Buscar:moth

"I wrote half of these songs when my energy was either headed in the wrong direction or already there. I wrote the other half while my energy was moving in a direction I'm more excited about, that I find to be more enriching. They're all still my songs though. My mother, and lots of my relatives, used to call me "Angelito."

Little Angel. The taijitu is the symbol for yin and yang. Opposites that make a whole. Given the dualistic/ duelistic nature of the songs on the record, put it all together and what do you get, Anjelitu.

T he tenth studio album by was released by Motown in 1967. It includes the #1 hit singles The Supremes "You Keep Me Hangin' On" and "Love Is Here and Now You're Gone". All of the songs were
written and produced by Motown's main songwriting team of Holland–Dozier– Holland.

Most of the album was recorded during the spring and summer of 1966. However, several songs date back to the summer of 1964. The album also includes covers of H-D-H penned songs for Motown
artists The Isley Brothers ("I Guess I'll Always Love You"), The Four Tops ("It's the Same Old Song", "I'll Turn to Stone"), and Martha and the Vandellas ("Heat Wave"). This was the group's final album fully
overseen by the songwriting team

Originally released in 1975 by RCA via its subsidiary Midland International—and recorded at the legendary Sigma Sound Studios in Philadelphia—these two tracks have never since both been released on the same single up until now, appearing once in unison on an acetate reference recording, copies of which have never sold on Discogs and are believed to be in the hands of 4 collectors worldwide.

Touch of Class effortlessly blend together the classic Motor City Sound and Philadelphia’s hard-driving disco groove in one fell swoop, records that sound like they have been produced from both the Gamble and Huff and Dozier playbooks, while retaining a unique register exclusive to the group.

4x LP and Zine (ft. photos, historical text and track narrations by the artist) set. Nation bring it.
An essential delve in to the retrospective works of SSPS. Limited edition. No repress. HUGE TIP ON THIS!

" You can't fake the funk, as they say and SSPS is pure funk embodied in all he does, the man oozes the funk 24-7!
One of my earliest encounters with SSPS was at one of the infamous Rubulad parties out in Brooklyn....
the man was decked out extravagantly...a cross between Blowfly and some futuristic being zapped
down to earth directly from the P-Funk mothership. Who was this masked man?
The disco vampire, was beating fast disco tracks relentlessly while slamming in his 707 over the records in real time...
not an easy feat, the beauty of the imperfections making it that much more exciting hearing the gallop and wild energy
he was bringing to the crowd, we were eating it up. This is SSPS, fearless in his approach and execution,
a modernist looking to the future but rooted in the past, an artist committed to his art...
all presented with unhinged emotion. It's all or nothing...everything on the table....do or die...the true epitome of style!!!!

Declaring someone a "cult figure" or a "legend" is a huge weight to carry and is often a term that is carelessly thrown around,
but those of us who have dwelled in this "underground" over the last 30 years can say with confidence that SSPS is just that
to many of us, no questions asked, it's not up for debate.

Now, many years later we see the culmination of his electronic works from 2002-2021 committed to record in this 4xlp,
16 track boxed set (plus 45 page booklet) titled SSPS, "The Life and Times of GiGi Black" thus solidifying
Mr. Nicholson's place in the secret world of dance not dance music.

The only way to describe this offering is "full spectrum electronic musical madness" not to be categorized,
never to be pigeonholed, full of surprises and straight from the gut with a direct hit to the heart.
We could go on about the production processes, about his Furr City studio space or his cross country excursions
for work with a truck packed with paintings (but also his music equipment) plugging in and recording during his
pit stops in Motel 6's across the US. But again it doesn't do justice to simply have a small peek inside the man's mind...
the music is beyond the mind. The process is the process and nothing has or can stand in the way of what the SSPS
has done in his long musical life. Punk Rock, Hardcore, House, No-Wave, Industrial, Jakbeat/Slow-Beat and Noise.
it's all there for the taking, it's all intertwined. If you want it, you will find it within SSPS's works.

Nicholson's path is the embodiment of true culture within "dance music" cultivated from years of learning, experimenting,
and pushing the limits with total commitment and immersion. "The Life and Times of GiGi Black" is true life experience,
it is a reflection of someone delving deep into his craft and presenting it with care in opposition to the fast, disposable,
self gratifying click bait culture we see dominating the pages today. The proof is here, drop the needle, enter the world of SSPS.














n G2 1000 Truths Balearic Inaugural Mix

Thaniil Alexandros can’t imagine a life without producing. Under the name of RBCHMBRS, Thaniil has been tinkering with sample based productions for 17 years. In one form or another, RBCHMBRS has mashed inspirations of hip hop instrumentals with the funky, snappy bounce of UKG.

Being half Greek and half Dominican means that Thaniil’s first memories of music were of classic Greek music and his mother’s love of dance and disco. Growing up on the Bronx meant that he was exposed to a mix of genres his entire life. From boomboxes on the street or from the windows of his neighbors home, gave Alexandros exposure to sounds he hadn't heard.

Toe the Line EP was intended to return to stripped down elements of older releases, but something “a little less outer space, a return to earth.” Armed with an SP-404, RBCHMBRS wants to be playful without being reminiscent, always trying to move forward. He believes that nostalgic pain can propel an artist to make their best work.

While noting history teachers as salient inspirations that opened his eyes to cultures unknown to him, as well as a father who is a history buff of his own, Thaniil has inherited some of their reverence for the classics and the importance of learning from the past. Alexandros’ fundamentals are influenced by Madlib, Timbaland (“the early stuff,” he interjects), Q Tip, Havoc, Alchemist, UKG, as well as the culture that surrounded the NBA in the 90s, during his most formative years.

Keeping it in the family, RBCHMBRS works closely with critically acclaimed emcee/producer THERAVADA, who co-produced Sick by Earl Sweatshirt with him, and who is his cousin. Currently, RBCHMBRS is working on a self-proclaimed “sprawling dance album” with Tesh Curry. His audience has a lot to look forward to.

With his Estrella EP, his intention was expressed through the imagined feeling of a time warp, a portal, and maybe coming out the other end of it. He wanted Toe The Line EP to feel more grounded, a down to earth project that he leaned towards as he searched for his life to settle. This EP reminds him that many things in his life have changed for the better, and a lot of that has to do with the structure hes begun to install.

Repress! Following the success of two collaborative releases (EMC "The Show" / 2008 and Ace & Edo G "Arts & Entertainment" / 2009), Masta Ace joins forces with the metal faced MF Doom for Son of Yvonne, a highly personal concept album that celebrates the life and legacy of Ace's recently departed Mother. Like his 2004 landmark Disposable Arts, Son of Yvonne is meticulously constructed with stories, settings, and characters that resonate with flesh and bone humanity. Interstitial vignettes provide a thematic backbone to the experience, and each track complements and completes the previous to form a narrative whole: a sometimes visceral, sometimes nostalgic slice of Ace's young life in Brownsville, Brooklyn. Entirely underscored by MF Doom's iconic Special Herbs instrumentals, Son of Yvonne features the Juice Crew general Big Daddy Kane, new comers Pav Bundy (The Bundies), Reggie B and even MF Doom on the mic. It's Masta Ace's no frills flow, however, that looms largest above the dusty samples and digger loops that define Doom's production. Ace's photo-realistic rhymes about stick-up kids, spraycan artists and wack emcees add extra gravity to his already celebrated reputation as "truly an underappreciated rap veteran and underground luminary" (Allmusic Guide). Like Eminem recalls in his 2008 autobiography The Way I Am, "Masta Ace had amazing storytelling skills. His thoughts were so vivid."

Record Kicks celebrates its 20th Anniversary with a limited edition "Rare Box Set" consisting of ten 45 vinyl with the very best of the label's catalogue.

2023 is a special year for Record Kicks: the Milan-based independent label turns 20 years old. In order to celebrate this great achievement, Record Kicks is proud to announce the release of a limited edition "Rare Box Set", coming out on March 3rd and containing 20 tracks on 10 "rare" 45 vinyl that retrace the story of these past 20 years of Record Kicks. The boxset is limited to 500 copies worldwide and it will also be released on digital format on that same day, March 3rd. The artwork by Japanese artist Ruminz is an homage to Afro-American culture. Of the 20 tracks on the "Rare Boxset", 11 tracks are previously unreleased on 45 vinyl, while 9 are reissues of mega in-demand gems.

Among the tracks released for the first time on 45, you'll find label's Funk & Soul heavyweights such as "Easy To Come Home" by Sydney funk maestros Dojo Cuts, "Your Love is Mine" by British funk band The New Mastersounds feat Corinne Bailey Rae and remixed by Nostalgia 77, "50 Foot Woman" by Hannah Williams & The Affirmations, "Soul Connection" by The Diplomats of Solid Sound and "Soul of My Life" by The Tibbs. For the first time on 45 vinyl, there are also two singles from the masters of Cinematic funk Calibro 35: "Stainless Steel" from their legendary album "Traitors" and "Ungwana Bay Launch Complex" from "S.P.A.C.E.", The Diasonics with "Andromeda", taken from their debut album "Origin Of Forms", and Whatitdo Archive Group's "Blood Chief" from the band's album "The Black Stone Affair".

On the reissue's front, among the rare tracks that by popular demand finally see the light again on 45 vinyl we find: the afrofunk cover of The Artic Monkeys' "I Bet You Look Good On The Dancefloor" by Baby Charles, JB's classic "Soul Power" by Kokolo remixed by Lack Of Afro, The Bluebeaters with "Catch That Teardrop" and "Toxic (One Drop Version)" singles, northern soul floorshaker "I'm a Good Woman" by Hannah Williams & The Tastemakers and deep funk stormer "I'm Not Your Regular Woman" by Marta Ren & The Groovelvets.

The "Rare Box Set" is just the first of many upcoming initiatives that will be revealed during the year to celebrate the Milan's label 20th anniversary. Side by side with similar imprints like Daptone, Big Crown, Colemine or Timmion Records, under its motto "The explosive sound from Today's scene", Milan-based record label and music publishing Record Kicks has been pitching the contemporary funk & soul scene since 2003. With over 250 releases under the belt, the label has released bands from all over the globe and earned support of VIP fans such as rap superstars Jay-Z, Tyler The Creator and Dr. Dre, who took inspiration from the label's catalogue by sampling it.








g g1: The New Mastersounds - Your Love Is Mine (Nostalgia 77 Remix) feat. Corinne Bailey Rae

As Deutsche Grammophon celebrates its 125th birthday this year 2023, the Yellow Label marks the occasion by releasing a selection of vinyl LPs for the first time ever.
“Beauty will save the world,” wrote Dostoyevsky, which is the claim that Camille Thomas makes throughout this record. Not beauty for the sake of hedonism, but a beauty that believes there is a burning line to be drawn between pain and hope. Camille Thomas' new album illustrates this, structured like an archipelago surrounding the Cello Concerto composed by Fazil Say. Camille Thomas gave its premiere in 2018, and her album spanning the work of ten composers, allows us to travel the path from pain to hope. On the threshold, we meet three pieces: the heart-rending melody of the Kaddisch by Ravel, a sublimation of the Jewish prayer for the dead; the lamentation from Purcell’s Dido, quasi a lullaby from the queen who awaits her death, in a nakedness without pathos; and between those two works, the tender Dance of the Blessed Spirits from Gluck’s Orfeo, in which we hear the first signals of hope. The album is available today for pre-order and is accompanied by the pre-release track of Gluck’s Dance of the Blessed Spirits from his opera Orfeo ed Euridice.

Xiu Xiu setzen sich seit 20 Jahren mit Verarbeitung, Empathie, Ungehorsam und Neuordnung des Grauens auseinander. Ihr neues Album 'Ignore Grief' ist eine Platte mit zwei Hälften. Angela Seo singt auf der einen, Jamie Stewart auf der anderen. Die eine Hälfte ist real, die andere imaginär. Die realen Songs versuchen, das Schlimmste, was das Leben den 5 Bandmitgliedern zu bieten hat, in eine Art verzweifelte Form zu bringen, die ihre Herzen und ihr Gedächtnis in diesen schrecklichen Erfahrungen nicht zermalmen und verrohen läßt. Die imaginären Songs sind eine abstrakte Erkundung des frühen Rock'n'Roll-Genres 'Teen Tragedy' als Ausgangspunkt, um die Emotionen der Band zu dekontaminieren, weil sie weiß, was diesen fünf Menschen widerfahren ist.

- LP auf Silver Ghost farbenem Vinyl mit DL Code in breiter Außenhülle mit Booklet (Lyrics, Poesie)

Wipe your blade clean. The bloodline of Eastern European kosmische and groundbreaking, grinding cinematic psych rock finally emerges from fifty years of forbidden forestland to fill your thirsty grails. Poland’s prime progressive provocateurs Żuławski and Korzyński finally expose the jagged roots of Possession and The Silver Globe and give the devil his due via this historical vinyl release.

If an opening strapline that reads “Forget everything that you thought you knew about the history of psychedelic rock and horror movies” appeals to you, then further potentially hyperbolic phrases like “Lost Grail” and “Banned Forever” will surely clinch the deal, leaving the hugely significant wider context of this dream come true release surplus to requirement. But as we hope you have come to expect from Finders Keepers releases “The devil is in the detail” and the fact that any mention of the perpetually elusive original master tapes to a 1972 project entitled Diabeł and the phrase “Holy Grail” have become synonymously associated only adds the twisted irony that surrounds this genuine masterpiece of both aforementioned fields.

For those fastidious enough to pursue the hunt, these unearthed recordings represent the crowning glory of the lifelong unison of Maestro Andrzej Żuławski and filmmaker Andrzej Korzyński, two genuine mavericks of Polish experimental cinema who challenged artistic and societal norms, on both sides of a politically restricted regime and on an international artistic stage, without compromise. Friends since childhood, Korzyński and Żuławski may have become divided by limelight and geography (Żuławski the intrepid emigre), but they remained united in their kaleidoscopic creative vision, resulting in a fractured stream of troublesome and mind-bending golden era collaborations such as Possession, The Silver Globe, and Third Part Of The Night. This long-awaited liberation of the psychedelic masterpiece known as Diabeł finally completes the duo’s full vista with what many consider the most vital piece of the prism.

Crackled radio-like transmissions from Norway's rural hinterland. Juni Habel's fragile finger-picked lullabies warm themselves by the open fire with her rich intimate voice atop twinkling arrangements and strange percussive instrumentation. Like glowing embers in the dark, these songs are odes to life and death, the beauty of belonging and human kinship with nature.
Push open the door of the old school house in the remote flatlands of Southern Norway that Juni Habel shares with her close-knit family and climb the stairs; you’ll find yourself in a former classroom – the home of her new album Carvings. A songbook of life’s lessons offering an expansive perspective as it navigates personal shadows between darkness and light.
“I knew I wanted to write from a larger perspective. I wanted to write about the course of nature, and the people in it - life and death, beauty and tragedy.” Juni says, “loss - the search for the dead - grasping to find the words, and liberation of giving that up. I also wanted to explore my own kinship with nature - a sense of belonging, and notice what is around with gratitude and zest for life.”
This unyielding spirit of family and nature is etched into Carvings’ unschooled approach. With beauty in mock-simplicity and radiating humanity like the music of Tia Blake, Julie Byrne or Myriam Gendron, Juni’s songwriting unfolds on her own terms, and is the sound of facing whatever mother nature decides will find its way to the top of the list.
Recorded between the classroom (‘big hall’), the hallway on the 2nd floor, and her bedroom with simple gear and vocals laid down in a single take. Co-producer, musician and singer Stian Skaaden, became her melodic confidant and experimental co-conspirator halving the burden by building the album’s layers through blowing a pipe, playing bow on the banjo, bottles or glockenspiel. “With this album I wanted to lean deeper into the process. The title Carvings illustrates thoroughness. It was a vulnerable project, to strive for creating something truly beautiful, to pour my soul into it,” she says.
Uninhibited by the possibility of ‘mistakes’ and jamming until she struck gold, Juni confidently discovered the truest expression of herself. “It takes courage to do things ‘wrong’ with uncertainty, record lyrics which are strange but feel right, on crappy mics, it can be good to fumble a bit,” Juni says before tellingly, “the joy of playing is quite fragile. I have to protect it. You can't use your head, you have to be inside the song.”

One of the outstanding Jazz fusion album from the late 70s includes timeless classic and Jazz dance anthem. Dynamite Cuts releases a quality limited edition double pack release which gives you 4 of those masterpieces, all are first time on 7"

Stilistisch beeinflusste Lous Armstrong fast alle nachkommenden Trompeter der traditionellen Jazzstile. Darüber hinaus ist Satchmo, dessen unverwechselbare Stimme seine weltweite Popularität begründete, neben Billie Holiday und Ella Fitzgerald einer der bekanntesten Sänger des Jazz. Armstrongs musikalische Wurzeln lagen im New-Orleans-Jazz. Er hatte maßgeblichen Anteil an der Entwicklung dieser Stilrichtung weg von der Kollektivimprovisation hin zum herausgestellten Solo, womit er das Starsolistentum im Jazz begründete.

LEMON YELLOW VINYL

As mui zyu, Hong Kong British artist Eva Liu navigates the tricky territory of ever-changing identity, merging fantasy and folklore to create a stage for self-acceptance and deliverance. On her debut full-length Rotten Bun for an Eggless Century, Liu utilizes chopped-up sound- scapes, delicate industrial ambience and sweet pop melodies to introduce a character--a guide--who can be stretched across worlds to offer the catharsis of patience, perseverance and understanding. This isn't a character formed from a desire to escape or flee the real world, but rather a way to submerge even deeper into ourselves. Rotten Bun for an Eggless Century is a reflection of everyone, and everything, that made us who we are. On her 2021 a wonderful thing vomits, Liu was praised for her seamless integration of darkened, often ominous instrumentation and pillowy-soft vocals. As the front person of UK indie-rock trio Dama Scout, Liu effortlessly navigates a disorientating genre-bending sonic landscape with a playful, gentle dexterity. Now, with the help of Dama Scout bandmate Luciano Rossi as co-producer, Liu's first solo full-length builds upon these previous worlds to form a blossoming, more upbeat patchwork of lo-fi percussion, poignant lyricism and oddly alluring arrangements. The writing process of Rotten Bun for an Eggless Century prompted Liu to explore more of her Hong Kong heritage, allowing a space for acceptance and celebration. "I am Chinese and I am owning it," she explains. "Before, I would resent it. I tried doing things that would make me like less Chinese somehow." As the album began to take shape, Liu read the traditional Chinese folklore writings of Pu Songling and joined local East and Southeast Asian groups. It opened a portal into a new self, where Liu could blend her love of video games and film scores with traditional Chinese instruments.

The two full-length records that Jeff Mangum made as Neutral Milk Hotel sound both in and out of time. Like translations of a shared subconscious, 1996's On Avery Island and 1998's In the Aeroplane Over the Sea give voice to the perennial spirit of youthful epiphany, of beginning to see the world clearly, to process and express it-no matter when you encounter them. With lo-fi indie rock, accordion, singing saw, tape collages, the so-called "zanzithophone" and beyond, Neutral Milk Hotel created an eternal entry into their Elephant 6 scene and an enduring feeling of possibility. Mangum was born in the small city of Ruston, Louisiana, in 1970, coming of age within the '80s and '90s indie and punk undergrounds, a movement of teenagers recording in their bedrooms, sharing zines and trading tapes, listening to hardcore and experimental music on college radio. For all the mythology Mangum's elusive persona has accrued-particularly during the 15 years immediately following Aeroplane, when he abruptly left the band behind-it's the beguiling songs themselves that have resonated so deeply for generations. In 2011, Mangum collected nearly all of the band's recorded output in a limited-edition box set (self-released under Neutral Milk Hotel Records, a small operation helmed by Mangum and his mother) which is now re-pressed by Merge. // CONTENTS: Black matte box is a 2-piece telescoping casewrapped package. Outer shrink-wrap includes a front sticker with "Neutral Milk Hotel," and a back sticker listing box contents. The box set includes 2 folded posters, each printed one side and each 24 x 24 inches when flat, and 1 postcard, printed front and back with box set information and sized 3.75 x 5 inches. Vinyl records: 1. In the Aeroplane Over the Sea: LP is 11 tracks pressed 33RPM to black vinyl in a gatefold jacket + printed insert for full album download. --- 2. On Avery Island: 2-LP is 12 tracks pressed to double black vinyl in a gatefold jacket + 11 x 11 printed insert + printed insert for full album download. Sides A, B and C pressed 45RPM. Side D pressed 33RPM. --- 3. Live at Jittery Joe's: 12-inch picture disc is 11 tracks pressed 33RPM to a full color picture disc in a heavyweight poly jacket + printed insert for full album download. --- 4. Ferris Wheel on Fire: 10-inch is 8 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download. --- 5. Everything Is: 10-inch is 7 tracks pressed 45RPM to black vinyl in a printed jacket + postcard insert + printed insert for full album download --- 6. "Little Birds": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download 7-inch housed in a heavy-weight poly jacket. --- 7. "You've Passed": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavy-weight poly jacket. --- 8. "Holland, 1945": 7-inch is 2 tracks pressed 45RPM to black vinyl in a printed jacket + printed insert for full album download. 7-inch housed in a heavyweight poly jacket.

Often credited as the “Mother of Hip-hop”, Sylvia Robinson was a seminal blues-turned-soul singer, producer, and writer who released a slew of sultry and sensually charged records in the 1970s as a solo act and in the duo Mickey & Sylvia. Pillow Talk remains her most intoxicating work; a steamy bedroom funk record featuring her illustrious breathy, intimate vocals embedded with silky acoustic guitars, lush orchestral strings, piloted by a series of soft, subtle, and seductive clubby rhythms that still sounds fresh and entrancing today.

Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic, IMAX-worthy fashion.

Sourced from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, housed in a keepsake box, and limited to 10,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set of Eldorado allows the long-time audiophile staple to resonate with reference-setting dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. This very special release both pays tribute to the record's merit and enhances the spectacular program for generations to come.

Presenting the album with breathtaking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, the collectible reissue features beguiling levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado package also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

The premium packaging and gorgeous presentation of the UD1S Eldorado pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, the reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practising Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.

Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the un-woken fool."

Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolour escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."

Decades later, Eldorado doubles as an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior

Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

2023 Repress

Two years ago Credit 00 was lucky enough to find a flat with a winter garden in the midst of the city's concrete vastness. Setting up his studio there, surrounded by plants, facing the backyard oasis with its trees, bushes and birds singing all day was quite the opposite of his usual work environment. The contrast of being in nature whilst surrounded by an urban neighbourhood is explored on Credit 00's latest outing on Uncanny Valley. Two different settings represented on either side of the vinyl record. The street side of the building is Credit 00's typical habitat: rough drums, face melting acid and ghetto style track arrangement. R U READY 2 JACK pays tribute to Belgium New Beat and wants to sound like Hardcore that is coming from the heart. TRUE 2 THE GEHM is an ode to one of the true German Acid innovators, Andreas Gehm (R.I.P.), originally written in 2016 for a compilation, which raised money to help him cover expenses incurred due to his severe health issues. The backyard side reveals the influence of flora and fauna on Credit 00's work. On both THE GARDEN and DEEP IN THE JUNGLE, you can hear his synthetic interpretation of mother nature's repertoire. Birds chirping, acid frogs croaking and the wind blowing through the trees to the sound of jungle drums. Despite all the differences between the concrete and the green jungle, there are also a lot of similarities. As the artwork (hand-drawn by Credit 00 himself) illustrates, graffiti spreads all over buildings like wild vine grows on rocks: chaos reigns everywhere, whether in natural or man-made environments!

With a title like that, and a plot that revolves around desperate
attempts to attend a secret show by a mythical, legendary indie rock band (“Where’s Fluffy?”), Nick & Norah’s Infinite Playlist HAD to have a good soundtrack or be subject to withering putdowns from the
alternative music press. Well, the movie really delivered, providing
a snapshot of the (mostly) NYC independent music scene circa 2008 with tracks from such stalwarts as Vampire Weekend, Devendra Banhart, We Are Scientists, Band of Horses, and Richard Hawley (along with some surprises like Big Star’s Chris Bell). And who better to compose the score than Mark Mothersbaugh of DEVO, who chips in with “Nick & Norah’s Theme” to wrap up the album!? Unbelievably, this concentrated dose of musical hipness has NEVER seen a reissue on vinyl, and OG copies go for triple figures…for its 15th anniversary, we’ve created a beautiful, “scrapbook” gatefold jacket with production stills to hold two records pressed in yellow to match the color of Michael Cera’s Yugo!

Long awaited re-issue of Harri Stojka Express’ “What a Funky Night”, originally released in 1983. The Austrian producer/guitarist took everyone by surprise with this huge Boogie-Disco-Funk meteorite, due to his previous releases, which were mostly jazz-rock-fusion orientated records.

Previously only pressed in Austria and Spain, Mothers I’d Like To Funk is proud to present to you an official re-issue of this Funk anthem, and the flip side features a marijuana reggae tune

2023 REPRESS in Ltd Transparent Vinyl

Strut are proud to announce the first ever internationally released new studio album by one of the all-time legends of Nigerian music, Orlando Julius, in a mouth-watering new collaboration with London super-group The Heliocentrics. At his club residency in Ibadan, Orlando Julius was one of the very first to begin fusing US R&B with traditional highlife during the mid-'60s with his Modern Aces band. His 'Super Afro Soul' album from '66 set the blueprint for a whole generation of Afrobeat and Afro funk stars and, in an illustrious career, Julius met and played with Louis Armstrong, The Crusaders, Hugh Masekela and Lamont Dozier among others, famously co-composing the classic 'Going Back To My Roots' in 1979 whilst based in the USA.
or 'Jaiyede Afro', Julius takes us back to his own roots, revisiting several compositions from h s early years whi ch have never previ ousl y been recorded. The title track recal l s his experiences as a boy: 'my mother would go to group meetings with other women. They would sing together and play drums, I would play along with them and we would sing this song together.' Infectious chant 'Omo Oba Blues' is a traditional song sung at Julius' school which he re-arranged in 1965 for his Modern Aces band. The epic Afrobeat jam 'Be Counted' stems from his years in the USA: 'this was written around 1976 while I was living on the West coast. I did start recording it for the 'Sisi Sade' album around 1985 but it was never finished.'
Other tracks include 'Buje Buje' and 'Aseni', both re-worked arrangements from his rare 'Orlando Julius and The Afro Sounders' album from 1973.
Recorded at the Heliocentrics' fully analogue HQ in North London, the band follow their memorable collaborations with Mulatu Astatke and Lloyd Miller by taking Orlando's sound into new, progressive directions, retaining the raw grit of his early work and adding psychedelic touches and adventurous new arrangements. They also contribute live favourite, the James Brown cover 'In The Middle' and a series of memorable shorter interludes.

ART MAKE LOVE sees the return of 30/70, the mothership of the internationally acclaimed collective. Their sound expanding far beyond its previous markers of Nu-Soul and Jazz, it is inspired heavily by Broken Beat complexity and their unique coming together of truly collaborative and eccentric songwriting. Real sense of light and dark in this — exploring the very edges of emotion and life, truth and fear, the depth of spirit and emotion.

ART MAKE LOVE is breaking down the walls between the music and the listener, it is bringing art back to the centre and inviting you in. It is looking directly into the darkness while celebrating life, expressing joy at the edges of all experience.

Welcome to another fine episode of SIRS aka »Sounds in real Stereo«! After last years' arrival on LARJ with his »Arrived EP«, Berlin based versatile DJ & producer Daniel Klein is back with »Travel To HDF.Y3D« - an utopian (or more likely dystopian) ode to space travel:

The last few remaining humans are traveling with 140bpm to the most distant galaxy in the universe on a mission to seek out a new space for mankind to live after many years of exploiting good old Mother Earth. What sounds like a horror scenario if you start thinking about it, SIRS manages to wrap up in quite a positive musical message. Thus »Travel To HDF.Y3D« becomes that hopeful uplifting slightly dreamy tune we all need these days - not unlike Christian Bruhn's theme of a certain Captain called Future back in 1980 …

It's also nice to have two more versions of such a strong tune at hand: The first one is a true first one for »Cocktail D'Amore« DJ BUDINO as she comes up with her first remix and production work ever. Budino's approach is a slightly darker, maybe indeed more dystopian one. The synthesizer bass lines dominate her remix and by getting rid of the original's playful melody she creates a very special melancholic feel.

Leipzig based PANTHERA KRAUSE's take isn't quite that different from Budino's as he too focuses on the darker vibes of this journey in space. It's his added extra dose of punch that surely will keep dancers on the floor for sure.

The former »Space Ibiza« resident SIRS now takes over the controls again with »Summer Desire« which too is destined to rule dancefloors not only in Ibiza but all over the world with its lovely airy vibe.

»Travel To HDF.Y3D« returns for one last time in form of the spoken word prolog - a nice extra tool to play with.

Freestyle drops another 12" rarity from the annals of UK funk & boogie history - this time giving the sounds of VeiraKrew's "Sexy Lady" from 1985 a fresh new cut.

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Elvis Veira was born on the Carribean island of Nevis and moved to England alongside his pianist and music teacher mother at the age of 2, quickly becoming profficient on piano, guitar & bass by the time he was in his early teens. His love for playing music and singing in choirs propelled him on this musical journey, and his late teens to 20s saw him supporting top acts such Heatwave, Wham, Second Image, Katrina and the Waves, Mezzo Forte, Chris Rea, Shakatak and many others.

In 1983 he started working under the alias VeiraKrew, and a couple of years later in 1985 laid down this 12" at Bedford's Thatch Cottage Studio on a shoe-string budget. Backed up with the title-track's killer instrumental version and the b-side "Welcome to a Dream" it was self-released by Elvis on a x1000 run (since becoming quite the collectors item, with clean copies changing hands for up to £150 a piece).

Following the release of Sexy Lady, Elvis continued playing and working as a session musician and vocalist, going on to release a further 12" in 1988 signing to Stevie V's Beatbox International label for the house-inflected track "Good Stuff". Fast forwarding to present day, Elvis has had some time away from music but is now back actively playing and producing, alongside working with the OMG (Outreach Music Group) - helping to provide support and music therapy within the NHS.

• The premium cuts by the legend that is Link Wray remastered on limited coloured vinyl with free CD
• Stunning artwork by Sophie Lo
• Liner notes by Author Nina Antonia.

It will surely come as no surprise that Quentin Tarantino picked up on Link Wray’s ‘Rumble’ and ‘Ace of Spades’ for the movie ‘Pulp Fiction’. The brooding guitar man; born in North Carolina in 1929, as Fred Lincoln Wray Jnr, hails from pulp territory - the mythic Americana of rock n’ roll. Wray’s mother, from whom he inherited his striking appearance, was a Shawnee Indian, his father was a street corner preacher and grandpa did some jail time. Whilst having contracted tuberculosis when serving in the Korean war affected Wray’s vocals, his guitar playing mostly did the singing for him, but he wasn’t always volatile - ‘Lillian’ and ‘Alone’ revealing the heart beneath the tough exterior. Fiercely independent, when the rock n’ roll boom burst, Wray fashioned a 3-track home studio from a chicken shack and largely extricated himself from the music business although he would continue to record and play, stating ‘Money don’t rule me, record companies don’t own me.’ Nothing owned Link Wray but he owned rock n roll. Though the era of monochrome had ended, Link cast a long shadow, drawing admiration from the likes of Neil Young, Keith Moon and Pete Townshend who noted of Wray ‘He is the king, if it hadn’t been for Link Wray and ‘Rumble’, I would never have picked up a guitar.’ Though often marginalised throughout his career, Wray was like the night, an unquantifiable influence on successive generations of guitarists who sought to scorch rather than soothe. In November 2005, Bob Dylan was just about to step out on stage at the Royal Hall Albert, when he learned that Link had struck his final chord. In tribute to the great man, Dylan commenced his set with ‘Rumble.’

A fuzz-drenched, genre-crossing collection of cover renditions, filtered heavily through the spaced-out psychedelia of Jack Harlon's inimitable style - As Australia began a series of flash pandemic lockdowns in early 2021, Melbourne psychedelic fuzz rock band Jack Harlon & the Dead Crows' prolific frontman Tim Coutts-Smith began experimenting with home recording some of his favorite old songs. This rabbit-hole deep-dive eventually led him to bring the fans in on the project, with a social media post inviting suggestions of old underground songs they'd like to hear "Harlon-ified." The result is 'Hail to the Underground,' a collection of renditions by Jack Harlon & The Dead Crows selected for their musical importance and personal meaning, with the general throughline being that none of the original artists are household names. Filtered heavily through the spaced-out psychedelia of Jack Harlon's inimitable style, this fuzz-drenched, genre-crossing love letter includes songs by under the radar icons like Bauhaus, God, Butthole Surfers, Joy Division, The Melvins, and more. Perfect for fans of Lowrider, Domkraft, Mothership, Wo Fat and Freedom Hawk - Gorgeous first limited vinyl pressing on black and pink swirl colored LP!

160-gram heavyweight Vinyl LP with gatefold jacket displaying the painting series that inspired the music, and the story of Newtok. Newtok is a remote Alaska Native village situated on the Ningliq River, near the west coast of Alaska. Although a very remote and quiet place, Newtok has come face-to-face with climate change. Due to a combination of thawing permafrost, low levels of sea ice, and strong storms, the coastal land of Newtok is eroding dramatically. In 2016, Chicago visual artist Jennifer Cronin embarked on a trip to Newtok to document this changing environment. Upon returning, she spent the next several years developing a series of paintings and screen prints titled Seen and Unseen that captured this eroding landscape. In 2019, Cronin and musical Artist Patrick Mitchell (a/k/a Dusty Patches) began discussing the project after Cronin asked him to perform at the Gallery opening for the series. As a result, Mitchell created this album, Newtok - inspired by Cronin's Seen and Unseen series and the story of Newtok, Alaska. Mitchell is a multi-instrumentalist songwriter and producer from Chicago who has led numerous past projects in the Chicago DIY community including De Triomphe, New Color, and Whiskey Wise. He dove headfirst into synths in 2017 and adopted the electronic alias Dusty Patches. Dusty Patches released his debut project Filthy Four Track Machine: Volumes I & II (2018, Sooper Records), largely made with the Teenage Engineering Pocket Operators and OP-1. In 2020, he released Nocturnal Emissions from the Dablatory, his first project fully realized with modular synthesis. In approaching Newtok, Mitchell composed all of the constituent musical elements of the work and then recorded and live mixed the album during a single live performance on modular synthesizer. The album draws heavily on sprawling ambient synths, electric and acoustic post-punk guitar motifs, cryptic vocal sampling, vintage drum machines, and modular patches that often sound like birds or the sea. The subject matter of the album, the complexity of its arrangement, and its execution as a single live recorded performance makes Newtok a unique musical experience. About Newtok, Mitchell says: This record was an exploration of themes. When faced with the immense canvases Jen Cronin produced upon her return from the village of Newtok, one can't help but feel awe. With the sheer size of the works towering above you, you are compelled. There is overwhelming beauty, desolation, a sense of urgency, and a sense that it is, in fact, far too late. These visual themes, and the emotions they evoke, were connected to the sounds and compositions of this record. There is a coldness to the digital soundscape, but organic sounds of nature and humans tether and steer the album through a journey of musical storytelling. Newtok is a journey of musical storytelling about the tragedy of the Anthropocene in the age of climate change. FOR FANS OF: Mother Earth's Plantasia, Black Moth Super Rainbow, Boards of Canada, Bibio

On February 17th 2023 Svart Records will bring out the highly-anticipated vinyl version of Unfyros' acclaimed debut album “Alpha Hunt”. The album delivers a unique mixture of old-school, mid-tempo black and heavy metal with a strong emphasis on dark, hypnotic and menacing atmospheres through captivating, eerie melodies and haunting passages. If genres or other classification is necessary be it “Black Heavy Metal”. The songs are culminating on mind altering dissonant guitar riffs, minimal yet heavy bass lines and powerful, bestial drumming. These all have been tied together by subtle synth tapestries and raspy vocals flowing out like an obscure black swarm of ghost daggers. Listen how the luminous darkness is calling and devouring One and All.

New edition of this Soul Jazz Records out-of-print classic album available now as a new limited-edition one-off pressing triple yellow vinyl album (plus download code), and limited-edition one-off pressing special yellow CD edition. Soul Jazz Records" Space, Energy and Light is a collection of music by early electronic and synthesizer pioneers (from the 1960s through the 1970s), mid-1970s proto-new age gurus and 1980s guerrilla D-I-Y cassette-era electronic artists, spanning in total over a near 30-year time frame. All of these artists used electronic advancements in music technology as a means of exploring not only space and the idea of the future, but also of looking inwards to the soul and of creating music in harmony with the natural world.

Funkadelic have created an enduring legacy, and the power of their impact is visceral in Detroit. Their records not only played with genre, but possessed a diabolical sense of humour that led to music domination by the late 70s with Parliament, Funkadelic, Parlet, Bootsy's Rubber Band and the Brides Of Funkenstein all releasing albums the same year for two years in a row.

The music itself is beyond stereotype, but equally huge is that they were a black band not allowing themselves to be limited by anyone else's notions of who they could be, having a massive impact on the next generation of Detroit music, Detroit Techno.

But more than just Techno, it is a freedom of thinking that extends beyond boxes, so we included all sorts of today's generation of Detroit musicians and producers to show the wide range of music that was Funkadelic and how these ideas are still contemporary, they endure and inspire.

New edition of this Soul Jazz Records out-of-print classic album available now as a new limited-edition one-off pressing triple yellow vinyl album (plus download code), and limited-edition one-off pressing special yellow CD edition.
Soul Jazz Records’ Space, Energy and Light is a collection of music by early electronic and synthesizer pioneers (from the 1960s through the 1970s), mid-1970s proto-new age gurus and 1980s guerrilla D-I-Y cassette-era electronic artists, spanning in total over a near 30-year time frame. All of these artists used electronic advancements in music technology as a means of exploring not only space and the idea of the future, but also of looking inwards to the soul and of creating music in harmony with the natural world.
From computer software and hardware experimentalists and sound pioneers such as Laurie Spiegel and Kevin Braheny, as well as Mother Mallard’s Portable Masterpiece Company – the first synthesizer ensemble created in collaboration with Robert Moog – through to musique concrète experimentation, the album shows how technological advancements and creative artistic expression often went hand in hand. 
In the mid-1970s artists Steven Halpern and Iaxos were instrumental in creating proto-new age music, experimenting in both the healing properties of sound and its relationship with the natural world. These artists also pioneered a new self-contained and underground D-I-Y approach to music, creating their own record labels, forming new distribution networks (with albums sold in meditation centres, health food stores and ashrams) far away from the commercialism of the mainstream music industry. In the early 1980s after the revolution of punk, these D-I-Y attitudes and ideas appeared once more in the growth of the distinctly anti-commercial and underground cassette-only careers of artists such as Germany’s Stratis and Carl Matthews in Britain.
Artwork includes some of the earliest photography of the Plieades star cluster dating from the 1880s.

"Listening to Space, Energy & Light in one sitting is a bit like experiencing constellations exploding within constellations inside your brain." Record Collector
"Incredible collection of spacey electronics and meditative soundscapes dating from the early 60s to the late 80s here, lovingly assembled by the Soul Jazz team. This compilation has it all if you like your music deep. Big names such as Iasos and Laurie Spiegel feature, but even if you think yourself a bit of a nerd in this field, there are some lesser known pearls to be found." Bleep
"Quite simply an amazing mix of some quite bizarre and interesting pieces of music, no way to describe it other than to buy it, put on some headphones and drift off to inner space.” Amazon
"New compilation charting almost three decades of experimental
electronic and synthesizer music from the most influential and often
unsung composers of their generation. Beginning and 1961 and
following the story until 1988, Space, Energy and Light connects
proto-new age gurus and DIY tape vigilantes who were equally
inspired by the advancements of new technology and its potential to
unlock utopian futures in both the music and the soul." Vinyl Factory

Travelling extensively across Asia and Africa between 1974-1985 to study music, Roberto made many field recordings and collected many instruments on his travels which he would then combine with synthesizers and electronics back in Italy. BIG TIP!

Alle Songs von John Lennon and
Paul McCartney, ausgenommen "If I
Needed Someone", das von George
Harrison stammt. "Life on Mars?"
wurde von David Bowie geschrieben.

Die genreübergreifenden Symphonic-Metal-Pioniere DELAIN sind zurück!

Die niederländischen Symphonic-Metal-Pioniere DELAIN brechen mit ihrem mit Spannung erwarteten, brandneuen Album „Dark Waters“, das am 10. Februar 2023 über Napalm Records erscheint, in neue
Gefilde vor. Die makellose Platte markiert ein bahnbrechendes Kapitel in der Geschichte der Band und präsentiert die Idee des Keyboarders, Gründers und Hauptsongwriters Martijn Westerholt mit einer neuen
Besetzung. Original-Gitarrist Ronald Landa und Original-Schlagzeuger Sander Zoer stoßen wieder zu DELAIN und stärken die Kontinuität, während neue Mitglieder – die großartige Sängerin Diana Leah und der Bassist Ludovico Cioffi – ihren Sound weiterentwickeln. Dark Waters folgt dem Chartstürmer Apocalypse & Chill (2020) und integriert die raffiniertesten Sounds des Genres. DELAIN's renommierte Orchesterarrangements, hervorgehoben durch moderne Schattierungen, setzen neue Maßstäbe und manifestieren den Fünfer an der Spitze der Szene. Eine klangliche Achterbahnfahrt aus eingängigen Melodien mit explosiven Elementen – von Pop über Filmmusik bis hin zu glühendem Metal – verschmilzt perfekt mit Dianas fantastischer Stimme und zeigt ihr unglaubliches Talent und ihre musikalische Raffinesse.

Als brandneuer Anfang und sicherer Hafen gleichermaßen, setzt ”Dark Waters” zweifellos das Vermächtnis dieser millionenfach gestreamten führenden Symphonic-Metal-Band fort und enthält alles, wofür DELAIN geliebt wird, und noch mehr.

Renoir Of The Toys is a deep dive into the world of Youri Kun, the nom de plume of Japanese guitarist, singer and songwriter Hiroshi Nar. It follows a similar compilation, Unheld Ball, released in 2022 on Japanese label Inundow; like that album, Renoir Of The Toys draws from the rich catalogue of outsider psych-garage and rock recorded by Youri Kun over the past two decades. Deeply wired into the history of Japanese underground music, Nar was a founding member of legendary ‘70s outfit Datetenryu, and a member of both Brain Police (Zuno Keisatsu) and Les Ralllizes Dénudés (Hadaka No Rallizes), appearing on the latter’s ’77 Live.

After going to ground during the 1980s, Nar started making music with Niplets in the mid-90s, and releasing music at a prolific pace in 2000 – an excellent run of (sometimes archival) CD-Rs on the Hello Goodbye Studio label, both solo, and with his groups Molls, Niplets and Port Cuss; an album on P.S.F. by Jokers, where he was joined by fellow Rallizes member Yokai Takahashi, and drummer Toshiaki Ishizuka (Brain Police, Vajra, Cinorama, etc.); and sixteen albums (and counting) as Youri Kun, for labels Gyunne Cassette, Inundow, and Hören. He’s also fallen in with the Acid Mothers Temple crowd, guesting on a few of their albums, and recording a live set with Kawabata Makoto’s Nishinihon trio.

All Nar’s music shares a deceptive primitivism; it moves with the simplicity of the best 1960s garage punk, but its edges are blurred and stretched, allowing for all kinds of weird, elliptical, and psychedelic moves to happen in its margins. His guitar playing on songs like “Kakunin” (from 2011’s Yamaimo Boogie) shimmies and slurs magnificently; “Kurokami”, from 2012’s Su, has clanking six strings scrawling over loose, spaced-out synth; there are clunky psychobilly moves (“Oshiro no Ninjya”), spirited rave-ups for rattling organ and sputtering guitar (“Totsugeki”), and some lovely, drowsy, melancholy moments (“Sora”).

The constant throughout is Nar’s blues-blurred, drawling voice, as unique a tool as the non-idiomatic speak-sing styles of solo Syd Barrett, Jad Fair, or Dave E. McManus. There are also three Les Rallizes Dénudés covers here, where Nar locates the pop genius at the heart of songs like “Shiroi Yoru” and amplifies this with his simple garage-reverential take on things. Renoir Of The Toys is yet more evidence that Hiroshi Nar was, and is, one of Japan’s musical visionaries, a lonesome voice dedicated to a singular, streamlined vision, one that’s in eternal pursuit of the joy and kicks at the heart of rock’n’roll, and a reminder of what a great, unpretentious rock’n’roller truly should be.

An official reissue, with the original gatefold jacket and the original large booklet reproduced. Pressed on 180 gram vinyl, with side D etched. Sweden's Tribulation have been one of the most innovative bands working in metal in the new millennium. Their third album The Children Of The Night (2015) saw the band leap even further from their death, black and thrash metal origins and add hints of psych rock, prog and classic rock into the mix. Pitchfork called it "a sprawling, compulsory tale that doesn't turn dull. ... There is no way to arrive at a consensus artist who will satisfy everyone, but The Children Of The Night comes close." Svart Records presents, in conspiracy with Century Media, an official reproduction of the original 2015 double LP, that has already become a rarity.