Playlists 

Repress!

For their much anticipated second release 'Music From Memory' take you into the world of Italian musician Gigi Masin....TIP!
Part of only a small and very much underground music
scene in his hometown of Venice, Gigi Masin self released two modestly pressed LP's 'Wind' (1986) and 'Wind Collector' (1991) and appeared along side Charles Hayward for the Sub Rosa compilation LP "Les Nouvelles Musiques De Chambre Volume 2" (1988).

Having met with little commercial success in Italy at the time, Gigi Masin's solo albums remained for the most part totally unknown. His music has though in recent
years, and seemingly by pure word of mouth, developed almost something of a cult following.

Gigi Masin's uniquely intricate and at times deeply emotive compositions take the listener into a realm of contemplation, a spellbound mind state where time and space appear to dissolve. His sparse and hypnotic often loop-based compositions seem to draw parallels with Detroit Techno's earliest beginnings, all at once conjuring those same feelings of both melancholic longing and ecstatic joy.

The sign of a truly great artist is that you can put on one of their records from some 15 years ago, as well as one out next week, and not tell which is which. Mr Pittman is one of those - a Detroit flag bearer with a raw, otherworldly take on house and techno that always sounds futuristic. 'The Midwest Advocates Part One' first dropped back in 2007 and is being repressed now and is just as good as ever with ramshackle and dusty grooves, wonky synths and eerie textures all getting you into a trance and keeping you there. Both cuts on this are standouts in his impressive discography.

Jules Elipse from Paris, Tursio from Australia and Drowncast from West Coast US on the first in a series of collaborative releases.

Three flavours of jungle, from the raw late leanings of WBD to the jump up inspired Wanna Be and the more melodic vibe of Celestial Plain. Something for everyone, assuming everyone is a fan of jungle that sounds like it was made in the mid 90s.

It was less than a year ago that Italy-born but Denmark-based musical artist Alex Puddu released his latest album Deliria, an enticing blend of erotic disco, soulful grooves and electronica inspired by Italian pop music of the late 70s / early 80s, which went on to enjoy extended radio play across the globe including on BBC 6, NTS, KCRW, and national Spanish station Radio 3, to name a few.

But it wasn’t long thereafter that indefatigable groove purveyor Puddu travelled back to Rome for a new musical adventure, heading straight to The Sound Work Shop, the recording studio of legendary Italian composer Piero Umiliani, where he recorded the 10 new tracks that are included in his latest musical opus, Professione Reporter, another funky and soulful adult-oriented disco-pop album entirely sung by himself in Italian.

Professione Reporter tells the story of a photo reporter who travels the world following and stalking rich recently-widowed women whose husbands died in mysterious circumstances. Attracted by their charm and wealth, our protagonist transforms himself into a gigolo, becoming a dedicated lover-boy to these rich sugar mamas and a slave to the sweet life, going so far as to become an accomplice in their criminal plans to ensure the inheritance of their dead husbands.

Once again Alex Puddu has hit the mark with a collection of polished and ear-friendly grooves that tell the alluring story of a private eye embroiled in a web of love affairs, wealth and deceit, evoking images of satin sheets, champagne and dim lights set against the backdrop of one of the most hedonistic decades so far.

"Kindred spirits and loyal soldiers on the frontlines of the dub war Detroit's 2Lanes and Los Angeles' Cromie link up to present to the world, Destiny Cloud. With a project name inspired by a mystical vacant storefront in Cromie's neighborhood of Altadena (still standing after the fires, bless), the guys formed like a storm after being intro'd by a notorious LA promoter and hotboy producer matchmaker. Funnily enough, the first session was foiled by a missing cable, so it wasn't until the sexy summer of 2023 that the cloud seeds that went on to become Sun Phase/Moon Phase were planted. From the jump, their vision was lucid and their objective collective: lock in at the stu(s) to make the most jiggy, psychedelic, tripped out club shit they could muster. Fast forward to today, Destiny Cloud is proud to bring you the latest missive on 2Lanes' Auto Shop imprint.

On the A side, Sun Phase sets it off with searing stabs from the hands of session killer Ji Hoon on a heavenly Jupiter-8 (sorry not sorry, the real thing does sound better) before a bassline straight off the Adriatic's Argonaughty comes in to funk up the flow over a bed swung hi-hats and drum circle conga lines the Wickedest west coast house heads can appreciate (no hippy shit, but we ARE on Hipp-E's dick). A keep-it-simple-stupid *muah' organ line plays nice with a gang of embellishments to take this one through its duration (Joey pressed record and said "ooh-wah" into the vocoder; no lie, I was there). With his Toxic Love remix, NYC upstart DJ John Brooklyn injects the tune with the highest grade octane to up the revs. The aforementioned organ becomes a timeless trance lead, and new pipes are inserted reminding us all that house music is forever.

Day turns to night on the B Side with Moon Phase, where booming kicks let you know off the rip that this is some real deal late night trunk funk. We're talking dualities here y'all; Cromie's deep-as-the-Pacific bassline meets Joey's frozen-lake-cold Detroit stabs as the drums speak in tongues with those on the other side of the slab. Reverb ghosts and rhythmic acid have this one veering more psychedelic without losing the jiggy factor, while diving proggy synths will have the Global Underground saying, "yea this is our shit, for real." With a run time that allows for maximum fun time, the ambient outro gives you a kiss on the forehead to put that ass to sleep. The iconic DJ Miss Parker takes the wheel on the remix, taking this one straight down the Tunnel with new-school/true-school Tenaglia-isms that wouldn't sound out of place in 2000, 2005 or 2025.

Like all the work we do, this one's a team effort. Salar Ansari put's his deft touch on the mixdowns and Jack Anderson blesses the center of both sides of the disc. Out mid-May, just in time for when things start heating up

Kalita is excited to present the third volume in their groundbreaking ‘Borga Revolution!’ compilation series, exploring the revolutionary phenomenon of ‘Burger Highlife.’ This unique style fused West African melodies with synthesizers, disco, and boogie, a sound that took Ghanaian airwaves by storm in the 1980s and beyond. With previous volumes receiving strong support by tastemakers such as Gilles Peterson, Antal, Tom Ravenscroft, and Hunee, Volume 3 takes a deeper dive than ever before into the world of Ghanaian digital dance music. This volume features rare, sought-after tracks from artists including Obibini Takyi, Osei Banahene, and Okyerema Asante, as well as Burger Highlife trailblazers George Darko and Lee Dodou. Borga Revolution! Volume 3 offers a curated mix of standout anthems and rediscovered gems, many of which are otherwise nearly impossible to find, making this collection a must-have for fans and collectors alike.

The 1970s and 80s saw Ghanaian musicians begin to incorporate Western sounds like funk and disco into their music, reflecting the changing global musical landscape. However, the country's political instability and economic hardships, marked by military regimes and curfews, forced many artists to leave Ghana in search of better opportunities abroad. In Europe and the U.S., these musicians fused their traditional highlife roots with emerging digital sounds, using cutting-edge technology like the DX7 synthesizer and drum machines to create the genre now known as Burger Highlife. With ‘Borga Revolution!’ Kalita offers a vivid exposition of this musical transformation, using rare interviews, archival photos, and detailed liner notes to bring to life the pioneering spirit of both well-known icons and unsung innovators of Burger Highlife, one of West Africa’s most exciting musical movements.

NOW is proud to present the next instalment in our ongoing ‘Yearbook’ series, and the final one representing an individual year from the 1980s: NOW – Yearbook 1989. 78 tracks across 4CDs – celebrating a magnificent and eclectic year in pop! This release is available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 78 featured tracks. Also available as 42 tracks across 3LPs, pressed in stunning pink vinyl…celebrating a magnificent and eclectic year in pop!

The late great Sandeeno passed away just too soon as many other reggae artists. It is our great pleasure to reveal the song originally recorded a decade ago at the Backyard studio UK (at The Disciples' studio), and waiting for completion since then. Belgium’s top producer Martin De Ronne aka Unlisted Fanatic did his great job on production and mix, adding notes of Moonshine Horns and some guitar touches by Kingston Echo. The result is here for you on a crisp 7”45 vinyl disc.

The in demand breakbeat hardcore debut from the reclusive Synthasy. Engineered by Jezz Wright (the man behind the men behind Liquid’s Sweet Harmony and Lemon D’s Toxic Rhythms and Pursuit Of A Vision EPs) at Blockhouse Studios, a private press white label EP was self-distributed across London record shops and received additional exposure courtesy of Entity Records distribution arm. Growing demand warranted a subsequent full artwork label repress, but the record soon evaporated becoming the thing of legend, and now commands big money.

Haggerston-based production wizard Jeigo kicks off the year after a standout 2024 by serving his own label Fleurella Records' first release. For the occasion, he reissues his track 'Pearl Leaf' which sits in between the worlds of Bicep, Sasha and UKG. It has floating pads and airy, organic beats that carry you away on a melancholic mood with deeply buried vocals adding a blurry, heart-tugging hook. On the flip are two new and unheard jams. 'Headpains' is full of a flurry of breaks but is also laden with introspective emotion in the vocals and chords and 'The Days You Were Here' is a more downtempo cut with shimmering pads, pitched-up vocals and languid bass.

Rinse France branches out with a brand new label of its own and who better to inaugurate it than Paris-based Beatrice M. The producer makes a knowing nod to dubstep's golden era on this debut with the first version of 'Magic.' It is built on steppy rhythms with seriously wobbling basslines that are all-consuming. Glitchy effects and shimmering synths finish it in style and leave you dreaming of dubstep dances gone by. The B-side is a Techno Mix that reimagines the original with a driving four-on-the-floor rhythm and plenty of richly atmospheric pads.

This latest Unxpozd release has taken a hot minute to arrive but it's been worth the wait, because once again DJ Aakmael shows off his deep house class. '6minutes' kicks off with the sort of whimsical late-night chords that soon get you dreaming as the loveably lazy grooves slouch on. 'Just A Track pt. 8' shows Aakmael's sample skills as he chops up the sounds with some nice jazzy keys. You won't find a groove more lush and smooth than the gently cosmic 'Track 123' while 'Autumn' is perfectly stripped back to chunky kicks, slowly ascending chords and a hint of Kerri Chandler soul with a gospel vocal hook.

The hand-stamped whitelabel series on Swedish label Aniara continues with a debut by Skudge: bringing a class high energy club workout. On the flip is mainstay Dorisburg with a deep tripper from the vault.

NON EXCL LP , Black Vinyl

The Soulful Trio, a band from Barcelona made up of three musicians with an international background (Spain, Holland, Argentina, USA, France) after playing their repertoire live in different venues for several months, with their songs well shot, have decided to record "Said & Done", in one of the best studios of Barcelona, nine original compositions of Soul-Jazz with derivations towards funk and blues.

Music reminiscent of the classics of the Hammond B3 organ trio such as Jimmy Smith, Jack McDuff, Lonnie Smith, Richard “Groove” Holmes or Big John Patton, reinventing the sound and bringing it closer to today with their vibrant fusion of genres full of energy.

Enjoy this instrumental Soul-Jazz album with these young veterans Homero Tolosa (drums), Pablo Sánchez (guitar) and Lucas Herrera Fernández (Hammond B3) in all their splendor with their respective instruments including the exciting & dynamic sounds of the Hammond B3, the great electric guitar groove of solos and huge variety of rhythms, playing a music that is always intense and made from their hearts.

When we did the first ever vinyl reissue of this 1972 masterpiece back in 2012 it sold out so fast and so many lost the chance to grab a copy has translated into continuous messages asking us to do a repressing of this marvel - which we did and, again, it sold like hot bread. So here is a new edition of this UK jazz masterpiece, this time with a twist :

- Silk-screened cover art : we respect the original design, but have upgraded the printing from regular offset to silk screen to give it an artistic touch!

- In adition to the limited black vinyl edition (400 copies), we offer an ultra limited clear vinyl version (100 copies-only!)

One of the big names in UK Jazz, Neil Ardley was offered the leadership of the seminal New Jazz Orchestra in 1964. Under his direction the Orchestra moved though different styles and changes of personnel, bringing in musicians such as Mike Gibbs (trombone), Harry Beckett andHenry Lowther (trumpets) or even Jack Bruce (bass), some of them also contributed with the writing of some original compositions, making the NJO the root from which the UK's 70's jazz scene was to blossom.

By 1972 the NJO was already defunct, but his legacy remained in the works of its members. Ardley's 'A Symphony Of Amaranths' is a perfect example of what was boiling in the UK jazz scene. It was Ardleys tribute to his idols Duke Ellington and Gil Evans, and featured the skills of some great musicians of the scene including Don Rendell,Stan Tracey, Henry Lowther, Harry Beckett, Jeff Clyne & Jon Hiseman. Side B is inspired by the words of Edward Lear, W. B. Yeats, James Joyce and Lewis Carroll that are musicated by Ardley and feature, among other highlights, Ivor Cutler's narration of 'The Dong With A Luminous Nose' and Norma Winstone's vocals on 'Will You Walk A Little Faster'.



Musicians that participated in the recording session :

- Derek Watkins, Nigel Carter, Henry Lowther, Harold Beckett (trumpets)
- Derek Wadsworth, Ray Premru (trombones)
- Dick Hart (tuba)
- Barbara Thompson, Dave Gelly, Don Rendell, Dick Heckstall-Smith (woodwind, saxes)
- John Clementson (oboe)
- Bunny Gould (bassoon)
- Dave Gelly (glockenspiel)
- Neil Ardley (prepared piano)
- David Snell, Sidonie Goossens (harp)
- Stan Tracey (piano, celeste)
- Karl Jenkins (electric piano)
- Alan Branscombe (harpsichord)
- Frank Ricotti (vibraphone, percussion)
- Chris Laurence, Jeff Clyne (bass)
- Jon Hiseman (drums, percussion)
- Eric Gruenberg, Jack Rothstein, Kelly Isaacs (violin)
- Ken Essex (viola)
- Charles Tunnell, Francis Gabarro (cello)
- Ivor Cutler (narrator)
- Norma Winstone (vocal)
- Jack Rothstein, Neil Ardley (conductors)

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

The Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.

Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.

ULTRA RARE OUTER SPACE PRIVATE PRESS!

RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...

The Last Question is the first album by electronics master Tim Clark. It collects his early works, when he was the Music Director of the Strasenburgh Planetarium in Rochester, N.Y. These tunes were the soundtrack to the planetarium’s adaptation of Isaac Asimov’s The Last Question short stoy. The idea was conceived by Von Del Chamberlain, director of teh Abrams Planetarium, and was taken to fruition in a joint venture bewtween the Abrams and Strasenbergh Planetariums, were the shows were premiered in 1972.

Clark composed and produced the works in the Strasenberg Planetarium’s own sound studio, equipped with three Ampex 440 recorders, a 4-channel mixing board with 18 inputs and a Moog Synthesizer. The album was released as a private pressing in 1973 and it has since become an elusive collector’s piece among electronic music afficionados. Comes with remastered sound and straight reproduction of the original artwork.

ULTRA RARE OUTER SPACE PRIVATE PRESS!

RIYL : Tonto’s Expanding Head Band, Iasos, Peter Davidson, Michael Stearns, Steve Roach...

If this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

If this LP exists it is thanks to the vision, energies, work and perseverance of Thomas M. Lopez, aka Meatball Fulton. He is the president and one of the founding members of the ZBS Foundation (ZBS stands for Zero Bullshit), where the audio dramas written by Lopez himself were born. Dramatic programs with stories that blended noir, comedy and science-fiction genres such as Ruby The Galactic Gumshoe or Jack Flanders were produced to critic and public acclaim. It was in Ruby The Galactic Gumshoe that the Android Sisters, who would later have their own spin-off series, first appeared. The characters represent two robotic siblings that Tom Lopez created under big influence from Do Androids Dream of Electric Sheep?, the Philip K. Dick novel that was taken to cinema by Ridley Scott in Blade Runner. The Androids were performed by actresses Ruth Maleczech and Valeria Wasilewski.



The big success of these “cosmic and comic” sci-fi series, as they are described in the ZBS Foundations website, led to the releasing of cassette tapes, CDs, USBs and podcasting of the stories. Along with these, several music albums were also released in different formats. One of them is Songs Of Electric Despair, the first of two released by the Android Sisters. The songs contained are written by Tom Lopez and his long time collaborator experimental musician Tim Clark.



The Android Sisters Songs Of Electronic Despair LP was originally released as a ZBS Foundation cassette and also as a vinyl LP on Vanguard in 1984. It featured 11 compositions (two bonus tracks not on the original LP have been added to the Wah Wah reissue) on which the experimental synthesizer music of Tim Clark finds a perfect counterpoint in the deliciously surrealistic, cosmic social satire of Tom Lopez’s texts, magically performed by the robotic, yet sensual voices of the Android Sisters as performed by Maleczech and Wasilewski. Clark composed and performed the backing tracks on the Synclavier II synthesizer.



The Wah Wah reissue comes with two bonus tracks not on the original 1984 LP, respects the beautiful original album artwork and enhances it with a 4 pages full colour insert with notes and lyrics of the songs.



BARBARELLA MEETS PHILLIP K. DICK!



RIYL : SYNTH POP CYBERPUNK with DEVO’s sense of humor, LOGIC SYSTEM, FRANK CHICKENS or even some 1990s things to come such as LIKE A TIM or ARPANET.

ULTRA LIMITED EDITION - Cassette/Tape - Consits of 4 DIFFERENT ARTWORKS (BUY, OBEY, WATCH TV, SLEEP) - NO REPRESS!

FULL soundtrack of John Carpenter's cult sci-fi/action/horror cult film They Live (1988) in never released on vinyl before expanded edition from legendary composer Alan Howarth.

Blues riffs surf on ambient synth, saxophone and harmonica mingle with sparse alien electronics and abstract soundscapes - Alan Howarth's score perfectly matches the eerie paranoid urban Western meets corporate sci fi vibe of John Carpenter's iconic movie.

This version, officially licensed from Alan Howarth, includes all 29 tracks from the soundtrack - the true complete music scores of They Live!

Points of interests

- For fans of soundtracks, horror, cult, sci fi, synth, Western, VHS, John Carpenter, bubble gum, conspiracies, cowboy boots, sunglasses, very rare editions of vinyl records.

- Full EXPANDED version of the They Live soundtrack on vinyl for the first time!

Slowly yet firmly blooming into focus, An Unfinished Rose is the new album from Australian duo Troth.

This is their first since relocating to Hobart, Tasmania and their introduction to Night School Records. With a detailed web of past releases on labels A Colourful Storm, Mammas Mysteriska Jukebox, Knekelhuis and Bowman’s own Altered States Tapes imprint, An Unfinished Rose is the group’s most realised and composed work thus far. While still drawing on the improvisatory and DIY practices that informed Troth’s beginnings, it points to a new incarnation of the duo’s music; an intentional language emerging from the fog of obfuscation and mists of uncertainty.

Over these 9 meditations on change, acceptance, renewal and rebirth, An Unfinished Rose finds Amelia Besseny and Cooper Bowman peeling back some of the roughhewn architecture that defined their earlier releases to reveal a masterful - if auto-didactic - use of space and melody. Composition and improvisation compliment and feed each other throughout, with locked-loop earworms providing the springboard for lines of clarinet or synth melody, and the negative space between chord clusters giving ample room for Besseny’s most confident vocal performances to date. Shaving off a little of the defining dissonance and tape compression of old reveals Troth’s music in radiant daylight, humbly accepting of its place in the world while yearning for better, more sympathetic modes of living. Leaning more heavily on acoustic instrumentation and post-production processes than previously, the result is a transcendent body of work infused with an almost zen-like presence.

Troth’s music exists in the border between forming and becoming, its goal to project a kind of preternatural beauty, leaving interpretation open to the listener. Field recordings, happenstance and improvisation may provide seeds for the duo’s compositions, particularly on Side A, but there is a deft touch of songcraft on show. Loam Loom Leaf Litter opens An Unfinished Rose, directly referencing natural cycles of life, death and regeneration, before the blissed-out drum machine groove of Gold Plum continues a discussion concerning the totality of nature and one’s place in it. Besseny’s vocal, swelling like an ocean churn in duet with itself is adorned with synthesised harp and a revolving synth pattern, conjuring plumes of medieval smoke. Thistle’s rounded, bass-heavy drums, nodding to the vast echo of dub, is a relatively new terrain for Troth. It’s propulsive and thumping, pulsing with a meaning and symbolism consistent with Troth’s past work, referenced overtly in Bessey’s lyrics - “Say it too much and it loses its meaning…”. Similarly, the sprawling modern-classical suite, Tides Reflected In Her Eyes, is intentional in its lyrical themes while traversing new ground, revelling in layers of bowed cello and vocal intonations. Side B’s 4 tracks feel like Troth’s most thoroughly accessible and affecting music to date. Leaning into their own detoured version of Synth Pop, Cocoonist explores downtempoisms via a crunchy low frequency synth, and dream-like, fuzzy trip-hop modalities, not unlike Besseny and Bowman’s other group, Th Blisks. Following on, Myrtle Mystes is an open and searching DIY pop song, forged out of drum machine, bass guitar and cello. (An) Unfinished Rose’s title-track is a clear stand-out, built upon an evocative rhythm sample that appears to change emotional resonance with each undulating repetition. Its cascading waves of affect, interjected with a subtle breeze of synth, bowed instrumentation and soaring, densely-layered vocals.

An Unfinished Rose is enveloping, warm, forgiving. Difficult, yet retaining a unique beauty. Troth’s music aims to celebrate the duo;s shared experiences of being in the world, despite the complexity often surrounding us all. Theirs is a message of hope and perseverance, learning and patience.

One of the most outstanding Bossa Disco Jazz productions from West Germany at the beginning of the 80s! This masterpiece captivate with their stylistic perfection and journey from brazilian Bossa Nova to Jazz with a boogieesque Disco influence. Its still on of the most DJ spinned Bossa Jazz dancefloor tunes from W.-Germany in the last 30 years!

The two highly talented, creative and sensitive artists Judy (Jude Enxuto) and Ximo (Ximo Gregorio) had lived in Germany since 1980 and performing in several clubs, small art stages and festivals.
In 1982 they recorded their Debut album "Via Brasil" in Frankfurt am Main. It was released in the same year by the small private record label called Rillenschlange. In the meantime coveted by music lovers, collected by vinyl connoisseurs and and happy to play in DJ sets, the great composition of the Brazilian Izio Gross will be an absolute Evergreen and catchy tune remain. This music production is one of the most essential productions of this genres from West Germany and has more than earned its place on the Sound Essence label. An absolute groovy Bossa Jazz Trip and Tip!

Der Grammy-nominierte Hitmaker Benson Boone hat die Veröffentlichung seines neuen Albums „American Heart“ für den 20. Juni angekündigt. Erste Einblicke in „American Heart“ geben die Singles „Sorry I’m Here For Someone Else“ (aktuell #3 der deutschen Airplay Charts) und die neue Single 'Mystical Magical', die ebenfalls rasant in den Radiocharts aufsteigt. Nach seinem spektakulären Auftritt beim Coachella-Festival Mitte April 2025 freuen wir uns hierzulande auf die Performance beim Lollapalooza Berlin am 13. Juli.Sein größter Erfolg, „Beautiful Things“, war 2024 der weltweit meistgestreamte Song und brachte Boone den IFPI Global Single Award ein. Der Track erreichte über 2 Milliarden Streams auf Spotify, insgesamt fast 4 Milliarden & hielt sich in Deutschland fünf Wochen auf Platz 1 der Charts. Nachdem er im vergangenen Sommer im Vorprogramm von Taylor Swifts ERAS-Tour im Londoner Wembley-Stadion auftrat und mit Lana Del Rey beim Hangout Festival spielte, blickt Benson Boone auf ein weiteres ereignisreiches Jahr voraus. Mit dem bevorstehenden Album „American Heart“, neuen Tourdaten und Auftritten auf renommierten Festivals steuert er 2025 auf ein weiteres Rekordjahr zu und festigt seine Position als globale Pop-Sensation. Seine anstehende US Arena Tour war bionnen 9 Sekunden komplett ausverkauft und selbiges dürfte auch für die deutschen Tour-Daten bevorstehen.

Re-Release auf schwarz/weiß/silbernem Splatter-Vinyl

Nachauflage auf rotgoldenem Vinyl

Zum ersten Mal sind Kodak Blacks größte Hits jetzt auf Vinyl erhältlich!

Diese exklusive 1LP-Sammlung vereint die beliebtesten Fan-Tracks, die Kodak Blacks Karriere geprägt haben und seine lyrische Brillanz, sein melodisches Genie und seine unverwechselbare Energie zeigen. Von Chart-Hits wie ZEZE bis hin zu knallharten Hymnen wie Transportin' fängt diese Sammlung die Essenz von Kodak Blacks Kunst ein.

Gepresst auf hochwertigem Vinyl liefert das Album einen warmen, immersiven Sound, der dich seine Musik auf eine ganz neue Weise erleben lässt.

Re-Release auf transparent gelbem Vinyl

The Black Keys - 13. Studioalbum mit der Hitsingle „The Night Before“ sowie „No Rain, No Flowers“ und „Babygirl“. In Zusammenarbeit mit ikonischen Songwritern wie Rick Nowels, Daniel Tashian und dem legendären Keyboarder Scott Storch hat die GRAMMY-gekrönte Band aus Ohio ihr bisher ehrgeizigstes und abenteuerlichstes Album geschaffen, das die weitreichenden, eklektischen musikalischen Einflüsse des Duos miteinander verflechtet.

The Black Keys - 13. Studioalbum mit der Hitsingle „The Night Before“ sowie „No Rain, No Flowers“ und „Babygirl“. In Zusammenarbeit mit ikonischen Songwritern wie Rick Nowels, Daniel Tashian und dem legendären Keyboarder Scott Storch hat die GRAMMY-gekrönte Band aus Ohio ihr bisher ehrgeizigstes und abenteuerlichstes Album geschaffen, das die weitreichenden, eklektischen musikalischen Einflüsse des Duos miteinander verflechtet.

Marcellus Pittman is one of the Motor City's finest. The long-time house explorer has a singular sound that is built around brittle drum loops, hissing and dusty hi-hats and loose-limbed arrangements that are stark and dehumanised but somehow full of intriguing machine warmth and soul. Take this EP, 'Loneliness Leave Me Alone,' first dropped back in 2010: the title cut has bouncing, bulbous bass and jacked up drums that sound both menacing yet playful, which the fizzy, sugary chords spray across the mix like a mist of pixelated water. 'Razz 09' has that Omar-S style melancholy and trudging rhythm that's heightened by the curious melodies which unfurl with a mind of their own in the background. Superb.

Dokkerman & The Turkeying Fellaz, the Hungarian apostles of heavy funk return with this crisp 7” featuring two deep cuts. On this one they show us their more mature and mellow side fusing Oriental, African and psychedelic characteristics with their signature all-in dirty funk sound.

’Hat’ on side A is a mellow jam of the kind we all love: hypnotic guitar and organ playing over a slow burning groove and a beat you start nodding your head to in the second the needle hits the groove. Ont he flip, ’Kilenc’ is an uptempo number composed and performed in the same vein - the perfect choice for any bold funk set played for an open minded crowd.

Limited to 300 copies.

Das zweite Album des irischen Bluesrock-Trio jetzt auf Vinyl! 2014 stieg es auf Position 12 in die irischen Albumcharts ein und ist eine brillante Reise voller Blues-Rock Power! Als Nachfolger zu dem 2012 veröffentlichten und von Kritikern vielbeachteten Debüt "Electric Soup"baut das zweite Album der Band, "Rumble Shake" auf diesem Erfolg auf und liefert 10 Bluesrock-Songs aus dem tiefen Süden Irlands. Wahre Geschichten und sündhaft gute Musik mit Gästen wie zum Beispiel der texanischen Legende RAY WYLIE HUBBARD. Aufgenommen wurde das Album in den Westland Studios in Dublin, während das Trio die Historie des Ortes in sich einsog - denn in diesem Studio haben schon Größen wie BOB DYLAN, HORSLIPS und THIN LIZZY ihre Platten machen lassen - und abgemischt in Texas von George Reiff (TEDESCHI TRUCKS BAND, THE BAND OF HEATHENS, RAY WYLIE HUBBARD). Christy O'Hanlon (Gitarre, Vocals), Stephen McGrath (Bass) und Gev Barrett (Drums, Background-Gesang, Perkussion) schrieben bis auf "Jessie Mae" (RAY WYLIE HUBBARD) alle Songs selbst und lassen den Bluesrock weiter Unvergänglichkeit atmen, ohne ihn dabei verstaubt klingen zu lassen.

Solid red vinyl, limited to 350 copies. Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, EC4-a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, Sateen. Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet-a fusion of hypnotic grooves, searing guitars, and Laura Dolan's mesmerizing vocals. EC4 is both a homecoming and a rebirth. Electric Citizen is back!

Für die 100. Eccentric Soul 45 widmet sich Numero Group ihren Wurzeln in Ohio mit drei Replika 45s aus dem Capsoul-Universum. Eine dieser Singles, Marion Blacks zeitloser Two-Sider ,Who Knows" b/w ,Go On Fool`, wurde bei Veröffentlichung 1970 fast übersehen, hat aber ein Eigenleben entwickelt und wurde nach 65 Jahren Soundtrack für prestigeträchtige Fernseh- und Autowerbung rund um den Globus wiederentdeckt. Eccentric Soul from the heart of it all.