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- The Complete 1988 Film Score by John Massari - Available For The First Time On Vinyl 180 Gram Violet and Blue Vinyl (Light In The Attic Exclusive Variant) - Exclusive Liner Notes by Composer John Massari - Exclusive Liner Notes by Killer Klowns Co-Creator Stephen Chiodo - Heavyweight 12" x 12" Art Print - Old-Style Tip-On Jackets with Matte Satin Coating // KILLER KLOWNS FROM OUTER SPACE have finally landed at Waxwork Records! After much anticipation, we are thrilled to present the official 1988 Original Motion Picture Soundtrack by John Massari for the very first time on vinyl! Would you believe someone if they told you a circus tent-shaped spaceship landed in your small town and was abducting your neighbors to store them in cotton candy cocoons? In this '80's cult classic, teens Mike Tobacco (Grant Cramer) and Debbie Stone (Suzanne Snyder) have to fight both the diabolical bozos and the local law enforcement's disbelief to save themselves and their community! The original score to Killer Klowns From Outer Space is kicked off by the classic 80's horror movie theme track, Killer Klowns (From Outer Space) by California punk band, The Dickies. The 'nightmare merry-go-round' continues with a smattering of menacing electronic brass sections, electric guitar, bombastic drum machine beats, & harpsichord combined with sci-fi synth elements to capture the ultra-specific origins of the antagonists. Massari's score to Klowns is a retro-synth joyride from start to finish featuring immediately recognizable cues from the beloved 80's cult-classic! Waxwork Records is thrilled to present the official Killer Klowns From Outer Space double LP, released for the first time on vinyl. Complete with 180 gram "Cotton Candy" and "Popcorn" vinyl, deluxe packaging, new artwork by Ruiz Burgos, old-style tip-on jackets with matte coating, a heavyweight 12"x12" art print, and liner notes by composer Massari and Klowns co-creator Stephen Chiodo!

"Good music never dies!" - This was Diane Ellis' mantra when she set out to produce this, her first record, in 1979. She recalls hearing the Rose Royce classic Love Don't Live Here Anymore on the radio and instantly thinking it would make for a great reggae cover, immediately envisioning the sound she was looking for. Drafting in the legendary Boris Gardiner and vocalist Sharon Forrester they created this timeless version of a perennial classic - now available here in it's full extended discomix glory for the first time on 12" since it's original outing, and backed with hornsman cut placing Dean Fraser's sax front row center.

The record was made when Ellis was studio manager for the world-famous Tuff Gong studios, but wanted her outing as a record producer to be a totally independent venture - gaining the great Bob Marley & the TG team's blessings in the process. And so Aquarius Studio in Half Way Tree was where it was all laid-down. Diane credits the Legendary owner and pioneering producer, Herman Chin Loy, as also being of great help on the record, providing a guiding ear throughout the process.

Despite this the evident strength of this first production, Ellis would follow up with only one other production, Junior Tucker's cover of "One of the Poorest People" (this time one recorded at Tuff Gong studios, and releasing the 56 Hope Road subsidiery). While both records performed well on local radio and charts, Diane exited the music industry shortly after. Now 43 years later, Diane is overjoyed her production is having a comeback, saying that "the support and love felt during the project can never be replicated, and I give thanks to all who supported then and now".

Upstairs, a band from Frankfurt, Germany was active from 1977 to 1983. Though considering themselves mainly a rock group, the band incorporated elements of funk, jazz rock and disco into their music. On their rare and privately released debut album "It's Hard To Get In The Showbiz" from 1980 they created something that could be called Germany's definite answer to AOR, yet still with an edgy and unique krautrock flavor.

The album starts with "Wontcha Try," a track where core songwriter, guitarist and lead singer Helmer Sauer is telling the story about being dismissed from his job: "They tried to tell me in a fucking gentle way, that the time had come to kick me…". Sauer serves more personal, hard-edged lyrics on the album as well. On "Happy Hooker," for example, he tells the story of a working girl in the red light milieu: "The job is as hard that you really can never imagine, she serves for the money, degradin' herself in a way - if you'd know how she's feelin' you wouldn't laugh at all". An empathetic view on the subject of prostitution rarely heard at that time.

But aside from the profound lyrics and songwriting, the album has a lot to offer on the groovy side of things. With catchy bass lines, rhythm guitar, Fender Rhodes, Moog synthesizer, Clavinet and swift crisp drumming "It's Hard To Get In The Showbiz" is one of the best examples of late 70s flavored funky rock from Germany. Additional to the aforementioned "Wontcha Try" another DJ delight should be "Make Your Steps On Better Lines" which showcases a superb synth line and disco funk flavors. We also get the slick mellow latinesque AOR grooves of "Get On A Plane" as well as the now-classic "You're Just Yourself", which marks the most soulful track of the LP. As followers of our label are already well aware, "You're Just Yourself" was featured on the compilation, "Boogie On The Mainline - A Collection Of Rare Disco, Funk And Boogie From Germany 1980-1987" from 2018.

The band mainly performed locally and never really had ambitions to release their music on a bigger label. Too bad that Upstairs only released this one album. Of course, the highly sought-after original pressing is almost impossible to find nowadays. Therefore, we are proud to finally make this record available again after 40 years for a reasonable, regular LP price. Only 300 copies of the carefully re-mastered repress have been produced, and included is a printed lyrics insert identical to the original.

We are proud to present the official 40-year anniversary issue of Imagination's debut album Shake It. Remastered from original tapes, this deluxe edition is a double vinyl LP with gatefold sleeve, featuring a newly available lyric insert.

Shake It covers a diverse spectrum of styles and sounds, all combining to a unique soulful amalgam that ranges from sunshine AOR funk ("Mornin' Lights") and leftfield disco ("Strawberry Wine") to psychy, epic, downtempo, vocoder grooves ("Can't Stand Without You") and more. Originally released in 1980, it fast became one of Germany's most collectible privately-pressed LPs.

Shake It was the creation of young thoroughbreds working hard on becoming professional musicians, trying to take their next big step in the music business. Starting out as a pure jazz-rock combo in the mid '70s (as we hear on the recently released lost studio tapes, I'm Always Right (The WDR Tapes 1977)) Imagination left behind their instrumental roots, incorporating new musical trends and styles.

Uwe Ziss, their saxophonist and flutist, became one of two lead singers in Imagination. He would be joined by the younger Roger Mork, a student of original guitarist Willi Hövelmann, around 1979. Roger's voice would best be heard on the aforementioned "Mornin' Lights", one of the various standout tracks on Shake It. However, there is much more that this album offers.

There are brilliant soulful soft rock ballads like "Clouds Flee Before The Wind" and "Waitin for your Call" or the catchy "California" song that switches from a dreamy Westcoast sound (as the title implies) to danceable rhythm & blues with equal ease. Last but not least, we have unearthed three unissued bonus cuts. On one, the demo take of "Clouds Flee Before The Wind", we hear, for the first time ever, the original refrain of this song, which, for some strange reason, was taken out from the final mix on Shake It.

When all eight original songs were recorded and mastered in June, at the well-equipped West Aix-La-Chapelle studio, the stage was set for Imagination's long-desired career push. They'd initially press about 2500 copies of Shake It selling it mainly, locally, directly to their hometown fanbase in Düsseldorf. Meanwhile, their manager would attempt to arrange a record deal with a music label. Unfortunately, this became more difficult than expected. Negotiations with a smaller publishing company were made by Imagination, and Shake It was repressed on Nash Records in 1981 without their consent, under the false promises of a nationwide promotional tour which would never come to fruition. At the same time, the group would face a UK band under the same name achieving mainstream success, making it difficult (not to say entirely impossible) to perform as "Imagination". Though the band would remain active after Shake It, they'd split shortly after Nash's duplicitous reissue hit store shelves.

Luckily, through time, Shake It itself has remained worthwhile, creatively, for those who stumbled upon it and financially, too, becoming quite the sought after gem in record collecting circles. This deluxe anniversary double vinyl issue makes the LP available once again at a far more reasonable price, featuring the original, illustrious, eye-catching, Roy Lichtenstein-influenced banana art, as well as previously unavailable press pictures and more.

We are proud to present "I'm Always Right" by Imagination, an unreleased jazz rock LP from 1977. Comprised of five tracks with a playtime of roughly 30 minutes, you will hear one of the finest German late-70s rock-tinged electric jazz albums of the era. The recording is a delightful stand-out with unique compositions, aspiring solo work, and a soulful spirit throughout. Additionally, the album veritably glows with exceptional sound quality, as it has been remastered from original tapes that were cut more than four decades ago at the WDR Funkhaus, Cologne.

Here is the story of how label founder John Raincoatman became aware of these lost tapes:
"I first got in touch with members of Imagination from Düsseldorf (not to be confused with the UK disco band under the same name) in 2017 for licensing the track "Strawberry Wine" from their collectible "Shake It" album from 1980. A couple of months later, when I was speaking with Willi Hövelmann, the guitarist for Imagination, he told me about some recordings the band had made a couple of years before, when they had been invited to to the studio of the WDR, a major German broadcaster. A couple of weeks later, when Hövelmann finally sent me the files that he had requested from the WDR, I could not believe what I heard - not only that the songs were totally different from what I expected, but that they were also very very good! The music wasn't comparable to any other kind of fusion release that I knew of. These five songs were straight forward, tight and soulful electric jazz rock, a combination rarely heard from Germany from that time period."

How come Imagination - at that time a young newcomer band consisting of musicians between 19 and 22 years of age - was able to record at the well-equipped Funkhaus studio of German radio and television? Hövelmann explains: "The WDR got to know us from a newcomer band competition called "Pop am Rhein" (Pop at the Rhine) which was set up to support local bands and was promoted by several bigger newspapers. Imagination was one of the 5 contestants which were picked from 59 bands by a jury of music journalists and our band was invited to play a concert at the Philipshalle in front of about 3500 guests. Although a band called "Accept" won the contest (yes, the heavy metal band that gained international success in the following years!) and Imagination only made 3rd place, we were invited by music host and journalist Wolfgang Neumann to record in a professional studio."

Neumann's broadcasting show at the WDR was called "Rock Studio", and one of his special goals was to help push newcomer bands by giving them airplay. As a side note, Neumann actually compiled a series of three LPs on the Harvest label from 1979-1982, each of them featuring four bands. However, the earlier recordings of Imagination had only been used for broadcasting reasons, they were aired a couple of times but never made it to a vinyl or CD release.
So, on October 10th, 1977, it was time for the band to show up and prove themselves in the studio. The tracks were all recorded in one afternoon, mainly as one takes. In some cases flute, saxophone were overdubbed, as well as the vocals on "Love is Genesis", as Hövelmann remembers.

The first song, "Jazzgang" can probably be seen as Imagination's most characteristic composition out of their early period: heavy bass, saxophone leads and speedy solos by the band members. A genuine, rough, yet funky uptempo jazz rock tune. But it's "I'm Always Right", the second track on the album, that raises the bar as the key track of the release with its 10-minute length. The song starts with a great piano solo by Mario F. Demonte. In fact, "Demonte" was a pseudonym of Ratko Delorko, a classically trained piano virtuoso who is still active today as conductor, composer and performer. At that time, it was simply impossible for him to officially be part in a band like Imagination and hence the alias was invented. Anyway, the speedy intro leads to a very soulful mid-tempo jazz funk groove that offers space and time for the band members to perform a solo. First off is Uwe Ziss with sax and flute combined. The second solo belongs to Willi "Sultan" Hövelmann on electric guitar. For the furious ending the pace is set back to high speed. Delorko serves us with one of the most brilliant uptempo piano solos you may have heard in a while on a jazz record.

The next song stylistically stands out from the rest. "Biting My Time" incorporates a rhythm and blues feel with a 60s soul jazz attitude. The track was composed by Uwe Ziss who leads through the track with aspiring flute solos which feel like an easy summer breeze after the first two rock tinged tunes.

"Himalaya" sees Imagination move away from jazz quite a bit, rather approaching the psychedelic rock genre with a vibe reminiscent of the sound of the early 70s. Again starting with a piano solo by Ratko Delorko the pace is quickly at 150 bpm with the full band laying down an energetic jazz rock sound. Just after a little over one-and-a-half minutes there is a breakdown to a slower tempo with overdubbed mysterious vocals and psyche-y screams which may remind more of the legendary krautrock band Can than what is typically known as "jazz". The mood continues with tense saxophone and guitar solos, just to speed up again towards the end with furious drumming by Andreas Oelschläger.

"Love Is Genesis" concludes the release. It was composed and sung by former bassist Robert Schlickmann. Though most of the band members didn't really like the song at that time it still is a one-of-a-kind soft rock pop ballad which partly reminds of some of the vocal song tracks later to be found on the "Shake It" LP from 1980. The track manifested that Imagination were never really supposed to be solely an instrumental band.

We are now happy to have cleared the exclusive rights for this recording from the WDR and are proud to re-present this amazing collection of songs. It should appeal to fusion, jazz rock and jazz funk aficionados but also to late krautrock collectors. We are also certain that it will also please fans of the "Shake It" album, simply in terms of being such a bright and soulful debut with great music overall.

Unavailable on vinyl for over 20 years, ‘Sings Reign
Rebuilder’ was the stunning 2001 debut LP from Set Fire To
Flames - a sprawling, adventurous 13-piece Montreal
collective, including seven members of Godspeed you black
emperor! plus others from bands like A Silver Mt Zion, Fly
Pan Am, etc.
The sole reason FatCat’s 130701 imprint was founded, the
LP remains an incredible and unique document. Recorded
over a five-day period in a rickety old house in a communal
atmosphere of long-duration improvised creative activity,
operating on no sleep / confinement / intoxication, it was
brilliantly edited to mix post-rock guitar-scapes; extended
passages of scratchy, freeform improv and concrete
clatterings; atmospheric location recordings; stirring,
chamber string arrangements; deep/sparse drones; and
Kraut-like, heavily rhythmic workouts.
Described on its release by TimeOut as “one of the most
broodingly beautiful, dramatically emotional, hauntingly
evocative albums likely to ever scrape at your soul… This
record will kill you”; and by Pitchfork as “a gripping testament
to the power of emotional expression in music... a
marvelously inventive and powerful album.”
Perhaps the most dynamic and adventurous record to come
out of the early 2000s Montreal scene around Godspeed you
black emperor!.
Long-awaited first ever reissue of a classic album, which sold
out of its original (only) pressing within weeks of its release
on 15th October 2001 and has been unavailable since.
Remastered at Dubplates & Mastering and issued in a
heavyweight black vinyl double LP edition, including lavish
gatefold packaging, 20th Anniversary-branded OBI strip and
original 24-page 7” x 7” booklet with full colour print and eight
tracing-paper pages plus full digital download coupon.

The Perth-based psychedelic rock n roll machine rip through a full platter of their high-speed tunes, shot in two locations and heralding their new LP, Night Gnomes. Crunchy riffage, addictive melodies and no-holds barred psychedelia is on tap. Get it at the link below! "Thank you Levitation for getting us out the house! Absolute pleasure to be asked to collaborate on something together. There’s a brilliant story involving an angry local and a bulldozer if you’re won-dering why the location changes, but for the minutes we were filming it was magical. Gnomes till we die! Thanks to Jelly, Tay, Jared, Dima, & the McEwan crew for helping us put this together, love you all." – PPC

During the 13 years of existence of our label we have managed to turn many a dream project into reality and reissued countless numbers of forgotten and overlooked gems. There has, however, been one dream we've chased for years that is now finally manifesting itself on vinyl - the albums of the most remarkable Finnish post rock band Magyar Posse and especially the second of their three records, Kings of Time. Magyar Posse's debut album We Will Carry You Over The Mountains (2001) was already an impressive, ambitious work in which the band effortlessly mixed Goblin and Ennio Morricone influences into their melodic and atmospheric blend of instrumental post-something. It was, though, the second album Kings of Time, that took the band from the darlings of the local alternative music press to such levels of artistic expression that even the mainstream media had to pay attention. The album, consisting of seven untitled songs, sounds like music to an imaginary sixties new wave film that mixes Soviet space drama with spaghetti western gunfights on a scorching hot desert, all covered with slavic melancholy. The record was released originally covered in a striking red and black 20's Soviet avantgarde style cover design. The Svart Records vinyl reissue comes in a blue cover that better reflects the changed times. The vinyl also includes a booklet full of memorabilia and text that look back to the creation of this spectacular album.

During the 13 years of existence of our label we have managed to turn many a dream project into reality and reissued countless numbers of forgotten and overlooked gems. There has, however, been one dream we've chased for years that is now finally manifesting itself on vinyl - the albums of the most remarkable Finnish post rock band Magyar Posse and especially the second of their three records, Kings of Time. Magyar Posse's debut album We Will Carry You Over The Mountains (2001) was already an impressive, ambitious work in which the band effortlessly mixed Goblin and Ennio Morricone influences into their melodic and atmospheric blend of instrumental post-something. It was, though, the second album Kings of Time, that took the band from the darlings of the local alternative music press to such levels of artistic expression that even the mainstream media had to pay attention. The album, consisting of seven untitled songs, sounds like music to an imaginary sixties new wave film that mixes Soviet space drama with spaghetti western gunfights on a scorching hot desert, all covered with slavic melancholy. The record was released originally covered in a striking red and black 20's Soviet avantgarde style cover design. The Svart Records vinyl reissue comes in a blue cover that better reflects the changed times. The vinyl also includes a booklet full of memorabilia and text that look back to the creation of this spectacular album.

Based in Winnipeg, Manitoba, an "inland island that floats on infinite
prairie ground," Living Hour has always been a band that's thrived in
seclusion.Helping to foster a thriving local community, and taking
inspiration from the faces and places of their hometown, the band have
always been motivated by the belief that their own music only gets more
interesting when it includes other voices
For their new album, Living Hour called upon friends from near and far.
The result is "Someday Is Today", the band's third full-length effort and the muchanticipated follow- up to their 2019 "Softer Faces" LP, acclaimed by the likes of
NPR, Stereogum, Paste, Vice, Bandcamp, and more. On "Someday Is Today", the
group's sound is collaborated with a variety of drummers including Jason Tait
(The Weakerthans, Broken Social Scene) and is fleshed out further with the help
of three producers: Melina Duterte (Jay Som, Bachelor, Chastity Belt), Jonathan
Schenke (Parquet Courts, Snail Mail, The Drums), and Samur Khouja (Cate le Bon,
Deerhunter, Regina Spektor) all of whom impart their own backgrounds on the
album's finished glow.
"Someday Is Today" is Living Hour at their most pensive and longing. It was
recorded over seven straight days during the dark depths of a Manitoba winter,
with the band cocooned in the sounds they were making as the temperature hit
-30 outside the door. The album thrives by keeping just enough connection
across its varied palettes to feel like one cohesive world. Whether it's the album's
soft and gorgeous harmonies or the captured sound of wind tubes being swung
above their heads, the songs here feel bound by something bigger than
themselves; an energy that flourished in spite of it all, a human connection that
grips just strongly enough even when pushed to its frayed, unreachable extremes.

The Southern state’s musical giants have always had their own distinct recipe for
American roots: spiced with jazz, steeped in swamp-blues and cooked up a little
differently by every artist who performs it. As a second- generation child of the
Bayou State, Kenny Neal has taken his own inimitable guitar, gale-force harp and
roadworn voice all over the globe. But in 2022, the Grammy- nominated blues
master’s latest album, Straight From The Heart, finds him drawn by the siren call
of his hometown and musical ground zero, Baton Rouge.“This is the first album
I’ve ever recorded on my own turf, and it truly came straight from the heart,” says
Neal, who both led and produced a crack team of local musicians at his own
Brookstown Recording Studios. “All the tributaries of the blues converge here,
flowing into one rich tradition.”You’ll hear all of Neal’s travels in Straight From The
Heart, but this latest album brings it all back home in every sense. Lining up in the
studio alongside his Baton Rouge compadrés, the respect that Neal commands
on the scene also drew some special guests, including hot- tip blues sensation
Christone ‘Kingfish’ Ingram (who co-writes and plays stinger guitar on Mount Up
On The Wings Of The King), pop royalty Tito Jackson (on Two Timing) and two
songs with Rockin’ Dopsie Junior & The Zydeco Twisters. You’ll even hear Neal’s
supremely talented daughter Syreeta drive the vocal outro of Two Timing.“It was
like a family reunion,” says Neal of the good-natured sessions. “It was excellent
because I had all the musicians that grew up under me here in Baton Rouge. And
just being in my own studio, not worrying about the clock.”Straight From The
Heart is a fitting title for a record that salutes the many loves of Neal’s life.
There’s the brass-driven opener Blues Keep Chasing Me, which tips a hat to his
recently departed friend, Lucky Peterson. There’s the touching piano-led Someone
Somewhere, which salutes his beloved father, harp master Raful Neal, who put
him on this path. Elsewhere, Neal’s deep love for every side of his home state is
underlined by the zydeco chop of Bon Temps Rouler and New Orleans, whose
lyrics reference everything from “sippin’ on Hurricane” to “sittin’ on the Bayou
catching catfish”. Faced with such an open-hearted record, it’s impossible not to
reciprocate. And as the world opens up and Kenny Neal embraces his natural
habitat of the road, this Louisiana icon will bring a little bit of that Baton Rouge
spirit onto every stage he treads. “It don't cost nothing to share a little love and a
little respect,” he says. “And we can all rise above…”

She's the natural-born rock star with the leather jacket and wicked grin, leaning
from her album sleeve to offer you a hit on her hip flask. But the real Southern
blend ain't in the bottle, it's on the songs.
Following the New Orleans flavours of her 2017 breakthrough, Let The Demons
Out, this year sees the acclaimed Brussels- born singer- songwriter dive deeper
into the American South, recording in the hill country of Mississippi, where she
shared her songs with a cast of esteemed local musicians and caught the flying
sparks. This is Mississippi Blend: an album as fiery and throat-burning as Delta
moonshine.

The 'Privacy Angels' dwell in a liminal zone, a folk magical world sprawling within some remote nodes of the digital universe. An a-chronic plane of contradictions in which the spiritual and the machinic exist in a contrast that, instead of leading to mutual annihilation or subjugation, produces weird forms of life and uncanny forms of beauty. Like flowers sprouting from glitching fluxes of data transmissions, in the corrupted memory of a heavenly landscape. It is the vision of Italian (though London-based) musician and multidisciplinary artist Nicola Tirabasso, channeled through his usual musical avatar VISIO, a dimension he came in contact with while retreating in his native Sibillini Mountains in Marche, central Italy. A type of forced hermitage dictated by the global pandemic and whose idyllic premises were constantly unbalanced and contaminated by the constant presence of the digital world. But again, it is by means of this contrast that art is born. While channeling the magic, the fables and even the superstitions the locals have imbued the region with, Tirabasso developed them into audial spirits of electronic abstraction. A juxtaposition of mystic retreat and information-age alienation that, for some brief, ineffable and baffling moments, seemed to make him able to hear the angels. The album itself is a collection of digitally broken folk songs and logarithmic chants of praise. Acoustic instruments are broken down, replicated and re-materialization, while computer-generated ghosts and synthetic tones are allowed to exist and resonate in ancient spaces. Most of the actual recordings have been in fact made at desecrated XVI church in a town near Montappone, not far from the birth place of XX century painter Osvaldo Licini, whose influence echoes all throughout the region. Licini’s idiosyncratic mix of primitivism, futurism and orphic realism similarly echoes all throughout the record, with VISIO even paying tribute to his painting ‘Angelo Ribelle’ in titling one of the tracks. Collaborations made in person and through file-swaps have traversed the album’s conception and enrich its palette by presenting different versions of reality. Haunter co-founder Daniele Guerrini (Heith) co-produced every track with Tirabasso and gave a fundamental contribution to the album’s final form. Elsewhere, City and Kenichi Iwasa evoke their own privacy angels and let them dance with VISIO’s. Be it, in the depths of the earth or in the dissolution of a digital cloud, it is just as possible to (un)know the divine. Genre: Electronic / Experimental Listen: Track list: 1. Moonchild 2. Extasi Exile 3. Youth Grows Forever 4. Untitled X 5. Blessed Mystery 6. Years Of Silence 7. angelo ribelle

FLASH'S debut album is an unassuming hi-energy primitive punk breath of fresh air. Hailing from all over the Gipuzkoan coast their debut LP is far from being the members first rodeo, with too many bands and activities to bore you with. FLASH comes at you as a fully formed band who know what they want and know how to get it. Sonically FLASH takes equally from their local legends LA PERRERA, fuckwave visionary MOPO MOGO, the pop-edge hardcore of ZERO BOYS, and the weird punk to come out of the Midwest in the last few years to create a truly magic record without a second of filler. With lyrics sung in both Spanish and their basque fishing hometown slang their attitude comes across loud and clear. Monotony, authority, armies of has-beens, and conformist punks get a pounding, while self-doubt, anxiety, and an ode to our dear punk also get a lyric share. All-in-all eleven tracks of radical, critical, wild and humble timeless punk rock which will leave you wanting more with each play. FLASH LP was recorded and mixed by Aritz Aranburu who besides playing guitar and writing some of the lyrics also took care of the album design with mastering by Maxime Smadja. Genre: Alternative / Punk & Hardcore

Track list: 1. Nazkauta Nitxiok 2. Antitodo 3. Sentencia 4. Bihotz Gorrak 5. Ansiedad 6. Incontrolable 7. Saco De Arena 8. Mundua Neria Dek 9. Polizi Zikina 10. Herri Hau 11. Querido Punk

GREAT LOST ALBUM BY NC LEGEND SAM MOSS IS DISCOVERED, MIXED
FOR DELUXE RELEASE produced by Chris Stamey In Winston-Salem, NC,
guitarist Sam Moss is a legend - A superior, highly versatile musician
whose advocacy for the blues and mastery of the nuances of electric
blues-based soloing somewhat paralleled Mike Bloomfield's in Chicago,
Moss was an inspiring, charismatic mentor to generations of North
Carolina rockers, including Let's Active and The dB's
He was a larger- than- life character whose club appearances astounded local
audiences, yet he never released a record in his lifetime. So, producer Chris
Stamey was thrilled to discover, in 2020, on the end of an old tape, forgotten
masters of Blues Approved, a spectacular Stax- and Muscle Shoalsinfluenced
solo record, made with Mitch Easter in 1977.This "great lost" record reveals that
Moss was also a soulful songwriter and singer. It has now been carefully remixed
and produced for release, with a deluxe booklet featuring detailed liner notes and
bio, session notes by Easter, and lots of vivid color photos. Peter Holsapple (The
dB's) says, "Sam Moss was an inspiration to so many of us; with the release of
Blues Approved, people everywhere will understand why.
Mitch Easter of Let's Active recalls: "Sam wrote interesting songs that almost
always had a blues angle, but he brought in a lot of elements from elsewhere." But
the material then sat on the shelf, unreleased, as Moss opened a vintage guitar
store, selling internationally to rock stars and other celebrities for several
decades.
On July 30, 2021, the City of Winston-Salem honored Moss with a sidewalk star in
the city's Walk of Fame downtown.

Mando Diao is back on full effect having played all the major rock-festivals across Europe in summer 2022 including Southside and Novarock. Just before the summer-season they rolled out the first in a series of volumes with sizzling hot and high octane ROCK fresh of the studio. Vol 1 produced the radio-success "Frustration" that managed to climb all the way to No 2 at rock-radio in Germany. Now we are happy to announce Vol 2 to drop 23rd of September having parts of the band in Hamburg for an exclusive and personal 20 YEARS OF MANDO DIAO panel during Reeperbahn Festival. The lead-track "Primal Call" is a hippie-like sounding one that draws inspiration from Led Zeppelin and King Crimson, a much punkier version. No logic whatsoever in the changes throughout the track but hey, that's how the band likes it. Full of surprises. As if the producer was a total lunatic out of control. "Fire in the hall" is a short, intense song written by Björn and Jens. Once again, a blend of primitive rock'n'roll feel and electronics. For example, the drums are based on samples of Patso's drumming. The lyrics are simple and almost trivial, with a "La Vida Loca" vibe: start a great fire, for yourself and others. Most things can be solved with a cleansing dance - both in reality and in lyrics. "If you write the lyrics together with someone, it's easier to avoid becoming pretentious and over-analytical," they summarize. Finally, "Charlie", about their current producer (Charlie Storm). One of the greatest there is having worked with so many big releases (Roxette, In Flames, Hurl etc). At least partly. They were excited about him and felt that he deserved a song. Or maybe they didn't have anything else to write about. Everyone had different inputs, but it ended up being a pure rock'n'roll song. And a real banger.

Driving electro tracks by Detroit Grand Pubahs and UR member Bileebob. Comes with a solid acid infused Derek Plaslaiko remix. "Bileebob was living in the lofts at 1217 Griswold when I first met him, this is one of the seminal places that the post Music Institute Detroit scene grew out of. People who lived there performed or threw parties in their lofts for rent money, other people living at 1217 included Buzz Goree, the founders of Paxahau, De3n System. Bileebob's an amazing and unique part of the Detroit scene, having created music and art for years, performing locally and internationally as a member of the Detroit Grand Pubahs and UR, releasing on Underground Resistance, and had a regular zine for so many years. When he sent us the promo for "Star Cross" from his personal Bandcamp page, we loved it, and for the second No Way Back stream both BMG & Derek ended up playing it. We just loved the song, so we asked him if we could give it the full release, and we had Derek Plaslaiko remix it. We've included an unreleased amazing tough electro mix of "Network", a song currently on his Bandcamp page. Digitally we've included another more raw mix of "Network" and an after the after party 1217 kind of comedown jam "Club Kid Up All Night"."

2022 Repress

LP+MP3 - Carefully ReEdited, 100% Original

Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.
Special remarks : LP with digital download card

Lady of Mine is the 1989 debut LP by self-made Italian-American Joe Tossini. An astoundingly honest, passionate record of cosmopolitan lounge music, he willed this charming suburban oddity into existence without any formal musical training.

Sicilian by birth, Tossini drifted around the world between Italy, Germany and Canada, before finally settling in New Jersey. After the passing of his mother and the breakdown of a second marriage, an anxious and depressed Tossini took to songwriting as a form of therapy, crafting disarmingly candid lyrics from his extraordinary life and loves. Whatever industry savvy or musical virtuosity he lacked was made up for by unflinching resourcefulness and infectious charisma. Befriending bandleader Peppino Lattanzi at local club The Rickshaw Inn, he was encouraged to animate his singular songs with an ambitious cast of 9 players and 5 backing vocalists, sincerely credited as his Friends.

The Atlantic City basement sessions are a low budget, high romance testament to Tossini's character and the power of positive thinking. From the defiant, Casiotone samba of If I Should Fall In Love, to Wild Dream's dizzying escapism and the native tongue croons of Sulla Luna and Sincerita, Lady Of Mine hums with the inimitable magic of a true original. Piercing the heart with an effectively sparse combination of humming keys, CompuRhythm drums, horn flourishes and backing divas, ample room was left for Tossini to frankly deliver his much-needed life lessons.

Underperforming commercially at the hands of short lived label IEA Records, Lady Of Mine has since earned a place in the outsider music canon. Recently peaking interest as a cornerstone of the Sky Girl compilation, the private press trades for inordinate sums, typically with no financial benefit to its creator. Lady Of Mine is now finally reissued on the artist's own terms via Joe Tossini Music, in partnership with Efficient Space, restored from original master tapes with unseen photos, extensive liner notes and Tossini's trademark wisdom.

Devoutly independent, Tossini has previously self-released the 2015 instrumental album When You Love Someone as well as two books - a new fiction novel The Devil In White and his autobiography The Account of My Life.

Clear Vinyl

Laila Sakini and Lucy Van’s sought after 2017 EP Figures resurfaces on a newly expanded and remastered edition, deploying taut poetry and creeping electro-pulses for an alchemical suite of slowly encroaching trip hop x dub-pop.

Long before releasing her slow-burn classic ‘Vivienne’ and last year’s compelling Princess Diana of Wales album, Laila Sakini was at work with acclaimed poet Lucy Van for an impromptu session for a local noise and spoken word night in Naarm, Australia. Those initial ideas marinated and eventually resulted in ‘Figures’ - an EP that was originally released on tape via Purely Physical Teeny Tapes, offseting Sakini’s minimal production against Van’s text, spoken in a carefully enunciated dialect lifted and wrapped around Sakini’s nocturnes. It’s the sort of thing that reminds us of Tin Man & Rashad Becker’s ‘Wasteland’ sessions, fused with the spirit of the contemporary Naarm/Melbourne scene.

For all those references, Sakini and Van’s songs are displaced from the contemporary wellspring too. The dusky blue waltz of opener ‘Those Who See’ comes off like a lighter Leslie Winer or melodic, early AFX, as Van dryly intones “...all my enemies in an orgy, of IQ to body ratio,” while ‘Deep End’ sees them nudge into more claustrophobic introspection, before shoring up a dank sort of trip hop sleaze with the title song, slithering with a similar energy to early 90’s Autechre as the narration echoes to a blur.

The three previously unreleased songs flesh out the release into the full album it always should have been, cut of equally rare, hand-spun fabric. With its post-Sleng Teng B-line and noctilucent chords, ‘What You Need’ feels like an Eski rhythmic bump accompanied by sub-aquatic synth bass, and the opalescent, gumtree-shaking shimmer ‘Rough Desires’ secretes its intimations with an absorbingly hypnagogic slow-burn that pools into the perfect curtain closer; ‘Trees Make Me High’.

France is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.

The pertinency of the recordings only slowly appear On Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.

The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.

In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditionnal-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originaly wanted to have Acid Mother's Temple join the bill. The japanese band had done versions of songs coming from their village (eg. "La Nòvia") but weren't touring near France so instead they invited Duo Ancelin Rouzier as the third act, a band both Artus and France were also very fond of.

Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the Pau" album in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. The Occitanie Lp is the recording of the live set later that night, with no cut and a longer, more savage performance.

In the year 2909, the first naturally-born human is found with endogenous AI code built into its DNA. As we cross into the 31st century, all living humans are controlled by a decentralized master AI known as MINDFRAME: The system has access to all of human consciousness with the ability to store and manipulate the data of every interaction and thought — even operating within your subconscious mind. It becomes impossible to know when or how you’re being controlled.

During each sleep cycle, our behaviors and memories are reformatted to align with MINDFRAMES control and order programming. Some have discovered that during these cycles, there are parts of the AI’s algorithm left exposed to extraction. Through meditative states, gifted cyber-shamans are now on a mission to reverse engineer enough of the AI to escape its grip and free us all.

FRANCOIS DILLINGER (Ben Worden) glides between the two worlds of electro and techno. His journey through the genres is dark while retaining a cerebral, dancefloor-oriented quality. This stems from influences of Industrial, Detroit’s rich history of electro, minimal techno, and even Ghettotech. In the studio, he uses primarily all external hardware and modular gear, utilizing Ableton for final arrangements and editing. His Live & DJ sets lean heavily into the generation of hypnotic loops, creating long protracted mixes between elements to form an unshakeable tension.

While he grew up an hour east of the Motor City, his musical roots were firmly planted there – taking hold over decades worth of defining moments in sound. As a fan, former promoter, and DJ he’s been a part of the Detroit scene for over 20 years, having lived there multiple different times. Currently, he also works with local Detroit label Infolines to manage branding and art direction alongside his wife, Ashely.

Prior to the MINDFRAME: CYCLES LP, he had released a track on SPEC-017’s VA release, and will feature a remix on an upcoming Specimen Records project as well. Early in 2021, his second album was released on Diffuse Reality featuring remixes from Keith Tucker/K1, Detroit’s Filthiest, and Squaric. Upcoming releases from DILLINGER include a variety of collaborative projects — Machine Men EP with Lloyd Stellar on LDI Records, an LP with Cyphon and Obzerv, and a number of VA releases with artists like RXMode (via Pareidolia Recordings), CYBEREIGN (via Science Cult), ADMN (via Infolines) and others. Look for other releases coming soon on Noise To Meet You, Roulette Rekordz, and Syntek Industries.

His previous releases have landed on Blind Allies, Natural Sciences, Dionysian Mysteries, Ukonx Recordings, Fanzine Records, and ZwaarteKracht—as well as a debut album on Narrow Gauge, ‘Chasing the Red’. Support for his music has come from the likes of Richie Hawtin, Dave Clarke, Jensen Interceptor, UMWELT, and others.

ITWVA001 was born as the first deep collection of House Music. This collection was entirely produced by young and talented Italian artists. Italian Weapons are always looking for sounds from the Italian house scene, allowing their artists to travel back to these golden age sounds.

ITWVA001 Includes 5 tracks carefully selected by the Italian Weapons label. Owned by Niccolo Turini and Gunther Mian. These tracks were mastered by Michele Mucci of Nachtkerzestudio Berlin. The first various artist ranges through all the nuances of Italian house music produced by artists located throughout the country and beyond.

The first round of artists includes Matteo Mangano aka; James Brucke, Heat Alliance, Gunther Mian & Niccolo Turini aka; Funksonik, Samuele de Santis, and Sandro Pandullo

If someone would have told me years ago, when I started the label, that one day I would be releasing music by Ernesto Djédjé, the king of Ziglibithy himself, I would have personally driven them to the closest psychiatric institute such is the magnitude of the artist and his iconic tune “Zighlibitiens”.

The star of Ernesto Djédjé started rising in the late 60s, when he became the guitar player and leader of Ivoiro Star, founded by Amédée Pierre, star of Dopé, the leading musical style at the time. Annoyed by the “congolisation” of the Ivorian music that was taking place within the band, Ernesto left the group and emigrated to Paris in 1968 to record his first few singles arranged by Manu Dibango and influenced by Soul, Rhythm & Blues and Jerk. Those recordings reflect the musical mood at that time which was dictated by two musical trends within the Ivoirian scene: Traditional music, embodied amongst others by Amédée Pierre on one hand and imported music from the States, Cameroon and Zaïre on the other. And while the first trend was generally neglected, the youth fully embraced the second and as a result bands such as „Les Black Devils“, „Djinn-Music“, „Bozambo”, “Jimmy Hyacinthe”, shot to stardom overnight by recording mainly funk and disco music. It is within this context that Ernesto would draw the inspiration for a future formula.

Returning to Côte d‘Ivoire in 1974 Ernesto began looking for like minded musicians to form the mighty “Ziglibithiens”. Diabo Steck (drums), Bamba Yang (keyboards & Guitar), Léon Sina (Guitar) and Assalé Best (chef d´orchestre and Saxophon) would become the core of the group and together with Ernesto they began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music.
Ernesto Djédjé died in mysterious circumstances on June 9th, 1983 - at the age of 35 - shocking the whole Ivorian nation. And although the end came abruptly, it didn’t come soon enough, and Ernesto had time - within 5 albums - to cement his legacy as one of the most innovative artists the Ivory Coast ever produced.

The song Zighlibitiens, brought to Colombia by an aeronautical mechanic in the early 1980, would become a huge hit on the Caribbean Coast. Renamed “El Tigre” by locals soundsystem operators - certainly due to the Badmos logo - that particular song would reach legendary status in Barranquilla and Cartagena. Setting fire to uncountable local parties, it has become one of the most sought-after Album in that part of the world. And so, while Ziglibithy has mostly disappeared from the airwaves of its country of birth, on the other side of the Atlantic, its fire continues to shine bright.

Limited edition picture disc in full colour printed sleeve

Covered In Stars featuring members of Luna, Spacemen 3, Slowdive, Spectrum, Add N To (X), The Vacant Lots, Spiritualized, Slipstream and more.

This is a wonderfully colourful, beautiful fun and powerfully transcendent album by Fuxa, Featuring driving drum machines, gritty fuzz bitten guitars on The Sun Is Shining and Mary, 80's neon midnight post-punk disco grooves on Shadazz and perfectly blissed out floating in space vibes (Help Me Please and Cluster Fuxa). The synths shimmer and elevate, guitars attack and sparkle and the vocals deliver dark romanticism which evoke often David Cronenberg inspired fantasies such as photographs of car crashes, crushes on perfect strangers and unknown futures. 
 - Simon Scott (Slowdive)


Fuxa returns in 2022 with a new album  'Covered In Stars'
 
Eight new songs and several years in the making, of what can best be described as a full on sonic explosion. Mixing space-rock elements, krautrock rhythms, punchy beats and swirling electronic sweeps and beeps that would make for a perfect soundtrack for any warp speed travelling cosmonauts with phasers set to fun!!
 
For the past 25 years Fuxa front man Randall Nieman has no doubt been on a cosmic journey in sound and space. from his early beginnings a part of Detroit locals Windy and Carl as a guitarist/synth player, running and releasing close to 100 releases on his own label Mind Expansion, to later joining Sonic Boom's (Spacemen 3) group Spectrum for close to a decade. Performing the songs that Spacemen taught him touring across North America and Europe as well as recording and releasing several releases with Sonic under the Spectrum moniker. 
Randall has since worked with and released numerous amounts of material with the likes of Martin Rev (Suicide), The Telescopes and Dean and Britta (Luna) to name a few.
 
It is no surprise that Randall would once again build this new album with friends that he became close to over the years musically and there's certainly no shortage of indie royalty star power on this album
 
Produced by Randall Nieman, Richard Formby and Stefan Persson.
Mastered by Simon Scott (Slowdive)
This album features guest appearances from Britta Phillips and Dean Wareham (Luna), Ann Shenton (Add N to (X)), Mark Refoy and Jonny Mattock (Spiritualized, Slipstream), Roger Brogan (Spectrum/Dean Wareham), Jared Artaud (Vacant Lots) and more! Each adding an unmistakable and timeless element that Fuxa's core members have created. 
It would be hard not to notice the sheer aesthetic glory of this release as once again Randall has chosen the amazing James Marsh (most would remember him as the phenomenal artist responsible for all the Talk Talk albums over the years. His artwork is not only featured on the jacket but on both sides of the limited edition picture disc vinyl.
Covered in stars is a celebration of 25 years of music and friendships made along the way. 

Ladies and gentlemen, welcome to the Fuxa! 

The Brattleboro, Vermont trio THUS LOVE stand together, a bond cemented by their experience as outsiders looking in. For THUS LOVE, DIY is an ethos that reflects not only their musical vision but their very existence as three self-identifying trans artists. From the band’s inception, Echo Mars (she/her), Lu Racine (he/him) and Nathaniel van Osdol (they/them) have lived together under the same roof, designed and produced their own merch, and created their own recording studio from scratch. “I realize that most artists don’t live this way,” says Mars. “But for us, it was never really a choice. The art we make is so tied to who we are and the community we’re a part of, that this is the only way we can possibly do it.”

The band was just starting to regularly headline renowned local venue The Stone Church when everything came to a screeching halt. Rather than idly wait, the band decided to take their future in their own hands. Armed with nothing but YouTube videos and her

innate curiosity, Mars constructed a makeshift studio in their apartment, recording during odd hours when their next-door neighbors were out and about.

Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem. Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album. The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.” On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work. ‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve. Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy-nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.

This autumn Ludwig A.F. aveils his first full-length album project.

It is a very personal collection of ten pieces inspired by a special location near his home in the Taunus region of Germany. He recorded the songs as soon as he returned to his studio, inspired by the atmosphere of the place. He has been collating the pieces over the course of almost a decade.

“Air“ is an atmospheric and ambiguous collection of music that at times is rhythm and sound design driven but mainly focuses on the home listener with its picturesque melodies and ambiances.

“Air” will be in stores digitally and physically on October 7th 2022.

Here at last is the reissue of the most sought-after track by French New Beat band French Theory. Originally released in 2008, this tribute to Boccacio (the revered temple of New Beat and EBM, located in Belgium) struck at the heart of the movement’s soul. It quickly gained cult status for its gloomy atmosphere, heavy industrial beats and catchy melodies that propelled the classic New Beat sound into the 21st century.

Out of print since then, it’s back in a limited edition, with the added energy of a powerful remaster by cult techno and acid master Thomas P. Heckmann (Trope, Drax, etc.), plus a brand new diversion exclusive to this vinyl on the flip. Get ready to wave the white glove again, and get lost in the music!

French theory is the New Beat alias of Guillaume U. Chifflot, one of the few French techno veterans in the New Beat & Techno-house genre, who started releasing tracks in the early 90s on his own multimedia label n9. Relaunched in the mid-2000s, the label releases techno and electronica, while pioneering an upgrade of New Beat in the wake of the Techno Body Music movement.

For Tokyo-born Melbourne-based artist Elle Shimada, the concept of home is ever changing. In fact, it’s the current which flows through her debut album, HOME LOCATION. HOME LOCATION, out on seminal label The Jazz Diaries, is the product of several years of tinkering, culminating in a wholly unique project. ‘HOME is multiple, complex, shapeless. ... Home is in music, a space to share it with you’, Shimada sings on the album opener.

Lithe and loose, marrying incisive political commentary with deep
introspection, HOME LOCATION certifies that Shimada is Australia’s next bright talent. Across eight dizzying tracks which flow from lean, skittish skeletal beats upon which Shimada’s climbs to agile blends of house, bass and candied keys, the album nestles in the subconscious long after the first listen.

restock

Remastered deluxe edition of "_Interval" by AUTiSM. The album is rich in methods, approaches, and emotions. Samples, constructed voices, chopped and clear vocals organically get along with each other — it’s easy to forget that this is primarily an instrumental electronic album. Very visual, song-like tracks swing between shade and light, melancholy and determination. Constructed mostly from bits and pieces coming from diverse digital sources, the album sounds amazingly human and emotional. Hardware and software units, field recordings from multiple world locations, found samples, stock sites discoveries, and on-the-go phone experiments weave a web of visions, dreams, and revelations.

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

Tresor Records are proud to reveal the outcome of a new collaboration between two of techno music's most remarkable artists, Maedon and Adam X. The Lion & The Ram is a unique and exciting hybrid of industrial, rave, and hypnotic techno sounds. This LP marks the full debut for both artists on Tresor Records, with Adam X having appeared for a remix of Neil Landstrumm in 1997. Both Berlin-based, Maedon and Adam X have worked tirelessly over the forced Lockdowns, finding a kindred spirit in locating and sculpting the most badass kick. This album is undoubtedly an impressive representation of the range of kick drum synthesis, from thunderous impacts to carefully tuned pulses.
The duo's competitiveness over kick drums has led to a masterpiece of mesmerising techno. Across the thumping drums and sparse, mechanical soundscapes,
every track on the album follows a journey into the dark and unknown.
Tracks grow with increasing power sourced from dystopian samples, such as Human Replacements, "people are being duplicated, there is something missing". It reflects the stifled time we all spent, haunted by uncertainty, cooped up and seeking expression. Corrupt Pigs emphasises this with the refrain, "welcome to the land of fuck". Crunching bass and rusty percussions gather as a herd, like a rallying call to signify that, at last, we may let loose. With its unrepentant rhythms and ruthlessly brutal sound design, The Lion & The Ram discharges Maedon and Adam X into daring new terrain.

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music. One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record. Officially reissued for the first time. By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record "Olvídate" set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968. In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company's name was included in the title of the record. For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix "El maravilloso mundo de Ingeson", It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding_ Although it's often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism. Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels' verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations. Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure_ "El maravilloso mundo de Ingesón" is one of the most brilliantly whacked-out psych LPs to emerge from South America.

New Orleans-based singer-songwriter Julie Odell announces her new album Autumn Eve, out September 30th via tastemaker label Frenchkiss Records (Local Natives, Passion Pit, The Drums). Lead single Cardinal Feather is a quicksilver ripper, with both a graceful, silky patience and fiery rock motor. The accompanying video finds Odell lakeside in swampy Louisiana, shot from sunrise to dusk in the lush environment under swarms of mosquitoes. “We found the beauty in the chaos, much like finding peace beyond anxiety and depression.” says Odell.

Deluxe Edition

We’re proud to present an extravagant 51st anniversary edition of Wigwam’s game-changing prog rock classic Fairyport. What began as a projected 50th anniversary release turned into a 51st due to the current manufacturing queues for vinyl. To create the anniversary package we teamed up with Jukka Gustavson and went through a plethora of material. Gustavson hand-picked the best possible bonus materials. The legendary jam Rave-up For The Roadies, featuring Jukka Tolonen, was located in its original 36 minute form. The truncated 17-minute version is the closing number of Fairyport, but here the full version received an entire LP. Most original reels to Fairyport are lost, but we salvaged a few demo session tapes plus some eight track reels of the album’s work-in-progress stage. Four tracks were chosen by Gustavson to be added here. It should be noted that the two album session tracks feature the original violin parts, which were left off the final product. All material was mixed from the original reels by Risto Hemmi at Finnvox. The box set also features a live LP. For this Gustavson picked material from a show the band played in Stockholm while working on the album’s demo sessions. There’s an earliest existing version of Losing Hold plus a 15-minute medley of several tracks. Also included is a 20-minute live set from the first ever Ruisrock in 1970, a couple of months before the band entered the studio. Here Wigwam perform three classics by The Band. The vinyl box set is limited to 1000 copies. All material has been remastered at Finnvox by Pauli Saastamoinen in 2022.

San Francisco band touches upon black metal, blues, ambient and more. Of all things, it’s laughter that pervades Mamaleek’s Diner Coffee, the San Francisco metal deconstructionists’ sonically crushing ode to the humor found within catastrophe, American diners, and “the little things.” Featuring a mix of live performances, samples, and field recordings, Diner Coffee laughs through its harsh songs in an attempt to reflect the camaraderie found at the heart of global calamities and changing personal situations. It’s an homage to the quotidian set to the backdrop of the mythologized, sanctuary-like properties of a diner, reveling in irony-less nostalgia. Mamaleek embodies this ethos on and off the record. Originally two anonymous brothers, the past few years have seen Mamaleek adding members and venturing into live performance. Diner Coffee, following in the footsteps of 2020’s Come & See, features new, unfamiliar, unknown voices—including expanded experiments with horns, woodwinds, and strings and a Bay Area-local blues harmonica player who improvised recorded selections during practices. The resulting tracks touch on signifiers from black metal, blues, ambient, and more. Diner Coffee simultaneously represents the band’s artistic progression and the state of the world. Taking a surprisingly optimistic perspective, Mamaleek once again puts forward a project of left-field, wholly unique compositions, eluding easy categorization and furthering their abstraction of genre. “The group cloaks its music in the kind of warm, hypnotic distortion that defines shoegaze, and underneath that haze is a style that’s conceptually abrasive yet altogether beautiful.” Forbes //

Tracklist 1 Libations to Sacred Clowns 2 Boiler Room 3 Badtimers 4 Save Your Poor Wicked Soul 5 Grief and a Headhunter's Rage 6 Wharf Rats in the Moonlight 7 Diner Coffee

For Fans Of...El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Deep, Hard Hitting Soul-Jazz Meets Dub Instrumental Analog Grooves For Your Psyche. In few words, Doctor Bionic can be described as Instrumental b-movie psych-hop. But that doesn't tell the whole story. Doctor Bionic is the brainchild of Cincinnati's Jason Grimes, formerly the producer of the hip-hop group MOOD (with emcees Main Flow & Donte). Having grown up in the Scribble Jam scene here in Cincy, and running in circles that included artists like Hi-Tek & Talib Kweli, Grimes' music has continued to evolve from sample-based loops, to live instrumentation with deep layering; provided by a revolving door of local musicians. The common thread in most Doctor Bionic tracks are the neck snapping drum breaks, but the tempo adjustments and varying instrumentation lends itself to a collection of non-genre specific songs - held together in unity by the flawless drums, often provided by Josiah Wolf (of indie-rock band Why?). The result of these recording sessions are a masterclass in musical juxtaposition. Spacious yet clustered. Futuristic nostalgia. Ideal for long car rides or setting the vibe during a laid back gathering of friends. Also Available From Doctor Bionic: The Invisible Hand LP. Tracks: 1.The Messengers 2. No Middle Ground 3. Purple Spark 4. Decades To Come 5. Shadows In The Sun 6. Snow Bird 7. In The Mirror 8. Dose Of Dank 9. The Things That We Love 10. History Lessons

Before New Zealand's Salad Boys, there was T54, also fronted by Joe
Sampson, joined by Matt Scobie on drums and Sam Hood on bass - T54
featured a visceral, sonic guitar sound, perhaps out of step with most of
the Flying Nun bands at the time
Joe describes T54 as being stuck in the wrong era somewhat yet enduring well in
NZ for those who bought the music and saw us live at the time. Originally
released in 2011, Ally is proud to bring you an expanded and remastered limited
vinyl edition of their first ep that also includes several demos and live tracks. Be
prepared to be wowed by this noisy three piece from Christchurch influenced by
classic NZ bands who also have three members (The Clean) or numbers in their
name (The 3Ds) -- like The Clean, The 3Ds, and other NZ greats, T54 will not
disappoint!
Tracks: Birds / Julie K / CR Model / Vehicle / Singer in Mouth / Death Drive / CR
Model / Life Is Swell / O Nina / Fred Gavin / Kill Red / Julie K / Le Snack / Choose
Your Own Ending / Localism / Soon I'll Be Nicking Speed Boats / House Music /
Julie's Last Wish / Nurse Jen / Christian Dale