industrial malaise of his hometown through his unique take on heavy electronics. After a series of releases on global-spanning labels such Steel City Dance Discs (UK), Nice Music (AUS), Clan Destine (SCO) & Night People (US), the debut long-player for Bank NYC finds Collector embracing true album form for the first time in his discography. Across eight pieces, Collector delivers a bleak sonic narrative via a hardware-only approach to production: Analog drum machine patterns are intricately intertwined with menacing synth lines, and driving bass is met with the unrelenting clatter of tightly-sequenced field recordings taken straight from the heart of local industry.

Thematically, "No Prospects" navigates the downfall of Newcastle's BHP Steelworks at the end of the 20th century. Acknowledged widely as the largest de-industrialisation event in Australian history, the closure of the Steelworks in 1999 marked a dramatic cultural shift where blue-collar vocations were vanquished due to an economic slump, and were consumed by the trending cosmopolitanism seen in adjacent cities. "No Prospects" draws on Campbell's family lineage in the Newcastle's steelworks, providing a rich, personal context to an industry that both gives and takes away. The sharp intensity of the album is sustained by dramatic shifts in pace: the devestating slow burners of 'Two From Five' and 'Ricochet' are instinctually offset by the frenetic 'CFT' and 'Workers Club Collapse', which showcase Campbell's no-nonsense approach to shaping an almost club-ready breed of modern industrial techno. Although diverse across both sides, cohesion is found in Campbell's toolkit of samples that are unmistakably Collector. The album's eponymous track, 'No Prospects', serves as an introspective centrepoint - a largely arrhythmic excursion shrouded in familiar brooding, textural drones, and underpinned by the chug of machinery on the brink of collapse.

Although forever indebted to the spirit of local electronic outcasts, Bloody Fist Records, Collector's "No Prospects" is a remarkably distinct statement straight from the heart of Australia's Steel City. The complexity of arrangements speak to Campbell's long association in experimental music communities, whilst the persistent feeling of dread conveys a uniquely regional story of decay and futility. Pure Novocastrian industrial electronics.

An’archives presents the latest album by Japanese free saxophonist and vocalist Harutaka Mochizuki, Doppelgänger ga boku wo. Since the early 2000s, Harutaka has quietly, yet steadily, released a string of solo and collaborative releases that have allowed multiple perspectives on one of the most singular voices in modern music. In collaboration, he seems to prefer the duo format, and digging through his discography, you’ll find releases where he pairs with Tomoyuki Aoki (of Up-Tight), Michel Henritzi, and Hideaki Kondo. But Harutaka’s solo performances, with their lyricism and physicality, are where the magic truly happens.

If earlier albums, like Solo Document 2004 (Bishop, 2005) and Pas (no label, 2014), were raw documentations of solo alto saxophone performances, in recent years, Harutaka’s solo albums have become more complex, more mystifying. Most significantly, they’ve become more personal; there are few musicians extant whose albums feel quite so much like diaristic interventions, and Harutaka’s music now is deeply moving in its intimacy. Developing that thread of revelation, Doppelgänger ga boku wo offers a still richer exploration of many facets of Harutaka’s artistry.

The two double-tracked alto saxophone performances here feel consummate, with Harutaka shadowing himself, exploring the possibilities of the multiple self: Doppelgänger is me, indeed. The playing here is rich with affect, but still exploratory, voiced with rigour and intent. Two short pieces for keyboard and voice (about Giacometti and Genêt, respectively) are fragile miniatures, with clusters of chords, and passing phrases, wrapping around Harutaka’s untutored but lovely singing.

The ‘karaoke’ performance that closes the album, of “Woman ‘W no higeki’ yori”, speaks to the iterative aspects of Harutaka’s music. A cover of the Hiroki Yakushimaru song, the theme to Shinichirō Sawai’s 1984 film W’s Tragedy, he’s returned to this song several times, and here, his delivery perfectly captures the spirit of what Michel Henritzi, in his typically beautiful liner notes, evocatively details as “one of those sad love songs that accompany lonely sake drinkers in smoky night bars, sharing their spleen.”

Gorgeous, human, heartrending - Doppelgänger ga boku wo is Harutaka Mochizuki in element and in spirit.

Andrea has his roots in the independent musical scene in the first decade of the 2000s. In addition to his compositional and live experience as the first Nadàr Solo drummer, he is one half of the Turin duo Anthony Laszlo with Anthony Sasso, ex guitarist and singer of Milena Lovesick. Andrea Laszlo De Simone made his debut in 2012 when he released his first homemade album, Ecce Homo. Recorded at home by makeshift means and accompanied by the following videos: Solo un uomo, 11:43, I nostri piccoli occhi, Perdutamente.

At the beginning of 2014, he met some experienced musicians from Turin’s underground scene that later, after a few months in a rehearsal room, became his band: Damir Nefat (guitar/backing vocals), Dani C (bass guitar/backing vocals), Filippo Cornaglia (drums/backing vocals), Zevi Bordovach (keyboards/backing vocals) and Anthony Sasso (keyboards/backing vocals/percussions).

Anticipated by the individual tracks Uomo Donna, Vieni a salvarmi and La guerra dei baci on June 9, 2017 - for 42Records - Uomo Donna came out. It’s Andrea Laszlo De Simone’s first real album, a well received work by both audience and critics. It also was pointed as one of the best albums of 2017 by several national music magazines.

Uomo Donna is a complex, articulate and vital album that lives in its own time - where past, present and future coexist. It’s a time in which a sonic world takes shape blending classic and modern, Italian songs with psychedelia, Battisti and Radiohead, Modugno and Verdena, the Beatles and Tame Impala, the magical flight of Claudio Rocchi and the earthly flight of IOSONOUNCANE.

The album was self-produced and then post-produced by Andrea in collaboration with Giuseppe Lo Bue, a sound engineer from Bologna. The recordings were made between October 2014 and the end of 2016 with experimental techniques straddling digital and analogic.

After playing in some important Italian festivals as Siren Festival and TOdays -- that earned him a special mention in the live scores by Rolling Stones -- on October 28, 2017 the first Uomo Donna album tour started in the clubs of the major Italian cities.

On November 30th 2017, Andrea Laszlo De Simone presented his video, Sogno l'amore, during the Torino Film Festival as a short film, shot in Sicily and directed by Francesca Noto and Andrea Laszlo De Simone.

On March 15th 2018 the music video of Gli uomini hanno fame was released, the most political song of the album, an overlook through ferocious human emotions, an eleven and fifty minutes trip within human nature portrayed even in its most ferocious instincts. The music video was directed by Andrea Laszlo De Simone and the mysterious duo Sans. The official cycle of Uomo Donna ends on 31 December 2018 with the music video of Sparite Tutti created by the creative collective Irene&Irene.

2019 was a year of new goals for Andrea, in fact, the album Uomo Donna leaves national borders and got a special mention on social media by the famous American band The Lumineers which included Andrea Laszlo De Simone and Uomo Donna among the most interesting discoveries of the international musical underground and inserts Solo un Uomo in the Spotify playlist “Inspirations”. A few days later, Solo un Uomo was broadcasted by KEXP Radio. On November 4th Andrea and his band were chosen to open for The Lumineers’ only Italian show at Alcatraz, in Milan.

On November 8th Andrea released a brand new work, digitally and on vinyl for 42Records, Immensità, a ‘suite’ of four singles: Immensità, Conchiglie, Mistero and La Nostra Fine. Turned into a medium-length film using Immensità as the soundtrack.

Immensità was presented with four special sold out concerts in Rome, Turin, Padua and Milan. For these shows Andrea Laszlo De Simone was accompanied on stage by a mixed orchestra composed of synths, electronics, choirs, strings and woodwinds. Classic and modern instruments that are intertwined in a nine elements formation: an immersive concert, a contemporary version of chamber music.

In March 2020 Immensità was released also in France, UK, Canada, Belgium and the United States with Ekleroshock/ Hamburger Records (Roster: Benjamin Clementine, Polo & Pan, Limousine and many others). The response of the transalpine press and media, sector and not, was unexpected: major French newspapers and magazines - from Le Monde to Liberation, Vanity Fair and Les Inrockuptibles - dedicated entire pages and rave reviews to Immensità and Andrea Laszlo De Simone. The track Immensità entered, after a few days, at the fourteenth rank of Spotify’s Top viral 50 playlist and broadcasted on France Inter and Radio Nova.

“Immensità” is a complex cross media work of music and images. A project divided into four chapters (the songs) for nine tracks (each chapter has a prologue or a conclusion). A true suite, using the classic term that best describes an instrumental composition in several stages, that can be enjoyed in its entirety only by listening to vinyl or digitally in the innovative single track format, without pauses: a single symphony of 25 minutes and 6 seconds.

In September 2020, Dal giorno in cui sei nato tu was released on all italian platforms, a song dedicated to Andrea’s children, a real love letter in the form of a small speech, where he tries to give them the three keys to approaching life: fantasy, music and irony. Martino, 8 years old, replies to his father’s love letter by making the video accompanying the song, created in Super 8. It's the story of the world through the eyes of the child. It is also an homage to the new little girl in family, Lucia.

Castle Face present Dan Rincon’s (OSEES, Wild Thing, Apache, Personal and the Pizzas) premier solo release Spotlight City.

Artificial landscapes and melodies comprised of Moog Grandmother, Mellotron and a kinky Modular system span from beautiful and lilting to haunting and etherial. The album was a years long learning experience of getting all components and ingredients to link arms and blend comfortably. Wrangling was part of the process. Strings soaring and sines weaving. Sometimes in the atmosphere, sometimes in the Earth’s core, sometimes flanked by neon blur as it hums & weave patterns through a world imagined in vintage sci-fi pulp.

“I was listening to a lot of solo Roedelius and Conrad Schnitzler records while writing this record and I’d say that both have been hugely inspirational on what I want to do as a solo recording artist. The way both of those of those artist pushed the early, chaotic electronic music into something more melodic is really inspiring to me, it’s not that dissimilar than trying to get melodies out of a modular synthesizer.”

An absolute necessary slab for anyone a fan of CF, OSEES, Popol Vuh soundtracks , 8 bit video game accompaniment & 80s Tangerine Dream. Burn one and burn out.

True audiophile joy — now cut at 45 RPM 2LP for better tracking, exceptional bass!
Remastered by Kevin Gray at Cohearent Audio from the original master tapes
Plated and pressed on 180-gram vinyl at Quality Record Pressings!
Stoughton Printing gatefold tip-on heavyweight cardboard jacket


Praise for the 33 1/3 version of The Smoker You Drink, The Player You Get:

"(Side one) ends with the appropriately titled 'Happy Ways,' a Latin-tinged guitar-fest with lovely chunky bass lines that sounds absolutely glorious on this Analogue Productions pressing. The zing of steel string guitar almost sounds dead on the CD and tired on my ancient vinyl pressing, so this is clearly not one of those remasters that's based on an umpteenth generation copy of the tapes. ... You owe it to yourself to hear this album — and it will not sound any better than this spectacular pressing." — Recording = 8/10; Music 10/10 — Jason Kenedy, Hi-Fi+, Issue 148

"An outstanding new 180gm LP reissue from Analogue Productions, with improved sound thanks to a sparkling new remaster by Kevin Gray at Cohearent Audio, makes it clear that this 1973 release remains — with the possible exception of 1978's But Seriously, Folks . . . — the undisputed highlight of Walsh's solo career. ... Another week, another beautiful-sounding, wonderfully packaged reissue from Analogue Productions." Read the whole review here. — Robert Baird, May 2017

In between his stints with the James Gang and the Eagles, Joe Walsh tackled his second solo studio album The Smoker You Drink The Player You Get which became his most successful solo outing. The 1973 LP continued the heavy and light rock mix of tracks found on his previous release, Barnstorm.

Analogue Productions has done reissue justice to the album that AllMusic decries "features some of the most remembered Joe Walsh tracks, but it's not just these that make the album a success. Each of the nine tracks is a song to be proud of. This is a superb album by anyone's standards."

To obtain the best sound possible we turned to Kevin Gray at Cohearent Audio to remaster this superb album from the original analogue tapes. Next we plated the lacquers and pressed LPs on 180-gram audiophile vinyl at the world's best LP maker, Quality Record Pressings. Top it all off with a deluxe Stoughton Printing gatefold tip-on jacket and you've got the makings for audiophile joy.

But would we stop there? Hardly. Now with our 45 RPM release, the best-sounding version of this rock music gem gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

This amazingly eclectic rock album has Joe's smash "Rocky Mountain Way," his hit "Meadows," plus "Bookends," "Wolf; Dreams" and more! Walsh's ability to swing wildly from one end of the rock scale to the other is unparalleled and makes for an album to suit many tastes.

Following the release of Eric Chenaux's last album Say Laura (2022), The Guardian wrote "the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist." With Uncut describing his songcraft "as delicate and lovely as a rare orchid" and Record Collector praising the album's "sublime alien balladry" such are the accolades that have accrued throughout Chenaux's unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux's solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux's own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux's previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux's spartan home studio in rural France, Driver's harmonically warped organ and Melanson's electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux's signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing "This Ain't Life" that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux's tunes have the uncanny ability to sound like jazz standards; songs you feel you've heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind.

In The Red Records is proud to announce a previously unreleased new album by Brooklyn-born master of minimalism Alan Vega, Insurrection. The eleven songs here showcase the unparalleled vision and uncompromising force from one of the most influential artists of all time. Alan Vega was born in Brooklyn in 1938. He co-founded the legendary New York City punk band Suicide with Martin Rev in 1970. Suicide’s groundbreaking 1977 debut is considered one of the most influential albums of all time. Vega considered his solo records the audio counterpoint to his visual art that reflected the world around him while simultaneously exploring universal themes. It makes his work as relevant today as it was when he created them. It was during his highly experimental period beginning in the late ’80s that he began working with Liz Lamere, who became the most crucial collaborator of his solo career until his death in 2016. Lamere, along with Jared Artaud, resurrected these newly unearthed collection of lost recordings, which they co-produced and mixed. Lamere and Artaud spearhead the Vega Vault project, which aims to bring rare, unreleased and back catalog work spanning Alan Vega and Suicide’s career to the public for the first time. On Insurrection, Lamere says: “Insurrection was created in the time period around 1997/98, after Mutator and prior to Vega’s 1999 release of 2007 and captures the intense energy of NYC in the ’90s rife with crime, killing, hate, fascism, racism, and moral bankruptcy. You can hear the tortured souls floating through this album. Post-Gulf War angst still enveloped Alan. He was having premonitions about a major terror attack in the US, well before 9/11. The upcoming birth of his son raised further awareness of the state of our world. All these emotions are mirrored in the sounds he magnetized. And true to Vega form, there remains hope and empowerment coursing through the tracks. In the almost three decades of going into the studio with Vega, we recorded significantly more material than the seven albums released. Vega’s intention was to experiment with sound which would become the canvas for the poetry that reflected his vision of the universe. Because the goal wasn’t to make albums, he had no timeline or constraints and would freely follow new paths uncovered along the way.”

Gemma Blackshaw is a scholar, writer and curator currently Senior Tutor for research at the Royal College of Art. She has curated major exhibitions for galleries and museums in London (National Gallery; Wellcome Collection and Vienna (Leopold Museum; Wien Museum).
This is her debut album.

Who Will You Love is the debut collaborative album from The Dengie Hundred with Gemma Blackshaw. In 2023, The Dengie Hundred co-produced with Japan Blues two albums for Demdike Stare’s DDS label, and released the solo album Tube on London’s Sagome imprint; their solo debut Brackenbank appeared on Ethbo in 2022, when they also contributed to World of Echo’s Thorn Valley compilation. Here, they collaborate with Gemma Blackshaw on an album of smudged dream pop.

Gemma’s vocals were recorded from home at night on an old iPhone. Who Will You Love surfaces dark, desiring songs on the passion and exhaustion of looking after others. Emerging in simple rounds that expand with layers of field recordings, synths and drum machines, the songs include lullabies for baby boys and men, enchantments of wary lovers and spells of protection for a daughter.

Moving between her children and her lover, the mother sings of the demands of daily intimacy (play with me, carry me, sing to me…) that echo through adult relationships too.

Who Will You Love was mastered by Carim Clasmann, and mastered and cut for vinyl by Stefan Betke (aka Pole). Artist Alexis-Soul-Gray gifted Screen Memory of 2022, a painting on found paper, for the artwork. Mark Thomson designed the sleev

Nach bereits 6 veröffentlichten Soloalben erscheint nun das erste Bandalbum des amerikanischen Musikers und Songwriters (u.a. Bruce Springsteen, Sheena Easton) Tim Scott Mcconnell aka Ledfoot. Während sein ganz besonderer Gothic Blues Style weiterhin deutlich herauszuhören ist, trägt der Zusatz einer Band zu neuen Klängen auf dem Album bei, die stilistisch von Americana über Country bis Rock reichen.

Ledfoot, der seit 3 Jahrzehnten in Norwegen ansässig ist, begann seine musikalische Karriere bereits 1980 als Mitglied von The Rockats, als er noch Teenager war. Mitte der 80er Jahre nahm er zwei Soloalben auf, bevor er The Havalinas mitbegründete, die ebenfalls zwei Alben veröffentlichten und Industrielegende Bob Dylan auf seiner ´Oh Mercy´-Welttournee als Support Band begleiteten. Mcconnell, dessen Kompositionen in der Vergangenheit bereits von Rock / Pop -Größen wie Bruce Springsteen („High Hopes“) und Sheena Easton („Swear“) gecovert wurden, ist zweifacher Gewinner des Spellemann Awards (norwegischer Grammy) in der Blues-Kategorie, darunter auch für seine jüngste Aufnahme, „Coffin Nails“ aus dem Jahr 2022. Sein siebtes Album, „Outsiders“, ist eine Hommage an Ledfoots Einflüsse im Leben – sowohl musikalisch, als auch zwischenmenschlich. Es ist ein Album, das den Außenseiter thematisiert: Loser, Outcasts, Wannabes, einfache Menschen mit großen Träumen. Die neun Songs, die an Werke von Johnny Cash, Gram Parsons, Bruce Springsteen und sogar Mink DeVille erinnern, wurden in nur vier Tagen im Studio Nyhagen auf dem Land nördlich von Oslo aufgenommen. Die daraus resultierende "Live-Atmosphäre" steht als Zeugnis für wirklich großartige Musikalität. Ledfoot demonstriert, einmal wieder, sein ausgeprägtes Talent fürs Songwriting und Geschichtenerzählen, welches „Outsiders“, gepaart mit seiner einzigartigen Stimme, der ikonischen 12-saitigen (Slide-) Gitarre, sowie der zusätzlichen musikalischen Untermalung der Band, zu einem phänomenalen siebten Album des Künstlers macht. Aufgenommen und gemixed von Kjartan Hesthagen, Master von Winter Lazerus.

Warehouse Find!

FIRST TIME ON VINYL
HALF SPEED MASTERED 180 GRAM VIRGIN VINYL PRESSINGS
INCLUDES COVER ART PRINT
INCLUDES EXCLUSIVE CHRIS ISAAC COVER VERSION
INCLUDES DOWNLOAD CODES FOR THE ORIGINAL MIX AND UNMIXED VERSION IN WAV AND MP3 FORMATS

Trentemøller is the Dane who did. He's been making electronic music of one kind of bent or another for over 15 years, first making his name as part of Trigbag, a live house act that toured extensively. But it's his solo material that has impacted on the dance community - and beyond. 'La Champagne' was a game-changer and his remixes of artists like Sharon Phillips secured his place as an artist with some serious chops. But that's not all he is. You can hear that yearning in his productions and it's evident here, a sort of Protestant northern European melancholy. He is aided on his journey towards the Baltic by some heavy hitters, of course: Velvet Underground, Mazzy Star, This Mortal Coil. But that's not the story, it's not where the plot comes from, it's not where we're going. It's just a little indicator to reassure you we know the way. No. For it's in the dark beauty of Low's tremulous 'Amazing Grace' or even the way that the Shangri-Las' '(Remember) Walkin' In The Sand', surrounded by the similarly inclined, takes on a funereal gait. As we navigate the flatlands of your mind, we're helped along by a generous sprinkling of Anders' fellow Danes, like Darkness Falls (the atmosphere of this mix aptly encapsulated right there), Ekko, Chimes & Bells and the Late Night Tales tradition, Trentemøller's cover of Chris Isaacs' 'Blue Hotel', sung by Marie Fisker and Steen Jørgensen.

Originally released in 2010 this mix has gone on to become a classic, it was never released on vinyl at the time, so due to public demand we have carefully mastered each track and carefully cut at half speed for optimum sonic reproduction.

" The solo venture is expansive and easy on the ears. It's so serene yet expressive of big terrain and huge vistas of emotional landscapes of sound. He works off his own scale. Everything flows outwards. Effortlessly." - Irish Times Experimentation in early electronic music in the Sahara from the singular Mamman Sani. Dreamy organs and droning melodies reinterpret ancient folk tradition into a sublime fantastical soundscape. Never before released recordings from the very beginning - unreleased tracks from his first album, recordings of a short-lived trio, and a cover of an American folk ballad.

The Marías ist so etwas wie das Psychedelic-Soul-Wunschkind zwischen der in Puerto Rico geborenen und in Atlanta aufgewachsenen María Zardoya und dem aus Los Angeles stammenden Josh Conway. Komplettiert wird Band durch ihren besten Freunde Jesse Perlman an der Gitarre und Edward James an den Keyboards. Geleitet von einer intuitiven musikalischen Chemie, ist ihre Musik ein sanftes Rendezvous von Jazz-Percussion, hypnotischen Gitarrenriffs, rauchig-samtigem Gesang und nostalgischen Horn-Solos. Wenn The Marías Jazz, Psychedelia, Funk und Lounge miteinander verschmelzen, hat das etwas Traumgleiches und zugleich unglaublich Sinnliches
„We’re back”, so meldeten sich The Marías Mitte Februar zurück zum Dienst. Drei Jahre nach ihrem hochgelobten, Grammy-nominierten Debütalbum taucht die kalifornische Indie-Pop-Band mit ihrem U-Boot zurück an die Oberfläche. Exakt so, „Submarine“, lautet nämlich der Titel des zweiten Albums, das The Marías am 31. Mai veröffentlichen. Für The Marías steht der Titel „Submarine“ für die Themen Einsamkeit und Erkundung. Auf dem Album tauchen sie ab in die Komplexität menschlicher Emotionen. Was bedeutet es, sich für die Einsamkeit zu entscheiden? Wo liegen der Schmerz und die Schönheit, die untrennbar damit verbunden sind? Die neue Single „Run Your Mouth“ ist eine erste Einführung in die immersive Welt, zu der die Band durch dieses Album inspiriert wurde.

The Marías ist so etwas wie das Psychedelic-Soul-Wunschkind zwischen der in Puerto Rico geborenen und in Atlanta aufgewachsenen María Zardoya und dem aus Los Angeles stammenden Josh Conway. Komplettiert wird Band durch ihren besten Freunde Jesse Perlman an der Gitarre und Edward James an den Keyboards. Geleitet von einer intuitiven musikalischen Chemie, ist ihre Musik ein sanftes Rendezvous von Jazz-Percussion, hypnotischen Gitarrenriffs, rauchig-samtigem Gesang und nostalgischen Horn-Solos. Wenn The Marías Jazz, Psychedelia, Funk und Lounge miteinander verschmelzen, hat das etwas Traumgleiches und zugleich unglaublich Sinnliches
„We’re back”, so meldeten sich The Marías Mitte Februar zurück zum Dienst. Drei Jahre nach ihrem hochgelobten, Grammy-nominierten Debütalbum taucht die kalifornische Indie-Pop-Band mit ihrem U-Boot zurück an die Oberfläche. Exakt so, „Submarine“, lautet nämlich der Titel des zweiten Albums, das The Marías am 31. Mai veröffentlichen. Für The Marías steht der Titel „Submarine“ für die Themen Einsamkeit und Erkundung. Auf dem Album tauchen sie ab in die Komplexität menschlicher Emotionen. Was bedeutet es, sich für die Einsamkeit zu entscheiden? Wo liegen der Schmerz und die Schönheit, die untrennbar damit verbunden sind? Die neue Single „Run Your Mouth“ ist eine erste Einführung in die immersive Welt, zu der die Band durch dieses Album inspiriert wurde.

Als Sänger des belgischen Post-Metal-Kollektivs Amenra ist Colin H. Van Eeckhout für seine Fähigkeit bekannt, sich mit den Zuhörern zu verbinden und sie auf Amenras transformativen Weg zur Heilung zu führen.

Mit seiner Soloarbeit als CHVE erzählt er seine eigene Geschichte - eine Geschichte, die darauf abzielt, den Hörer tief in sein Inneres zu führen und etwas Ursprüngliches anzuzapfen, das in uns allen wohnt.
Für Colin bietet CHVE die Möglichkeit, seine kreative Freiheit voll auszuschöpfen: mit Klängen zu experimentieren, ohne Einschränkungen zu haben, und die Verletzlichkeit anzunehmen, die mit dem Schaffen allein einhergeht. Die hypnotische Musik von CHVE ist fast bewusstseinsverändernd, die dröhnenden Wiederholungen der Drehleier, verschiedene Percussions und Effekte verschmelzen mit der sanften Andersweltlichkeit von Colins Stimme. Obwohl die Musik nicht im Metal-Bereich angesiedelt ist, hat sie eine Schwere und Härte, die der von Amenra in nichts nachsteht.

"Good Grief" ist das erste neue Soloalbum seit 25 Jahren von Bernard Butler, Gitarrist und Songschreiber der Brit-Pop-Kultband Suede. Butler entwickelte sich zum mehrfach ausgezeichneten Songwriter und Produzenten (u.a. BRIT Award 2009 als Best Producer), zu dessen Referenzen zwei bahnbrechende Alben mit dem Folk-Musiker Sam Lee, ein für den Mercury Prize nominiertes Projekt mit Schauspielerin Jessie Buckley, Kollaborationen mit Bert Jansch, Ben Watt (Everything But The Girl), The Libertines und Tricky sowie das mit dem Grammy ausgezeichnete, millionenfach verkaufte Debütalbum von Duffy zählen.

Round-Circle-Shows mit seinen Freunden Norman Blake und James Grant in Schottland brachten Butler auf den Geschmack, sich wieder auf die Bühne zu wagen. Abseits der Sicherheit seiner Gitarre schrieb er Worte auf, bevor er die Melodien um die Zeilen herum schnitzte. "Good Grief" trifft auf einen Bernard Butler mit über drei Jahrzehnten Arbeit, frei um wieder aufzutreten, gestützt von wild kontrastierenden Erfahrungen von Verlust, Freude und Verwirrung. Das Album ist eine Reise von der Stadt zur Küste und zurück und dazwischen ein gesamtes Spektrum menschlicher Emotionen.

"Good Grief" ist das erste neue Soloalbum seit 25 Jahren von Bernard Butler, Gitarrist und Songschreiber der Brit-Pop-Kultband Suede. Butler entwickelte sich zum mehrfach ausgezeichneten Songwriter und Produzenten (u.a. BRIT Award 2009 als Best Producer), zu dessen Referenzen zwei bahnbrechende Alben mit dem Folk-Musiker Sam Lee, ein für den Mercury Prize nominiertes Projekt mit Schauspielerin Jessie Buckley, Kollaborationen mit Bert Jansch, Ben Watt (Everything But The Girl), The Libertines und Tricky sowie das mit dem Grammy ausgezeichnete, millionenfach verkaufte Debütalbum von Duffy zählen.

Round-Circle-Shows mit seinen Freunden Norman Blake und James Grant in Schottland brachten Butler auf den Geschmack, sich wieder auf die Bühne zu wagen. Abseits der Sicherheit seiner Gitarre schrieb er Worte auf, bevor er die Melodien um die Zeilen herum schnitzte. "Good Grief" trifft auf einen Bernard Butler mit über drei Jahrzehnten Arbeit, frei um wieder aufzutreten, gestützt von wild kontrastierenden Erfahrungen von Verlust, Freude und Verwirrung. Das Album ist eine Reise von der Stadt zur Küste und zurück und dazwischen ein gesamtes Spektrum menschlicher Emotionen.

Introducing "Azerbaijani Gitara vol. 2" by Rahman Mammadli, the eagerly awaited sequel to Bongo Joe"s acclaimed debut featuring Rüstam Quliyev. Born from the vibrant streets of Baku, Azerbaijani gitara culture has evolved into a mesmerizing fusion of indigenous traditions and global influences. From the oil boom era to Soviet rule, musicians have embraced the electric guitar as a symbol of cultural expression. Rahman Mammadli, a legend in his own right, revolutionized the sound with his innovative techniques and impassioned performances. Drawing inspiration from mugham music, Mammadli"s compositions resonate with soul-stirring melodies and electrifying solos.

SIMON AND GARFUNKEL’S SWAN SONG: BRIDGE OVER TROUBLED WATER FEATURES METICULOUS PRODUCTION, GORGEOUS SONGWRITING, AND HEALING SPIRIT
Sourced from the Original Master Tapes and Limited to 4,000 Numbered Copies: Mobile Fidelity’s 180s SuperVinyl 33RPM LP Plays with Staggering Detail, Clarity, and Definition
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Unifying, soothing, comforting: Simon and Garfunkel's Bridge over Troubled Water quickly became the album of an era upon release in 1970, the benchmark set serving as a beacon of hope and hymn of reassurance during a time marked by polarizing changes, social unrest, uncertain politics, and the dawn of a new era. These uplifting reasons — to say nothing about the gorgeous songwriting, meticulous production, and watershed performances — attest to why it is more relevant than ever in our current climate. Music, Bridge over Troubled Water simultaneously suggests and proves, heals all wounds and lifts all boats.

The seminal effort Rolling Stone named the 51st Greatest Album of All Time reaches illustrious sonic and emotional heights on Mobile Fidelity’s 180g SuperVinyl 33RPM LP. Pressed on MoFi SuperVinyl and strictly limited to 4,000 numbered copies, this ultra-hi-fi collector's edition brings you closer to music that picks up where the duo's Bookends leaves off. You'll enjoy deep-black backgrounds and pointillist details. Seemingly every note, breath, and movement is reproduced with exquisite accuracy, clarity, and balance. Each rotation benefits from SuperVinyl’s ultra-low noise floor and superb groove definition.

The best-selling record in the U.S. for several years running and winner of six Grammy Awards — including nods for Record of the Year, Album of the Year, Song of the Year, and Best Engineered Recording — Bridge over Troubled Water endures as a staple of accessible sophistication, angelic elegance, effortless singing, unhinged ambition, and therapeutic spirit. While it would turn out to be the final studio set for a duo surrounded by creative and personal disagreement, Simon and Garfunkel's collaborative ethos and soaring harmonies — combined with reflective narratives centred on the American experience, friendship, romance, and farewells — combine to turn the 11-track work into a paean to resolution, reconciliation, calm, and balance.

Home to the legendary title track graced by Garfunkel's pacifying solo lead vocals as well as the equally famous folk ballad "The Boxer," Peruvian-based "El Condor Pasa," upbeat "Cecilia," and rock ’n’ rolling "Baby Driver,” Bridge over Troubled Water remains as renowned for its musical diversity as its lyrical poignancy. Moving beyond the templates they'd perfected on four prior albums, Simon and Garfunkel embrace a then-unimaginable swath of styles. Rock, pop, gospel, country, R&B, South American, and jazz strains course throughout the songs, each sparked with bold experiments yet grounded in a well-orchestrated melange of melody, rhythm, and classicism that makes everything personal, familiar, and warm.

Not for nothing is Bridge over Troubled Water one of the finest-sounding albums ever made. Featuring instrumentation helmed by members of Los Angeles' fabled Wrecking Crew as well as multiple choral and string sections, songs took hundreds of hours to complete and involved pioneering recording techniques. Evoking both Phil Spector's live"Wall of Sound" approach as well as inventive effects, Bridge over Troubled Water is a triumph of texture, atmosphere, and architecture. Our audiophile edition brings the record's unique traits to the fore.

Whether the reverberation generated by Garfunkel's cassette recorder on "Cecilia," echoing drums captured in a corridor heard throughout "The Boxer," automobile noises peppering "Baby Driver," layer upon layer of voices dotting "The Only Boy Living in New York," or echo-chamber percussion on the title track, details comes through with stunning accuracy, clarity, and dimensionality. In every regard, Bridge over Troubled Water exudes genius.

An outstanding Pablo pressing (A++ sound) featuring jazz piano legend Duke Ellington at the helm of a small group session with Joe Pass on guitar, Ray Brown on bass, and Louie Bellson on drums, recorded in January 1973 and released in 1974. Considered a timeless classic, Duke's Big 4 is described by AllMusic as "One of Duke Ellington's finest small group sessions from his final decade ... Ellington's percussive style always sounded modern and here he comes up with consistently strong solos. ... Highly recommended."

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

From weaving thought-provoking poetics to channeling the spirit of vintage West Coast gangsta rap, acclaimed Los Angeles emcee Blu is a dynamic musical presence, forever evolving and defying expectations. Supremely talented producer and musician Shafiq Husayn has a similarly diverse skill set, with a storied history as a member of Sa-Ra Creative Partners and solo production credits for top artists across the musical spectrum, from Erykah Badu to Ice-T to Anderson .Paak to Jurassic 5 and many more. After linking up for the mixtape The Blueprint back in 2018, Blu and Shafiq Husayn are reuniting for the new album Out Of The Blue, elevating their collaboration to a new level. “The Blueprint was just me rhyming over some of Shafiq's beats that I found online,” Blu explains. “This time we were actually in the studio together. We’ve been working together since 2008, but this is our first official album.” Awash in Shafiq’s dense sonic architecture, Out Of The Blue showcases the intricacy of Blu’s spiritual street talk while simultaneously delivering a series of bass-heavy L.A. anthems. Entirely produced by Shafiq Husayn, the collection features guest appearances by MED, Exile, Chuuwee, Thurz, Speed Walton, Jimetta Rose, and Freestyle Fellowship members Myka 9 and Self Jupiter. “Out Of The Blue is my G-Funk album,” Blu explains. “Big brother Shafiq gave us a master class in production. We just in here being funky and having fun.”

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.

The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.