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Japan's guitar hero Takeshi Terauchi reworks traditional songs and lets everything go wild with his magnificent and frenzied guitar sound. Enter the electrifying world of Eleki!

Gatefold 180g heavy vinyl LP, reverse board print. Comes with extensive liner notes by Japanese pop culture writer Julien Seveon (Cinexploitation)

All tracks licensed by King Record Co., Ltd., Tokyo, Japan.

Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

Artwork by Nker

The aftermath of World War II gave rise to a global phenomenon that saw new generations of young people rise up determined to forge new paths from their elders – culturally, politically, and musically. Japan was no exception and the recent past made the local youth angrier, hungrier and even more determined to fully experience something different from their parents. The country caught on to the early rock & roll craze almost in tandem as it was happening in the States. Teenager Chiemi Eri singing "Rock Around The Clock" and Kazuya Kosaka with "Heartbreak Hotel" were among the first to make what would soon be called Rokabiri accessible to a large audience. Teacher and parent associations showed concern regarding this new music when teenagers started missing school to attend afternoon shows – one of which most notably being the Nichigeki Western Carnival where all the top names of Rokabiri played to sold out audiences. But by the end of the 1950s, the youth of Japan had moved on to something else entirely: Eleki.

The 50s and 60s were a time of rapid change that saw trends come and go. Japan, like all other industrial countries, saw its youth move from one musical sensation to the next. And in the early 60s, there was one band in particular that created a distinct new flavor: The Ventures. Leaving behind vocals and focusing strictly on the impact of the sound of the electric guitar, The Ventures drove kids crazy all over the world. Other bands followed, most notably The Shadows, but in Japan, no other instrumental rock band managed to leave such an impact. The sound of The Ventures helped boost guitar sales in Japan and soon hundreds of cover bands were popping up all over the country. The Eleki Bumu (electric boom) was now in full effect with Takeshi Terauchi emerging as its first and greatest guitar hero.

Terauchi was born January 1939 in the prefecture of Tochigi, north of Tokyo. His mother taught music and played the shamisen – a traditional Japanese stringed instrument – while his father ran, among other things, an electronics shop. Their respective professions were to be decisive in the path that Terauchi would later take. Serendipitously, at the age of five, Takeshi was given his first instrument – a guitar. His destiny sealed, he quickly began experimenting with different tools from his father's shop to give his instrument a stronger sound. The technological approach came from his father, the technique from his mother. Terauchi's signature playing style owes a lot to his mother's instrument of choice, as he attacks the notes on his guitar as one plucks the strings of a shamisen.

This exceptional compilation you are holding in your hands explores some of the best works by Takeshi Terauchi, recorded between 1966 and 1974, where the guitar hero looks inwards to Japan for inspiration. A meeting between traditional folk songs and the unique way Terauchi and his band play: the content is explosive, inspired, and highly addictive! The 60s and 70s were undoubtedly Terauchi's finest hours, and in the late 60s, one Japanese critic said that Terauchi was not only the best guitarist in Japan, but also in the world. You can now find out why.

In 2021 Velocity Press published Who Say Reload: The Stories Behind the Classic Drum & Bass Records of the 90s, an oral history of the records that defined jungle/drum & bass straight from the original sources. The deluxe coffee table book has since sold thousands of copies and prompted many to comment that it should have an accompanying soundtrack.

Now author Paul Terzulli has compiled a Who Say Reload album. However, where the book focused solely on classics and anthems, the compilation takes a different route and offers up a selection of top-quality tunes from some of the scene’s most respected artists and labels.

Like the book, the album covers the genre’s nineties golden era, and the many styles of D&B are represented. Pioneering producers and crowd-pleasing favourites sit alongside a few sought-after obscurities by the unsung heroes of the scene. Most importantly, there are some absolute bangers!

The 16 tracks are spread over two volumes of 2 x 12"s, and there is also a 13-track digital version, taking you on a journey through music forged from raw breakbeats and basslines that soundtracked a culture of all-night raves, specialist record shops and pirate radio stations.

Jungle/drum & bass is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today. There’s still plenty of old music that might be “new” to some, and these tunes still pack as much of a punch as they did back in the day. That unique energy generated by a combination of breakbeats, bass and creativity never gets old.

Produced in conjunction with Above Board distribution. All tracks mastered from original sources and fully licensed. Mastering by Beau Thomas @ Ten Eight Seven Mastering. Liner notes from Who Say Reload author Paul Terzulli. Photography by Eddie Otchere. Artwork and design by Protean Productions.

Zur Feier des 60-jährigen Jubiläums der Rolling Stones
haben sich einige der größten Country-Stars für Stoned
Cold Country zusammengetan, ein Tribute-Album, das bis
zum Rand mit neu interpretierten Versionen des Katalogs
der legendären Rockband gefüllt ist. Die von Robert
Deaton produzierten Künstler - Jimmie Allen, Brooks &
Dunn, Brothers Osborne, Eric Church, Steve Earle, Elle
King, Marcus King, Little Big Town, Ashley McBryde,
Maren Morris, Elvie Shane, Koe Wetzel, The War And
Treaty, Lainey Wilson & Zac Brown Band - haben alle
ihren eigenen Stil in die Musik der Stones einfließen
lassen und so eine kraftvolle Hommage an eine der
beständigsten, wegweisendsten und einflussreichsten
Bands der Welt geschaffen.
Die auf STONED COLD COUNTRY vertretenen Künstler
haben zusammen über 77 Mio. Social Followers und 66
Mio. Spotify-Hörer!

The friendship between Al Cisneros (Sleep/Om) and Kevin Martin (The Bug/King Midas Sound) begun when King Midas Sound supported OM at the Scala in London in 2012. Subsequently the duo quickly realised via passionately animated conversations, that they shared a serous addiction to reggae 7", and in particular, a mutually insatiable appetite for roots and the deepest dub versions being consistently transmitted from Jamaica...This resulted in Cisneros, then inviting Martin to specifically drop hardcore dub sessions as support to Sleep in Berlin, and on tour with OM. It was during the European Om tour in 2019, that Cisneros offered to record an ep for The Bug's fledgling PRESSURE label. And now 'Rosin' is the fulfilment of that promise. Al's side of the single, showcases the low end specialist extending the bassbin pounding methodologies of those incredible b-line masters who first inspired him to relentlessly explore the infinitely resonant worlds of bass and space. So 'Rosin Immersion' and it's subsequent dub 'Dabby You', echo 'Flabba Holt's classic work with the Roots Radics or Robbie Shakespeare 's tremendous output for Channel One with The Revolutionaries...These devastating mixes extend the hallowed roots tradition that Cisneros worships, and gleefully opts for an even lower, slower, grind .... It's another fantastic example of Al's parallel dub world, that he has been tirelessly promoting with his incredible Sinai label releases for the past few years, as he simultaneously continues to reshape Metal with Sleep and zoned 'out' rock with Om too. On the flipside, Martin took up Al's invitation to remix his original song, but Kevin here opts for radical mutation instead of homage. What may have begun as a single remix, ends as two militantly distinct future dubs aimed straight at the body and dome...Echoing Kevin's recent collaborations with Will Bevan aka Burial, for their collaborative Flame series, as previously released on PRESSURE, this pair of thundering tracks reflect The Bug at his most immersive and psychedelic. 'Fathoms' and '50 hz' revel in their otherness, and the sonic sorcery of his Brussels based sound lab. The twin rhythms are undoubtedly inspired by the spirit of The Bug's production heroes Scientist, King Tubby or Adrian Sherwood, but are set adrift in a futuristic sci-fi format for ambient heads and sound system disciples alike to get fully lost in.

An absolute, hard-charging funk hammer from the Dap-Kings - an incredible instrumental co-written and co-produced by Dapper Bosco Mann and Kenny Dope! If "Nervous Like Me" has a title that reflects some kind of apprehension, the track is anything but! It's simply pummeling - with a rhythm that kicks out from some stealth bongo and rolling trap that build into some playful guitar and bass response until the horns crash and boom! The beats on the flip isolate the funky drums, providing a sizzling beat track.

We have opened the vault to bring to you for the first time on a 2CD set Roadrunner United ‘The Concert (Live at the Nokia Theatre, New York, NY, 12/15/2005)’, featuring members of Slipknot, Anthrax, Trivium, Machine Head, Fear Factory, Sepultura & more. Roadrunner United was a project organized by the heavy metal record label Roadrunner Records to celebrate its 25th anniversary. On December 15th, 2005, in New York City, the label produced the Metal Concert to end all Metal Concerts: 39 musicians, representing 25 different Roadrunner bands, performed 25 songs from 19 different bands’ repertoire. This unique and unprecedented aggregation of musicians was no jam session. Each song was studiously rehearsed and arranged, coming together with exuberant perfection, to produce a concert that can only be called “Legend.”

Conceived as a follow-up to the Roadrunner United All-Star recording sessions, the label recruited the core team of musicians (Dino Cazares, Adam Duce, Paul Gray, Joey Jordison, Andreas Kisser and Roy Mayorga) as the backbone of the performance. Sure enough, as they fine-tuned the songs and rehearsed them tirelessly, dozens of other musicians came on board.

This 3LP set represents the gathering of a community of musicians that spans the heavy metal history of the first 25 years of Roadrunner Records: from King Diamond to Slipknot and beyond. Those who were lucky enough to be there experienced a night they will never forget. For the first time as a live concert album, this 3LP set on red, white and black coloured vinyl is a chance to relive that special night again and again.

High Roller Records, reissue 2022, black vinyl

Roadrunner United war ein Projekt des berühmten
Hardrock-Labels Roadrunner Records, das 2005 zur Feier
des 25-jährigen Bestehens organisiert wurde und seinen
Höhepunkt in den "All-Star Sessions" fand, einem Album,
das für Chart-Platzierungen in Deutschland, den USA,
Großbritannien und weiteren Ländern sorgte. Vier
"Spielführer" (Joey Jordison von Slipknot, Robb
Flynn von Machine Head, Dino Cazares von Fear
Factory und Matthew K. Heafy von Trivium) wurden
auserkoren, sich mit 57 Artists aus 45 ehemaligen und
aktuellen Roadrunner-Bands einzufinden. Ein
Metal-Familientreffen der besonderen Art!
Ab dem 10. März 2023 sind sowohl das Original-Album
der "All-Star Sessions" als auch das Konzert selbst in
Vinyl wieder erhältlich.

Das aktuelle Album von BUSH nun auf limitiertem
schwarzem Vinyl erhältlich.
Für "The Art of Survival" taten sich Bush 2022 wieder
mit dem Produzenten Erik Ron (Panic At The Disco,
Godsmack) zusammen, der bereits für "Flowers On A
Grave" und den Titeltrack von "The Kingdom"
verantwortlich zeichnete. Auch mit dem Filmkomponisten,
Musiker und Produzenten Tyler Bates ("300", "Guardians
of the Galaxy") arbeitete die Gruppe wieder auf zwei
Songs zusammen.

Classic 5th studio album (2001) from Norwegian symphonic Black Metal band, now remixed and remastered.

Endlich als LP-Vinyl wiederveröffentlicht! Im Original 1978 auf dem Label Joint International als US-Pressung veröffentlicht, wurden die Bänder nach London zum legendären Mastering Experten Kevin Metcalfe geschickt, der eine komplett neue Überspielung für Greensleeves anfertigte. Das Album wurde in Randy's, Channel One und den Chalk Farm Studios aufgenommen und bei King Tubby's mit dem finalen Mix ausgestattet, am Mischpult dabei Clive Chin, Lancelot 'Maxie' McKenzie, Sid Bucknor und Prince Jammy.

Split LP mit sechs Songs jeder Band. Die langjährigen Freunde Angelic Upstarts & Crashed Out haben sich für diese großartige Split-Veröffentlichung zusammengetan – endlich erhältlich. R.I.P Mensi & Feedback.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Tears are in the eyes of Xabiib Sharaabi, nicknamed the Somali King of Pop when he entered the stage of Berlin’s HKW. It is a mix of nostalghia, pain and joy. Like many Somalis he had been deprived overnight of both glamour and friends, the war in his homeland had sent him into exile. The glamorous discos and beachfront stages Mogadishu had once been famous for, had disappeared as the city was bombed to the ground. The King of Somali pop found himself stranded in Sweden, others like the members of Dur-Dur Band Int. ended up in London which until today has the largest Somali diaspora in Europe.

In the last decade many early recordings of Somalia’s funk, soul and disco era have been reissued. This record is not a reissue. The Berlin Session – is the first studio album of its kind since the golden days of Mogadishu came to a halt three decades ago. It is the living proof that Somali music is hot, funky and (!) well alive.

The record captures a historic reunion which took place in 2019 in Germany’s capital Berlin. London-based Dur-Dur Band Int. an eight-piece powerhouse of Somali live- music unites with three legendary Somali singers: Xabiib Sharaabi, Faduumina Hilowle and Cabdinur Allaale for a concert at Berlin’s HKW. Fueled with a restored sense of pride, the freshly reunited musicians decided to get together in a Neukölln studio for two amazing days of recording.

Female vocalist Faduumina Hilowle opens the album with an invitation to kickass: “Let’s shake off the dust, boys!” (Inta ka hurguf). Grooving with such a strong accent on the off-beat, any non-Somali listener may think of Reggae. But when you ask the musicians, they tell you: “They took it from us! It’s Dhaanto! It’s our rhythm”. Originating from the Ogaden region (now in neighbouring Ethiopia’s borders), Dhaanto dates back to the era of “clap & chant”. Some say it is an imitation of the camel’s bounce. Xabiib Sharaabi was once nick-named Somalia’s King of Pop for the body language and magnetising voice with which he incorporated the latest global musical trends - even recording two disco albums entirely in English. On the album Xabiib chooses to sing his Somali adaptation of “Lady” originally by Afrobeat pioneer Fela Kuti. Not unlike the Motown Sound of Detroit and Kingston’s Studio One: a small scene of musicians were fueling that new Somali Disco scene in Mogadishu. Cabdinur Allaale, the third vocalist on the album comes from neighbouring Djibouti. In the heydays the leader of then famous Sharaf Band was a frequent visitor, flying back and forth between Mogadishu, Hargeisa, Kismayo & Djibouti entertaining his fans on the Horn of Africa.

Dur-Dur Band Int. ‚The Berlin Session‘ brings the spirit, joy and hope of this era back: In the last decades Somalis stars have lived among us, spread all over the world, it is time to see them step into the limelight again.

Nicolas Sheikholeslami:
In 2015 Berlin-based Nicolas Sheikholeslami became fascinated by Somali music and ended up compiling a mixtape to share his passion. He did not know that his tape Au Revoir, Mogadishu Vol. 1 - Songs From Before The War would spark a massive international interest for Somali music. Soon later Nicolas co-compiled Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa for Ostinato records which got a Grammy-nomination in 2017. Berlin’s venue HKW took notice and asked him to set up a show with a selection of Somali artists from the golden era. This lead to this remarkable reunion. A studio was booked and within 2 days this album was recorded. The Berlin Session captures this emotional moment. In 2021/22 Nicolas Sheikholeslami finally sat down and mixed the recorded material. This record is the living proof that Somali music is hot, funky and well alive.

The five songs on the Kingfisher EP deal in nostalgia, lost time, and the peculiar pleasure of sadness. It was recorded in StudiOwz in Pembrokeshire in December 2021, engineered by Iwan Morgan (who co-produced along with Georgia, and with whom she worked on her last album Mai). Musicians include Stephen Black (Group Listening, Sweet Baboo) and Iwan Huws, and with additional percussion by Osian Williams, and string arrangements by Owain Roberts. Georgia’s one-year-old son Idris features in the background of a few of the songs, if you listen closely enough! Glassy electronic beats and improvised vocals sit alongside dreamy Americana.
Georgia said: “There's a freedom you get with an EP - you can try things out, get it all out of your system. But all these songs are connected - they come from the same place. I imagined them all as scenes from the same film! “

Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.”

This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock.

In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later.

By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”

Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.”

This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock.

In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later.

By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”

Red Vinyl

Nach ihrem Top-30-Hit-Album "Posh Pop" und ihrem Auftritt beim Isle of Wight Festival, veröffentlicht Toyah eine Rhythm Deluxe Edition des 2019er Studioalbums "In The Court of The Crimson Queen", das als Prequel zu "Posh Pop" präsentiert wird. Die endgültige Version des Albums enthält jetzt Toyahs Interpretation des legendären Songs „Slave To The Rhythm“, mit Ehemann Robert Fripp (King Crimson, David Bowie etc.) an der Gitarre und produziert von Simon Darlow, Co-Autor des Originaltracks.
Das Album enthält außerdem drei brandneue Remakes von „Sensational“, „Heal Ourselves“ und „Latex Messiah“. Dazu ein exklusiv überarbeitetes Artwork und Texte für das Album.
2LP-Set und rotes Vinyl runden diesen exklsusiven Release der englischen Ausnahmesängerin ab.

Fazerdaze, aka Auckland-based singer / producer / multi
nstrumentalist Amelia Murray, is back with new music after a
very intentional five year pause.
Fazerdaze returns with ‘Break!’, an air-punch purge in musical
form, marking an important reintroduction to an essential artist
of our times.

In a society where being strong and resilient is often held up like
a badge of honour, it’s much, much harder to acknowledge
when enough is enough - to accept when it’s time to let go. It’s
a truth that Murray has spent years wrangling with, but one
whose story thankfully comes with an empowering punchline of
personal reclamation. Rewind back half a decade and,
objectively, things for Fazerdaze were hitting their stride. Then
residing in Auckland, an early determination to graft hard and
“put herself in the right places” had led to working for and then
signing with legendary New Zealand label Flying Nun. A debut
LP - 2017’s ‘Morningside’ - followed, full of gauzy melodies and
nfluenced by Frankie Cosmos, Japanese Breakfast, and the
dream-pop landscape of the time.

Finishing up touring for the record at the end of 2018, Amelia
speaks of a deep sense of burn out and, more than that, of
feeling the “wheels starting to come off” in her general life. “No
longer being stoic and strong was the best thing I ever did for
myself. Giving up on the people and things that weren’t working
in my life was this big release where I could finally put down this
weight that I was carrying, and ever since then everything has
been better in my life overall,” she continues with an audible
sense of relief. “I can hear my intuition and write songs and be
creative; I signed a record deal, I moved into my own place. It’s
like the floodgates opened for good stuff coming into my life.”
Black vinyl in a single sleeve jacket and printed inner sleeve.
Design by Joey Clough.

Press - Reviews & features in The Guardian, The FADER, Brooklyn Vegan,
Complex, Consequence, DIY, Narc Magazine, Pigeons and Planes.
Radio - BBC 6 Music A-List.
Online - Support from both fans & fellow musicians, including posts shouting
out ‘Break!’ from King Krule & Lorde.

In the last five years ElCamino has gone from up-n-coming Griselda affiliate to fan-favorite B$F member. He released two volumes of his self-titled album series in that time and left heads eagerly awaiting the third instalment. Then, last summer he served up ElCamino 3 and showed what he was really capable of. The acclaimed album features production by Harry Fraud, Camouflage Monk, CeeGee, and guest spots from 38 Spesh, Jay Worthy, A$AP Ant, and more.

The album serves as the recorded introduction of ex-Last Chance To Reason vocalist Michael Lessard to The Contortionist fold, ‘though he’s taken the stage live with his new band mates for well over a year already. Lessard lends his voice to the signature song craft developed by the original core of the band, guitarist Cameron Maynard and the brotherly duo of Robby and Joey Baca, on guitar and drums, respectively. They’re joined by new additions Jordan Eberhardt(bass) and Eric Guenther (keyboards).

“I can say that Mike is the most talented vocalist we've had in the band,” Robby declares unequivocally. “We’ve progressed, which has been a real, organic process. It will be cool
for people to hear the kind of songwriting and music we are creating with The Contortionist enhanced by a vocalist who is totally up to par.”

A different producer was drafted each time The Contortionist has made an album. Language was created together at North Carolina’s The Basement Recording with producer Jamie King(Between The Buried And Me, The Human Abstract, He Is Legend). As taste maker blog MetalSucks noted in a post with the headline, “Drop What You’re Doing and Listen to the New Contortionist Single Right Now!,” Language embraces the spacey adventurous flourishes of Intrinsic, with concise and streamlined certainty.

The album’s first single, “Language I,” was also the first song the group crafted for the album. The product of much time and deliberation,every moment transitions seamlessly to the next. “Primordial Sound” boasts an emphasis on chord progressions with key signature modulations, and yet it has an accessible rock n’ roll vibe and swing. “Thrive” is a wicked blend of the atmospheric heft of Deftones and The Contortionist’s own well established progressive attack.

In Zusammenarbeit mit dem Indie-Game-Publisher Fabraz (u.a. Slime-san und Demon Turf) veröffentlicht Black Screen Records den gruselig-schönen Soundtrack zum Action-RPG Skellboy von Björn Schellin auf Vinyl. Der Soundtrack erscheint als limitierte Doppel-LP auf marmoriertem Skelett-farbenem Vinyl. Das Artwork des Gatefold Sleeves stammt von der Designerin @sabbi_tabbi von Umaiki Games.

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions African RARE GROOVE A journey at the heart of Nigerian afrobeat from Orlando Julius to the ethnojazz of Alemayèhu Eshèté passing by the High-life of the Ghanaian Ebo Taylor...

Trench Dogs melden sich mit ihrem neuen Studioalbum 'Stockholmiana' zurück. Energiegeladener Rock'n'Roll mit Einflüssen von Punk- und Glam-Rock der 70er Jahre sind Programm. Klingt wie The Quireboys, Dogs d'amour, Johnny Thunders and the Heartbreakers, Faster Pussycat, Hanoi Rocks, Sweet oder L.A Guns!

Erstmalig als Repress auf Vinyl erscheint die offizielle Dubversion zum Kultalbum "Rasta Communication". Die 10 Tracks des 1978er Originalalbums wurden in Jamaika in Randy's sowie im Channel One Studio und in London (Chalk Fram Studio) mit Sly & Robbie und Musikern des Soul Syndicate aufgenommen. Am Mischpult saßen dabei Clive Chin, Lloyd McKenzie und Sid Bucknor, der finale Mix wurde von Prince Jammy im King Tubby's Studio ausgeführt. Die Arbeiten des Sängers und Produzenten Keith Hudson, auch bekannt als 'The Dark Prince of Reggae' (geboren 1946 in Kingston, Jamaika - r.i.p. 14.11. 1984 in New York), hatten einen großen Einfluss auf die Entwicklung des Dub.

Following two standout releases from Rudi Creswick & Jamie Leeming, Alfa Mist’s Sekito Records imprint prepares to unveil their third LP project. Continuing their showcase of some of the most impressive up & coming Jazz players the UK has to offer, they are proud to present JSPHYNX’s debut LP ‘REFLEX’. Hailing from the coastal town of Broadstairs (Kent), JSPHYNX (AKA Johnny Woodham) is a talented trumpeter, who cut his teeth performing alongside the likes of Barney Artist, Mr Jukes, Corto Alto, Ego Ella May, Tom Misch, Loyle Carner, Ashley Henry, Jordan Rakei, Tertia May, Subculture & Maisha. Finding inspiration during lockdown, JSPHYNX began crafting loops at home before bringing them to his bandmates to help add some meat to the bones of the tracks. With an impressive roster of musicians on board (including Rudi Creswick on Bass duties, and Richard Spaven on drums) label boss Alfa Mist adopting the role of executive producer, ‘REFLEX’ is positioned at the sonic intersection of UK Jazz & Bass music.

Re-issue from 1995!!

Tape

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

Lifted From Hubbard's Lauded 1979 Lp 'the Love Connection', This Sublime Piece Of Melodic, Deep, Soul/Jazz Will Have Ears And Minds Open With It's Instantly Recognisable Opening String Sequence.

Used To Devastating Effect On Pepe Bradock's All-time 1999 Deep-house Classic 'deep Burnt', Those Sweeping Strings Capture Us And Lead Us Into A Epic Journey With The Wondrous Vocal Stylings Of The Legendary Singer Al Jarreau.

This Is Prime Early Morning Music, Pushing All The Right Buttons & Spreading Light Wherever It Is Played, A Beautiful Beautiful Record Indeed! What Is Essentially An Extended And Rearranged Version Of Hubbard's 1967 Original, The '79 Version Of 'little Sunflower' Boasts A Sumptuous Arrangement & Production From The Mighty Claus Ogerman (Ben E King, Mel Torme, Bill Evans, Antonio Carlos Jobim & More).

A Truly Wondrous Piece Of Music, Reissued On A Single Side In It's Full 12" Length Of 9+ Minutes From The Source Archive Audio. Fully Legit, Licensed And Reissued With Love By Above Board Distribution And Columbia Records/Sony Bmg For Record Store Day, 2019.

The two full-length records that Jeff Mangum made as Neutral Milk Hotel sound both in and out of time. Like translations of a shared subconscious, 1996's On Avery Island and 1998's In the Aeroplane Over the Sea give voice to the perennial spirit of youthful epiphany, of beginning to see the world clearly, to process and express it-no matter when you encounter them. With lo-fi indie rock, accordion, singing saw, tape collages, the so-called "zanzithophone" and beyond, Neutral Milk Hotel created an eternal entry into their Elephant 6 scene and an enduring feeling of possibility. Mangum was born in the small city of Ruston, Louisiana, in 1970, coming of age within the '80s and '90s indie and punk undergrounds, a movement of teenagers recording in their bedrooms, sharing zines and trading tapes, listening to hardcore and experimental music on college radio. For all the mythology Mangum's elusive persona has accrued-particularly during the 15 years immediately following Aeroplane, when he abruptly left the band behind-it's the beguiling songs themselves that have resonated so deeply for generations. In 2011, Mangum collected nearly all of the band's recorded output in a limited-edition box set (self-released under Neutral Milk Hotel Records, a small operation helmed by Mangum and his mother) which is now re-pressed by Merge. // CONTENTS: Black matte box is a 2-piece telescoping casewrapped package. Outer shrink-wrap includes a front sticker with "Neutral Milk Hotel," and a back sticker listing box contents. The box set includes 2 folded posters, each printed one side and each 24 x 24 inches when flat, and 1 postcard, printed front and back with box set information and sized 3.75 x 5 inches. Vinyl records: 1. In the Aeroplane Over the Sea: LP is 11 tracks pressed 33RPM to black vinyl in a gatefold jacket + printed insert for full album download. --- 2. On Avery Island: 2-LP is 12 tracks pressed to double black vinyl in a gatefold jacket + 11 x 11 printed insert + printed insert for full album download. Sides A, B and C pressed 45RPM. Side D pressed 33RPM. --- 3. Live at Jittery Joe's: 12-inch picture disc is 11 tracks pressed 33RPM to a full color picture disc in a heavyweight poly jacket + printed insert for full album download. --- 4. Ferris Wheel on Fire: 10-inch is 8 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download. --- 5. Everything Is: 10-inch is 7 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download --- 6. "Little Birds": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download 7-inch housed in a heavy-weight poly jacket. --- 7. "You've Passed": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavy-weight poly jacket. --- 8. "Holland, 1945": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavyweight poly jacket.

• Co-writer Charles Spurling sang and wrote at King in the late 60s, providing songs for James Brown, Hank Ballard, Junior McCants and Peggy & Artie among others. ‘Ball Of Fire’ is an exceptional song, first recorded by Connie Austin as a smouldering mid-tempo number on which she pours her heart out. It would be updated a year later by Marva Whitney who took it at a faster funkier pace. Charles Spurling remembers Connie as a good-looking, fast-living girl who was murdered in Los Angeles soon after.

• Spurling was a good singer himself and had five King releases between 1967 and 1969. The excellent ‘You’ve Got Love On Top Of Love’ failed to make it to wax until now. Kent found the tape in the King vaults and issued it on CD in 2001; now it is on a righteous single.

Kouslin returns to Livity Sound with a second collection of slippery club tracks after the 2020 Vision E.P. With an emphasis on head-twisting sound design and a detailed line in percussive programming, the London-based producer continues to reach into intriguing new areas without forsaking soundsystem-ready physicality.

The tracks which make up the Patterns E.P. stemmed from a period of personal experimentation, where Kouslin returned to making music for its therapeutic benefits rather than a fixed purpose. The loops and sketches he returned to and expanded upon for this EP bristle with originality at every turn.

There is a continued exploration of dancehall rhythms on ‘King’, while ‘Five Four’ toys with time signatures for a jagged, fast-paced abstraction of techno. ‘Why Don’t You Don’t’ is harder to pin down thanks to its knotty beat and mutant synthesis, and ‘Michael’ flips the script further with an unexpected swerve into pearlescent melodic lead lines – the perfect demonstration of the honest and instinctive approach Kouslin took when making these tracks.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of
fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas.

It was during his time with Miss Pottinger that Ossie began to produce records for
himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

For this release we have compiled some of the version sides to those releases. Dub still being an integral part of the Reggae Sound System Sound. So sit back and listen to what Black Solidarity, one of the most important and often overlooked labels were bringing to the dance, dubwise, back in those heady 1980’s times.

With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

Die englische Rockband ASIA, die 1981 in London
gegründet wurde, verkaufte mehrfach Platin und gilt
weltweit als Superstars. "Heat Of The Moment", eine
riesige Soft-Rock-Hymne mit anhaltendem, weltweitem
Radioerfolg, ist ihr bestes und bekanntestes Stück, das in
über einem Dutzend Ländern die Top 40 erreichte. Diese
mitreißende Live-Show mit 18 Titeln von der Welttournee
zum 25-jährigen Jubiläum von Asia im Jahr 2007 zeigt die
neu formierte Originalbesetzung mit Sänger/Bassist John
Wetton von King Crimson, Gitarrist Steve Howe und
Keyboarder Geoff Downes von Yes und Schlagzeuger
Carl Palmer von Emerson, Lake & Palmer. Das Album
wurde am 8. März 2007 in der "Shinjuku Kosei Nenkin
Hall" in Tokio, Japan, aufgenommen und erscheint
erstmals auf Vinyl.
Das Booklet dieser neuen 3LP-Veröffentlichung enthält
seltene Fotos und Anmerkungen des bekannten
Asia-Autors Dave Gallant mit Originalzitaten der
Bandmitglieder. Das Cover-Artwork stammt von dem
legendären Designer Roger Dean, der alle Original-Cover
der Asia-Alben entworfen hat. "Fantasia" ist eine
beeindruckende Erinnerung an das majestätische
Vermächtnis dieser unglaublichen Band und an den
künstlerischen Werdegang der vier Originalmitglieder von
Asia. Dieses wegweisende Konzert ist ein unverzichtbares
Set

By popular demand, Big Crown Records is proud to present Holy Hive's Harping EP on vinyl for the first time. For their debut EP on Big Crown Records, they decided to start things off with an extended reunion enlisting all of their favorite players from the Big Crown Family and beyond. The backbone for all these songs is the accomplished Harpist Mary Lattimore, who gives her learned heartfelt accompaniment to every song. There are guest vocals from one of their favorite songwriters Sasami on two tracks and a cast of lively characters assemble to add their lines - Dave Guy on Trumpet, Nick Movshon on bass, Katie Jacoby and Kristine Kruta on Strings, Leon Michels on Vibes, and nally Jens Jungkurth, Chris Connors, and Alex Deturk as sound sculptors.