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When the then 21-year old Mac DeMarco released his debut Rock and Roll Night Club 12" just a short while ago in the Spring of 2012, it was accompanied by a barrage of bizarrely funny promo videos, wildly unhinged live performances and a not-so-subtle disparate range of promo photos. The glam facade was purely that, an image that was manufactured for fun to confuse the stiff and compartmentalizing world of indie music journalists. But it wasn't all a jest, as that EP covered a whole range of music styles that were latent in the ex-Makeout Videotape frontman's already impressive slough of cassette-only releases. The sincere and warm Mac who sang "Only You" was the same lipstick-wearing sleazoid that crooned "Baby's Wearing Blue Jeans" and that suited him and his listeners just fine. Now, all of six months later, Mac is back with his first proper full length, Mac DeMarco 2. As opposed to RNRNC, "2" is a concerted effort to produce a cohesive work that showcases Mac's natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker. The results are immediately rewarding, from the warm "Cooking Up Something Good" to the heartfelt "My Kind of Woman." It's obvious Mac is presenting himself musically in the most sincere way possible, no matter what happens in his wild videos or live shows. "Freaking out the Neighborhood," Mac's apologetic ode to his loved ones about such public behavior, shows that Mac DeMarco is still with us, coming along for the ride, getting everyone else in trouble. Even so, the maturation process of Mac DeMarco, recording artist, is in full swing. He did, after all, turn 22 this April.

Mac DeMarco's debut full length, 2, released in 2012, cleaned up the songwriter's warped take on soft rock and brought it to a broader audience. Given DeMarco's affinity for keeping things lo-fi _ 2 was the first time he'd bothered to record demos _ it's revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like "Annie" and the Lennon-esque "Sherrill." Captured Tracks now brings this limited edition demos release back in print on green vinyl to celebrate the label's 10th Anniversary.

Mac DeMarco, formerly Makeout Videotape, is the anti-thesis to your stereotypical singer-songwriter. Disregarding the seriously somber moments, he replaces them with whimsical and youthful spontaneity, whilst retaining the endearing and subtle commentaries that exude his familiarity. Promptly after leaving his Edmonton garage for Vancouver he embarked on a North American tour accompanying fellow Canadians Japandroids on a grand voyage of enlightenment and alcoholic debauchery. DeMarco's a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he'll likely refer to as "jizz jazz". His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin. DeMarco's debut solo EP entitled "Rock And Roll Night Club" will ramble into the great unknown guided by Captured Tracks, DeMarco's inner Elvis a tow.

"As I'm getting older, chip up on my shoulder..." is the opening line from Mac DeMarco's second full-length LP `Salad Days,' the follow up to 2012's lauded `Mac DeMarco 2.' Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), `Salad Days' gives the listener a very personal insight into what it's all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like "...never been reluctant to share, passing out pieces of me..." Clearly, this isn't the same record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac's widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now. "Brother," a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco. "Treat Her Better" is rife with "Mac-isms," heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity. We're only at Part 2 and 1/2 (one EP and two LP's in) into Mac's career. As you read this and as you hear the album on April Fool's Day of this year, he'll probably be on tour, or preparing for one... or maybe already writing new music. A relentless work ethic is something to be admired in today's indie music scene, but when it's of the quality Mac is giving us time and time again, it starts to turn from admiration to awe.

Mit der neuen Doppel-LP 'Long Distance Love - A Sweet Relief Tribute to Lowell George' hat Sweet Relief, die Organisation, die alle Arten von Berufsmusikern und Beschäftigten der Musikindustrie finanziell unterstützt, die mit körperlichen oder geistigen Problemen, Behinderungen oder altersbedingten Problemen zu kämpfen haben, ein Juwel vorgelegt.

Lowell George war der Gitarrenvirtuose, Sänger und Songschreiber von Little Feat. In dieser Sammlung von 25 Liedern interpretieren und spielen Künstler wie Elvis Costello, Ben Harper und Dave Alvin seinen vielfältigen Katalog. Der in Hollywood, Kalifornien, geborene George war Mitglied von Frank Zappas Mothers of Inventions, bevor er diese Band verließ und mit Bill Payne Little Feat gründete. Lowell gehörte der Band 7 Jahre lang bis zu seinem Tod an und veröffentlichte in dieser Zeit acht Alben. Obwohl George 1979 starb, lebt sein Vermächtnis durch dieses Album weiter.

André Rieu is a Dutch violinist and orchestra leader known to many as the waltz king of Europe. He is also one of today's most celebrated solo violinists/composers, with over 500K sales on his catalog. Rieu is known to the general public with his performances of popular classical works by Johann Strauss.

His 1992 Christmas album Merry Christmas consists of beautiful arrangements of traditional Christmas songs. Merry Christmas is completely remastered for vinyl and is now available as a limited edition on translucent red coloured vinyl.

Beyond the Valley of the Murderdolls is the debut studio album by American horror punk supergroup Murderdolls. It was released in 2002. The album reached number 40 on the UK Albums Chart, and sold over 100,000 copies in the U.S.

Murderdolls are a side project for Slipknot drummer Joey Jordison and Static-X guitarist Tripp Eisen.

The music on the album is fast and macabre, stuck in a time warp that hurtles them backwards to the decayed sounds of the '80s. Call it gutter-punk, glam rock, or hair metal, every style is displayed here in its despondent glory, bearing close comparisons to shock-punkers the Misfits. The Murderdolls draw inspiration from movies such as Friday the 13th, Night of the Living Dead, and Phantasm. The 15 tracks found here are full of tongue-in-cheek horror clichés.

Beyond the Valley of the Murderdolls is now available on black vinyl and contains a 6 panel insert.

Inhaler is the third studio album by American rock band TAD, originally released on October 19, 1993. It was the band's major label debut after two albums and an EP released by Sub Pop, and it was also their first album with drummer Josh Sinder, formerly of The Accüsed. Producer J. Mascis (Dinosaur Jr.) gave TAD a more focused and driven sound on this record. He can be heard playing the piano on ""Luminol"". The song ""Grease Box"" was played during the end credits of the 1994 movie Brainscan. Inhaler is easily their best and most consistent album to date and obtained positive critical reception upon release. Fortunately, the group has lost none of the grit that marked them as the grungiest of the Seattle scene. In promotion of Inhaler, TAD toured with Soundgarden. Inhaler is available on black vinyl and includes an insert.

The legendary Lagoa club, a temple of techno in Menin, is celebrating its 34th anniversary in style with the exclusive release of LAGOA TRAX Vol. 1, a vinyl compilation featuring four unreleased tracks composed by four of the club's iconic resident DJs: Manu Kenton, DJ HS, Jamie Dill, and Max Walder. These artists, who have made their mark in Lagoa's history with their memorable performances, pay tribute to the soul and energy of the club through compositions that are true to its unique musical style, known for its powerful beats and dynamic sounds.

This vinyl captures the essence of Lagoa's legendary nights, offering fans four exclusive tracks to once again vibe to the intense rhythm that has shaped the club's reputation.

Le légendaire club Lagoa, temple de la techno à Menin, célèbre son 34ème anniversaire en grande pompe avec la sortie exclusive de LAGOA TRAX Vol. 1, un vinyle regroupant quatre titres inédits, composés par quatre des DJ résidents emblématiques du club : Manu Kenton, DJ HS, Jamie Dill et Max Walder. Ces artistes, qui ont marqué l’histoire de Lagoa avec leurs performances mémorables, rendent hommage à l'âme et à l'énergie du club à travers des compositions fidèles à son style musical unique, reconnu pour ses rythmes puissants et ses sonorités dynamiques.

Ce vinyle capture l'essence des nuits légendaires de Lagoa, offrant aux fans quatre morceaux exclusifs pour vibrer à nouveau sur le rythme intense qui a forge la reputation du club.

André Rieu is a Dutch violinist and orchestra leader known to many as the waltz king of Europe.

He is also one of today’s most celebrated solo violinists/composers, with over 500K sales on his catalogue.

Rieu is known to the general public with his performances of popular classical works by Johann Strauss.

His 1992 Christmas album Merry Christmas consists of beautiful arrangements of traditional Christmas songs.

Merry Christmas is completely remastered for vinyl and is now available as a limited edition on translucent red coloured vinyl.

As a young conservatory student back in 2016, Danish trumpeter Anders Malta was invited to participate in a reunion concert with the legendary Ernie Wilkins Almost Big Band. He was so taken with the band and the music, that on the spot he decided that he wanted to form his own. In 2020, Anders Malta Almost Big Band played its first concert, going on to play a monthly residency at Christiania Jazz Club in Copenhagen for the past two years. Their debut album Introducing is set to release on August 23rd on April Records. Since the early days of jazz, the broad sound pallet and dynamic range of the big band has proven irresistible to composers and arrangers. However, the traditional big band, with its 16 16-19 individual moving parts, can also at times, and for different reasons, be an unwieldy machine to maneuver. Malta s 13 13-piece made up of Denmark s finest young soloists is agile like a small group, retaining the powerful force of the larger orchestra. Belonging to a new generation of musicians with a deep love and knowledge of the jazz tradition, Introducing " sees the band pay tribute to the timeless Hardbop sound of the 50" s and 60" s through the three movement suite Hardbop Conversations "", whilst offering a contemporary European perspective on the classic large ensemble format through Ouverture, Interludium and Epilog ". Intricate arrangements, rich harmony, soaring trumpet & flugelhorn improvisations and a diverse array of feel and grooves showcase the impressive stylistic and artistic breadth Malta has to offer as a bandleader, arranger, composer and instrumentalist. From the high high-energy swing and powerful tutti chords one craves from a Big Band to the more intimate textures of solo instrumental passages, the ensemble s sophisticated, complex, and joyous debut proves once again that Denmark s jazz scene is among the world s most prolific and exciting.

Led by pianist/composer Barbara Fiig, the ensemble is made up of three creative communicators self described as blue sheep " of the jazz world. First stumbling into each other at the music education program at Classical Music Conservatory DKDM, their sound is rooted in collaboration and community, drawing on elements of musical poetry, jazz, folk, Nordic and Classical traditions. Regarding the name Blåly , the trio explains that it is a made up word open to interpretation. Derived from the wordly "", meaning shelter " in Danish, it is reflective of the shared feelings of safety and introspection the trio find in their music making and that they hope to impart onto their audience. Exploring themes of motherhood, new beginnings, mental health, identity, and the cathartic potential of music, the record is built around Fiigs personal approach to the piano. Combining gentle lyrical melodies and colorful melancholic harmony, Blåly perform and interpret each piece with a mature, spacious and textural sound palette, ebbing and flowing between the composed and the improvised in a collective exchange of ideas and energy. Driving drum grooves, hypnotic piano patterns and ethereal timbres from bowed double bass craft a stripped back sound world that is simple, immersive, honest,

A followup to his 2022 debut Dayyani released on his own label, Trop Op " sees the drummer delve deeper into the mood of pedal steel, trumpet and Nordic folk he discovered early in his writing practice and develop it into a bigger, more comprehensive vision. Featuring eight original compositions and an arrangement of a traditional Swedish folk song, Dayyani s simple yet sophisticated writing style is focussed on lyrical thematic melodies, rich folk harmony, and showcasing each member of the sextets musical identity.With years of playing together in a number of up and-coming Danish jazz groups including Tigeroak, Nordlys trio and Vingborg/Valencia Quartet, the ensemble is well versed in giving each other space to express their voices freely. Soaring reverberated arcs from the pedal steel, subtle drum grooves and expressive, tasteful improvisations offer up an imaginative fresh perspective on contemporary Nordic jazz. The records title translates to Step Up ", referring to Dayyani s view that we all need to step up for our communities and share more of ourselves to the people around us. "We live in a time where there is an increasing focus on our mental health, and personal growth where we need to take care of ourselves. In doing so, I think we can sometimeswithdraw too much into ourselves, focus on the inner self and forget to stand up for eachother and the community surrounding what we do.

PRESENTED FOR THE FIRST TIME EVER ON VINYL AS A DOUBLE LP IN A GOLD VINYL PRESSING WITH A FOLD-OUT INSERT

As music fans know, James Brown wasn't just the greatest funk and soul singer the world has ever seen - he was also a musical visionary and businessman, who surrounded himself with geniuses who made him better and pushed him further. From horn masters Maceo Parker and Pee Wee Ellis to vocalists Lyn Collins and Bobby Byrd, Brown was a musical A & R master, restless and always looking for the next big thing. Most times, that would manifest in the latest James Brown smash under his own name. But not always. His stable of talent was overflowing in the 60s and 70s, and, thankfully, the tape machine in his studio was always rolling. Originally released in 1988, during the era of hip-hop's golden age of sampling, it's no surprise that just about every note heard in this incredible collection has been used on not one, but multiple rap classics. Which, at the time, was proof of Brown's (and his crew's) staying power. But we are over three decades beyond those days now, and it has lost none of its musical potency. Diving deeper into the vaults than the also-incredible Part 1 of the Funky People series, there is not a weak track in the bunch. Moving beyond well-known JBs cuts, things get interesting from the get-go with Bobby Byrd's monumental groove "I Know You Got Soul". Hank Ballard and Marva Whitney also enter the fray, leading the way to Myra Barnes's emotional and powerful "Message From The Soul Sisters (Parts 1 & 2)" and Lyn Collins's slow, smoldering cover of Isaac Haye's "Do Your Thing." Politics even get the funky soul treatment, with Fred Wesley & The JBs "You Can Have Watergate But Gimme Some Bucks And I'll Be Straight" and "I'm Paying Taxes, But What Am I Buying?" And it should not be overlooked that Maceo & The Macks instrumental workout "Soul Power ‘74" even features a proto-sampling snippet from MLK’s I’ve Been To The Mountaintop speech from 1968. This is another amazing collection of James Brown's funky friends, without one second of filler, brought to you as a glorious 2-LP gatefold by your friends at Get On Down.

Inspired by Dua’s own self-discovery, Radical Optimism is an album that taps into the pure joy and happiness of having clarity in situations that once seemed impossible to face. The hard goodbyes and vulnerable beginnings that previously threatened to crush your soul, become milestones as you choose optimism and start to move with grace through the chaos.

Infused with the energy of Dua’s hometown, London, the attitude of the album embodies the rawness, honesty, confidence and freedom of ‘90s Britpop. Radical Optimism transports its listener to a dreamy pop world rich in musicality, lyrically unapologetic and sonically liberating.

The 3x GRAMMY and 7x Brit Award-winning global pop powerhouse worked with a team of core collaborators throughout the project including Caroline Ailin, Danny L. Harle, Tobias Jesso Jr. and Kevin Parker.

Born Xavier Amin Dphrepaulezz, by now much has been made of Fantastic Negrito's own unique story--his early years growing up in an orthodox Muslim household, the doomed major label deal that turned him off of the music industry altogether, the near-fatal car crash that permanently damaged his guitar playing hand--as well as the remarkable redemption arc that began in 2015, when he won the first ever NPR Tiny Desk Contest. In the years that followed, Negrito would go on to take home three consecutive GRAMMY Awards for Best Contemporary Blues Album, tour with everyone from Sturgill Simpson to Chris Cornell to Bruce Springsteen, collaborate in the studio with the likes of Sting and E-40, launch his own Storefront Records label, perform at Lollapalooza, WOMAD, Glastonbury, Newport Folk, Byron Bay Blues, and nearly every other major festival on the map, and found the Revolution Plantation, an urban farm aimed at youth education and empowerment. Son of a Broken Man sees Fantastic Negrito encapsulating the inimitable elements of his celebrated body of work to date, from hard-hitting distorted guitar riffs to melodic and expressive ballads, all fueled by the unexpected twists that have become his trademark. The album stands as perhaps Fantastic Negrito's most personal thus far, exploring family, deception, and the human desire to hide the true self as he dives deep into one of the oldest conflicts in human history, the struggle between father and son. Beginning at a young age, Negrito was served untruths by his father. A made-up last name, a fabricated ancestry, and a fake Somali accent. Why lie? Why create this false narrative? Those are the questions Negrito had to ask himself and the questions that lie at the heart of Son of a Broken Man.

The two separate double vinyl sets are now available that correlate to the triple CD released earlier this year. TMTCH stumbled into existence onstage at the Alternative Country Festival, Electric Ballroom, Camden on Easter Sunday in 1984; after a long afternoon busking and drinking in a Hammersmith subway. They knew three chords and a hundred songs all of which sounded a bit the same, a frenzied skiffle that was exciting to jump around and drink snakebite to. If they thought about longevity at all, a lifespan of 40 days seemed most likely. It's forty years later and they are still running. Since those early days, and without much of a game plan other than always stepping onward, TMTCH have released around 20 albums plus many side projects, bootlegs, curios and an unknown number of T shirts. They've toured constantly, whether in dingy pub backrooms or Grand Ballrooms and Festival Stages. From Cairo to Reykjavik and all points in between, the TMTCH roadshow has shambled and thrilled through the decades, always passionate, always literate, occasionally dishevelled. Forty years of recording has spawned a vast back catalogue, well represented here by songs from each album, style and era; a tapestry of human stories and vibrant characters. So there are the fast sprints like early folk hoedown 'Ironmasters', the frantic shanty 'Raising Hell' and the amphetamine punk blues of 'Going Back to Coventry'. Then there are the waltzing folk ballads, from their impassioned version of the anti war standard 'Green Fields Of France' to the bitter regret of 'The Bells' and the righteous testimony of 'Our Day'. Elsewhere there are anthems galore; 'The Crest' a swirling gaelic chant, 'Rosettes', a fast marching assault of drums, fiddles and mandolins; historical epics such as 'Ghosts Of Cable Street', 'Shirt of Blue' and 'The Colours'; romantic ballads like the wistful 'Parted From You' and 'Island in The Rain'. All the eras are here; from the wiry lo fi of the first album, through the eighties into full blown MTV ready multi trackers with vast charging drums; the initial simplicity of their recipe deepening and darkening. And then on through the nineties, noughties and tens; always the double pronged vocals drifting between harmony and unison, always the celtic, folk and country tones vying for attention, the emotive fiddle, the top end mandolin above the thundering rhythm section. On through bouffant hair, spiky hair, dyed hair, thin hair and hats; on through Grunge, Baggy, Madchester, Rave, Britpop. On through the Miner's Strike, Poll Tax, New Labour, Iraq and Brexit. On through marriage, children, loss and revival. Forty years at the working end of rock and roll is a feat achieved by very few bands. It requires tremendous chemistry, a deep catalogue; both panoramic and miniature, a vital and irrepressible energy, all of which is on resplendent display in this sprawling 3 disc compilation. But most of all it requires an intense resilience, something that TMTCH possess in spades. Forty years on the run; was ever a band so aptly named?

The second of three albums Hartman recorded for Impulse (and following the classic Coltrane/Hartman masterpiece), Hartman’s voice is again on display at his best, including ‘Wee Small Hours of the Morning’, ‘Charade’, and ‘Sleepin’ Bee’. Hartman’s supporting cast is nearly as impressive as his voice, with Hank and Elvin Jones (piano/drums), and Milt Hinton (bass) as rhythm section. Kenny Burrell and Jim Hall contribute on guitar across the album and Illinois Jacquet (tenor) performs on five songs. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

2 long sides for 45RPM deep bass ! One side by Hesed, a long developpement from tribal tribe to Acidcore... the perfect morphing and story telling !
n the Flip MNT delivers an old school tribe tune, level-uping the Boucles Etranges style or old spiral effects... Minimal and tribal, pumpin and breathing.

the sleeve is an atwork from Davide Black Qirex, full printed and drawed little casino ! Punk & Tribe !

Amandra, half head honcho behind Ahrpe Records, goes for subtly evolving and droning atmospheres. With releases spanning electronic genres and record labels: Nous klaer Audio, AD 93, Tikita or Semantica, just to name a few; the French producer ba with coherence his own vision of acid and tribal rhythms that can be presented with either bright and soft feelings or through a
Brera Som Som EP

As always with Amandra, there is a blend of poetic and soft hidden touch given to the music through carefully crafted personal Som is a 4 tracker EP, recorded back when he lived in Warsaw Poland, showcasing the artists ability to navigate through nich double 12 package cherry topped with four intelligent and eclectic remixes from artists with their own unique identity: Shieldin Brainwaltzera.

Amandra on disc 1
Brera Som Som
I want my music to breathe dirty so its alive to my ears, trying to stay away from surgical, clean, electronic music. The Prophet recorded by hand, with assumed offbeat imperfections, as always. I wanted to get a naive Asian mood out of it, just to try and c track. I tend to think a lot about my tracks and their meaning more in terms of feelings, art and techniques than in terms of dee
dance floors or whatever. Brera Som Som is a try at using the chiaroscuro technique depicted in classical paintings for instance interesting focus on some very specific elements.

Cyborg Pelikana
Recorded out of a jam on a Soma Pulsar 23 and some heavy distorted synths, it ended up sounding like no other recordings bit different as I wanted to have a more composed like approach here.

Fanfaron
Here is a try at going jungle... with a Moog DFAM and a 303 processed through a Sherman Filterbank.

Prorokini
This one belongs to a phase where I was exploring the sampling side of electronic music. Until that moment I was building 100 based on raw drum machines and some processing, then started feeling how it would feel to sample some raw external beats and process them my way. I didnt pursue that sampling lead much afterward because it felt like a boring approach to me that
stood out anyway, like this one, which Im very proud of. The synths are clearly programmed on the Prophet 08, it cant go any Instruments than that, if you like them, go grab that synth

Remixers on disc 2
Cyborg Pelikana Shielding Remix
I liked the dry and direct qualities of the original track and wanted to maintain that feeling while collaging it using my own proc Recorded in my old home studio in Stockholm.

Brera Som Som Brainwaltzera Remix
no comment.
Fanfaron Whylie Remix
The remix was made using resampling techniques, the rhythmic noises were transformed into driving percussive layers pushi character. A more emotional overlay was added to the track based on the sentimental and personal approach I built through.

Brera Som Som Martinou Remix
Interpreting Amandras work has been on my bucket list for a while. Theres something in it that is innately humanizing and raw capture in my remix. The melody line from the remix is just a snapshot of a small part of the full original track, but it stuck with my improvisation to what you see before you today. With this remix I wanted to make something that would swell slowly and ring o
All original tracks written and produced by Amandra.
Remixes written and produced by Brainwaltzera, Whylie, Martinou and Shielding.
Mastered by Amandra.
Artwork by Neurotypique.

1st in a series of compilations collecting the ultimate funk & soul tracks from the legendary TK DISCO catalog that have been instrumental is shaping the sound of hip-hop. 10 tracks from the vaults highlighting grooves that have been sampled by DRAKE, DR. DRE, KANYE, MADLIB. PETE ROCK, and more.

For fans of The Stray Cats, Brian Setzer, Swing and Big Band! The Brian Setzer Orchestra (sometimes known by its initials BSO) is a swing and jump blues band formed in 1992 by Stray Cats frontman Brian Setzer. In 1994 they released their debut album which was followed up in 1996 with Guitar Slinger. In 1998, for their breakout album The Dirty Boogie, the group covered Louis Prima's "Jump, Jive an' Wail", which originally appeared on Prima's 1957 album The Wildest!. The BSO's follow up single, appearing on the album Vavoom!, was "Gettin' in the Mood." Now get Guitar Slinger from the Brian Setzer Orchestra for the first time on vinyl since 1996. Remastered on 180g vinyl in an amazing limited- edition color. There are only 700 of the Silver Melt. Guitar Slinger is the second release from the Brian Setzer Orchestra and where the band really started to come together. The album leads off with "The House Is Rockin'" and features the Brian Setzer/Joe Strummer (The Clash) penned tracks "Ghost Radio" and "Sammy Davis City". There are 12 tracks in all, and it clocks in at just over 43 minutes. This is the first in a series of three reissues coming from Deko Entertainment with The Dirty Boogie scheduled to also hit by the end of 2024, with Vavoom! to follow in early 2025.

Ltd Silver Vinyl, DL card. From a long-forgotten trunk; two extended jams, twin slabs, circa 1989. Continuing Fire Records' series of classic remastered albums from Royal Trux, 'Hand Of Glory' is released on silver vinyl. This bad-ass black, white and blue magic is a kind of Burial Dub_ or so preached the sleeve of 'Hand Of Glory' on its original release in 2002. Legend has it, the two sides of this 40-minute gem were recorded between 1985 and 1989. The resultant mountain of creativity from where they hail were inevitably left under a scuzzy sofa as life and a career that ebbed and flowed over nine albums. Royal Trux became an inspirational tipping point for everyone from Pavement & Sonic Youth to the Black Keys, Kurt Cobain, The Avalanches & Hot Chip's Alexis Taylor. "I urge and encourage you to enter the harmolodic multiverse of their music." Alexis Taylor, Hot Chip. 'Hand Of Glory' is not like their other albums but then again none of their albums are alike, it's a two-faced masterpiece. Side one's 'Domo Des Burros'/'Two Sticks' is on par with Beefheart's sprawling 'Trout Mask Replica'. It plays out in 19 minutes, sounding like it was laid down on Warhol's sofa in The Factory; like Dylan's sprawling 'Desolation Row' with, background squalls, interruptions and both Neil Hagerty and Jennifer Herrema's overlayed stream of consciousness peeping through a multi-layered backdrop. It's just staggering. "Royal Trux were nothing if not fearless." Pitchfork. Side two's 'The Boxing Story', a loose homage to William Burroughs, moulds and morphs from tape to tape, a multi-speed soundtrack, while the dynamic duo press pause, guitars ring, occasional melodic lines arrive and evaporate. Lou Reed's pastoral 'Metal Machine Music' could perhaps be recognized as an older and perhaps less challenging sibling. A two-sided masterpiece featuring two wayward pieces of creative genius.

Ltd White Vinyl, DL card. 1992's 'Untitled' brought the band's third album that re-cemented the duo once again as the progenitors of the "lo-fi" genre. This breakthrough set transitioned "The Trux" into a never ending all-inclusive rotating cast of musicians. Continuing Fire Records' series of classic remastered albums from Royal Trux, 'Untitled' is released on white vinyl and features updated monochrome and silver artwork. As unpredictable as ever, Neil Hagerty and Jennifer Herrema shook off the next level layering and noise of 'Twin Infinitives' to embrace the history of rock 'n' roll in all its deformed grandeur. Utilizing their ever present mind set of macro-inclusivity, they allowed the subconscious "radio stations" of their lives to infiltrate, lead, and dictate. Culling from their collective minds and memories twisted tunes that touched them. After the blood rush of their much-hailed avant-garde masterpiece 'Twin Infinitives' (1988), this eight-song opus added to the lo-fi genre that originated on 'Twin Infinitives'. On 'Untitled' Hagerty uses his 5-string blues roots and hails rock's twisted potential, while Herrema slurs and snarls in ecstasy. They sound like they're locked in a fourth-floor boudoir at the Chelsea Hotel; bottles clink, an album clicks on its run-out groove, the band plays on. In the mix are the characters and casualties of the 90s, a roll call of swaggering misfits. These aren't superficial sketches, the Trux cut much deeper than that_ "'Junkie Nurse' isn't just about addiction; it's about the twisted hope that even the most broken people can somehow mend others, even when they're falling apart themselves." Jennifer Herrema, Royal Trux. With 'Untitled' Royal Trux justifiably increased their coterie of convicted followers, becoming the cult heroes for a transgressive generation, and the Rosetta Stone for male/female duos (ie:The White Stripes, The Kills etc... ) over the years inspiring everyone from The Silver Jews (David Berman) & Sonic Youth through to melodic blue-eyed soulsters like Hot Chip - "I urge and encourage you to enter the harmolodic multiverse of their music." Alexis Taylor, Hot Chip. "Royal Trux were nothing if not fearless." Pitchfork.

LP Ltd vinyl picture disc version w/ DL card, 500 pressed. Vanishing Twin furthers their exploration of decidedly experimental territories with Afternoon X. Crafted with a playful balance of humour and rigour, with each member embracing the role of the multi-instrumentalist and process, over outcome. Following a series of line-up changes, Vanishing Twin is now the tightly honed collective of singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti (Holy Tongue, Tomaga, Moin) and bassist Susumu Mukai (Zongamin). Harnessing the diverse touchstones of its members; Lucas' left-field song-craft, Magaletti's singular approaches to experimental percussion, and Mukai's long history in the production of electronic music, the band has refined a hypnotic sound at the juncture of minimalism, kosmische, post-punk, and dream-laden, psychedelic pop. These eight fluttering abstractions, culled, collaged, and built upon from a vast constellation of instruments, samples, and unclaimed sources. Lucas employs her voice as an instrument and a generator of raw sound, weaving surreal imagery and uncanny juxtapositions amongst the dance and propellant drive. From infectious grooves of the album's title track and the constrained minimalism of "Subito", to the ambitious heights of pieces like 'The Down Below' and Lazy Garden, which unfurl a psychedelic avant-gardism on the scope and scale of David Axelrod and Scott Walker. Vanishing Twin embark upon a new multifaceted journey that collectively culminates as the bands most forward-thinking and groundbreaking release to date.

This 1986 album by The Primates remain as the only recording ever released by these four 60s r&b and garage fans. Originally published on Greg Shaw's very own Voxx (Bomp! sublabel focused on revival garage/psychedelia) and produced by Shaw himself, this valuable musical document that portraits the essence of the L.A. 80s garage scene, has been out of print for more than 20 years! So we thought it would be a perfect record to reissue as part of our Bomp! reissue series. The Primates were formed in 1984 and cut their teeth at L.A. spots such as the Cavern Club, as part of a growing scene of devoted Nuggets/Pebbles fans, fascinated with 1960s garage punk classics. The core of the band were Brett Miller and Ted Edlefsen, sporting Vox guitars, and Erik Bluhm as front man, with different drummers, mostly Brian Corrigan but then also Eric from Threw the Looking Glass and Gene from The Miracle Workers. The opener 'I Ain't Like You', 'Bad Luck' or the fun cover of Neil Sedaka's 'I Go Ape' reflect the wild, party-driven mood of the entire album, making you wonder how crazy their shows were in the golden era of the L.A. 80s garage scene. Combining originals and versions (check their great take on Q65's 'I Got Nightmares'), "We Are The Primates" remains as a wild, raw, party album that every fan of garage music should own. Munster is thrilled to reissue this essential '80s garage gem as part of a series of releases celebrating Bomp! 50th anniversary. Our issue includes a booklet with liner notes and rare photos and ephemera.

Mysterious, multifaceted collective i Häxa have unveiled their epic self-titled, full length debut; a ground-breaking conceptual double album shaped by a collision of ancient gods and bleeding-edge technology_ Released as four distinct Parts over the course of the year, `i Häxa' now comes together as a singular vision that weaves together genre-defiant soundscapes, abstract cinema and ancient meteorological mythologies from singer-songwriter and visual artist Rebecca Need-Menear (also of electronic alt-rock duo Anavae) and forward-thinking producer Peter Miles (Architects, Dodie, Fizz). i Häxa is a ritualistic dissection of the world as we know it, a forceful separation of the monotony of modernity from the rites and rituals that for centuries formed the foundations for who we are, how we came to be and where we claim to belong. Disjointed fragments of time collide. Two sides, one of logic and one of chaos, seeking unity and balance through an expression of freedom. This is i Häxa. Whilst the album is composed of four distinct movements, each consisting of four distinct tracks themselves; pulling them apart into easily digestible, standalone singles isn't an easy feat and, as is now clear from the project's sprawling cyclic nature, was never the intention. In an age of fast fun and instant gratification, the ties that bind these works together are intended to transcend tracklisting. With aural, visual and lyrical themes freely intertwining, i Häxa is something to be consumed whole; just as it will, in time, consume you. Charting an existential journey to the very depths of what makes us who we are, with every dark corner illuminated in glitched out, discordant glory; i Häxa is a project years in the making that draws simultaneously from rituals for old gods and the modern day deification of data. i Häxa is both heartwarming and horrifying; i Häxa is ancient history and hyper-real; i Häxa is everybody and no one at all. Check out if you like Radiohead, Julie Christmas, Agnes Obel, Bjork, Fever Ray, Massive Attack, Dead Can Dance, Emma Ruth Rundle, Jenny Hval, Cult of Luna, Eivor, Zola Jesus, Marissa Nadler, Soft Moon

Psych-rock band Longheads are set to release their debut album, Layers of Wax, after recently signing with Stolen Body Records. This seven-track album delves deep into the realms of stoner and doom, all while retaining the signature psychedelic sound that fans have come to love from their first two EPs. Following the success of their acclaimed second EP, Mars Doesn’t Feel Like Home Anymore, Layers of Wax marks a significant evolution in the band's sound. Listeners can expect a more polished and mature sound that still captures the energy that propelled their previous EP to prominence within the London psych scene. The first single from the album, "Deathcap Farmer Part Two," will be released alongside a psychedelic, space-faring music video. This track showcases the band's continued experimentation with a 9/4 time signature, a technique they began exploring on the title track of their previous EP, Mars Doesn’t Feel Like Home Anymore.

After winning three leading Belgian music awards with Humo's Rock Rally, De Nieuwe Lichting and Sound Track, girl band BLUAI is expanding its horizons. On their debut album Save It For Later, the trio leaves for a road trip through the sonorous areas populated by the likes of Big Thief, Pinegrove, Haim, and Alabama Shakes.
Save It For Later is a record not unlike a Polaroid picture. Belgian songwriter Catherine Smet captures the memories of her youth in lyrics with a perfume of Americana, country pop, and indie folk. The stories areset in her native Flanders, but close your eyes, and galloping horses on a ranch in Mississippi form the backdrop of BLUAI's debut album.

Catherine Smet (vocals, guitar), Mo Govaerts (drums), and Caitlin Talbut (bass) joined forces with producer Willem Ardui (blackwave.) for this record. BLUAI's instrumentation was expanded with banjo, twelve-string guitar, and lap steel. Engineer Tobie Speleman received 'Nashville tuning' as a briefing. BLUAI thus shifts the focus from indie rock to Americana and breaks open the band's frame of reference, with influences ranging from Maggie Rogers to Alabama Shakes to The Japanese House.

Save It For Later is the creation of a group that came together two years after the formation of BLUAI, found a common drive, and is now cruising at full speed. BLUAI is here to stay.

Comic relief serves as a refreshing element that lightens up a tense or tragic situation. It creates a moment of contrast and distraction from the seriousness of the scene. This pattern can also be found in literature and film, in humorous characters like Chandler from the sitcom Friends. Especially in difficult times like these, we all occasionally long for comic relief. With his new EP, David Bay tries to create exactly such a moment of escape.

The songs on the EP unite an organic yet modern approach to indie, disco, and house music. David combines the two worlds he is rooted in: growing up in an indie band and, at the same time, running a disco-house label. After two edit EPs and a collection of singles with classic instrumentation and songwriting, this release brings everything together – music that sounds distinctly indie, but with a pulsating house beat.

Next to the four originals on the A-side, each track was remixed and is to be heard on the B-side of this vinyl: 80ies-influenced and well-known producer Lauer contributed his version of disco-gem „1999“, up and coming Dj- and producer Marie Lung flipped the indie-disco track „strangers“ into a deep and housy groover - Electro-legends Digitalism turned the dance-floor-ballad „<3 beat“ into a French-House belter and Dylan C. Greene hailing all the way from San Francisco remixed „dancing on the edge“. Out now on vinyl, only on Zissou Records.

Dive into the evocative soundscapes of the past with the first ever vinyl reissue of Piero Umiliani's 1972 library masterpiece, "Guerra E Distruzione." Known for his innovative and genre-defying compositions, Umiliani's work on this album encapsulates the raw emotions and tumultuous energies of war and destruction through a unique blend of orchestral finesse and experimental brilliance.

This exclusive reissue has been remastered for vinyl by Davide "Bassi Maestro" Bassi to capture the full depth and richness of the original recordings, bringing to life every nuanced note and intricate layer. Presented in a stunning gatefold jacket with opening in the inside, replicating the original pressing, the album's artwork is a tribute to its historical significance and artistic value, offering fans and collectors a visual and auditory feast.

Limited to just 500 copies, this release is a rare gem for connoisseurs of library music, soundtrack enthusiasts, and vinyl aficionados. Immerse yourself in the hauntingly beautiful and profoundly stirring world of "Guerra E Distruzione," a timeless work that stands as a testament to Piero Umiliani's enduring legacy in the realm of cinematic soundscapes.

©℗ 1972 – Liuto Edizioni Musicali. Licensed to Holy Basil Records.

Members of: Winterfylleth, Necronautical. Born from the fury and decay of North-West England’s postindustrial landscape, Magnetar presents their debut album, a unique amalgam of classic and raging
extreme metal. Melody and brutality in equal measure. Musically, the album can be seen as a triumvirate
of influences: primarily the great melodic black/death Swedish bands of No Fashion Records in the early
90s, the muscularity and speed of 80s North & South American thrash/death acts such as Slayer,
Sepultura, and Infernal Majesty, and last but not least, the hallowed British bands of the 80s including
Judas Priest, Motörhead, and Iron Maiden

Endeavoring to raise the bar for underground heavy bands, Spike Shavor, founding member of grindcore
legends Catheter, birthed Dust Lord in the mountains of Colorado Springs, sworn to make the loudest
and heaviest music possible.

Rian Treanor keeps knocking new doors of possibility with his new label Electronic Music Club and its initial focus on Rotherham Sight & Sound, participants of a community-based initiative in their shared post-industrial home town Rotherham. Utilising software synths designed by Rian and his dad Mark Fell, the trio twist out vortices of shearing, asymmetric anarchitecture, rudely resembling the sort of hyper-contemporary styles alluded to in Rian’s solo works, but inflected with cranky timing and an intuitive freedom that bears extraordinary results, especially when considering the fact the trio had no prior musical ability, and only encountered electronic music a few years ago.

After a couple of years of practice and performance, ‘Action Potential’ now firms up their quicksilver sound for club and home buzzes with seven actions that warp and morph from the needling jolts and hoof of ‘Pass The Go’, to shuddering detonations in ‘Dial’, each with a properly electrifying force carrying a genuine futureshock. Working within Rian’s systems-based framework, Anne, Kathleen, and Mick deploy a tactile feel for the machines, finely honed over the course of many sessions at the Rotherham Sight & Sound facility, that uses their visual impairments to synaesthetic advantage.

Between the wickedly metallic ragga swivel of ‘Hold’, the diffractive chain reactions of ‘When It Ends’, and more tempered, sloshing sensuality of ‘30 Seconds’, the trio follow their noses down wormholes that manifest an ideal of accessibility and expressionism within electronic music contexts that Rian and Mark have long worked towards, with Anne, Kathleen and Mick’s relative lack of cultural conditioning in this paradigm prompting them to act on pure instinct

Matter-of-factly, Lycox exclaims "Yaaahh" right at the beginning. That's an affirmation but in times of distress it can also mean resignation, something like "Yeah, whatever". Lycox says he was only freestyling though. Then the bassline appears. Elastic, expressive, full-bodied. And it's not even present the whole time. He was "trying to develop a new formula for the Kuduro beat."

Songs for the club? Most certainly. Different sensibilities, one same focused mind. Lycox evolves within tradition, he has mastered the groove, the ambience, the right tones. Simply called "Energia", the last track circles above wistfully, menacing but maybe just promising some sort of action. With a few drops one could almost switch over to a parallel universe of old school Trance, a reference that feels as alien here as maybe this track feels to someone for whom the standard Afro House sound represents modern African music.

These songs pile up in a threshold balanced between styles, sensations, maybe in the middle of life itself. Such a concentration of energy is bound to need release and that comes figuratively through details in the music reaching out to receptive ears. "To Bem Loko" explicitly tries to "literally drive everyone crazy on the dancefloor." Once again Lycox provides vocals, as in "Edson no Uige", about a friend who embarked on a trip to the Angolan province of Uige and came back speaking only the local dialect known as lingala. A nod to tradition, very emotional, without compromising complex arrangements. Consequently, we the listeners are kept believing there is still enough space for a bright future. To ears accustomed to Lycox productions the title "Contemporaneo" (opening of side B) reads like a redundancy, then.

Maybe this music can never be quite as massive as other Afro styles. Without sounding pretentious, it avoids simplistic patterns, it demands a bit more mental processing while it certainly aims to loosen the limbs. Universal in vocation, underground at the core, Lycox definitely calls it Batida but for some it is still Ghetto Music. Like DJ Veiga said when describing a previous release for Príncipe, Ghetto is home, though. Lycox adds it is a foundation of personality. "Few in our community will recognize your work when you come from the same environment, but once you establish your reputation outside of the neighbourhood and even outside of the country, people will look at you differently, as if you were a star."

Next up on Feral Child comes the debut vinyl release from Austin Tx psych outfit NEON LEMON.

Having caught the eye of label head Dom on some cool looking, local Spacemen 3 themed nights’ posters; further digging revealed this incredible, richly melodic, yet deep psychedelic beauty with -seemingly- no home for a release on wax, so it was pretty easy to step in and offer to release it. “Hypnagogic Visions” is a superb, fuzz n’ drone drenched 6 track 10” LP in a sleeve designed by the legendary Jim Franklin (a friend of the band) who famously designed beautiful posters, flyers and gig tickets for the Elevators, Shiva’s Headband and Canned Heat amongst others, in his role as owner of the Vulcan Gas Company, a revered 60s Austin psychedelic club and concert hall. As Ben Siebert from the band explains: “This record was mostly written and recorded in a warehouse space outside of Austin (that no longer exists) called The Inner Chamber. We tried best to capture our live sound in this space, and with most band members in a state of constant turmoil at the time of its recording, this space offered a refuge from our personal lives and a place to transcend reality through creation of this music.” Neon Lemon blends together mind altering psychedelic sounds of the 60's with transcendent space rock of the early 70's. Finding their own balance between free form psychedelia and a mainline of roots rock and roll.

Limited one time 10” pressing, distributed by Forte Music Distribution and available late October 2024.

Plastic Crimewave Syndicate returns with one collective foot in overdriven space-biker scuzz rock, but the other bigfoot kicking upward into new galaxies of synth punk, no-prog, and freek funk. Yes, dare we say it, the new PCWS LP, Tales From the Golden Skull, GROOVES--but from the perspective of the Japan n' Kraut/Eurorock undergrounds, coated in some nasty Windy City grime. Aided by the Chicago Cosmonaut Couriers Crew, ala famed renaissance man Mac Blackout (synths/horns/electronics), Przemyslaw Krys Drazek (trumpet) of longtime zone-jammers Drazek Fuscaldo/Mako Sica, Will MacLean on Moog keytar (!-- of local Silver vocoder-ed Apples lovin' treasures Protovulcan), plus the oldest-school synthlord Bil Vermette, who's been modulating since the 70s. We'll call Tales From the Golden Skull a near-concept lp (aren't they always?) that looks back at fallen friends and collaborators, and then into the unwritten golden future (as PCW himself hit the golden 50). The sonic journey dips into dark textural valleys, and chugging riffs rising to thee fiery heavens, as the thundering-but-subtle rhythm section of Jose "Beast but Best" Bernal and Rob "Dead Feathers" Rodak know when to crash and when to burn (one). Sir PCW lays down his trademark big muff-blastage and echo-cries, to channel the despair and feral bark of the mighty Vega/Hammill/Iggy/Dickie P/Haino/Mojo-Risin/Mizutani, but also knows when to shut up for some layered instrumental Embryo/Harvester/Fausty trance rock and dabbed/dubbed out "not-quite-shoegazin" calmness in the eye of the Ur-storm. This might be the most expansive, detailed yet furious PCWS LP yet, recorded at Rec Room studios with Eric Block, who has done all from a band with Sonic Youth's Steve Shelley to recorded Rhys Chatham 100+-peeps guitar orchestras. So strap the headphones on and absorb the tales of this spaced ritual-rock opus. Artwork - Steve Krakow