Buscar:kin

Debut album by Cindy is aptly called I'm Cindy. Produced by Kai Hugo a.k.a. Palmbomen II. Vinyl comes with a 20-page handmade booklet, an individually signed and kissed handkerchief of Cindy (some of them even have her teardrops on them) and a huge fold-out poster! Who exactly is Cindy? If producer Kai Hugo used oblique strategies it would be this question that's been central to his past four years of musical output. First appearing on his 2015 LP Palmbomen II as the titular subject of the track Cindy Savalas, her life has become intertwined with the producer's. "Following that release, I made a music video for Cindy Savalas, where Cindy came to life through the portrayal by Blue LoLan,' Hugo explains. 'I really felt a connection with this character and went deeper into developing who she was and the world she lived in. The result was the creation of the LP Memories Of Cindy, where my goal was to reveal more about Carmel Vista, the town Cindy lived in. Afterwards, I imagined Cindy having her own 'lost' album, as if she had once released a record that was kind of forgotten.' I'm Cindy is altogether different though. It sits at an uncommonly explored intersection between Italo disco and shoegaze - Cocteau Twins and Slowdive are mentioned as influences and you can hear that in the blurred textures and hazy synths of the 13 tracks here. But Hugo also revels in a chance to use his self-created character as a conduit to explore his love of both mainstream pop and its more skewed forms. In many ways the record is as much LoL?n's. It was she who gave the character her voice - initially across 27 tracks recorded with the producer - but her own connection to Cindy runs deeper than that. 'It makes me really nostalgic thinking about everything Cindy went through, she and I have similar feelings' says the vocalist. 'Cindy is a mix of me and Kai so when I listen to the album I feel like I'm half entering Kai's head and half in mine, with a whole bunch of deep emotions, purity and loneliness that just makes me want to dance and cuddle with all my cats in a disco forest somewhere outside of Carmel Vista.'

Debut album by Cindy is aptly called I'm Cindy. Produced by Kai Hugo a.k.a. Palmbomen II. Who exactly is Cindy? If producer Kai Hugo used oblique strategies it would be this question that's been central to his past four years of musical output. First appearing on his 2015 LP Palmbomen II as the titular subject of the track Cindy Savalas, her life has become intertwined with the producer's. "Following that release, I made a music video for Cindy Savalas, where Cindy came to life through the portrayal by Blue LoLan,' Hugo explains. 'I really felt a connection with this character and went deeper into developing who she was and the world she lived in. The result was the creation of the LP Memories Of Cindy, where my goal was to reveal more about Carmel Vista, the town Cindy lived in. Afterwards, I imagined Cindy having her own 'lost' album, as if she had once released a record that was kind of forgotten.' I'm Cindy is altogether different though. It sits at an uncommonly explored intersection between Italo disco and shoegaze - Cocteau Twins and Slowdive are mentioned as influences and you can hear that in the blurred textures and hazy synths of the 13 tracks here. But Hugo also revels in a chance to use his self-created character as a conduit to explore his love of both mainstream pop and its more skewed forms. In many ways the record is as much LoL?n's. It was she who gave the character her voice - initially across 27 tracks recorded with the producer - but her own connection to Cindy runs deeper than that. 'It makes me really nostalgic thinking about everything Cindy went through, she and I have similar feelings' says the vocalist. 'Cindy is a mix of me and Kai so when I listen to the album I feel like I'm half entering Kai's head and half in mine, with a whole bunch of deep emotions, purity and loneliness that just makes me want to dance and cuddle with all my cats in a disco forest somewhere outside of Carmel Vista.'

2024 Reissue

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

OOOOH! by Alex Bad Baby Lukashevsky with Cocoa Corner (2025)

Celebrated veteran of Toronto’s music scene, known for his boundary-pushing approach to folk and avant-garde music, twists rock music into strange and brilliant new shapes with the help of young jazz players, U.S. Girls, and his own immensely talented son.



OOOOH! is hard on the outside and soft on the inside. Made in the spirit of unity,
humanity, and poetry — disobediently renouncing the glory of personal triumph for the
generosity of an honest experiment. On the last track of the album you’ll hear “Or do you only ever never want to make a single enemy? / That’s not freedom or humility / It’s nothing, honestly.” Oooh, that's a bad baby!

A celebrated Toronto songwriter and performer, Alex Lukashevsky has always been disobedient. Which simply means, nothing is off the table when he’s looking for his
poetic voice; when trying to find the realest I of the teller. As he sings on the lead track “that musician that’s dead” The musician is radical/ it’s the world that’s demented/ listening with their eyes, the music looks dented/ they’re over-represented.
OOOOH! was recorded in January 2024 at Sound Department in Toronto, engineered by Patrick Lefler (ROY), mixed by Grammy-nominated producer Matt Smith. All the songs were tracked live off the floor in two days, with one extra day for recording vocals, to keep the recording fully alive and breathing. As leader of Deep Dark United, as a solo performer, and a sideman in Brodie Wests’ Eucalyptus and Luka Kuplowsky’s Ryokan Band, Alex has been an outsized influence on the Toronto music scene that spawned acts like Broken Social Scene and Owen Pallett. (Pallett, who has toured with Lukashevsky, went so far as to record an entire album’s worth of Alex’s songs, backed
by a full orchestra.)

Lukashevsky has approached each of his albums and projects as something completely new, using only the musical boundaries he creates with each song. Even when he
has recorded songs with nothing but his voice and his own acoustic guitar accompaniment, the results are never “stripped down” or “back to basics,”
Gong! How do you get to heaven / have fun! have fun!
It’s cool to approach music as a game of “spot the influence”; Burt Bacharach-meets-Black Flag; Lana Del Rey-meets-LCD Soundsystem etc. Glorified mash-ups are promising because of their conversational nature. But they can turn us into hyperboreans; blowing cold air beyond ourselves while doing what we can to remain warm. To devise a game or a narrative is to have a winner and a loser, but we all know that just as you win/ so you lose. And does anything really change? Alex Lukashevsky and Cocoa Corner are more at ease drawing blind contours or playing an old game like consequences. They let things add up without knowing particularly how. Cognition is recognition.

Lukashevsky, in addition to writing all the songs, plays guitar and sings on OOOOH!, doing both in ways that are soulful and spikey at the same time. Joining him on guitar and vocals is his oldest child, Charlie Lukashevsky, who, at 23, is already a talented performer and songwriter in his own right. Cocoa Corner also includes Aidan McConnell, an in-demand drummer and composer, Jack Johnston, a jazz bassist and Barry Harris acolyte, and percussionist Evan Cartwright (The Weather Station, U.S. Girls, Cola, Tasseomancy), who plays steel pan and marching drum.

Working with his son and with other younger musicians is central to the album’s
unpredictable aesthetic. It reinvigorated the sound in unexpected ways. Lukashevsky says, “I had to reconsider my own instincts. I had to deal with being 99 years old.”
In addition to these performers, the album includes a tasty contribution from Meg
Remy, the visionary musician and producer who is the leader of the critically acclaimed
project U.S. Girls. Remy duets with Lukashevsky on the imagistic and sprawling album
closer “things keep happening.”
About that album title: OOOOH! is taken straight from “that musician that’s dead” an
arch and unhinged comment on the exertion required to navigate a lifetime of music making.
Lukashevsky’s delivery of that one emotive word is a kind of cultural posture, but also a
hundred percent primitive expression. The impact is never less than visceral. His vocal
delivery ranges through rich baritone blues to keening falsettos to a kind of sprechstimme that periodically steps out from the music to grab the listener’s shirt. He
doesn’t sound too nice, but he is sincere. When life gives you lemons lament.
For OOOOH! his first official full-length album since 2012’s Too Late Blues, (a collection of knotty-yet-effervescent tunes built upon the enchantingly serpentine harmonies of Lukashevsky and his vocal collaborators, Felicity Williams (Bahamas, Bernice) and Daniela Gesundheit (Snowblink, HYDRA)), Alex has once again broken apart and rebuilt his own approach to music. Or rather (because that sounds too over-determined), he
has allowed his music to build itself into strange new shapes that only fleetingly and
coincidentally, but happily, resemble anything that might be called rock and roll. There is some editorializing within the song’s lyrics— Lukashevsky even cheekily contributes to the “spot the influence” game with the line “Muddy Waters, Rite of Spring!” a funny preemptive strike against anyone already reaching for some variation of avant-blues to describe what the song is up to here. In fact there are many names checked on this record (literally and in spirit); they are the lily pads that trace the path of this expression! Palestrina, Peter Pears and Benjamin Brittain, Andrés Segovia, Stravinsky, Lotte Lenya, Alice Coltrane, Skip James, Chuck Berry, D’Gary, Betty Carter, Mukhtiyar Ali, Chuck D, Yoko Ono, Hailu Mergia, David Bowie, Jane Siberry. rhythm is a skeleton mansion / haunted by melody / feckless prodigy / the world is under a spell / cast by some demon angel / Practice day and night / Try as hard as hell / no one can sing that well Musicians are often worried by the way in which they are prepared to fail rather
than how they would like to succeed; it’s such a deep concern that it tempers their creativity and shackles their process. Current cultural proclivities, tend to comfort a certain kind of artistic failure and abnegate another kind. How many testimonials, full of heartfelt care and investment, have you heard for Taylor Swift, and yet a craftsman like Chris Weisman is often dismissed easily as though he’s doing something anti-social. what’s throwing itself in my ears and my eyes / arrogant devil ad hominem christ.
The music you will hear on this recording veers off in multiple directions at once,
and features a rock and roll spirit with a divergent heart. This is no sclerotic clomp of the Average Rock Song, but in fact a flood of humanity in all its darkness and moodiness and unpredictability. If most performers make songs that are like sports cars or pickup trucks to drive around, Lukashevsky has built something more akin to a rowboat in a tree: it’s weird and beautiful.

VERVE ACOUSTIC SOUNDS SERIE: komplett analog von Ryan K. Smith bei Sterling Sound von den
Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle.
Wohl kaum ein anderer hat den Titel “King Of The Tenors” mehr verdient als Ben Webster. Zusammen mit Coleman Hawkins und Lester Young bildete er das Triumvirat der großen Swing-Tenoristen. Mit
seinem warmen, gefühlvollen Stil, der im krassen Gegensatz zu seinem oft aufbrausenden Temperament
stand, beeinflusste er zu seiner Zeit unzählige andere Tenorsaxofonisten. Websters erstes Soloalbum unter
der Regie von Produzent Norman Granz erschien 1954 ursprünglich unter dem Titel “The Consummate
Artistry of Ben Webster” bei Norgran, wurde dann aber 1957 auf Granz’ neuem Label Verve Records als
“King Of The Tenors” wiederveröffentlicht.

Das Debut Album von Kind Kaputt, endlich wieder erhältlich als streng limitierte zweite Auflage in der Farbe ""cream white / bone"". Limitierte Auflage: 500 Stück.
Zwischen Genre-Bezeichnungen wie Alternative Rock, Post Hardcore oder Emo-Core oszillierend, gelingt es der Band, ihre ganz eigene Version dieser Klangästhetik zu formulieren. Die Musik wirkt dunkel, schwer und erschlagend. Zerberstende Ausbrüche der Verzweiflung, fragile Melodien und apathisch gesprochene Worte verschmelzen zu einem Gefühl und zu einer Ahnung davon, wie sich Existenz anfühlt, wenn man sie hinterfragt.

Ob vor der Kamera, am Mikrofon oder jetzt im Musikstudio - Marleen Lohse beweist erneut ihr kreatives Gespür und ihre Vielseitigkeit. Bekannt ist sie aus erfolgreichen TV-Produktionen wie "Nord bei Nordwest", "Unsere wunderbaren Jahre", "Katakomben" oder Kinofilmen wie "Cleo", "La Palma" und "Happy Burnout". Nun zeigt sie eine neue Facette ihres Talents - als Musikerin. Mit "Wide Awake" veröffentlicht sie ihr erstes Album auf ihrem eigenen Label Amore Mio - ein Werk voller Gefühl, Tiefe und musikalischer Handschrift. Die Songs bewegen sich zwischen introspektivem Indie und melodischem Pop, getragen von einer warmen, atmosphärischen Klangwelt. Gemeinsam mit Andi Fins (u.a. Cäthe, Moritz Krämer) entstanden Texte und Melodien, die berühren und im Ohr bleiben. Für den Sound sorgte ein erfahrenes Team: Hanno Stick (Judith Holofernes) am Schlagzeug, Julius Hartog (Andreas Bourani) und Tim Neuhaus (Clueso, Glen Hansard) an den Gitarren. Henrik Menzel (Udo Lindenberg, Yvonne Catterfeld) verlieh dem Album durch Co-Produktion, Mix und Mastering seinen finalen Glanz. "Wide Awake" ist ein musikalisches Statement - ehrlich, emotional und eigenständig. Für alle, die Musik mit Charakter und Seele lieben.

Enigmatic artist GRANT, a longtime figure in the deep house and techno underground, collaborates with Alex Albrechton the title track 'Tangible Dreams'
The two connected via the Scissor & Thread label and Francis Harris, forming a creative partnership. The EP is a textured homage to late '90s dub techno, echoing Basic Channel and Chain Reaction, while retaining a modern touch. The tracks are timeless, groove-focused, and sonically deep.
On the release, GRANT says: "I've been a fan of Alex's work. Through Francis and Scissor & Thread, it felt natural to collaborate. This EP is the kind of music I love to play - not flashy or trendy, but tracks that hold up and grow on you."
With decades of record collecting and acclaimed releases on Lobster Theremin, Mörk, and his own imprints, GRANT has built a loyal following. His albums The Acrobat, Cranks, Perception, and Fantasy Blues are collectors' favorites.
Alex Albrecht, known for immersive performances at Paradise City, MNMT, Public Records, and Giant Steps, has released on Anjunadeep, Mule Musiq, and his Analogue Attic imprint.
With 'Tangible Dreams', GRANT and Albrecht deliver a collaboration destined to stand out.

2026 Repress

Tame Impala’s fifth full-length album ‘Deadbeat’. On it, Parker sculpts a collection of wickedly potent club-psych explorations as a vehicle for some of his most direct, brain-wormy songwriting to date, recasting Tame Impala as a kind of future primitive rave act in the process.

Deadbeat sounds like the work of an artist with a levelled-up mastery and bristles with a revitalized energy for experimentation. 12 songs crafted with a newfound embrace of spontaneity for the renowned perfectionist. How that manifests is a distinct minimalism and crunch to many of the tracks, with a clutch of crucial details, timbres and textures that add an ineffably new dimension to the sound, as well as a richer, more playful vocal range than ever.

Among the most revered voices in funk, Marva Whitney holds a special place thanks to her fierce energy and unmistakable style on tracks like the classic 'Unwind Yourself,' a long-time favorite for DJs and dance floors alike. Emerging from the dynamic world of the James Brown Revue in the late 1960s--alongside iconic names like Lyn Collins and Vicki Anderson--Marva quickly carved out a name for herself. In 1969, she began recording as a solo artist under James Brown's King label, scoring a Top 20 R&B hit with 'It's My Thing.' While mainstream hits were few, her music resonated deeply with funk lovers and crate diggers around the world. Songs like 'You Got to Have a Job' and the endlessly sampled 'Unwind Yourself' have only grown in stature over the decades. Her album, "It's My Thing", dropped that same year and has since become a touchstone of the genre. Backed by the legendary JB's and produced by James Brown himself--who also contributed to most of the songwriting--the album captures a raw, unapologetic funk sound with a distinctly female voice at the forefront. From the explosive opening of 'It's My Thing'--a bold response to the Isley Brothers' 'It's Your Thing'--Marva channels sheer intensity, backed by a band that doesn't let up. The pace briefly softens with 'If You Love Me,' a soul soaked ballad in the spirit of Otis Redding, before diving back into the rhythmic grit of tracks like 'Unwind Yourself.' Decades later, "It's My Thing" continues to inspire, sampled by producers and treasured by collectors--a powerful snapshot of funk at its most uncompromising. Reissue on 180g vinyl.

Body Clinic joins us for our next 12” release with four tribal tech-house cuts, recalling the sound of early-2000s Pacha. With E-Talking on Papa Nugs’ label running the festival circuit this summer, he’s already become the talk of the scene—and this EP makes clear why.

Each track is driven by drums at the highest grade—rugged, weighty basslines locking in with sci-fi warped FX, keeping the floor in constant motion. Trippy vocal cuts thread through the grooves, getting deep into our heads and sending minds off into nearby dimensions. And that’s just the a-side.

Flip it over and Bongo Loco comes rolling in—a true cruiser. Built around a huge breakdown of layered bongos, it kicks back in with the kind of chest-rattling low end that have become Body Clinic’s signature. It’s the moment where hands shoot in the air, the rhythm carrying you further into the night. On b2, My Mate Dave shifts gears again—jumping off the old-school tech foundations and landing closer to the progressive sound we know BC for. It’s a peak-time anthem through and through.

Promo downloads have quickly come in from Chris Stussy, Josh Baker, Christopher Ledger, Roza Terenzi, and East End Dubs, marking it as one of the most anticipated releases of 2025.

The now-classic duet of ‘Peace On Earth / Little Drummer Boy’ with David Bowie from Bing Crosby's 1977 television special, ‘Merrie Olde Christmas’ is back on a brand new, collector's edition, picture disc 12” vinyl.
The picture disc features the iconic image of David Bowie and Bing Crosby at the piano. "Peace on Earth/Little Drummer Boy" is a Christmas song performed by David Bowie and Bing Crosby. Recorded on September 11, 1977 at ATV Elstree Studios near London for Crosby's television special Bing Crosby's Merrie Olde Christmas, the song features Crosby singing the 1941 standard "The Little Drummer Boy" while Bowie sings the counterpoint tune "Peace on Earth", written by the special's musical supervisors Ian Fraser and Larry Grossman, and scriptwriter Buz Kohan, specifically for the collaboration.
The duet was one of Crosby's final recordings before his death in October 1977. Following the special's broadcast during the 1977 holiday season, ‘Peace on Earth/Little Drummer Boy’ went unavailable for many years. It was eventually released as a single by RCA Records in November 1982 and was a commercial success, peaking at number three on the UK Singles Chart. It was Crosby's final popular hit. It became one of the best-selling singles of Bowie's career, with total estimated sales over 400,000 in the UK alone.
The song has since become a Christmas classic in the United States, Canada and United Kingdom and has been referred to by The Washington Post as "one of the most successful duets in Christmas music history“.

Blang Records are thrilled to announce another two vinyl album re-releases from Jeffrey Lewis's back catalogue: The debut classic The Last Time I Did Acid I Went Insane (originally Rough Trade 2001) and The critically acclaimed 4th album 12 Crass Songs (originally Rough Trade 2007). 12 Crass Songs (VV004LP): Astonishingly transformed covers of songs originally written by the band Crass in 1978-1984, this 2007 LP is the most rare and sought-after vinyl in Jeffrey's catalogue and is also now completely out of stock. "Weird? Very_ _ but it's also downright inspiring" (4 of 5 stars) - Rolling Stone. "The record presents Crass's lyrics calmly, often demonstrating how sane and practical they are; it proves once again, and kind of thrillingly this time, that no music is immune to interpretation" - The New York Times. "Folk maverick raids anarchist commune and finds catchy tunes_ Works wonderfully" - Spin "Jeffrey Lewis' talents appear without end_ (on 12 Crass Songs he) magically makes the anarcho-rockers' anti-establishment savagery his own, by wrapping their barbed sentiments in his trademark mottled tea-towel warmth" - NME. "12 Crass Songs succeeds utterly_ eerily beautiful and strangely affecting" - Plan B Magazine "He's taken hold of any number of my old stormy favourites and breathed fresh life and fire into them. . . Man, I'm in awe of Jeffrey right now. Who'd have thought he could have done that?" - Everett True/ Village Voice "Quite brilliant" - (4 of 5 stars) MOJO. "It's no mean feat to transform such abrasive harangues into lush, tuneful folk_ without defusing their righteous anger_ but Crass's intelligent and indignant screeds could not hope for a more sympathetic translator." (4 of 5 stars) - THE GUARDIAN. Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang. Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan's Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more.

In March 2024, Jim White released his first-ever solo album, All Hits: Memories. Coming forty years into his career, it felt like some kind of breakthrough happening. His second solo album confirms it: Jim"s deep percussive intuition is fueling a new musical vehicle in his life. Inner Day finds him dancing ever more deftly with himself on an expressionistic set of drum kit and keyboard duets. Developing meditations on his personal arcana into expressive keyboard feels, he crafts parts as he would on the kit, further interacting with them on drums as well. Jim takes another big step on Inner Day, singing on two standout tracks, "Inner Day" and "I Don"t Do / Grand Central," his words and voice in the mix for the first time. A drummer of exquisite powers, great and small - his Dirty Three compatriot Warren Ellis contends his playing long ago "split the atom" - Jim"s capable of driving a band one minute, then slipping past accompaniment and into the cracks of the subliminal in the next breath. He"s got qualities - deep pockets, a lovely sense of the moment - that serve him and those he drums with well. His collaborators include Bill Callahan, Cat Power, Marisa Anderson, Daniel Blumberg, T. Griffin, Phosphorescent, Jess Ribeiro, Ed Kuepper and Mess Esque, alongside communal experiences in Xylouris White, The Double, Beings, The Hard Quartet and Dirty Three. And all that"s just in the past five years!

180 Gram Vinyl Celebrate the holiday season with this fiery collection of vintage R&B, gospel, and soul, guaranteed to bring the Christmas spirit to life! This vinyl release features a handpicked lineup of legends like Chuck Berry, Sonny Boy Williamson, and Charles Brown, delivering everything from foot-stomping hits to soulful serenades. Highlights include Freddy King's heartfelt "Christmas Tears," Lightnin' Hopkins' gritty "Merry Christmas," Carla Thomas' soulful "All I Want For Christmas Is You," and the lively classic "Run Rudolph Run." With rare holiday gems spanning raw blues, swinging gospel, and smooth soul, this album is the ultimate soundtrack for a cool Yule.

180 Gram, Yellow Vinyl Celebrate the holiday season with this fiery collection of vintage R&B, gospel, and soul, guaranteed to bring the Christmas spirit to life! This vinyl release features a handpicked lineup of legends like Chuck Berry, Sonny Boy Williamson, and Charles Brown, delivering everything from foot-stomping hits to soulful serenades. Highlights include Freddy King's heartfelt "Christmas Tears," Lightnin' Hopkins' gritty "Merry Christmas," Carla Thomas' soulful "All I Want For Christmas Is You," and the lively classic "Run Rudolph Run." With rare holiday gems spanning raw blues, swinging gospel, and smooth soul, this album is the ultimate soundtrack for a cool Yule.

To mark the 20th anniversary of his cult classic debut album We Have Sound, multi-instrumentalist and creative iconoclast Tom Vek releases We Have Sound Remixed today via StrataSonic Records — a 10-track remix album in its original order that reimagines the influential original for a new era.

Led by remix singles from Dave Glass Animals, Everything Everything, and IS TROPICAL, the project is complete with a stacked lineup whose own sonic identities trace back to Vek’s genre-hopping, DIY spirit — including alt-J, Baths, Porij, and more.

We Have Sound is widely credited as one of the seminal albums that pioneered indie electronic music. Dave Bayley of Glass Animals calls the album “one of several responsible for us going on to make our music.” Gus Unger-Hamilton of alt-J adds, “I’ve loved this album since I was fifteen. Paul Epworth’s ‘Phones’ version opened my eyes to the art of the remix.”

We Have Sound Remixed, is a rare kind of tribute, curated by Vek himself, with each artist handpicked and invited to reinterpret the record that helped shape their creative DNA. The result is a celebration of We Have Sound not only as a pivotal album of the 2000s, but as a blueprint for the fusion of guitar music, DIY electronica, and sharp-edged pop that now defines a generation of UK and alternative acts. The project cements Tom Vek’s role as a cult figure whose music remains current — and deeply influential — two decades on.

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself - led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt - but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. After many years unavailable, we are now delighted to reissue their second album "¡¡¡Viven!!!" (2009) featuring new artwork by Mik Baro. It includes their classic originals 'Copa, raya, paliza' and 'Viva Link Wray!!!' as well as a bunch of wild cover versions of Los Mockers, The Lyrics, The Troyes, The Hatfields, Jonah & The Whales_ The album was produced by Jorge Explosion (Dr. Explosion) and Mike Mariconda (Raunch Hands, Devil Dogs), and recorded at the celebrated Circo Perrotti Studios in Gijón. Please welcome again the undisputed kings of garage punk!

Anlässlich des 40. Jubiläums von Clannads Album „Macalla“ (irisch für „Echo“) aus dem Jahr 1985, das
von Phil Kinrade in den Air Studios neu gemastert wurde, erschien das neunte Studioalbum. Es war ihr
erster internationaler Erfolg und markierte einen bedeutenden Meilenstein in der Karriere der Band. Es
präsentierte eine Mischung aus traditionellen irischen Folk-Wurzeln und einem eher Mainstream-, Popbeeinflussten Sound.
Aufbauend auf dem Schwung früherer Erfolge wie „Theme from Harry’s Game“ (1982), das internationale
Aufmerksamkeit erregte und sogar von U2 als Outro-Musik für Konzerte verwendet wurde, und dem preisgekrönten Soundtrack zur Fernsehserie „Robin of Sherwood“ (veröffentlicht 1984 als Album „Legend“),
stand Clannad kurz vor dem Durchbruch in Märkten wie Amerika. Macalla gelang dieser Durchbruch
vor allem dank des legendären Duetts „In a Lifetime“ mit Bono von U2. Bono, bereits ein Bewunderer
von Clannad, arbeitete mit Leadsängerin Moya Brennan an diesem eindrucksvollen Song, der ein großer
Hit wurde. Die Zusammenarbeit entstand durch gegenseitige Bewunderung und ihre gemeinsame irische
Herkunft.
„In a Lifetime“ war ein Charterfolg und erreichte Platz 5 in Irland und Platz 20 in Großbritannien. Auch das
Album „Macalla“ selbst schnitt gut ab und landete in Großbritannien und anderen Ländern in den Charts.
In Neuseeland erreichte es beispielsweise Platz 29. Während einige langjährige Fans ihres rein traditionellen
Folk-Sounds die eher pop- und elektronisch geprägte Produktion des Albums als Abkehr empfanden, gilt
„Macalla“ allgemein als eines der stärksten und prägendsten Alben von Clannad. Es verband erfolgreich
ihre Folk-Wurzeln mit einem zeitgenössischeren, atmosphärischeren und New-Age-beeinflussten Sound und
sprach damit ein breiteres internationales Publikum an. Das Album enthält Lieder auf Englisch und Irisch,
darunter „Caisleán Óir“ und „Buachaill Ón Éirne“, gesungen in ihrer Muttersprache Gälisch.

As a label, we are specialists in musical diversity. With our newest installment of the annual System 108 compilation we present you two parts of hand picked creative output by our friends, residents and dearest guests. Curated by the artist Ira Bespalova, the concept of both parts is simple and deep: the good, the calm, the kind is part 1 and all anti-heroes, filthy electro-armored jams is part 2. All together - another twist of the planet, another beat of our big heart, that became shelter and home home for a whole new tribe. It pumps, it creates, unites and warms up, kicks it real hard, no matter how tough it is. Part 1 is densely populated by our new kids on the block! Isktrit, TURBOSH, BORIS REDWALL, DJ Yesyes, Dominique Mara have been releasing singles, EP's and album during 2023 and became an integral part of the collective. Here you will also find good old friends Maksimovna, Lipelis, Kito Jempere. Very special Siberian inspired trippy workout by RLGN and Sasha Kustov, Luchshiy Drug. And a super special guest appearance starring Magnus Opus and mo?se?. The running order is curated as a narrative, as an album that takes you on a journey. But separately, it all works as singles, DJ tracks and tools. Welcome to Nine Years Of Love!

"In Your Eyes" ist einer der hypnotischsten Songs des Sängers Johnny Osbourne, ein Ohrwurm den er 1982 mit den Roots Radics im Channel One Studio aufnahm und durch vielfachen Einsatz als Sample von Drum & Bass / Jungle Künstlern auch außerhalb der Reggae Szene bekannt wurde. Hier ist die Originalversion, erstmalig als authorisierte 7-Inch Single mit der "Wins The World Cup" Dub Version auf der B-Seite, abgemischt von Overton "Scientist" Brown in King Tubbys Studio.

Another future-grail rarity unearthed by Chicago's own Star Creature, remastered and reissued for the first time as a giant 2 sided 7 inch slice. TZ & Co have been pushing both sides hard over the last 5 years and judging by the recent discogs history on the OG, the world is starting to catch up. Originally an extremely limited 1-off house 12" EP the demand has been creeping up especially turning heads on the net as a track ID? requests during TZ's opening sets on the Jamie XX tour earlier this year. An overall Hardcore Punk Funk, pre-house experiment from prehistoric primitive era of the genre, this one is finally ready to debut and go global.

Le Motel and Bruce Wijn met at school, during a school art trip to Munich. They went separate ways for a long time.

Hailing from Brussels, Le Motel's world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It's somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio.

Bruce Wijn is a Brussels-based guitarist who played in several postrock kind projects such as Sound Film, 52 Commercial Road, or more shoegaze Lazy Sin. These collaborations gave him the opportunity to perform in various locations in Belgium, France, England, and the USA. As a musician, his focus has always been attracted by progressively built rhythmic melodies, which would eventually turn into long reverberated or distorted swells, or the otherway round.

All these experiences brought them both to the idea of scoring movies with different yet similar approaches.

That's how their first collaboration happened as Le Motel was working on the soundtrack of the movie Binti, and invited Bruce Wijn for the track Exode, in 2018. Since then, they've been working on other scoring projects, such as the feature film 'Aller Retour' more recently.

Alongside the movie scoring activities another audiovisual live project was born, in collaboration with Antoine de Schuyter and his mesmerizing images.

This one is more focusing on tape textures, field recordings and glitchy effects in order to build atmospheric tracks that they decided to bring together in a first E.P. 'MAAR'.

'MAAR' is elaborated as a soundtrack for an imaginary journey between cold seas and volcanoes explorations.

From the first echoing sounds of playing kids on the shoreside in the opening track 'La Perche' Le Motel & Bruce Wijn let you slide in a technicolor dreamworld, reverbing slowly innocent childhood memories into a chilled, out of range, future.

'MAAR' dives deep into a kaleidoscopic microcosmos watching Nautilus playing hide and seek with 'Captain Ahab' floating on sonic breaking waves, while seagulls gently spread their wings flying through the breezy and misty clouds of Blankenberge.

Lava vulcanica slowly melts in the sad euphorica of the cold North Sea, crystallizing sounds only Le Motel and Bruce Wijn can deliver.

An’archives presents Kagome Kagome, the first collaboration between France’s Delphine Dora and Japan’s Ayami Suzuki. Curious listeners might know Dora from the string of lovely, idiosyncratic albums she’s released over the past two decades, most recently for labels like Modern Love, Morc and Recital; she’s also worked with the likes of Michel Henritzi and Sophie Cooper. Suzuki’s performances, predominantly for voice, place her within a tradition of Japanese improvised music – see the music she’s made with artists such as Takashi Masubuchi, TOMO and Leo Okagawa – but her approach also takes in folk song, ambience and claustrophobic drone.

On Kagome Kagome, Dora and Suzuki play to their many strengths: a gentle, free-willed folksiness; long, aerated drone constructs; ghostly, time-warping explorations for voice. They met on Dora’s May 2024 tour of Japan, though they’d been in touch beforehand, with Dora proposing the collaboration to Suzuki, developed around “concepts of ‘otherworldliness’ and ‘impermanence’,” the latter says, “and explored the relationship between ‘the invisible’ and sound in Japanese culture – a common interest we share.”

They recorded across several days that month, with the sessions for Kagome Kagome taking place in Kanumi, in Tochigi prefecture, at a space named Center. “I was particularly looking forward to seeing Delphine encounter the vintage 104-year-old harmonium from Nippon Gakki Seizo Co. that had just been repaired at Center,” Suzuki recalls. “It was as if the harmonium had been waiting for Delphine to draw sound from it. I felt it was a beautiful relationship where they could guide each other.”

Indeed, there’s something channelled about the music that Dora and Suzuki made together in the session that constitutes Kagome Kagome. Dora’s harmonium might be the spine of the album, but Suzuki’s free- floating voice, and gaseous, muddied banks of electronics, wrap around the wheezing, ancient tonality of the harmonium beautifully – they, too, sound as though they were just waiting to be willed out of the daytime air. Their voices nestle together beautifully – “when we sang together in a tunnel,” Suzuki says, “there were times when we sang the exact same melody without planning. It happened so naturally that the boundaries between us became blurred.”

And that title? It’s drawn from a Japanese children’s song, and the song titles themselves constitute the song’s lyrics, in alternating Japanese (Romanized) and French language. Urban legend connects the song “Kagome Kagome” to the Nikko Toshogu Shrine, nearby Center, that Suzuki and Dora visited while they were in Kanumi. “The mysterious lyrics of ‘Kagome Kagome’ and its puzzle-like connection to Nikko Toshogu were a perfect fit for this mysterious album,” Suzuki reflects, “which I think has its own kind of puzzle-like elements.”

A deep album of prayer and magic, of divination and ritual, Kagome Kagome’s sense of serious play, its rich beauty, feels somehow dislocated from our time. If you’ve ever enjoyed the music of Nico, Kendra Smith, Charalambides, or other channelers of ghostly mystery, its eerie otherness will, somehow, feel oddly familiar.

Born in 1934, Freddie King was nicknamed “The Texas Cannonball,” and his powerful guitar playing could certainly knock you flat. In the late 1960s,
a fan and fellow musical king – King Curtis – brought Freddie into the Atlantic Records for a pair of fine albums.

With sax accompaniment from Curtis and piano work by James Booker complementing the axeman's explosive solos,
Freddie King is a Blues Master shows the Rock and Roll Hall of Famer at the top of his game.
Freddie King is a Blues Master is available as a numbered limited edition of 750 copies on translucent yellow coloured vinyl

Born Osborne Ruddock in Kingston in 1941, he grew up around High Holborn Street in Kingston, before moving to the new Waterhouse district in 1955. His electronic genius grew from working and fixing radios and TV sets. A natural progression led to working with amplifiers, and starting his own sound system, 'Tubby's Home Town Hi-Fi'. A very competitive games i the late 60's. You were as good as the EXCLUSIVE records you played.
Tubby discovered during his time cutting discs for Duke Reid's Treasure Isle set up, that by dropping vocals/instruments in and out of the backing tracks, you could invent new versions of existing old tunes. These early versions tried and tested on his sound system went down so well that he invested in a four track mixing console with delay echo effects, sliders and phasing units and so began King Tubby's 'Studio Of Dub' at 18 Drummlie Avenue, Kinston 11 , Jamaica...His Home.....
This is where all the producers would bring their tracks for Tubby to put his magic over. Most tracks that came out in Jamaica from here on in would carry a 'Version' on it's B- Side more than likely a Tubby Dub.
One of the producers who used him the most was Bunny Striker Lee, who's labels Jackpot, Justice and Attack all carried Tubby's mixes/versions on their flip sides.
Our collection here, all taken from original master tapes you might have heard the tracks before but not these versions....Lost in the vaults till now. So sit back and enjoy the dub master at work.

RESPECT.... JAH FLOYD

Track 1 CHERRY'S DUB
We start off with a very early version of Eric Donaldson's 'Cherry O Baby'.
This version was recorded at Dynamic Sounds, in 1971 and has remained lost on master tape until now.

Track 2 FRENEMY DUB
This classic rhythm known as 'Mad Mad World' and 'Crying in the Ghetto' both voiced by Winston Jarret
got worked on by Tubby as an exclusive mix for his sound system. Released here for the first time featuring
the late, great Jacob Miller on dubbed vocal.

Track 3 FALLING FOR DUB
A version here of Cornell Campbell's 'My Whole World is Falling Down' Tubby in fine form.

Track 4 DUB ON THE STREET AGAIN
Yes my friend The Street Again finds Cornell Campbell's vocal dubbed King Tubby Style Nice Rockers drums from Sly Dunbar.


Track 5 DECEIVING THE DUB
Sly and Robbie dubbing up Delroy Wilson's ' So Long Jenny' with King Tubby at the boards

SKA was the name given to the music that came out of Jamaica between 1961-1966. Based on the American R&B and Doo-wop records that the Sound Systems in Kingston Town used to play. However, the American records style started to mellow out, while the Jamaicans preferred a more upbeat sound. So the Sound System bosses became record producers to cater for this demand. Sir “Coxonne” Dodd and Duke Reid led the way putting the top musicians on the Island in the studio to make music unmistakably Jamaican. A lot of their early recordings were cut at Federal Records before they built their own studios.

Federal Records was the first domestic Jamaican studio, based at 220 Foreshore Road, Hagley Park, Kingston. It opened it’s doors in 1961 owned by Ken Khouri who first licensed American records to the island of Jamaica, before cutting his own tunes, which were some of the first Jamaican RnB and Ska singles. Ken Khouri initial studio was Records Limited but very basic so with the help of engineer Graeme Goodall built the new studio complex at 220 Foreshore Road which also contained a pressing plant and disc cutting room. The studio was not only the forerunner for Ska music but the music that followed and in 1981 Ken Khouri sold the complex now on the renamed road Marcus Garvey Drive to Bob Marley who renamed the premises Tuff Gong Studios whose legacy carries on today.

We have compiled some of the best SKA SOUNDS that came out of the Federal Vaults, with some of the best artists, musicians from the time. The great Lord Tanomo, Don Drummond, Rico Rodriguez, Roland Alphonso, alongside some lesser known artist. However, one thing is for sure, the quality never drops on this fine collection of Ska Hot Tunes……

Simon Popp is back on Squama with his fourth album Trio.
At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument.
The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds.
Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.

Der offizielle Soundtrack zur zweiten Staffel der Sensations-Animationsserie Arcane.
Standard schwarze LP mit dem Megahit „Ma Meilleure Ennemie“ und allen Lieblingssongs aus dem rekordverdächtigen Soundtrack der zweiten Staffel.

2x 180g Vinyl in Widespine Jacket, mit bedruckten Innenhüllen, Einlage und neuem Cover

2024 Repress
If anyone in the reggae circles could be described as having their own sound it would have to be Mr Augustus Pablo, born Horace Swaby 1954 St Andrew Jamaica. He took the humble melodica a wind blown mouth keyboard and made it shine.

His musical journey started one sunny day in 1969. Walking into Herman Chin- loy's Aquarius Records shop and on playing his melodica so impressed its owner that he was taken off to Randy's Studio 17, the very next day to cut his first record 'Iggy Iggy'. But it was his second tune under the guidance of Clive Chin again cut at Randy's, the seminal 'Java ' that put the young Augustus Pablo on the map. Clive Chin continued his work producing Pablo's debut album 'THIS IS AUGUSTUS PABLO' . An instrumental affair on which the neo-mystical ''Far East'' sound synonymous with Pablo's work emerged.

Having worked with most of the top producers of the time,Lee Perry,Keith Hudson, Bunny Lee, Augustus decided to set up his own label "Rockers", named after his brothers sound system. Where many of his tunes would first be heard.The label came to define a new and exciting chapter in reggae history.Even when versioning acknowledged classic Studio One rhythms there was a precious maturity and depth to Pablo's productions that kept him at the top throughout the late 1970s and into the 1980s. His 'King Tubby meets the Rockers Uptown' set which featured some of these rhythms reworked; Swing EasySkanking Easy, Frozen SoulFrozen Dub, stands as one of the true dub classic albums of any reggae education.

This set of dubs are taken from his classic 70's period.All rare dubs straight from the masters. You may have heard the tune, but not these versions. So sit back and enjoy the Original Rocker..... STILL SOUNDS SWEET.

RESPECT....JAH FLOYD.