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Carmen and María bring a raw, organic, and contemporary sound, where groove and rhythm are the key. Their new album fuses flamenco and soul with unique vocal harmonies and the unmistakable rhythm of María’s guitar. Each song is born from their individual universes but transforms into a shared story of roots, evolution, and emotion. From groove-infused bulerías to neosoul-inspired tangos, their proposal is innovative, authentic, and full of soul.

Babylon, der über zwei Stunden Originalmusik enthält, ist ein originelles Epos, das im Los Angeles der 1920er Jahre spielt, mit Brad Pitt, Margot Robbie und Diego Calva in den Hauptrollen und einem Ensemble mit Jovan Adepo, Li Jun Li und Jean Smart. Der Film ist eine Geschichte von übergroßem Ehrgeiz und unverschämten Exzessen, die den Aufstieg und Fall zahlreicher Charaktere in einer Ära ungezügelter Dekadenz und Verderbtheit im frühen Hollywood nachzeichnet. Der Soundtrack besteht aus 48 Musikstücken von Oscar-Preisträger Justin Hurwitz (La La Land).

Rancid is without question one of the most successful and influential punk bands ever, not to mention being among the most prolific. Their nonstop songwriting and marathon studio sessions often result in far too many songs to fit onto their albums. True Rancid fans know that in addition to their classic long players, many of their finest tracks have been released as single B-sides, bonus tracks, on compilations, or in some cases have remained in the band's vault. That is why B sides and C sides is no mere throwaway record, but an essential part of this classic band's catalog. The songs collected here represent a cross section of everything that has made this band so beloved worldwide, including their creative genre hopping from blazing punk rock to danceable ska, to reggae, rockabilly, and more, all executed with some of the most impressive playing in the history of underground music. The songs range from fan-favorites like "I Wanna Riot" to obscure hidden gems from rare or hard-to-find compilations, and a handful of studio recordings that were completely unreleased before this album, several coming from the fertile recording sessions for the band's sprawling 1998 masterpiece Life Won't Wait. Originally released on CD in 2007, most of the tracks range from the band's early days through their sixth album, Indestructible, although the 2012 track "Fuck You," from the Pirates Press Records compilation Oi! This is Streetpunk! Volume 2 was added to place a definitive final word on the collection when it was pressed on vinyl. With the album being out of print and hard to find in its own right for the past ten years, Pirates Press Records is thrilled to partner with our friends in Rancid to remedy that situation and make this essential piece of punk rock history available to their many fans across the globe - this time as an incredible double 12" with super deluxe coloured vinyl and matching sleeve art!

This is the first vinyl release of our label, from the Canary Islands to the world! The founder and Spanish producer Luis Pitti captures in this release some of the sounds and style that marked an era on our beloved island. On this record you will find Oldskool Hardcore sounds, breaks, enveloping pianos, synths and sounds from the 90s fused with a modern and fun touch.

Released in a limited edition by ExperimentalBass Records on 150 gram black viny

Electric Satie is a one-off conceptual project by Japanese composer Mitsuto Suzuki, who is mostly known for his work on Final Fantasy soundtracks. Released on CD-only in 1998, “Gymnopédie ’99” reimagines Erik Satie’s beloved piano compositions in electronic form ranging sonically from downtempo bossa-nova (featuring Brazilian percussionist Marco Bosco and vocalist Silvio Anastacio) to freestyle ambience and chillout room IDM, not far from the music featured on Music from Memory’s “Virtual Dreams II” or Warp Record’s “Artificial Intelligence.” A deeply imaginative composer and arranger, Suzuki harnesses a unique mix of drum machines, synthesizers, live percussion, soprano saxophone, piano, and spoken word to craft a lush and vividly futuristic sound world that video game soundtrack enthusiasts will easily fall into.

“Stuck in My Head / Home is Behind” marks the most profound and personal release from Jamie Collomb, known to many as Oneduz - artist, father, husband, and co-founder of The Global DNB Collective. This vinyl project, created with unwavering passion and intention, was Jamie’s proudest work, a true reflection of his artistic soul.
Tragically, Jamie passed away unexpectedly just as the record entered production. Featuring original tracks by Eclipsed Shadows and Noisesmith, and powerful remixes by two of Jamie’s heroes: drum & bass legends Blame, and longtime friend and inspiration Danny Styles. This release stands as both a musical statement and a lasting tribute.
Following Jamie’s passing, his creative partner Andy (Syntax Era) and GDNBC designer Ryan Feyler (Drbblz) came together to carry his vision across the finish line. Every detail of this release honors Jamie’s legacy.
All profits from this album will go directly to support Jamie’s wife, Shanda, and their two young children, Porter and Hadley. This is more than a record, it’s a celebration of Jamie’s life, his music, and the community he helped build.

Throughout a professional career defined by early pop successes, every single one of Andy Fairweather Low's performances has been shaped by his blues, gospel and soul influences, and although the many hits he has enjoyed have to some extent overshadowed his undeniable credentials as a great bluesman - his talent for the blues hasn't escaped the notice of some of the world's finest artists who have drawn on his skills as a guitarist and singer Eric Clapton of course leads this impressive list of Andy's discerning employers and collaborators which includes, BB King, Benmont Tench, Bill Wyman, Bob Dylan, Bonnie Raitt, Buddy Guy, Charlie Dore, Charlie Watts, Chris Barber, Chris Rea, Clarence 'Gatemouth' Brown, Dave Edmunds, David Crosby, David Gilmour, David Sanborn, Donald 'Duck' Dunn, Edie Brickell, Elton John, Emmylou Harris, Garth Hudson, George Harrison, Georgie Fame, Gerry Rafferty, Helen Watson, Jackson Browne, Jeff Beck, Jimi Hendrix, Jimmy Page, Joe Cocker, Joe Satriani, John Mayall, Kate Bush, Levon Helm, Linda Ronstadt, Lonnie Donegan, Mary J. Blige, Mick Hucknall, Otis Rush, Paul Weller, Paul Young, Pete Townshend, Phil Collins, Richard and Linda Thompson, Rick Danko, Ringo Starr, Roger Waters, Ronnie Lane, Sheryl Crow, Steve Gadd, Steve Winwood, Stevie Nicks, The Impressions, The Who, Van Morrison, Warren Zevon, and hundreds more. But, despite the blues having become such a hugely popular genre internationally these days, and Andy having been in the thick of it for most of his professional life, he has largely missed the recognition he deserves in that field because up until now, he has never released a blues album. That's why I wanted to make a record that reveals the identity of the Invisible Bluesman to the world beyond his existing loyal fans. Meet Andy Fairweather Lowdown!

In the summer of 2021, Brighton-based, Scottish-Thai songwriter Helen Ganya's grandmother passed away

The grief hit the artist hard, not only because it marked the loss of her last remaining grandparent, but also because it felt like her links to being half- Thai were disintegrating, roots quaking and shifting in uncharted territories. Ganya grew up in Singapore, but spent her summers in the northeast of Thailand where her mum's side of the family is from, visiting her grandmother. Where would all those memories go now that the person at the centre of them was gone? What was her relationship to this place without that glue? And so, in an attempt to process it all, Ganya began to write. "I got my diary and wrote every single memory of my time as a child in Thailand, spending time with her, my grandad, my aunts and cousins and everything," she explains, "I had these snapshots of memories that I just wrote down because I just suddenly panicked: it was like, who am I, then?" It was for this reason that, while Helen Ganya was waiting for her acclaimed 2022 album, polish the machine, to come out, she was already working on what would become her arresting new record, Share Your Care. Ganya has been releasing music since 2015 (formerly under the moniker Dog in the Snow). In the records she's put out over the years, she's shown a proclivity towards dark and artful rock and off- kilter sounds, garnering praise from the likes of the Sunday Times, Uncut, Clash, Loud & Quiet and more. But Share Your Caremarks a new era, building on Ganya's past sonic worlds and interspersing them with traditional Thai instrumentation, resulting in a plush, luminous, psych-tinged affair that is full of feeling. The result is a triumphant, abundant record, teeming with heart and cinematic warmth.

This is the third release by Trevor Dunn (Mr Bungle, Fantomas, Trio Convulsant, various with John Zorn) and Kevin Rutmanis (Tomahawk, Melvins, Cows, Hepa/Titus) On this outing Trevor joins Lords and Lady Kevin (duo of Kevin Rutmanis and drummer/artist Gina Skwoz) for a full length LP "Last Days at Hot Slit"

Songs are loosely based on assorted gospel, blues and jazz songs, some original, some covers. Included is a re-working of Mingus "Devil Woman". The trio based the pieces on improvisations that were then arranged and used to build free standing songs. A multitude of instruments were exploited by all those involved, to create a sizzling blend of aural delicacies. The album title is from a collection by writer Andrea Dworkin, often sited as the Celine of feminism. Less outre perhaps than their previous recordings, these songs hover somewhere between soundtrack- like excursions, to jazz/ blues mutations to a demented "rock" sounding affair. Something for everybody, or perhaps, nobody! Uniting former and current members of Tomahawk, Last Days At Hot Slit marks a powerful reunion between Rutmanis and Dunn. The record took shape gradually, born from Rutmanis's raw, unconventional bass recordings. "I sent Trevor a phone recording of some hideous bass racket and asked if he wanted to add anything," Rutmanis shares. "What he sent back was something like delicious fresh cherries with ice and banana slices." The pair's combined creativity gave rise to a new, immersive soundscape, while their collaborative piece, Crackpot Whorehead, set the tone for the current formation of Lords and Lady Kevin."

The roots of African music are always open to new possibilities. This is revealed in the music of this unprecedented quartet. Alongside the Malian singer Rokia Traore', Mamah Diabate, Malian griot and djeli ngoni player, has been playing for several years with Stefano Pilia (Afterhours, Massimo Volume). Now, their path intertwines with the artistic and human partnership between Jabel Kanuteh, Gambian griot and kora virtuoso, and percussionist Marco Zanotti(Classical Afrobeat Orchestra, Cucoma Combo). The union of these two pairs develops unusual geographies and architectures, where dual African and Italian identities merge into one universal sensibility. The predominant Malian and Gambian modes chase each other, but all is fused into a broader rhythm factory or embellished by more abstract and liquid experimental digressions. The curiosity and pliability of the individual musicians search for a language that is both current and contemporary, always poised between ancient and modern, landscape and narrative, with jazz, rock and folk influences.

The capstone of Miles Davis’ electric period, Agharta reigns as a funk-rock fireball — a blazing comet streaked energy and elan, a fearless organism feasting on adventure and freedom, a seven-headed Godzilla stomping its way through Osaka, Japan. Recorded on February 1, 1975 at Osaka Festival Hall at the first of a two-show stand, the double album offers an endless abundance of surprises and shifts — as well as a road-proven ensemble whose chemistry and abilities equal that of any of Davis’ celebrated bands. If the true measure of jazz is the capacity to adapt to the moment and challenge perception, Agharta is consummate.

Sourced from the original master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set of this epic live release presents it in audiophile sound on a domestic pressing for the first time. Offering greater degrees of separation, detail, and richness than the compressed CD editions and more clarity, openness, and presence than older vinyl copies, this version of the 1975 release helps bring the concert stage to your home. Just make sure your turntable and speakers are up to the challenge of Davis and Co.’s explosive performances — and producing the decibels they demand.

Teeming with vibrant colors, tones, and pace, Mobile Fidelity’s reissue captures the hear-it-to-believe-it flow, sweep, and moodiness of the music. Though the group honors looseness and freedom with religious verve, the specificity and scale rendered by this remaster allows you to detect methods behind the alleged madness that are often otherwise harder to discern. This insight extends to the understated changes in volume, harmonics, and phrasings. In many ways, you can listen as Davis himself did that early February evening as he helped coordinate the overall direction and decided on whether to blow his wah-wah-wired trumpet or take a turn on the organ.

Tellingly, Agharta would likely never have been made if not for Davis’ ventures overseas and, specifically, to the Land of the Rising Sun. Having for years faced a backlash on his native soil for his choices to experiment and blow past all known borders, Davis was welcomed with open arms in Japan. The concert documented on Agharta — as well as the day’s later show, captured on the equally exciting Pangea — stemmed from a sold-out three-week tour that would ultimately mark Davis’ final public appearances for years, as he soon settled into semi-retirement and nursed the wounds connected to an unprecedented stretch of restless and relentless output.

For all the band-fueled merit of Agharta — and there’s plenty, given the cast of saxophonist Sonny Fortune, bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, and guitarists Reggie Lucas and Pete Cosey seemingly blasts off to outer space and travels distant galaxies by the time this minimally edited record runs its course — Davis’ own playing often remains overlooked. As critics Richard Cook and Brian Morton observed, it is “often fantastically subtle, creating surges and ebbs in a harmonically static line, allowing him to build huge melismatic variations on a single note.” He attacks like a man on a mission, out to prove naysayers wrong and bent on trailblazing another new path forward. Convention and skeptics be damned.

Noisy and furious, dark and discordant, abstract and off-balance, radical and intense, abrasive and atmospheric, strangely beautiful and hypnotically eccentric: Agharta evades simple description, and refuses to be pinned down in any established category — rock, jazz, punk, ambient, prog, avante-garde, or otherwise. Shot through with trench-deep grooves, screaming riffs, scalding solos, and free-improv leads, its cosmic thrust comes on as the equivalent of an animated pointillist painting comprised of millions of textured dots, dashes, and dabs that hold your attention so raptly you want to revisit the ideas again and again.

Always steps ahead of everyone else, Davis knew what he was doing even when Agharta debuted in Japan before later hitting U.S. markets. Though “Maiysha” and “Theme from Jack Johnson” are identified in the track listing, the record contains a number of uncredited references to other Davis works, including a nod to “So What.” This decision to bypass labels only adds to the art of the reveal — the rare black magic in which Agharta expertly deals.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! Rolling Stone list of 500 Greatest Albums 265/500 for 2012 180-gram 45 RPM double LP Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jacket by Stoughton Printing The Genius of Ray Charles, his sixth studio album, released in 1959 by Atlantic Records, eschewed the the soul sound of his 1950s recordings, which fused jazz, gospel, and blues, for swinging pop with big band arrangements.

Charles is joined bymany ringers from the Count Basie and Duke Ellington bands for the first half of this program, featuring Charles belting out six songs arranged by Quincy Jones. "Let the Good Times Roll" and "Deed I Do" are highlights, and there are solos by tenorman David "Fathead" Newman, trumpeter Marcus Belgrave, and (on "Two Years of Torture") tenor Paul Gonsalves. The remaining six numbers are ballads, with Charles backed by a string orchestra arranged by Ralph Burns (including "Come Rain or Come Shine" and "Don't Let the Sun Catch You Cryin'"). Charles' voice is heard throughout in peak form, giving soul to even the veteran standards. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio’s chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP’s prowess was obvious from the start. The band’s self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.

Mastered at MoFi’s California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180g 33RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.

Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects — textures, nuances, effects, melodies, tempo changes — that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first version, you’ll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.

Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn’t prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad “Lucky Man,” whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.

Comprised of genre-defying originals and hybrid arrangements of two classical pieces, the album Rolling Stone originally and rightly said is “best heard as a whole” matches outrageous ambition with the otherworldly skills of three musicians who remain among the finest to ever pick up their respective instruments. While Emerson soon drew the lion’s share of headlines for his ability on keys — clavinet, Moog, piano, Hammond organ, and pipe organ included — Greg Lake’s aptitude on guitar and bass, along with well as Carl Palmer’s monster talents behind the kit, created a three-headed hydra that devoured everything in front of it.

That extends to the radical reinterpretation of Bela Bartok’s “The Barbarian” that begins the LP, a performance that in less than four-and-a-half minutes runs the gamut from distorted to churchy to angular and blustery. More classical flourishes, keyboard wizardry, hard-rock heaviness, and gothic signatures emerge throughout “Knife-Edge,” which reimagines music by Leos Janacek and J.S. Bach — and ultimately invites you to explore a cathedral of sound teeming with separate bursts of keys and percussion.

And did someone say “drumming”? Check out Palmer’s monster salvo on “Tank,” a rhythmic showcase that marches out with knee-bent notes and mirror-reflected passages. Or dive into the mythological suite “The Three Fates.” Replete with three parts and Emerson playing the pipe organ at Royal Festival Hall, it shoots off sonic fireworks via sophisticated arpeggios, jazz improvisations, dancing counter-meters, sizzling chords, and a few explosions. Please don’t hold anyone at MoFi responsible if your system cannot handle it; this is heady stuff.

Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.

The perfect soundtrack for a summer roadtrip in an old car across Death Valley.

“Calexico's musical textures are woven out of a dazzling array of instruments and styles, including mariachi trumpets, countrified pedal steel, Latin jazz percussion, and carnival organ, just to name a few. The songs move at siesta speed, casually looping and loping along, never getting overheated. Bandmates Joey Burns and John Convertino have their hands in so many musical pies--including projects with OP8, Giant Sand, Victoria Williams, Giant Sand, and Richard Buckner--one wonders how they find the time to create the sun-soaked music of Calexico. But thank God they have.” --Tod Nelson

The Psycheground Group has been a completely mysterious band for a very long time, about whom nothing was known except the fact
that they released an obscure LP in 1970, with a red front cover with a stylized drawing of a male face wearing a coloured bandana.

Only in recent times it has finally been revealed that “Psychedelic and Underground Music” was played and recorded –
and sung on very rare occasions – by musicians from Nuova Idea, who would debut only a year later with the LP “In the Beginning”,
the first in a trilogy of albums that would leave an important and indelible mark on the Italian Progressive Rock story.

“Psychedelic and Underground Music” is a fully instrumental album – with the exception of some vocal harmonization –
of rhythm & blues, pop and psychedelic music with a strongly British imprint: it is no coincidence that for a
long time it was mistakenly believed that The Psycheground Group were a English group.

“Psychedelic and Underground Music” is a wonderful cult album, impossible to find in its first edition
which is valued thousands of Euros in the collectors’ market. It is now reissued in an original-like version, on clear red vinyl.

'The joyous harmonies and high-octane jive dances of South Africa’s greatest mbaqanga girlgroup, the Mahotella Queens, have enthralled audiences for six decades. "Buya Buya: Come Back" is the first full album of exciting new Queens material in nearly 20 years and marks their long-awaited return to the world stage. "These songs are in the Mahotella Queens’ original style and I can promise fans that it has been worth the wait," says lead singer Hilda Tloubatla, who at the grand age of 83 is the group’s last surviving original member. Hilda has been leading the Queens with her famously resonant voice since the beginning in 1964 and is now actively preparing the ground for the group’s future. She is now accompanied on record and on stage by the youthful voices of Amanda Nkosi and Nonku Maseko – the next generation of Queens – proof if ever it were needed that the mbaqanga beat is as indestructible now as it was 60 years ago. "Buya Buya: Come Back" is the group’s debut album for Umsakazo Records in the UK and is being launched with a two-week tour of Japan, the first performances of the Mahotella Queens outside South Africa since 2019 and their first appearance in Japan since 2005.'

We the cyber ants
survivors of the post human era
by smashing dystopic hegemonies
together in colonies we cooperate
through a chemical communication strategy.
Crossing underground labyrinths
as clever roots
in symbiotic relationships we live and
in freaky spirals we dance 'til down.
Catching electricity with feelers
we destroy the buildings of
the enemies of love.
We're a neglected community
an unconquered moltitude of
Yessensis
Longicornis
Solenopsis and Subterranean
Martialis Eureka
Colobopsis Explodens and more.
Souls inside exoskeletons
we don't need your past
'cause we are your future.

Here are 4/5 of the early work of Dj Ultramars, before he created his own label, Mars Assault Records.

Dj Ultramars drew inspiration from records from the begining of Hard Techno; from some work of the Spiral Tribe, but also just from the musical impression he had after attending his my first free parties.
Those tracks corresponds to a certain moment in the history of the free party movement, so a release on Toolbox Killerz was logical.

The tracks have been edited so that the arrangements would be more relevant to nowadays standards, and to alow a better sound quality on vinyl. Back in 1997, we didn't know better about vinyl cutting & premastering, so we went to a legacy cutting studio that had made all the cuts for Rock & Pop for decades, and they didn't understand the specifics of such Tekno music. Therefore on their first release, those tracks didn't make much sense without the highest frequencies... This time we have their ultimate cuts, the way they should always have been cut on vinyl, thanks to the legendary Hervé @ DK mastering studio.

Grizzly Bear haben sich nie aufgelöst. In den sechs Jahren seit ihren letzten Auftritten haben sich die vier Mitglieder, die vor zwei Jahrzehnten als lose Freunde und sogar völlig Fremde zur Gruppe stießen – Chris Bear, Ed Droste, Daniel Rossen, Chris Taylor – anderen Dingen zugewandt. Sie haben andere Musik gemacht, andere Karrieren verfolgt, andere Familien gegründet und andere Leben jenseits dieser Band geführt. Und nun, zum ersten Mal seit 2019, kehren diese vier Musiker und Freunde zu Grizzly Bear zurück, um die Bande, die sie zu einem der fesselndsten und beliebtesten Acts dieses Jahrhunderts gemacht haben, auf die Probe zu stellen und zu sehen, wohin diese alten Verbindungen noch führen. Da sich Grizzly Bear nie aufgelöst haben, sind ihre ersten Auftritte seit sechs Jahren keine Reunion; sie sind Ankunft und Aufbruch zugleich, ihr nächstes Ziel noch unbekannt.

Diese Art von offenem Ansatz ist es schließlich, der Grizzly Bear noch immer zu einem der prägenden Acts dieses jungen Jahrhunderts macht. Vor zwanzig Jahren wandelten sie sich rasant von einem Lo-Fi-Songwriter-Projekt zu einer vollwertigen Band mit einem sofort einzigartigen Sound, unheimlichen Harmonien, die sich um Arrangements schmiegten, die den Glanz eines Kammerorchesters mit der Härte einer Rockband verbanden. Sie trugen dazu bei, die Möglichkeiten des Indie-Rock neu zu definieren, indem sie Üppigkeit mit Lockerheit, technische Exzellenz mit emotionaler Offenheit in Einklang brachten. Ihre musikalischen Spuren sind nach wie vor allgegenwärtig, Teile ihrer unorthodoxen Sicht auf Klang und Textur sind heute fester Bestandteil des musikalischen Erbes. Diese Songs im Jahr 2025 live zu hören, wird sich also weniger wie ein Händedruck mit der Vergangenheit anfühlen, als vielmehr wie das erste Mal, ihre Fingerabdrücke in der Gegenwart zu sehen.

Begleitet werden diese Live-Shows von Neuauflagen der Alben Yellow House, Veckatimest, Shields und Painted Ruins auf farbigem Vinyl.

James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy: Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.

Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.

Just how lifelike does this reissue sound? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes: “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history.”

Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn,” the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.

As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.

Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group — as well as two different drummers — laid down a nearly 11-minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.” A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn,” each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.

Complicated? Somewhat. Unusual? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.

“Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II),” one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose,” which provides jolts on the order of sticking your finger into a socket.

Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World.”

And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn.” Mercy.

Ain’t it funky? Sure ‘nuff.

Emarosa's new album 'Peach Club' makes the most
of their eclectic influences, marking their sixth
studio effort as their most pop-laden and personal
album to date.
For fans of The 1975, Set It Off, Dance Gavin
Dance, Panic! At The Disco.

Celebrating its 10th anniversary in 2025, Emi Okamoto's debut mini-album "Strike!" is being released on vinyl LP with a newly remastered "10th Anniversary
Edition"!

Singer-songwriter Emi Okamoto is a multifaceted artist, active not only as the lead vocalist of the band Friends, but also in dramas, writing songs, and supporting
and guesting at RIP SLYME's live shows. Her fourth album, "Ten City," commemorating the band Friends' 10th anniversary, will be released in September 2025
and is generating rave reviews. Also celebrating its 10th anniversary in 2025, her debut solo album will be released on vinyl LP with a newly remastered"
10th Anniversary Edition"! Written and composed by herself, this album showcases her unique style, spanning everything from cheesy electro-pop to
Idol-esque tracks, '90s R&B, exotic pop, and emotional rock ballads. Also included as a bonus track is the remix "Hit Number - Evisbeats and Punch Rmx"
by Evisbeats and Michel☆Punch. The single-LP release of "Strike!" sold out immediately, skyrocketing in price even on the used market and making it
difficult to find, so this vinyl release is a welcome surprise! Guest appearances include Kouki Okamoto (Gt./Okamoto's) and Keisuke Okamoto (Dr./Kuroneko
Chelsea).

E-style single jacket / Japan pressing / 33 RPM / Lyrics included

Classic Latin Tunes Became Sals Hits! Pablo Yglesias -aka DJ Bongohead- compiles Grosso Recordings an amazing serie with classics tunes from Caribbean music that became great successes of "Salsa". Some tracks have been remastered and restored, others are presented on vinyl again after many many years. "This is the four volume in our series on the Roots of Salsa...The main criterion was to pick tracks that sounded adequate for today's DJs to play at a gig or were sufficiently interesting (or enough of a surprise to fans of the later version) to merit inclusion. The other measuring stick was that they needed to come from the old-school, before the more modern era (from 1962 on) and all of its recording innovations and marketing strategies...for now, listen to these dozen gems and then go back to their more familiar cousins from recent times and compare and contrast, and we're sure you'll be enlightened and entertained." Liner notes by Pablo "Bongohead" Yglesias. Format and selection designed for DJs, collectors and general public.

A peerless debut album by Jacks, born during the dawn of Japanese rock, is reissued as a colored vinyl modeled after the original red disc released by
Toshiba Musical Industries on September 10, 1968.

Its dark and freaky lyrics and sound, as if gouging out the depths of the soul, had a profound impact on the music scene that followed.
In addition to the original 10 tracks from the album, this reissue includes the single A-side track "Kono Michi", which was released around the same time but not included in the original album.

Now recognized worldwide as one of the biggest artists, BTS released this album about two years after their Japanese debut, solidifying their status as
top artists in both Japan and Korea. This marks the analog release of their second Japanese album, coming two years after their previous one.

Included on the album are their 4th single "FOR YOU," which earned them their very first No.1 on Japan’s weekly chart, the hit single "I NEED U,"
and their 6th single "RUN," along with Japanese versions of tracks from the "Hwa Yang Yeon Hwa" series such as "FIRE," which capture the most
beautiful yet fleeting moments of youth. Additionally, the album features the Japan-original song "Wishing on a star," as well as many tracks only
available on this release.

Manuel Di Martino carves fresh scars into the floor with Cicatrici EP on Parallel 41 – tense, driving techno and wired electro dreaming of Detroit and forged between Naples grit and Berlin basements. Futuristic, emotional and built for sweatbox systems, this one goes deep and hits hard.

repress!
After releasing Louie Vega & The Martinez Brothers’ ‘Let It Go’ in 2020, Defected now deliver a special 12” package of this irresistible summertime jam and accompanying remixes. With a copy of the original record going for up to £230 on Discogs, this release makes an anticipated arrival for crate diggers craving this red-hot release. Featuring the soulful, slick, groove-filled original as well as the Vox Dub on the A-Side, on the flip you can catch house sensation Honey Dijon’s ‘Berlin meets NYC’ style remix, as well as Australian powerhouse Dom Dolla’s chart-topping, high-energy version. A homage to NYC’s rich Latin American dance scene, this 12” delivery is a record box essential for any discerning house collector.

The tapes for “Ronnie McNeir Makes A Move” were found in Mickey Stevenson’s extensive master tape collection. A full new LP of classic McNeir is an absolute treat for his many soul fans; particularly in Europe where he is so admired.
Ronnie recorded over twenty tracks with Mickey Stevenson’s production company in 1971. Eleven of these were featured on his RCA LP “Ronnie McNeir”, but another ten were left in the vaults.

The title track, ‘Let’s Make A Move’ is an urgent, exciting funk sound, composed with Ronnie’s frequent writing partner, Andre Moore. ‘I’m Sorry’ is an earlier version of ‘Gone Away’ which featured on the 1972 RCA “Ronnie McNeir” LP, without the female singer’s vocal response track.
‘Say You’ is the Motown song first recorded by the Monitors in 1965. It has a more laid-back treatment here, giving it a whole new dimension. We issued the single version on a Kent Select 45 in 2022; both versions are featured on the CD. Another re-envisaged Motown number is ‘The Girl’s Alright With Me’ which features Hodges, James, Smith & Crawford’s backing vocals − as do other tracks on this album. Surprisingly, Bob Dylan’s ‘Blowing In The Wind’ is also covered; in a pleasing, jaunty treatment.

‘My Day Will Come’ is a slow-burning number Ronnie co-wrote with his wife Mona. It is one he is particularly proud of and has been picked up by modern soul DJs as a potential crossover hit. ‘Tell Your Mama’ is a sensuous, Marvin Gaye-influenced groove, while ‘East Side, West Side’ is more streetwise, dealing with the social problems that face many young people.

As a multi-instrumentalist, heavily influenced by jazz, it comes as no surprise that Ronnie would record two jazz / soul instrumental jams which he simply named ‘Ronnie’s Bag #1’ and ‘Ronnie’s Bag #2’. The tracks are keyboard-lead, piano and possibly organ – or more likely one of the early synthesisers that Ronnie pioneered. ‘Ronnie’s Bag #1’ is more jazz-oriented, while ‘Ronnie’s Bag #2’ goes funky.

Distant Lifeforms’ First Contact EP marks the launch of the new techno imprint by Lucinee and Lifka. As a split release, it includes two tracks by each artist, forming four trippy and forceful cuts that explore the outer edges of deep-space sound. With hypnotic rhythms, dense atmospheres and relentless drive, First Contact invites listeners on a journey beyond matter and mind - a bold introduction to the label’s sonic identity.

‘Get A Life, Listen To Autumns’ is a statement that tells you everything you need to know about the quality and attitude of the Irish producer’s latest EP. His DNO debut presents five tracks of steel-studded EBM and industrial run through with his trademark dub aesthetics.

A1 ‘100 Ways To Get Fucked’ — another bold title — struts its stuff to a methodical stomp; strained vocals pulled out of shape and fed back into macabre forms; low-end chugging like some smoke-billowing, grease-slicked machine.
‘Let It Melt’ picks up the pace, making judicious use of the reverse function, while subtle acid chirps and woozy arpeggios provide a chaotic, though not unpleasant, dissonance that induces a feeling of headrush.
‘Petted’ swaggers like sex incarnate, alongside snatches of diva vox and the kind of sweeping space-age pads that Holst might have used had he been born a century later, seemingly taking cues from the hot and sweaty nights of ’80s Chicago.

Over on the B-side, ‘LDRO’ sets its kicks and snares thrusting at full tilt over an inexorable bassline; Autumns’ favourite effect, delay, keeping things squelching like the jellified flesh of a ballistics dummy.
And to finish, ‘God’s Gift’ drops down to a sludgy rhythm — though with surprisingly spritely percussion — to match its tortured guitar, shrieking horns, and deadly subs. A fever dream of twisted metal and hot breath, like the gradual slowing after the climax of debauchery.

Marking a sultry new route for DNO, Autumns’ first for the label is confident, confrontational, and
not to be missed.

Rhythms of postmodern realism at the very bottom of the DNO.

Hercules & Love Affair music has always been about folding past, present and future together – and never more so than in the latest phase, encapsulated by the track that launches things, “Someone Else is Calling.”

If the song-first, ultra-gothic mind-movie of the last H&LA album In Amber was partly motivated by Andy Butler falling out of love with dance culture, this new body of work – an EP titled Someone Else Is Calling – is an unabashed resurgence of the love affair. A co-production with London underground veteran and inspiration to Butler, Quinn Whalley of Paranoid London and Decius, the lead single is a surging, tactile acid track woven around the vocal of Icelandic icon Hips & Lips aka Elín Ey – who hits that new wave disco sweet spot between Grace Jones and Yazoo era Alison Moyet.

Elín’s lyrics work perfectly with the bodily momentum of the sounds, circling around themes of self-possession and the urge to move on to the next experience, the next sensation: hunger for reality. And this taps into Andy’s feelings on escaping New York and moving to Belgium, discovering that dance culture was anything but the hollowed-out, identikit-festival-lineup conveyor belt he’d feared, and still had plenty of outposts where it was still – as he’d first experience it as a teen – about the hot, sweaty reality of diverse people seeking communion, communication and heightened ways of being in the here and now.

The video, filmed by Tatsumi Milori couldn’t be a better expression of exactly this. A love letter to the strange and glorious party scene of Mexico City, it captures people who are both tapping into the eternal verities of those magical dancefloor communions, and thrilling – against all the odds of oppressive forces – at the sense of possibility in the flow of gender and sexuality in the present moment. It’s powered by innocence and experience as intertwined forces, and it amplifies the heartbeat of the song a thousandfold. There will be more, much more, to follow from the partnership of Andy, Elín and Quinn. It digs deeper still into the decades of dance and other underground cultures that feed into this modern moment – but this shining beacon should give you a pretty good hint.

Someone Else Is Calling will arrive on one of Los Angeles’s most exciting new independent labels and creative hubs, StrataSonic, on December 14. The lead single of the same name, along with the music video directed by Tatsumi Milori, is out now. This marks the first collaboration between Hercules & Love Affair and Stratasonic.

The cultured dub and tech label Sushitech marks its 20th anniversary by branching out with a new imprint, Wood White Sessions, which has been designed as an outlet for more intimate, home-focused listening sounds that don't stray too far from the parent label's original ethos. Dedicated to albums from long-time collaborators and core artists, the new venture expands the Sushitech sound with a softer, more reflective edge and seasoned dub craftsman Another Channel is up first. Across eight cuts rich in texture and atmosphere, he hooks up with Prince Morella, Masis and Yassin Omidi to immerse you in the most shady and pristine dub.

The cultured dub and tech label Sushitech marks its 20th anniversary by branching out with a new imprint, Wood White Sessions, which has been designed as an outlet for more intimate, home-focused listening sounds that don't stray too far from the parent label's original ethos. Dedicated to albums from long-time collaborators and core artists, the new venture expands the Sushitech sound with a softer, more reflective edge and seasoned dub craftsman Another Channel is up first. Across eight cuts rich in texture and atmosphere, he hooks up with Prince Morella, Masis and Yassin Omidi to immerse you in the most shady and pristine dub.

Mr Thing returns with his 2nd release on Friday's Funky 45 after the 1st one Cool V sold out almost immediately! (repress coming soon) This time out Marc crafts a couple of 2 steppers to warm up your winter dancefloors. Side A is a nice flip of Cherelle & Luther's Saturday Love and side B a lovely version of Michael Wycoff's Looking Up To You - you know how the last one went - don't sleep!

May Simones has been garnering attention for her solid Berklee-trained technique, musicality spanning J-pop, jazz, indie, and bossa nova, and bilingual
English-Japanese lyrics. Following her 2025 Fuji Rock Festival appearance, she has already confirmed her first Japan tour, starting in January 2026.
She is one of the most talked-about singer-songwriters today. Meanwhile, John Roseboro is a Haitian-American singer-songwriter who blends elements of indie
folk, bedroom pop, and jazz with bossa nova rhythms. Unconstrained by typical idioms, his unconventional songwriting and arrangements have led him to
proclaim himself "post-bossa nova," garnering attention among some listeners in Japan.

The duo's cover of Antonio Carlos Jobim's classic "Waters of March" was a hit that quickly raised their profile. The intimate atmosphere created by May's soft
vocals and John's guitar is a testament to the two's friendship. This outstanding cover could set a new standard for English-language bossa nova.

Der Soundtrack zur irischen Komödie ""The Spin"" (2024) in der Regie von Michael Head, der zahlreiche Auszeichnungen bei diversen unabhängigen Filmfestivals von Belfast über Chicago bis Toronto gewann und auch auf dem Filmfest Bremen lief. Die Originalmusik wurde von Mark McCausland (McKowski) komponiert und produziert und enthält Gastbeiträge von: Howe Gelb, Jolie Holland, John Parish, Nick Power, Dave Murphy, Pieta Brown, Dead Goat, Steve Wickham, Gemma Doherty, Laura McFadden, Brenock O’Connor und Drew McConnell. Die LP erscheint auf farbigem Ecomix-Vinyl, bei der jedes Format ein Unikat ist.

Two musicians, two different folk music traditions, two soundscapes hundreds of miles apart and one nightingale song. Nightingale melodies inspired this intoxicating folk album by Slovakian flautist Michaela Antalová and Norwegian double bassist Adrian Myhr. The Oslo-based duo’s album follows their meditative 2021 debut Zvony (Bells), which featured harmonium, field recordings of crickets and a Slovak male choir.

Sing Nightingale is a translation of ‘Zaspievaj Slavicku’, a traditional Slovakian song. The duo experiments with this theme of the songbird; exploring instrumentation from around the world and its rich tonal textures. On ‘Night Singing’, Michaela plays a Slovakian fujara, a tall, upright wooden bass flute originally played by shepherds. The fujara’s smooth, deep tones are laid over a recording of a nightingale by musicologist Tomáš Šenkyřík, with Michaela’s flute mimicking the bird’s nocturnal chirps and warbles to attract a mate. Michaela is carefully imitating the bird, who is in turn improvising his melody. In ‘Worm Moon’, named after the springtime full moon in March, when nightingales return from Africa where they have spent the cold winter, Adrian’s slow and resonant double bass is brightened by the sweet trills of a real nightingale and Michaela’s fujara.

The Norwegian Hardanger fiddle or hardingfele, features on two specially written songs; ‘Lament’ and ‘Rosenhave’ (rose garden) which bring together the nightingale’s symbolic associations with undying love, sacrifice, deep sorrow and loss. Celebrated Hardanger fiddle player Helga Myhr plays alongside Adrian’s double bass and Michaela’s seljefløyte or willow flute. Helga also plays on ‘Flagre’ (Flutter) and ‘Dance Nightingale’. The seljefløyte is very similar to the Slovak overtone flute koncovka. By using this Norwegian instrument, Adrian and Michaela’s new compositions are reminiscent of both countries’ folk traditions. Folk music often comes from unknown sources; the original writer may not be known and the melodies are typically passed down orally. Michaela and Adrian’s project merges the different folk musics from their respective countries, finding common ground in the sonic qualities of instruments and evolving a new hybrid folk style, authentic in its own right.

For the stunning adaptation of the traditional Slovakian fujara song ‘Dolu Ovce Dolinami’ (‘Sheep down the valleys’), Adrian’s friend Javid Afsari Rad plays the Iranian santur, similar to the traditional Slovak string instrument cimbalom. By coincidence, Iran’s national bird is the nightingale, making another unexpected connection to the symbolic bird. These 11 tracks are a beguiling fusion of traditional folk styles, approached by musicians from an avant-garde, improv and jazz background. The album pays tribute to a hugely expressive bird and finds a strange, soothing universality in the folk sounds of different countries.

To celebrate the twentieth anniversary of their debut album ‘Employment’ (usually commemorated with the gift of china), Kaiser Chiefs are making three new expanded ‘China Anniversary’ formats available. The 1LP edition is pressed on white vinyl, and includes ‘bonus’ track ‘Take My Temperature’. Remastered at Abbey Road Studios.


Originally released in March 2005, ‘Employment’ peaked on the UK album chart at No. 2, and has since spent more than 17 months on the Top 40, selling more than 2.1 million copies in the process, and being certified 7 x Platinum status by the British Phonographic Industry. Similarly successful across Europe, the album’s longevity was aided by the hits singles ‘Oh My God’, ‘I Predict A Riot’, ‘Everyday I Love You Less And Less’ and ‘Modern Way’, and a series of triumphant performances that established Kaiser Chiefs as a ‘must see’ live act, building a loyal fanbase that stays with them today.

Dare To Wonder is the new album by London jazz rap duo Summers Sons. Two brothers, surname Summers. Turt on vocals and Slim on production.

Dare To Wonder consists of 12 songs about love, life and connection. Compared to previous Sons’ albums, it’s safe to call Dare To Wonder a feel good album in its best sense. It doesn’t turn a blind eye to the madness of the world today. But it dares to take a step back and marvel at the beauty of the world around us. It dares to wonder. Wonder awakens our curiosity and leaving us thirsty for more knowledge. But it also humbles us – keeping us from thinking we know everything already.

Since 2018 Summers Sons have released five albums on Melting Pot Music (Undertones, Uhuru, The Rain, Nostalgia, Still Nothing Still) – which accumulated over 50 million streams to date – and a string of high profile collaborations with The Silhouettes Project, Twit One, C.Tappin, Nix Northwest and Frankie Stew & Harvey Gunn.


INFOTEXT DE

Dare To Wonder ist das neue Album des Londoner Jazz-Rap-Duos Summers Sons – zwei Brüder mit dem Nachnamen Summers. Turt am Mikrofon und Slim an den Beats.

Dare To Wonder umfasst 12 Songs über Liebe, Leben und Verbundenheit. Im Vergleich zu ihren bisherigen Alben darf man Dare To Wonder mit gutem Gewissen als Feel-Good-Album im besten Sinne bezeichnen. Es verschließt nicht die Augen vor dem Wahnsinn der heutigen Welt, aber es wagt die Perspektive, um die Schönheit um uns herum neu zu betrachten. Es wagt, zu staunen. Staunen weckt unsere Neugier und macht uns hungrig nach mehr Wissen. Gleichzeitig macht es uns demütig – und bewahrt uns davor, zu glauben, wir wüssten schon alles.

Seit 2018 haben Summers Sons fünf Alben über Melting Pot Music veröffentlicht (Undertones, Uhuru, The Rain, Nostalgia, Still Nothing Still) – mit über 50 Millionen Streams – und hochkarätige Kollaborationen mit The Silhouettes Project, Twit One, C. Tappin, Nix Northwest und Frankie Stew & Harvey Gunn veröffentlicht.