Pop & Rock Novedades

First time on 180 grm audiophile black vinyl.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

Hyperspace will be Beck’s 14th album, following 2017’s Colors, which won Best Alternative Music Album and Best Engineered Album, Non-Classical at the 61st GRAMMY Awards earlier this year. Hyperspace’s new dimensions in sound are the result of Beck’s most collaborative efforts to date. Seven of the album's 11 tracks—including single “Uneventful Days” and “Saw Lightning” (as featured in the Beats by Dr. Dre Powerbeats Pro campaign and also included with pre-orders)—feature co-writing and co-production from Pharrell Williams. Elsewhere in Hyperspace, “See Through” is co-written/co-produced by frequent Beck collaborator Greg Kurstin, “Star” is co-written/co-produced by Paul Epworth, “Stratosphere” features back-up from Chris Martin, the album’s title track features guest vocals from Terrell Hines, and “Die Waiting” is co-written/co-produced by Cole M.G.N. with backing vocals from Sky Ferreira. Longtime Beck bandmates Jason Falkner, Smokey Hormel and Roger Manning Jr. feature on much of the album as well.

Contagious is a solid blending of avant-garde experimentation and electronic music. Formed by two innovative voices from the Improvisation scene of Berlin (Andrea Neumann and Sabine Ercklentz) and Mieko Suzuki, a well-crafted and creative DJ and musician who’s operating in Berlin venues and festivals since a long time.

Contagious is one of the most forward thinking, mind-melting projects to hit the electronic music scene. Intense and powerful, yet rooted in a tradition of crafting and sculpturing of in the most creative ways, all this building up within a solid structure of instant composition and improvisation. The trio plunder each other’s musical spheres, appropriate them and switch roles. Andrea Neumann on her infamous Inside Piano, an instrument she pioneered and crafted, is applying the most creative feedback processing to simple piano strings and sending them occasionally to Mieko Suzuki’s processing rig, who also uses her own pre-recorded sounds and her skills on turntables, while Sabine Ercklentz’s trumpet sounds blast through her processing system and altogether the three musicians communicate into logics of composition and futuristic structures, where fragile sound textures and pulses become monumental.

Contagious is also the debut album recorded and produced by Rabih Beaini. The Trio wanders in new aesthetic areas, sound is a texture where the processing rigs are constantly developing new forms and evolutions. Structures and grooves implode in noisy fragments, growing into a deep trance state.

Good Times is the twentieth studio album by American singer and musician Elvis Presley. He recorded this ten-song album at the Stax studios in Memphis. His great voice is outstanding on both the rock & roll songs as when he’s performing with a gospel choir. While his physical condition was going downwards, he’s still singing like he used to do in the past. Guitar riffs by James Burton are present on the more country like tracks “Take Good Care of Her”, “Lovin’ Arms”, “Good Time Charlie’s Got The Blues”, and “My Boy”. The versatility is shown when he’s bringing the Spanish flavour on “Spanish Eyes”. This is more than a solid outing from “The King”, a wonderful record.

Available as a 45th anniversary edition of 2500 individually numbered copies on transparent blue vinyl.

Left Ear have put together a collection of recordings taken from the elusive Berlin band I.A.O., spanning their third phase from 1988 to 1995. Phase III commemorates the bands final line-up of three members; Achim Kohlberger, Ralf Östereich and Carsten Zielske. The sounds on this retrospective vary widely, however, link with threads of melancholic sequences, angular jamming and a focus on electronic soundscapes.

The tracks are pinned against a backdrop of political and social unrest in Berlin at the time. Two different cities had become one with the fall of the wall, driving a bubbling subculture attempting to reunite the capital. Seemingly irrelevant to what I.A.O. was producing, these territories dance parallel to one another. In the late 1980’s, Achim Kohlberger of the band and partner Dimitri Hegemann, were orchestrating ‘Atonal Festival’, these days known as Berlin Atonal. Soon after, they set-up of one of the first techno clubs in the world - UFO, today known as Tresor.

I.A.O. cites the cast of personalities they would come across in the clubs and pubs as influential in their songwriting, artists, outsiders or the ‘general dropouts.’ However, the works of IAO far resemble techno music. Phase III’s opening track Gospel IV introduces the band with their patience and restraint, synthesizers work to reveal folding melodies. The downtempo voyage continues with Marshmallow Girls, an insight into the band’s sensitive observations and hazy imagery. All Is Bliss presents a vocal mantra cooperating with nagging bass lines and euphonic percussion. Meanwhile, two instrumentals Love and Twinkle Twinkle Twinkle Little Star both typify and defy timeless dancefloor paradigms. The compilation signs off with Ferns, binding the icy yet bright tones found throughout.

Some Enchanted Evening is the second live album by the American hard rock band Blue Öyster Cult, and their best-selling album to date. The album’s seven original tracks, including classics like “(Don’t Fear) The Reaper” and “Godzilla”, were recorded at various locations in the United States and England. It captures the band at their arena rock peak, making it the ultimate Blue Öyster Cult record. The constant power of the guitar chords and the hard hitting drum rhythm marks the raw sound of the different tracks. A perfect live recording, that must be included in every rock music collection.

Some Enchanted Evening is available as a limited edition of 1500 individually numbered copies on transparent red vinyl.

With Santana’s fifteenth studio album Freedom he moved away from the poppy sound of his previous recordings and returned to the band’s original Latin rock. At that moment the band consisted of nine members, many of them already working together on other records. “Songs of Freedom” is the centrepiece of the album, and one of the most petulant songs in rock history. The funky grooves sets everything on fire, while Buddy Miles sings his texts. The great production and engineering makes this a really fine and versatile record.

Santana gained public attention by appearing at the Woodstock festival in 1969. The Latin influence has always been an important part in their music, although the band also created some blues rock and pop classics. Even after all those years Santana is still actively performing.

The Freedom package includes an insert.

Belizean artist Bredda David Obi set out to put Belizean music on the map in 1984 with the release of his debut LP No Fear. With this album he introduced the world to a new Belizean groove he called kungo (or cungo). A mélange of traditional Belizean brukdown music and sprinklings of the rock, funk, calypso and reggae. He would further develop this modern tropical sound on subsequent albums, integrating more nd more elements from Belizean niche genres like sambai and paranda.
Years later DJs and record collectors found his records in basements of record stores in Los Angeles and Brooklyn. These DJs incorporated his music into their DJ sets to the
excitement of dance floors all over the world. The DJs and remixers on this 12" took it a step further and edited and remixed David's music. DC based DJs - Sol Power
All-Stars morph "Dancin'" from an electro brukdown breakbeat into a four on the floor acid house track with an afro-caribbean feel. Los Angeles based DJ and record
collector DJ Duckcomb tastefully melds both the dub and original versions of "Experience" into one epic reggae discomix. My Rules Records owner and DJ/producer Justin
Van Der Volgen uses his heighten production skills to turn Bro David's "Sunshine" into a heady trippy cosmic version of the track. Last but not least LA-based Heatwave DJs
turn "Cungo Music" into a dancefloor tested and approved extended anthem.

With a self-described maximalist jazz fusion aesthetic and love for DnD-adjacent subject matter, it is safe to say you won't find many bands like Nolan Potter's Nightmare Band. Making use of an eclectic assembly of instruments -- double drumsets, flutes, strings, keys and ripping guitars -- Nolan Potter's Nightmare Band makes for a wild listen.

Nightmare in name only, the inspiration runs white-hot with this one - the wizard’s gaze cast over a distant landscape, bits of ash and motes of incinerated earth float in the air, the smell of ozone and fried metal sting the villager’s noses...

But hope’s bell rings eternal! A flower of beauty is standing up in the sole ray of sun, the clouds are withering away, retreating back to dark cloaks behind crusted-over frost-fractal windows. Darkness cannot usurp the crown, light is king and will eliminate the darkness, chase it out of the unfathomable corners and brush away the webs of evil...remnant factions will always remain but they will be hunted with pure magical riffage.

These are the peaks and valleys of the mighty Nolan Potter’s Nightmare Band, conceptual in feel and flow, a lovely lilting ride and then, up through the floor boards, a warrior incants into the frothing night a huge band, heavy and tumultuous like a war machine rumbling thru the ash, clearing the way for folks to continue their idyll. Dreamy and lucid keys, strings, drum corps, slippery guitar and buff bass, ripe flutes and breezy vocals. For fans of Embryo, the Mothers, Pink Floyd, Mahavishnu Orchestra, Moody Blues, the Stark Reality, and Placebo. They’re from Austin, Texas, but you’d swear it’s from 1972 Europa-Mothership. Like their vodka, it surpasses expectations and fucking crushes.” - John Dwyer

‘The songs on the first album are the children. The songs on the second
album are their parents. Ghosteen is a migrating spirit.’ - Nick Cave.
The album was recorded in 2018 and early 2019 at Woodshed in Malibu,
Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It
was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at
Conway in Los Angeles.
Ghosteen is the seventeenth studio album from Nick Cave and The Bad Seeds,
following 2016’s Skeleton Tree, and will be released via Ghosteen Ltd

Controlled by Hatred/Feel Like Shit...Déjà Vu is the fourth album by American crossover thrash band Suicidal Tendencies, originally released in 1989. The album itself is represented as two fictional EPsthe first four tracks are Controlled by Hatred and the rest are Feel Like Shit... Déjà Vu. It features six new recordingsfour of which are covers of No Mercy songs, one is a cover of Los Cycos, an outtake from the previous album's sessions, a shortened version of 'How Will I Laugh Tomorrow' (as it is heard in the song's video) and the previously unreleased softer 'Heavy Emotion' version of that song.

SPECIAL LIMITED EDITION PICTURE DISC FOR THE 40TH ANNIVERSARY OF TWO TONE!
Back in 1978, THE COVENTRY AUTOMATICS headed into the studio to record some demos in an effort to secure a record deal. It didn’t happen, but within months the band had renamed themselves THE SPECIALS and set up their own label called 2 TONE and a movement was born and the rest is history!

Firenze Sogna' is literally a journey of musical itineraries from the legendary Tuscany chief town between the mid-70s and the early 80s, curated by Giampiero Bigazzi, Bruno Casini and Ernesto De Pascale. Influential post-punk act and electronic producers all teamed up with local legends depicting almost 20 years of a constant evolution. It is not simply the Italian way to rock’n’roll, hereby three generations of artists facing the banks of Arno river forged a memorable artistic season. Stalwart ok kosmische psychedelia Sensation’s Fix altogether with EBM forerunners Neon, astonishing etno-world travelers Zeit (the Italian answer to late Popol Vuh ?) and electro pioneer Alexander Robotnick , no wave heroes Rinf and rock in opposition alumni Bella Band (Cramps Records). 23 tracks split between two lps, a revelation of sort.

Consumer formed in 2017 to generate reptile-brain, late capitalist agitprop. Its main tools are over-processed riffs played at high volume, impressionistic slogans, and soundscapes built from analog synths, broken electronics, and tape loops. Past your well-stocked garage, descending into Mammon’s deep world of darkness, with regional coupon circulars in hand, Consumer offers doomy, electro, post-whatever.

Featuring Tim Macuga from Have A Nice Life as well as Have a Nice Life’s live band Myke Cameron (bass), Rich Otero (drums, synths, programming), and Joe Streeter (guitar/engineering).

Finally, back on vinyl after 20 years! Skunk Anansie’s seminal 3rd studio album Post Orgasmic Chill was released in 1999 when the band were at the height of their powers - the tour around this album saw the band headline Glastonbury. The album includes classics such as Secretly, Charlie Big Potato and You’ll Follow Me Down.
Gatefold sleeve with printed inner bag.

Finally, back on vinyl after 20 years! Skunk Anansie’s seminal 3rd studio album Post Orgasmic Chill was released in 1999 when the band were at the height of their powers - the tour around this album saw the band headline Glastonbury. The album includes classics such as Secretly, Charlie Big Potato and You’ll Follow Me Down.
Gatefold sleeve with printed inner bag.

Finally, back on vinyl after 20 years! Skunk Anansie’s seminal 3rd studio album Post Orgasmic Chill was released in 1999 when the band were at the height of their powers - the tour around this album saw the band headline Glastonbury. The album includes classics such as Secretly, Charlie Big Potato and You’ll Follow Me Down.
Gatefold sleeve with printed inner bag.

On the night of 15th June 2018, three friends, Dave Okumu, Tom Herbert and Tom Skinner came together to perform a selection of deconstructed compositions in an improvisatory format at The Crypt in Camberwell, south-east London. Their shared history as musicians stretches back to their formative teenage years when they would congregate to learn how to play the music which had impacted so heavily on their lives, resulting in a distillation of funk, soul, pop, metal, classical, punk, hip hop, dance, folk, electronic and world music, filtered through the prism of the endlessly resourceful, inventive and expressive language of jazz.

Their individual and collective journeys have woven them into the fabric of contemporary music through their work with artists as diverse as Adele, Grace Jones, Anna Calvi, Amy Winehouse, Sons Of Kemet, Kano, Lianne La Havas, Zero 7, Ed O’Brien, Jack De Johnette, Jessie Ware, Yoko Ono and Polar Bear. Their personal visions have come to fruition via their own projects, namely Okumu and Herbert’s Mercury-nominated The Invisible and Skinner’s solo outing as Hello Skinny. Somehow, that informal night in Camberwell would represent the closing of a circle and the beginning of a new chapter for these three musicians.

N is one of the most profiled German drone / ambient artists - being active since the early 1990s he has released more than 50 records - on this new album he cooperates with Ricky Graham (Signals Under Test). Disrupt/Construct is a long-form music release featuring two compositions: Disrupt and Construct. Graham collected musical responses to a series of his own guitar improvisations from Neidhardt over the period of a year. Graham then crafted this album at the Elektronmusikstudion EMS in Stockholm, Sweden. Disrupt is a series of buckling themes that function as self-contained, shorter musical compositions. Construct presents a semi-improvised stream-of-consciousness piece that stands in contrast to the disruptive nature of its counterpart and divides into three self-contained musical movements. Limited to only 100 pieces w/ handprinted sleeves.

Following on from the excellent 'Le personnage principal est un peuple isolée' compilation - a four track EP of deeply psychedelic jams from the early 80's. TIP!

UMC are proud to present the first ever vinyl release of ‘The Very Very Best Of Crowded House‘! An institution in their homeland, a two-album wonder in the U.S., and, during the last half of their ten-year career, bona fide stars in the U.K. and most of Europe, Crowded House recorded some of the best pop music of the late ’80s and early ’90s. Leader Neil Finn’s carefully crafted songs, meticulous eye for lyrical detail, and gift for melody are matched by few other songwriters. The songs of Crowded House & Neil’s songwriting acclaim have been championed by the likes of Ariana Grande & Miley Cyrus, Chris Martin & Eddie Vedder & most recently Fleetwood Mac, for which Neil is currently the touring guitarist/vocalist. The 2010 chart-topping compilation features all the band’s major hits including ‘Fall At Your Feet’, ‘Weather With You‘ & ‘Don’t Dream It’s Over’ plus many (many) more. The 19-track collection is cut across 2 x 180-gram black vinyl LPs featuring printed inners & essay. DL codes included.

New Beat Not New Beat classic from Antwerp! Soon after Patrick left the music world for the music, that's why he became a pianist. He left the art world for the art. Stroom's back to school release! "

Soul Jazz Records’ Nigeria Soul Power 70 album showcases the influence of funk, rock and disco on Nigerian music during the 1970s. Originally released as a now-long-out-of-print collectors’ 7” RSD box, this fully expanded album release now also includes extra tracks from Sonny Okosuns, Wings, Chief Kollington Ayinla and more. While for many people the fusion of funk and jazz music with Nigerian rhythms and aesthetics began with Fela Kuti and his afro-beat sound, in fact this can be traced further back to the phenomena of the 1960s Nigerian artists and house bands in nightclubs and hotels who interpreted US soul and pop music with a local flavour and none more so than Geraldo Pino, the ‘African James Brown’ who features heavily in this collection. Other similarly inspired Nigerian funk and soul artists featured here included Tony Grey and his Ozimba Messengers and Don Bruce and The Angels. Nigeria Soul Power 70 includes a number of tracks from the group Wings originally known as BAF (Biafran
Air Force) Wings, an army band formed during the Biafran civil war in Nigeria. The groups’ heavy mixture of funk, rock and African styles was popular among many Nigerian groups at the time.
Beneath the shadow of the few Nigerian artists who signed international recording deals in the 1970s – Fela Kuti, King Sunny Ade, Chief Ebenezer Obey – lies of vast wealth of largely undiscovered musical transmutation and cultural cross-pollination, and included here are heavy afro-funk/rock and disco tracks
from artists such as the legendary Sonny Okosuns as well as rare cuts from little-known outside of Nigeria - groups such as Colomach and MFB. Most of these obscure artists signed to major labels in Nigeria in the commercial slipstream that opened up as Philips, Decca and EMI tried to emulate the international
success of the big three international Nigerian artists. Finally featured here is Kollington Ayinla, one of the co-founders of Nigerian Fuji music, who gives us perhaps the heaviest of all tracks on this album. Ayinla is the great moderniser of the Fuji sound and in the late 1970s began adding Bata drums and synthesizers to his authentic music to create a powerful and heavy new fusion of traditional and modernist aesthetics, embracing both new technology and experimentation while rooted firmly in Nigerian historical lineage. Nigeria Soul Power 70 is released as a heavyweight gatefold double vinyl LP (+ free download code),
deluxe slipcase CD and digital album.

Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner.

Very limited silver metallic and black swirl 2LP - Non-Returnable

Steve Von Till explains the idea behind the remastering; "Bob Weston (Chicago Mastering Service, and member of Shellac) worked closely with Noah on making these new versions sound as good as the possibly can. Noah has the most trained critical ear for fidelity out of all of us being an engineer himself. We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously.  The technology has come a long way since then and we thought we could run it through better digital to analog conversion and trusted Bob Weston to be able to bring out the best in it....This new mastered version is a bit more open, with a better stereo image, and better final eq treatment."

He continues about the original artwork..."Aaron felt he could create something that would unify the energy of both Jarboe and Neurosis in an elegant manner.  We let him do his thing and I think it definitely adds to mystery of the album and sets it apart from the rest of our catalog."

When two independent and distinct spheres overlap, the resulting ellipse tends to emphasise the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time - a sentiment which also rings true to some 15 years later.

Neurosis & Jarboe opens with a high-pitched whirring sound winding up as Jason Roeder's ominous tom-drum beat and Noah Landis' slinking synth line writhe in unison until Jarboe drops in, drawling in her characteristic, corrupted Southern belle voice, "I tell ya, if God wants to take me, He will." From there on in, the album is a series of abrupt shifts and cleverly juxtaposed themes that flows in a rhythm of its own. The sinister and ethereal sounds, vocal coos and electro-pulses of "His Last Words" seem like the perfect soundtrack to a David Lynch film. On "Erase," song parts are dissected and grafted one atop the other, continually building tension as Jarboe wails and yelps with Banshee fervor.

The project began with the artists working in seclusion, recording the elements that would best highlight their own characteristic integrity and personality, rather than either attempting to mimic one another's familiar elements. As recorded ideas were passed back and forth, the collaboration proved to bring out the most unhinged and urgent talents of all those involved.

Throughout the album, that signature "Neurosis note" - the sound of something simultaneously recoiling and erupting, the apocalyptic tone announcing the birth of a new world - reaches its apex and becomes evermore icy and eviscerating. Guitarists Steve Von Till and Scott Kelly trim their tones for cleaner, chorus-drenched effects layered between the thunderous distortion blasts of bassist Dave Edwardson. Likewise, Jarboe's operatic wail and other vocal contortions sound perfectly suited to the eruptive emotional fray of the music.

The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of "dance music," Neurosis & Jarboe redefined all notions of their past - and outlined the course of heavy music to come. It's interesting to look back through the lens of this release, and think about these ideas and concepts in the present.

Neurosis & Jarboe remains the meeting point of all art that takes us beyond ourselves.

LP (incl. coloured vinyl, full picture outer sleeve, full picture inner sleeve, poster, sticker, downlad code, all stored in plastic protective outer sleeve)


The Rising Sign "Fragments"

Down the rabbit hole of sonic sounds, catchy melodies with captivating bass lines and drum grooves – those are the essential Fragments of their music.
Coming from the northern part of Slovakia, The Rising Sign defy any straightforward genre definition.

They just play music the way they like it and the way they feel it.

The group was founded by two teenagers back in 2012 - Adam (lead vocals, guitar), who was then 16 and Martin (drums) who was only 13. They simply decided to record their first common musical ideas. Michal (keyboards) and Juraj (bass) (together with the head of recording and mixing Jaro – guitar at that time) joined the two in 2015. This was the year they made their first recording sessions and they released their own digi-only album: "Moments Like This".

Four years have passed and another set of songs have been recorded and produced by the band. They have mixed all their musical influences into one big ball of noise. Fragments of 70's hard rock, indie rock, grunge, a bit of jazz, funk, but always loyal to an underlying pop structure in their songs. Sometimes happy, sometimes melancholic, but always very melodic. Just Fragments of all.

LP+CD (incl. CD in plain paper bag, coloured vinyl, full picture outer sleeve, full picture inner sleeve, poster, sticker, collectible postcard, download code, all stored in plastic protective outer sleeve)


The Rising Sign "Fragments"

Down the rabbit hole of sonic sounds, catchy melodies with captivating bass lines and drum grooves – those are the essential Fragments of their music.
Coming from the northern part of Slovakia, The Rising Sign defy any straightforward genre definition.

They just play music the way they like it and the way they feel it.

The group was founded by two teenagers back in 2012 - Adam (lead vocals, guitar), who was then 16 and Martin (drums) who was only 13. They simply decided to record their first common musical ideas. Michal (keyboards) and Juraj (bass) (together with the head of recording and mixing Jaro – guitar at that time) joined the two in 2015. This was the year they made their first recording sessions and they released their own digi-only album: "Moments Like This".

Four years have passed and another set of songs have been recorded and produced by the band. They have mixed all their musical influences into one big ball of noise. Fragments of 70's hard rock, indie rock, grunge, a bit of jazz, funk, but always loyal to an underlying pop structure in their songs. Sometimes happy, sometimes melancholic, but always very melodic. Just Fragments of all.

Music From Memory’s latest release is a reissue of the lost Art record ‘Marea/Tide’ from Italian Wave duo Alessandro Pizzin and Piergiuseppe Ciranna also know as ‘Ruins’.

Made to accompany and as a response to the works of painter ‘Luigi Viola’ the record was released limited to a run of 600 with original artworks by the painter included in the first 200 copies.

A number of special showcases were performed at various galleries by the duo alongside Viola’s work, with records being available solely at those events. Due to poor management and disagreements with the label who produced the record, 300 copies were held for many years in storage and then in fact later even destroyed, the record disappearing almost without a trace.

Finally now available again and with a bonus 7” including four beautiful unreleased tracks, the release is printed in colors true to the original work of Luigi Viola with insert.

New Ways is a new album by Montreal’s Leif Vollebekk, his hotly anticipated follow-up to the Polaris Prize finalist Twin Solitude. It’s a record that lives between the kick and the snare, in that instant of feeling before the backbeat.
“The way that it was is the way it should be,” Vollebekk sings on “Phaedrus”—a line that’s a memory and a wish. New Ways is that too: the sound of desire in its unfolding. Two years ago, things were changing so fast, and the songwriter didn’t want to forget. “I often think of Leonard Cohen’s line, ‘I hope you’re keeping some kind of record,’” he says. “So I did.” It was like he was pretending you can compose a soundtrack to your own life (which perhaps you can).

In the end, New Ways is a document of everything Vollebekk felt, the way each moment arrived and moved through him. Whereas Twin Solitude was about self-reflection, New Ways is about engaging and changing, touching and being touched. It’s a physical record, with louder and tighter grooves, and the rawest lyrics the musician has ever recorded. A portrait of beauty, desire, longing, risk, remembrance—without an instant of regret. “She’s my woman and she loved me so fine,” goes the chorus to one tune. “She’ll never be back.”

Total Error. Trueness. Uncertainty. Can these terms coexist? Will defining an allowable error for a test become unacceptable? Will the embrace of Krigets forthcoming album mandate the rejection of all non-ISO-conforming terminology and concepts?

The debate - and the future - is uncertain.

NYC singer, guitarist and producer Grey Mcmurray releases his first solo album through Shahzad Ismaily’s figureight records.

Thoroughly blooded as a sideman to musical giants (Grey has performed alongside Gil-Scott Heron, Tyondai Braxton, Alarm Will Sound, Beth Orton, ACME, Colin Stetson, Sam Amidon and John Cale among others) Stay Up represents an artist emboldened by musical heritage and a songwriting voice refined, singular and mesmerising. The album is uniquely expressive, ranging from sweetly melodic passages reflecting the traditional cast of a singer-songwriter, to huge open plains of chord-washes and chorus, to dense, dark, acute dissonance, all composed and performed by a master of his instrument.

Grey’s guitar playing - sought after by so many luminaries - is of course a cornerstone here. More than just a backdrop for the message, the guitar often becomes the clearest voice in the room. Unshowy, unpretentious, but eloquent in his storytelling, Grey uses the instrument in the gentlest ways. Lead single “Wanting Ways” combines subtle chords with a constant bassdrum beat, punctuated with a glorious piano hook, secret, fizzing synthesiser and the tenderness of Grey’s effortless tenor. The guitar almost becomes overlooked, such is the precision of its placement. Contrast this with “Keep Your Mind”, a sermon to the self in the face of mental illness, in which the guitar reels on the precipice of madness, threatening to pull the harmonies apart with gamelan-bell ruckus. You’ve got to work hard to keep your mind / when you sleep at night / thinking you’re resting when you’re uptight, Grey tells us, amidst Roky Erikson-esque howls.

* 180 gram audiophile vinyl
* Gatefold sleeve
* Printed innersleeves
* Remastered

If 1984 was the most 'eighties' year of that decade, then Frankie Goes to Hollywood (FGTH or Frankie) were the most 'eighties' of bands. The year and band collided dramatically, resulting in an explosion of 12inch vinyl, remixes, cassette singles and 15 weeks at number one in the UK chart. Resistance was futile - they would get you in the end. No teenager was without a Frankie 12inch come December 1984 and it's hard to convey the fun, danger and excitement of FGTH in the cold light of 2017. Holly Johnson and Paul Rutherford with Peter Gill, Mark O'Toole and Brian Nash ( The Lads') created something visceral, real and far removed from the sanitised pop that dominates the charts today. 'Relax' and 'Two Tribes' have secured their place in pop history. Instantly recognisable, and instantly capable of transporting any listener a few years either side of forty back to the heady days of 1984, Top of the Pops and Our Price record shops.
Their debut full length album 'Welcome to the Pleasuredome' was released in late October 1984, just over a whole year since the original release of Relax. This in part can be put down to the extraordinary lifespan of both Relax and Two Tribes in the UK charts, and record label ZTT's decision to release multiple formats and remixes of each single. Originally released as a double vinyl LP, on cassette and CD, the album hit number one in the album charts. It did of course contain all the big hits, as well as some well-known cover songs such as 'Born to Run' and' Do You Know the Way to San Jose' Many of the single B-sides were also on the album (albeit in remixed form). These include 'War' (Two Tribes 12), 'Ferry Cross The Mersey' (Relax 12) and 'The World is My Oyster', the B-side to 'The Power of Love' which was released only a week after the album came out. There was the addition of short instrumental/oddities (e.g. 'Snatch of Fury (Stay)') and other single worthy tracks like 'Black Night White Light'. Welcome to the Pleasuredome was another Frankie event. It was lavishly packaged, contained all the records people wanted to hear and in 'The Power of Love' and 'Welcome to the Pleasuredome', two more enormous future hits. Its legacy is undeniable.

Now, a very special Art Of The Album deluxe edition of that incredible album will be released on 27th October 2017. Featuring new sleevenotes within both the CD & 180g double LP formats recalling the story of the band's conception and the album's creation. Comprehensively researched and written by renowned music journalist Paul Flynn, these new sleevenotes cover in-depth the story of the album & the period in which it was written & recorded, the key players in its creation, the craft and instrumentation, the impact upon release and its legacy some 34 years later.