Cerca:múr

Genetic Code' is the new EP from BC natives ColtCuts and Abstrakt Sonance... both DDD veterans. As a result of their tinkering and experimentation in the laboratory we have four mutated tracks which will splice themselves neatly into your set.

Blue Marbled Vinyl

As a collective thought, Spice's Self-Titled debut album offers a deliberate isolation of pain as interpreted through different vehicles. Less than 30-minutes in length, the record diverts from a singular mood, tempo, or delivery, instead focusing on orchestrating emotional drain as single impulses_fast, slow, driving, simple, and layered_that coalesce in their machinations. At its core, Spice's SelfTitled album is wired together by brawny and brittle guitars, lock-groove rhythms, and vocals announce each moment and mood. Formed in 2018 and based across California, each members' roots are in the North Bay of San Francisco. Comprised of Ross Farrar (vocals) and Jake Casarotti (drums), both of Ceremony, along with Cody Sullivan (bass), Ian Simpson (guitar), and Victoria Skudlarek (violin), Spice's sound pulls from the sense of melody and drive inherent to Bay Area pedigree, peppered with modernity and awash with an anthemic haze. The hook is in the connection as much as melody, with each song building its inner narrative and exploration of affliction. Traversing guitar-driven indie-pop and call-to-action impulse, Spice balances their urgency by interspersing violin melodies and layers, creating depth without oversaturating the heart of each song. Building complexity with laser focus, Spice shares the authoritative drive of Jawbreaker, J Church, The Horrors, and Fugazi, set in their own world of unrest. The treatment of each song is a statement that informs the whole - anecdotes that can bleed slowly or swirl quickly. In a sense, the Self-Titled album itself is an entire song, with each track becoming the verses, choruses, and interludes that narrate its intent. Ending with the final track they workshopped for the album titled "I Don't Wanna Die in New York," the album ends with a punch before winding back into meditation. Honed over late nights at Panda Studios in Fremont, California with producer Sam Pura (Basement, The Story So Far, Self Defense Family), Spice spent hours tweaking it until it became a little world formed by what they refer to as "the power of groupthink." Sprinkled with field recordings_audio snapshots from the member's every-day-lives_the record offers an intimate twist that builds on its theme of a single thread that connects everything with continuity, making it a single organism with as many depths as questions.

As a collective thought, Spice's Self-Titled debut album offers a deliberate isolation of pain as interpreted through different vehicles. Less than 30-minutes in length, the record diverts from a singular mood, tempo, or delivery, instead focusing on orchestrating emotional drain as single impulses_fast, slow, driving, simple, and layered_that coalesce in their machinations. At its core, Spice's SelfTitled album is wired together by brawny and brittle guitars, lock-groove rhythms, and vocals announce each moment and mood. Formed in 2018 and based across California, each members' roots are in the North Bay of San Francisco. Comprised of Ross Farrar (vocals) and Jake Casarotti (drums), both of Ceremony, along with Cody Sullivan (bass), Ian Simpson (guitar), and Victoria Skudlarek (violin), Spice's sound pulls from the sense of melody and drive inherent to Bay Area pedigree, peppered with modernity and awash with an anthemic haze. The hook is in the connection as much as melody, with each song building its inner narrative and exploration of affliction. Traversing guitar-driven indie-pop and call-to-action impulse, Spice balances their urgency by interspersing violin melodies and layers, creating depth without oversaturating the heart of each song. Building complexity with laser focus, Spice shares the authoritative drive of Jawbreaker, J Church, The Horrors, and Fugazi, set in their own world of unrest. The treatment of each song is a statement that informs the whole - anecdotes that can bleed slowly or swirl quickly. In a sense, the Self-Titled album itself is an entire song, with each track becoming the verses, choruses, and interludes that narrate its intent. Ending with the final track they workshopped for the album titled "I Don't Wanna Die in New York," the album ends with a punch before winding back into meditation. Honed over late nights at Panda Studios in Fremont, California with producer Sam Pura (Basement, The Story So Far, Self Defense Family), Spice spent hours tweaking it until it became a little world formed by what they refer to as "the power of groupthink." Sprinkled with field recordings_audio snapshots from the member's every-day-lives_the record offers an intimate twist that builds on its theme of a single thread that connects everything with continuity, making it a single organism with as many depths as questions.

A tumultuous selection of recordings from Black Ark, Perry's legendary studio and hotbed of creation. Rare 12" versions, unreleased mixes and featuring a stellar line-up, including:

Drums: Mikey ‘Boo’ Richards, Lowell ‘Sly’ Dunbar

Bass: Boris Gardiner, Radcliffe ‘Dougie’ Bryan

Guitar: Earl ‘Chinna’ Smith, Ernest Ranglin, Robert ‘Billy’ Johnson, Lynford ‘Hux’ Brown

Keyboards: Winston Wright, Robbie Lynn, Keith Sterling

Percussion: Noel ‘Scully’ Simms, Lee Perry

Mures are Joshua Cordova and Santiago Leyba. They fit perfectly as MRT010, transporting the label from the cold, grey, drowned in concrete atmospheres of Acid Ernst to the working class heat of the American south. Electronic body music, factory music, machines intensify their rhythm as degrees rise. Hot iron is forged, sweat and black stains cover bodies, hard labor, the struggle and the hammers, tools for modern times restraint. Rare Metal and Workers have just paved the way to that bullet that is Trains of Thought.

Ghent based psych jazz collective Compro Oro, are set to release new album 'Buy The Dip' on the 2nd September via the groove-obsessed Sdban Ultra label. Having received critical acclaim for their 2020 album 'Simurg' - a collaboration with Murat Ertel, co-founder and frontman of Istanbul's cult psychedelic folk band BaBa ZuLa and his singer partner Esma Ertel - the band's fifth album is less ethno- and more techno-logy, both on a musical and conceptual level.

With tastemaker fans including BBC 6 Music's Gilles Peterson and Stuart Maconie alongside Jazz FM's Jez Nelson, the band's spontaneous quest for psychedelic sounds and jazz grooves has not stopped expanding since their formation in 2014.

After imaginative musical trips to Havana, Mogadishu and Istanbul for previous releases, Compro Oro went looking for sounds and inspirations from other corners of the globe for 'Buy The Dip'. Synthesizers and electronic effects spice up Compro Oro's distinctive musical marriage of vibraphones, electric guitars, jazzfunk rhythms, exotic percussions and dubby bass patterns. Band leader and composer Wim Segers created these new compositions often on piano or vibes in a more analogue way, leaving enough room for his band mates to colour each track when fine tuning the song.

Segers was inspired by the world of crypto markets and the specific concept of 'buying the dip': bitcoin diggers who play the markets at specific 'low' moments to gain higher profits when prices go up again. Are we all reduced to consuming creatures, seeking for nothing more than the thrill of pointless spending and endless profits? It's a fairly philosophical question - especially for an instrumental album - but it's key for the punchy and eclectic sounds on 'Ben Hur' and 'Bitcoins'.

Apart from those synths and fx, a fair bunch of neo-noir western vibes sprout up on this album as well - think detuned piano's, flamenco-like guitars, rattling snare drums, and imminent whistles. Add to that some laid back sunny pop sounds ('Kayak'), off-hook and swaying Turkish psychedelica ('Karsilama') and even some haunted, kraut-ish vocal parts ('Dungeon'), it's evident Compro Oro has a musical voice without any equal in Belgium and beyond.

Compro Oro released their first album 'Transatlantic' in 2015, an ode to jazz vibraphonist Cal Tjader, an icon of the 1950's Latin jazz movement. The release received critical acclaim back home, lauded in the press as a drunken mix of Buena Vista Social Club and guitarist Marc Ribot's, Cubanos Postizos. Subsequent live shows have been called a celebration for the hips, the ear and the soul.

2017 saw the release of 'Bombarda', a bold EP that sailed South and East of Cuba, incorporating different ethnic rhythms and melodies in elaborate jams. No palm trees and cocktails in Havana this time, but instead dingy basements and LSD in West African cities. The critically acclaimed 'Suburban Exotica' followed in 2019 with 'Simurg', released in 2020, earning the band global success.

After Dinner’s Paradise of Replica is a concise nugget of tomfoolery that occupies a whimsical no man’s land between art pop, Japanese folk music and full-assed Art Zoydian avant proggery. Gentle, arcane and covertly sweeping, it typifies that friendly strain of experimentalism that Eastern music seems so predisposed towards and which curious minds find such great delight in.

Assembled by the enigmatic chanteuse and composer known simply as Haco, After Dinner was less a band and more of a loose art collective that utilized a plurality of different musical disciplines stapled together through free improvisation sessions. And some of this does come through on Paradise of Replica—the record is a scrapbook of bells, strings and koto humming under Haco’s ethereal vocals, and the effect, while perfectly tuneful, does come off more as a musical project than a conventional album.

But Paradise of Replica is far from an impenetrable scholastic endeavor—in fact, there’s something of an Elephant 6-like quality in its ability to warp conventions while still coming off more or less like pop music. Counter to the ramshackle hostility of much improvised music, After Dinner’s choices are melodious and feel deliberately sequenced. Even crescendos don’t tend to rise above a murmur, and there are even apparent hooks on tracks like “A Walnut” and “Ironclad Mermaid.”

Ultimately, there’s not much to be said about Paradise of Replica that can elucidate more than actually hearing it will be able to. Proggy, playful and lush, it’s a brief glimpse into something in the vicinity of genius, and just outside the realm of commercial music. It’s a quietly bold project that shows a softer side of the avant-garde, and makes a perfect companion to Stereolab and Magma at once.

(Remastered 2022)

„Breaking Hearts“ von Elton John, welches 1984 veröffentlicht wurde, erscheint am 2. September erneut.

Das Album knüpfte an den Erfolg des im Vorjahr erschienenen Albums „2 Low 4 Zero“ an, das Elton in die oberen Positionen der Weltcharts befördert hatte. Elton nahm das Album im AIR Montserrat mit
Davey Johnstone, Dee Murray und Nigel Olsson auf und folgte der Erfolgsformel des Vorgängeralbums.

„Breaking Hearts” wurde originalgetreu neu verpackt und ist jetzt auf 1LP als 2022 remastered Ausgabe erhältlich.

Chicago-based guitarist / composer Eli Winter's new self-titled album
finds him building on the promise of his recent records - like 2020's
Unbecoming and his 2021 collaboration with Cameron Knowler,
Anticipation - with a gem of an album on which he leads an ad-hoc group
that delicately balances a range of colors and moods
Winter is an accomplished player with impeccable technique and an unassuming
virtuosity, capable of both mesmerizing intricacy and florid romanticism, but on
Eli Winter he frequently plays a supporting role, creating ample room for his
collaborators. The result is the sound of an artist escaping any lingering shadows
of his primary influences and coming into his own; ironically, Winter does this by
deemphasizing his role as traditional bandleader. Assisted by a murderer's row of
peers and contemporaries including Cameron Knowler, Yasmin Williams, David
Grubbs, Ryley Walker, Tyler Damon, jaimie branch, and others, Eli Winter
showcases a compositional depth and authoritative skill only hinted at on
Winter's rightfully acclaimed previous work. Highly recommended.

Jazz iconoclast Albert Ayler took the experimental leanings of contemporaries like John Coltrane and Ornette Coleman as a starting point and then blasted them to stratospheric extremes, creating some of the most polarizing and brilliant music of the 20th Century. In particular, 1964 was a pivotal – and well documented – year in the free jazz artist’s career. After returning to New York, Ayler assembled a brilliant group with Sunny Murray on drums and Gary Peacock on bass, recording Spiritual Unity, Ayler’s first record for the legendary ESP-Disk’ label, that summer.

Soon after that session, Ayler took his trio to Europe where they were joined by cornetist Don Cherry for a tour of The Netherlands, Sweden, and Denmark. The Hilversum Session is a live radio session recorded on November 9th, 1964. At that point the quartet was months into its European tour and the interplay is extraordinary. On classic Ayler compositions like “Spirits” and “Ghosts” the band absolutely rip, with a kind of intuition and connectivity rarely heard, creating some of the most untethered and undeniably powerful music in the history of free jazz. Our Swimmer is pleased to present the first official vinyl reissue of The Hilversum Session in over thirty years.

Lee 'Scratch' Perry , der wohl größte jamaikanische
Produzent aller Zeiten, war in den sechziger und siebziger
Jahren maßgeblich an der Umgestaltung des nationalen
Sounds der Insel beteiligt und hat mit seiner einzigartigen
Herangehensweise an das Musikmachen die Musik über
die zuvor wahrgenommenen Grenzen hinausgetrieben.
Anlässlich des ersten Jahrestages seines Todes wird das
Beste aus seinem Schaffen in einer Reihe von Produkten
präsentiert, die alle deutlich machen, warum Perry so
lange eine weithin verehrte Persönlichkeit war.
Das Deluxe-Box-Set umfasst vier Vinyl-LPs und vier CDs
mit seinen bekanntesten und einflussreichsten
Aufnahmen, darunter ein bisher unveröffentlichter Mix von
Junior Murvin s kraftvollem "Police And Thieves", dem
britischen Chart-Hit "Hurt So Good" von Susan Cadogan
und dem Reggae-Klassiker "Return Of Django" von den
Upsetters sowie zahlreiche große jamaikanische Hits.
Das Set enthält ein 50-seitiges, vollständig illustriertes
Buch aus der Feder von Scratchs offiziellem Biographen
David Katz mit einer Reihe von Fotos des berühmten
Fotografen Adrian Boot sowie ein neu gestaltetes,
zweiseitiges Farbposter im Format 24" x 24".
Die 2LP und 2CD Formate konzentrieren sich auf die
bekanntesten Produktionen des legendären Musikers aus
den Sechzigern und Siebzigern, dargeboten von einigen
der Giganten der jamaikanischen Musik, mit ausführlichen
Texten zu dem Mann, dessen Talent und Fantasie den
Reggae zu neuen Höhen der Exzellenz führte

Slave To Society is the new solo project of Andrew Bowen (Ex AnD / Shadows)
Dystopian concepts and themes help build the intense sound and vision of the project. Known for exploring the extremities of the hardcore sound, tempo unrelated this is about the amalgamation of industrial and
experimental noise music, mixed with cinematic atmospheres, technoid rhythms, mechanical breaks and raw low frequency distortion. Releasing music with PRSPCT, Bank NYC, Murder Channel, Cyberspeak, Pure Hate Trax and many more. Think for ourselves, create and move outside the realm of ordinary submission.

Don’t be a Slave to Society!
Written Produced and Recorded by Andrew Bowen
Mastered and cut by Dietrich Schoenemann
Published by BANK Records NYC Ltd

Hailing out of Philadelphia, PA, OT The Real has been working relentlessly to put himself on the map. Following the successful release of several projects (including The Irishman, You Are Who You Eat With, Evil Empire, and more), OT now links up with producer DJ Green Lantern to bring you Broken Glass. The new collaborative album is fully produced by DJ Green Lantern and also features heavy hitters such as Benny The Butcher, Millyz, SKNJ, Mizz, Uncle Murda and Eto. The duo showcase their talents on each of the 13 tracks with an undeniable rapport among OT's gritty bars and Green's filthy production. This one is pure hip hop through and through and a must cop for every fan and collector alike.

Pressed On Emerald Green Vinyl
Limited To 300 Copies!
OT's First Vinyl Release!

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivalled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12' release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature - gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones, 'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music - mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan's vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP - exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'død' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session - as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

This is Hannibal Selectors first EP on Influential, following his epic Kniteforce White release, and we are sure it wont be the last. The whole EP has heavy reggae influences, and all the variety that comes with that sound. Each track is completely different but fires on all cylinders. This EP is one you could almost imagine being played by a live band, at a carnival or a festival, fuelling the summer vibes…were it not for the absolute monster breakbeat chopping involved. This is a heavyweight EP that will surely knock you for six but one that you will come back for time and time again.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

(feat. Claire Davis)

300 copies pressed

The A side was released back digitally in March. "Hope To See You Again" Which is an original song with Claire Davis on lead vocals

Better things is coming out digitally 15th July and it will be on a Ltd edition 45 vinyl. The Pre-Orders for the vinyl will be starting soon.

The B side is a killer version of her classic tune, "Better Things" The soulful vocals of Claire Davis are accompanied by jaunty horns and keyboards, and the cool groovebefits the positive lyrics ("I'm a better woman than I have been")

Introducing The HP's. This talent-studded Hamilton-based funk/soul collective is poised to make major moves with the release of their debut 45. The group is the brainchild of drummer/bandleader 'Parkside' Mike Renaud, the founder/owner of noted Canadian music company Hidden Pony Records & Management. A life-long fervent fan of funk and old school soul, Parkside has assembled a crack team of musicians and vocalists dedicated to his vision of breathing vibrant new life into these classic forms. Drawing inspiration from the likes of James Brown and The J.B.'s and Sharon Jones and The Dap Kings. The title pays tribute to Renaud's hometown, Hamilton, and The H.P.'s sound

honours The Hammer's core characteristics of rugged authenticity. Get ready to get Gritty!

— The HP's have partnered with UK based soul label LRK Records for the release of their latest single "Hope To See You Again", featuring Canadian soul singer and LRK alum Claire Davis

— "Hope To See You Again" arrives digitally March 31st, 2022 with the 45" expected summer 2022

— The 45" single will also include a cover of the Sharon Jones & The Dap Kings classic "Better Things"

The HP's.

To the Canadian music industry, 'Parkside' Mike Renaud is best known as the founder and owner of Hidden Pony

Records & Management, now widely recognized as one of Canada's premiere talent-development labels and artist

management companies. Past and present artists on Renaud's roster include Said The Whale, The Elwins, The Dirty

Nil, Hannah Georgas, Imaginary Cities, Jeremy Fisher, Odds, and many more.

Not many are aware that this popular industry power player actually got his start in music as a drummer in a '90s

Montreal soul/funk band called Parkside Jones (the source of his nickname). When he moved over to the business

side of music, beginning with top indie label Aquarius Records, Mike Renaud packed the kit away, launching himself

into the biz with full passion, commitment, and skill.

Mike has now resurrected his kit (after 20 years), honed his chops, and emerged as the driving force behind The

Renaud recalls the spark that reignited his love of playing drums: "The first time I played them in 20 years was at the

memorial for industry comrade Jon Box at The Opera House in Toronto. I was talked into playing with Chris Murphy

Sloan, Terra Lightfoot, and the Dirty Nil guys on a version of 'Handle With Care.'"

This renewed love affair would lead to Mike's vision for The H.P.'s. From his teenage years, his favourite musical

genre has been classic soul and funk, and he has an encyclopedic knowledge of these styles. Heartened to see the

growing international community building around these sounds, Mike decided to make his own creative contribution to

the form. He recruited musical and vocal collaborators from his hometown (plus a couple of Toronto imports) for the

project, and The H.P.'s were born.

The group name, The H.P.'s, pays homage to James Brown's legendary band, The J.B.'s, with these initials

referencing Hidden Pony. The album title is a tribute to Renaud's hometown, Hamilton, and The H.P.'s sound

honours The Hammer's core characteristics of grit and authenticity. Mike actually spent some time co-managing the

current J.B.'s.

The late Sharon Jones, a key inspiration for Renaud, is honoured via a killer version of her classic tune, "Better

Things." The soulful vocals of Claire Davis are accompanied by jaunty horns and keyboards, and the cool groove

befits the positive lyrics ("I'm a better woman than I have been").

Giving this cover extra resonance are the memorable encounters both Davis and Renaud had with Jones back in

2015. A documentary portrait of the soul great, Miss Sharon Jones!, had its world premiere at the Toronto

International Film Festival (TIFF), and Claire Davis was doing a house concert playing DapKings songs that night.

The band came across the party and jammed along, then, when one of the Dap Kings backup singers couldn't cross

the border, Claire got the call to fill in at Sharon Jones' headlining show at Hamilton's Supercrawl fest.

In a cool twist of fate, Mike Renaud was one of the organizers of that show, and was tasked with looking after

Sharon. The two bonded instantly and deeply, as Mike recalls. "While driving her to soundcheck, Sharon confided in

me that her cancer had returned. She didn't want anyone to know, as the documentary was about her conquering it,

and she didn't want people to be bummed out at the news. It was my 40th birthday that day, and Sharon actually

stopped her show to sing me Happy Birthday in a soulful way!"

Shakethehoof added "Hope To See you Again' to their playlist musicto/shake-a-hoof/the-hps-ft-claire-davis-hope-to-see-you-again-the-hoof-chats/

"BETTER THINGS" has gone straight into the UK Soul chart breakers at No 8

Repress 22.11.22 !

A STUNNING RHYTHMIC FUSION OF LATIN AND JAZZ WITH A UNIQUE SPIRITUAL PULSE.

If ever a record called be called a lost masterpiece then this record more than deserves that epithet. First released on an obscure French label in the 1970's it might have sunk further into obscurity and left no trace of it's passing but somehow a handful of copies turned up in various Jazz shops in London where it was snapped up by DJ Paul Murphy who was then playing to the embryonic jazz dance scene, based at the very first Jazz Room club: The Horseshoe in London's Tottenham Court Road, a decaying, seedy, sticky carpeted old West End ballroom that had seen better days. This and a select few records in a similar vein were being played to an appreciative audience who demanded tough raw percussive rhythms overlaid with some furious jazzy soloing and whenever this record hit the turntable it left even the most demanding groover sated.

It's a really fantastic collection from this barely known reedman and his excellent band which also features a guest appearance by American Legend Horace Parlan who is best known for his Afro-Cuban session "Headin' South" on Blue Note Records.

Superbly produced by drummer Peter Schmidlin, who has conjured up a spiritual modal mixdown of Afro-Cuban & Jazz extended percussive workouts that are uncompromising in their groove and which manage to sound both timeless and modern. The record is being re-released with the original striking artwork, guaranteed to be a talking point.

After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it's a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what's worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become "the accountable one" this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band's customary nods to the lineage of two-tone. It's further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they'd built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to. The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including "She's Kerosene", with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy in the U.S., when like the rest of the world, the band's plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road in mainland Europe in 2023.

After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it's a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what's worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become "the accountable one" this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band's customary nods to the lineage of two-tone. It's further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they'd built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to. The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including "She's Kerosene", with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy in the U.S., when like the rest of the world, the band's plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road in mainland Europe in 2023.

Reissue

A bona fide legend of the acid jazz / jazz funk scene, James Taylor returns with a stunning new James Taylor Quartet orchestral record MAN IN THE HOT SEAT. A sonic collossus of a record, particularly when listening on vinyl, it ties together the effortless melodic funk of the quartet, the fullness of sound that only an orchestra can bring, with James’ love of classic film soundtracks. Created and recorded with the musicianship and production mastery we have come to expect from JTQ this is undoubtedly one of the best sounding records you’ll hear in 2022.

2 Reggae sweet tunesand 2 massive Dub verses...

BIG as expected !

First-ever release of this legendary Tangerine Dream score from 1981 (aka Dead Kids).

Gatefold packaging / Green (Streaked Lime Green) Color Vinyl. (

Please check allocation with your rep.

It's never been available on any format until now! For this release, we dug out the original tapes and had them digitized and they sound incredible.

Such an atmospheric masterpiece and we are honored to be releasing it. This has been on many TD fans' wish lists for years and years.

Needle Mythology reissue a special expanded album edition of Finn, the album released by New Zealand’s most celebrated musical siblings Tim and Neil Finn to acclaim both from critics and long-time fans who had followed the pair’s work since their time in together in Split Enz. This is the first time Finn has received a vinyl release. Released in close collaboration with Tim and Neil, the newly-expanded Finn comes with an entire album The Finn Demos, which gathers together ten songs from 1989’s legendary Murchison St sessions, remastered by Miles Showell at Abbey Road Studios. Convening at Neil’s new Melbourne apartment with a view to making an album together, Tim and Neil embarked on an intensely productive period, writing several songs that would briefly result in Tim joining Crowded House for the resulting Woodface album. Assisted by the late Paul Hester on drums, the demos capture a host of songs that would go on to be played in arenas around the world in their newborn state: ‘It’s Only Natural’, ‘Catherine Wheels’, ‘Weather With You’, featuring a whole extra verse and the previously unreleased ‘Four Stepping in 3/4 Time’. For this release, long-time fan and collaborator on Neil’s 7 Worlds Collide project, Ed O’Brien (Radiohead) contributed liner notes, hymning the album’s “heavy” beauty and its “elemental energy.” Featuring brand new artwork designed by Needle Mythology’s James Gosling, the expanded Finn features newly-unearthed images of Tim and Neil taken by Darryl Ward during the sessions for the album. For this release, Tim and Neil have also shared the “listening notes” submitted by the brothers’ parents – something they would do for every song their sons wrote. For Finn, Tim and Neil enlisted the services of Tchad Blake, whose “feel”-based approach brought out the best in the brothers, who played every instrument on the record. Writing about the record for Mojo at the time, David Hepworth characterised Finn as a “warm and loose record” that hardcore fans would undoubtedly “adore”. Originally released on Parlophone Records, Finn spawned an unlikely top 30 hit, the mesmerising semi-improvised psych-rock fan favourite ‘Suffer Never’. The expanded double album edition of Finn has been cut at Abbey Road by Miles Showell and pressed on 180g vinyl at The Vinyl Factory.

Essential for fans of Celtic Frost, Vader, Obituary and S.O.D - Jungle Rot was founded in 1992 and remain a staple name in the Death metal genre. The band's moniker refers to Jungle rot, an infection of the skin that occurs in tropical climates. New album 'A Call to Arms' sees the first Unique Leader offering emerge with a punishing Dan Swano mix and eerie Voodoo themed artwork - a brutal culmination of the band's past sound melding with a slick, devastating polish bringing them firmly into 2022. A welcome addition to the iron clad ULR roster, JUNGLE ROT have decimated live stages worldwide with Deicide, Goatwhore, Cattle Decapitation, Krisiun, The Black Dahlia Murder, 25 Ta Life, Hate Eternal, Incantation, and Vital Remains, Six Feet Under, Suffocation, Obituary, Broken Hope and Decrepit Birth.

Australia’s Nicolas Cage Fighter are coming out swinging. Combining ruthless hardcore, late 90s metal and death metal influences, the band deftly weave a sound that is as burly as it is brutal, pummeling all those that get in their way. Formed in Ballarat, Victoria in 2011, the band have worked slowly and steadily to build their profile, dropping singles and EPs and sharing stages with the likes of Attila, Thy Art Is Murder, Thick As Blood and Deez Nuts, building a devoted fan base. With The Bones That Grew From Pain now primed to be unleashed they are hoping for the opportunity to tour it internationally, bringing their merciless performances to stages around the world and engaging with the new army of fans that are sure to connect with their no-bullshit stance and killer material.

It is to the detriment of our understanding of musicality that we mostly measure it by the capacity to produce, and much less by the capacity to receive some sort of acoustic information or event. The virtuosity of listening, of understanding the sonic situation and its potential, is, however, that which defines one's capacity to interact – with other musicians, with the audience, and with the environment. This could also be taken to mean that an ethical act is implied in the situation of listening – the decision to relate, to be attentive to, to actively position oneself in relation to what is heard.

Rarely is this capacity so thoroughly pronounced and ethically conscious as in the case of Manja Ristić, the Belgrade-born and Royal Academy of Music-schooled musician, composer, sound and multimedia artist (the list could go on), who currently lives on the island of Korčula in the Croatian part of the Adriatic. Ristić’s recent, field recording-based work, is indeed all about attentiveness, most of all towards the environment and the acoustic traces of the endangered ecological layers of her old-new Mediterranean surroundings. With that in mind, it is indeed no wonder that her newest album draws from Milton’s Paradise Lost, which could easily be the anti-slogan of the endangered Croatian coast, eaten up by the pressures of touristification and the usurpation and privatization of once common space. More precisely, the album is inspired by one of the fifty Gustave Doré illustrations of Milton’s epic, Him, fast sleeping, soon he found, In labyrinth of many a round, self-rolled, from which it draws its title. The verses and the scene are from Book IX, and depict the moment Satan inhabits the Serpent, the beginning of his subversion of God’s autocratic rule, as some interpretations would have it.

For Ristić, the actual Paradise she introduces us to is in a state of imbalance – the idyllic soundscapes of her island surroundings overlain with sonic anxiety, such as on the album’s first track, The Flies, with its unrelenting, nervous buzzing evoking the ominous Biblical entity of Beelzebub, or The Lord of the Flies. The next track, Whales, which beautifully utilizes archival whale recordings, could also be taken to establish an intertextual relation to Milton through Melville, whose Moby Dick was strongly influenced by Paradise Lost. The middle track of the album, dedicated to the Croatian-American painter and muralist Maksimilijan Vanka, uses to great, unsettling effect what to my ears sounds like a buried hydrophone, a technique often employed by Ristić in her work, giving us a rough, grinding impression of water beating the pebbles over a high-pitched drone. But perhaps the most ominous, pessimistic image is painted in The Flag Pole, in which the symbol of revolutionary victory (I’m thinking of the Yugoslav modernist Tin Ujević and his proto-avant-garde sonnet Farewell from 1914) becomes a source of terrifying sonic unease, as we are listening to the incessant sound of its rope hitting the metal pole. However, with Dlana Night comes relief – the drones become airier, calmer; there is a distant notion of people, dogs, everyday life, all shrouded in the calming sound of the crickets on the island of Silba. Ristić, ultimately, serves us some hope on this wonderful new album, showing us that something has been lost, but that something can also be gained through the thoughtful attention with which she listens to the world around her.

„My recording techniques all boil down to one thing – intuition. I do not use expensive or highly sensitive equipment nor do I employ special techniques. On the contrary, I believe that the information regarding a space or an object can be recorded well enough on an average device. My personal guideline when recording sound is the positioning of myself as the listening medium, active and with the intention of establishing a connection that is sometimes intellectual, sometimes conceptual, and sometimes phenomenological.” - Manja Ristić, in an interview for Kulturpunkt.hr

The four tracks that comprise Giving Water to the Dead were composed using sound materials originally recorded for the sound installation Histories of the Present, a public artwork commissioned by the City of Berkeley in 2019. But where the installation was about a melding of practices and sounds into a single gesture, Crouch and Novak wanted to take the opportunity of a split release to exploring divergent paths starting from common ground. For Giving Water to the Dead, each artist started with the same source material and plotted their own direction without direct influence from the other. As artists in a relationship and sharing a studio this was no easy feat. Despite the planned divergence the resulting tracks compliment each other, as the artists do.

Yann Novak and Robert Takahashi Crouch are a creative and romantic couple living and working in Los Angeles. Their collaborative practice incorporates field recordings, photography, and video as tools to investigate the relationship between site and subject. Their performances and installations have been presented at the AxS Festival, Pasadena; California Museum of Photography, Riverside; Desert Daze Festival, Southern California; Downtown Berkeley BART Plaza, Berkeley; Gays Hate Techno, Northern California; Hammer Museum, Los Angeles; LACMA, Los Angeles; PØST, Los Angeles; Tanya Bonakdar Gallery, New York and others. Their compositions have been published by The Tapeworm, Murmur Records, Estuary Ltd., IO Sound, and Untitled & After.

Y U QT are back on Time Is Now, and with them they're bringing the sun. "Sweet Fantasy" EP sees the Leicester duo return to what they do best: capturing UKG at its least po-faced, and most energetic.

And who better to help kick off proceedings than the one of the most recognisable voices in today's UKG revival? Ell Murphy's smooth-as-syrup vocals add another level of dynamism to the already-buoyant 4x4 garage banger "Fantasy", coming complete with a hook just as irresistible as the ones which shot their previous releases to success. "Buss Down" picks up the energy with propulsive kickdrums and old school MC vocal chops before "Leaving All Your Cares Behind" follows suit, adding a feel-good vocal melody for an extra serotonin hit. It's up to the more light-footed "Just Be Friends" to leave a sweet taste in our mouths. Euphoric Korg organ stabs give a sense of nostalgia whilst a meandering bassline lends it plenty of swing.

Guice & Eli are Snubnoze. They're a real dream team when it's about dope rap from Memphis. This one is for the real classic heads of Tennessee Hip Hop Music. Nine hypnotic drive by shooters are about to bang ya eardrums. The album is entirely produced by Blackout!

• From critically acclaimed composer, producer and multi-instrumentalist Bobby Krlic comes the Ivor Novello-nominated Original Soundtrack to Returnal™. Returnal is a roguelike psychological third-person shooter developed by Housemarque and published by Sony Interactive Entertainment. The game launched last April on PlayStation 5 and won several end-year accolades, including Best Game at the 18th British Academy Games Awards.

• Best known for his work as the Haxan Cloak, Bobby Krlic brings his experience as an award-winning to Returnal, imbuing the score with a gritty and experimental quality that matches the tone of the third-person shooter game. Punctuated by atmospheric strings and intensely foreboding synths, the music captures the high stakes energy of the futuristic world.

• Published by Milan Records the score to Returnal is now available on vinyl and is pressed on a transparent yellow vinyl housed in a dress jacket.

• The album marks Krlic’s first-ever video game title as lead composer and follows his critically acclaimed, award-winning scores for director Ari Aster’s Midsommar, Hulu’s Reprisal, TNT’s Snowpiercer and The Alienist, and more. With each project, Krlic adds new elements or experiments with techniques that he has never used before. Returnal was no exception. His creative process began in a similar way, as usual, tinkering away with melodies and themes on his acoustic instruments. But much like the ever-shifting environment in the game, the acoustic roots of Returnal’s sound shifted, allowing Krlic to venture further into the world of modular synthesis.

• “With Returnal, it felt to me that they wanted to do something with that genre that I hadn’t really seen before. In the game, when you die, you never die. You wake up back at this crash where your spaceship landed. The landscape is ever so subtly changing every time you wake up, so you have this constant feeling of disorientation that grows bigger and bigger. I thought that concept was so cool. There were so many ideas that I could build into the music from that.”- Bob Krlic

Repressed

It's been four-years since La Coka Nostra released their sophomore album, Masters Of The Dark Arts, (the groups first project without Everlast was also their most critically acclaimed project - featured collaborations with Vinnie Paz, Sean Price & production from DJ Premier and Statik Selektah) and the music industry has changed considerably in that time. However, a few things still remain constant; La Coka Nostra will always be as their aptly-titled 2009 debut verified, A Brand You Can Trust, and the group will continue to dazzle their rapid fan-base with sold out shows around the globe with their rau-cous live performances. Always known for tackling controversial topic matter, the group’s new album, To Thine Own Self Be True, finds them once again in torchbearing mode, addressing subjects that most artists shy away from.“This album was created during a time of unique and individual transformation for each member of the group” ILL Bill stated. “Speaking for myself, it’s been a heavy last couple of years.It’s definitely the most personal record we’ve made under the La Coka banner and while we’re still making music that’s hard as fuck, there’s a maturity to this latest batch of songs that makes it different from a lot of the older stuff. I notice the biggest reactions come from the songs our listeners can personally relate to and we needed to make a record like this right now, not only for the fans, but for ourselves. I got alot off my chest on this one. Making music can be extremely therapeutic and making To Thine Own Self Be True was a rebirth and a re-ignition for me.” Slaine had a similar take on the projects thera-peutic manifestation “You don’t put as many years in the game as we have without having ups and downs. We all have gone through struggle and adversity—personally and professionally”Slaine la-mented. “This album was recorded as I walked out of a very dark time toward a place of truth and understanding. Music has been how I feed my family, my plane ticket around the world and a place I’ve built real friendships; but at the very core it’s a tool I use to get through life.This album is a moment in time. It is visceral and real.” While DJ Lethal continues to oversee the production end ofToThine Own Self Be True, the group also enlisted Statik Selektah, Marco Polo, Salam Wreck (D-12, Obie Trice, Proof, B-Real, Tha Dogg Pound) & ChumZilla (from the Demigodz) and get vocal contributions from extended family members such as Vinnie Paz, Apathy, Q-Unique, Sick Jacken, SKAM2? & Rite Hook.

Stockholm post-punk band V**gra Boys (**= "ia" because spam FILTERS) are announcing a new album Cave World due out July 8th via YEAR0001 Produced by past collaborators Pelle Gunnerfeldt (The Hives, The Knife, etc.) and DJ Haydn, the album is inspired by current events, and aims to tear through the insanity and confusion the world currently finds itself in. Like sin- eaters if sins had to be ingested from a very small spoon, V**gra Boys have consumed the utterly incomprehensible chaos of our era and distilled it into the 12 immaculate tracks that make up Cave World.

As 2021’s Welfare Jazz was earning rave reviews from the likes of Pitchfork, NPR, GQ, NME, Stereogum, Fader, and more, Viagra Boys were in the midst of rerecording what would become their followup. After putting together an entire album at the legendary Silence Studio in the town of Koppom, the band decided they could push harder. "We let it marinate for a while and then rerecorded absolutely everything," Murphy explains. S

ome of the music made it through to what would become Cave World, but replacing the lyrics. In that iterative process,
Murphy found himself returning time and again to a misconception with deeper roots: the idea that humanity is moving forward. After watching a video late one evening about a theory that suggests evolution involved trading in some cognitive
abilities for others, Murphy began stewing on the fact that the result was mass shootings and science denial. "I just wrote down, 'Who is the true ape?'" he says.

"People look down at apes as primitive life forms, but we're just this horrible, lazy society killing each other and starting wars, while they’re able to love and feel.
Does that make them the true ape or us?"

Giallo is the fourth in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

When we think of 1960’s Italian pulp cinema, the spaghetti western is the genre that comes to mind. However, Italy was responsible for another classic cinematic exploitation movement around the same time, one that is equally as compelling, but less widely recognised. Giallo…

Giallo, meaning ‘yellow’, is the Italian term for crime fiction, it was named after the bright yellow colours of early pulp fiction paperbacks. Film audiences adopted it as the name for a peculiarly Italian sub-genre of thriller cinema that had its heyday in the 1970’s - just as the Spaghetti Western movement was waning. The Giallo can be difficult to define, but essentially it is an Italian crime film that draws from a pool of common themes: stylized murders, amateur sleuths, sleazy glamour, psychological crimes, enigmatic titles and all these themes are underpinned by creepily atmospheric Ennio Morricone music scores. Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Giallo is available as a limited edition of 3000 individually numbered copies on “giallo and black marbled” (clear, yellow and black mixed) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a silver foil spot varnish on the outside and images of iconic movie posters on the inside.

In order to leave a souvenir of our past events and to mark our time, we are pleased to present today our second vinyl. This immersive EP takes us back to the Chapter II of our history and invites one emblematic artist: Mac Declos

In these uncertain times, we still want to claim our ideals through music Cuir en cage will therefore be the second vinyl of a long series

Repress

Identified Patient drops another calamitous record on Pinkman - 4 dungenous slowbeat cuts, brimming with energy, emotion and attitude. The EP kicks off with Geen Syndroom where jaded, murky melodies go in tandem with sexy bass lines and an obliterating broken drum beat. Thereafter, Nog Steeds High Van De Lak progressively evokes feelings of desolation and melancholia, while carrying an aggressive punch and irresistible groove. Do the flip to find two more ferocious productions in Ver Verwijderd Van Vermoeid and Haar Glans Altijd Strak. The former grips you firmly with bubbling acid and machine gun snares on the backdrop of violent kicks. The latter ends the voyage entrancingly with hypnotic synth lines, whiplash-snares and rattlesnake-hats.

‘Raiz’, the first release on the OITO//OITO Discos label, draws the musical focus towards the sound archives of Michel Giacometti, a French ethnomusicologist who dedicated his life to studying the oral traditions of Portugal which had become either lost or forgotten, with his collections still exhibited today in the Museum of Portuguese Music in Estoril. As with their previous releases, the duo carefully manage the source material and interweave it with their Acid House undertones, with both the original cuts ‘Ceifeiras’ and ‘A Poda’ doing a beautiful job at merging the powerful vocals with driving bass lines and rhythms. The opener in particular has a deep mysticism to it, the vocals leading the line as razor sharp pads craft a pulse alongside a steady but powerful drum structure. ‘A Poda’ takes things in a trippy-er direction, with the vocals stretched out in that prog house style that keeps the mind ticking over and the body left to its own devices. The breakdowns in this track are very effective, and really portray the soul of the original vocal performance and allow for the listener to connect with the wider feeling being conveyed. On the flip, the duo asked producers Switchdance and Terra Chã to put their spin on ‘Ceifeiras’, and the results only add to the atmosphere. Switchdance takes things down into murky depths, with a low slung beat expertly interspersed with driving bass notes, as sweeping chordal lines meander up above, giving a whole new angle to the original and winning over our hearts. Terra Chã’s version injects some swing into proceedings, with looping chordal stabs pulsating through the middle along with some beautiful melodic additions that exalt and inspire in equal measure.
Balanced, referential, blissful, dynamic. All this, and more, feature heavily on the first edition of OITO//OITO Discos, so why not come along and meander through time and space – it’s worth the trip…