Suche:new digital fidelity

Adeen Records is next to give weight to the rising profile of Paolo Aniello aka New Digital Fidelity, an accomplished house producer who heads up his own Scopic label which this release is in collaboration with. Raised in Bari and now based in London, Aniello shows this love of Midwestern classics with a release that is slow burning and soulful rather than extroverted in its grooves. The A-side cruiser '4 Hours Away From Southside' sets a smooth tone with gentle chords awakening your soul then '9 Hours Landing' has a jumbled percussive element and heavy, almost beatdown kicks. 'Lake Shore Drive' glides into candlelit late-night territory with dusty drums and frayed analogue edges that get reworked by Ge-Ology into something more busy and futuristic.

New Digital Fidelity steps up with his ‘For The People’ EP on Four Framed Music this september, delivering four standout original cuts that showcase his deep, groove-driven signature sound.

Paolo Aniello aka New Digital Fidelity is a London-based producer and DJ originally from Bari, Italy. Deeply rooted in deep and Detroit house, he made his vinyl debut in 2011 as Peter JD and later co-founded a Detroit techno label with Nico Lahs. Since launching NDF in 2017, he’s released on Snuff Trax, Moods & Grooves, and more, collaborating with artists like Chez Damier, Fred P, and Byron the Aquarius. His music has been featured on HÖR, Balamii, Rinse FM, and NTS. In 2023, he founded Scopic Records, home to his latest EPs and remixes for legends like Hanna.

With For The People, New Digital Fidelity delivers a timeless EP packed with soulful house grooves and club-driven energy. The A-side opens with Believe It, an uplifting house track full of character, driven by a snappy groove and a powerful vocal sample that pulls you straight into the vibe. A soulful statement that sets the tone from the get-go. Next up is In Love With You, a deep and sultry roller where a sensual vocal meets delicate melodic layers. This one breathes emotion and late-night intimacy, perfect for the more introspective moments in a set.

On the B-side, the EP shifts clearly into more club-focused territory. Move Your Body is a straight-up floorfiller with crisp percussion, a hypnotic bassline, and a stripped-back vocal hook that sticks with you. Finally, Step Up closes the record with punch and attitude, a raw groove laced with jackin’ energy, making it the perfect tool for peak-time or late-night sessions.

New Digital Fidelity has been making sweet moves recently with a debut on the lauded Moods & Grovers label out of Detroit followed up by a single on his own Scopic Records. Now he brings his class to Beachside and again shows off his love of Detroit house vibes. Opener 'Crush On The Beachside' is raw and intense with humid chords and jacked-up drums, then 'Shattered' brings more loose and jumbled beatdown grooves and 'Crush On The Beachside' (K15 remix) is then bubbly, jazzy and cuddly. 'Cracking' rounds out with more rich chord work and bristling drum funk.

Paolo Aniello FKA New Digital Fidelity returns one final time since his last appearance on Italian Synth Planetarium – Sistema 1 in 2020 and readies some serious and sexy goodness for 2023.

“Gonna Touch The Sky” marks his debut on Moods & Grooves and there is no doubt that it will literally make you touch the sky! The EP opens with the reshape from none other than deep house legend Fred P. When it come to (ultra) deep house beautiness, Fred is the real don. Melodic, dreamy and groovy. Simply what you would expect from him and what he does best.

To follow is the original mix, awash in syncopated tribal rhythms, gorgeous female vocals and a rich tapestry of ethereal pad. “Gonna Touch The Sky” is a dancefloor-pleasing Afro house cut à-la Ron Trent/Trinidadian Deep featuring Sasha Paige on lead vocal and Rhia Reneè on background vocals that bubble over a deep, tribal groove.

On the flip, “Make Up Your Mind” takes tribal rhythms to a new, more mental level. It’s an Afro-Chi-meets-Detroit affair. The percussive rhythms and energy that constantly interplays with the synth line create an uplifting basement tune that could safely run at opening, peak time, or closing time. Last but not least, “Horizon” speaks for itself. It will definitely transport you to new horizons, toward a tropical beach at sunset, closing this incredible journey.

Scopic Records - a new UK label which aims to "bring newcomers and artists with backgrounds, regardless of their background or gender" - launches with a single by its founder New Digital Fidelity in collaboration with singer Monet. We get three nicely different mixes of 'Getting Colder' in all. The A-side is taken up by the club mix, a classic New York deep house groove with chunky pianos chords and Monet's confident vocal performance. The flip begins with the original, a slower version but still effortlessly groovy, bringing its soul, jazz, and R&B influences to the fore. US techno's man of the moment Byron the Aquarius completes the set by turning the track inside out with shuffling hats, snapping machinefunk snares and a bubbling bass, making it even more impressive by exposing its moving parts and giving them a neat polish.

Adeen Records hits a quarter of a century of releases with two of Italy's finest talents reimagining Collecttivo Immaginario's jazz-tinged gem 'Aperture' through a club-centric lens. Label regular Nico Lahs transforms the original into a peak-time weapon layered with stacked drums and deep basslines while smartly preserving its soulful core. On the B-side, New Digital Fidelity delivers a groove-heavy interpretation that retains the jazz essence while adding a hypnotic rhythmic drive perfect for deeper sets. Both versions manage to remain sympathetic to the original while taking it into fresh new directions that bring a contemporary edge to the classic original.

On June 16th momentum continues apace for Alex Paterson’s Orbscure records, with the new album by Chocolate Hills – his duo project with Paul Conboy. Purveying world class melodic ambience and plenty beyond, colours in this high-fidelity-headphone-wonderland range from languid chill, kitsch exotica, library music, space age pop, ye olde folk and even drum and bass – all seasoned with (in)appropriately random plunderphonics from Paterson’s infinite goodie bag. Loosely based around a nautical journey to the Bermuda triangle and back, this is a fantastic voyage, but seas remain calm – more ‘Life Aquatic’ than ‘Moby Dick’. Tracks gently bob and float on bass which is roomy and buoyant like the hull of a ship, whilst luxuriously fluffy clouds meander overhead, before their vessel dives deep below to marvel at aquatic delights, guided by sonar. Paul Conboy’s approach as a member of cult analogue tinkerers Metamono – who use no computers, only old pre-digital gear – has carried over into his new joint venture. Both groups write, record and perform at same time, then later edit for release. For ‘Yarns from the Chocolate Triangle’ Paul set himself and Alex up with assorted gear, including a record deck, synths and drum machines, then the pair recorded the raw version of the album on the fly. These long live jams where then then discreetly augmented, embellished and edited, with a nip and tuck in Logic. As well as releases as A.P.E. on Dorado and Far Out recordings, TV and film scores plus his ongoing membership in Metamono, Conboy recorded three albums as part of Bomb The Bass, with whom he also toured Australia jointly with The Orb. On a boat trip over to Bali, Paul made Paterson pancakes, and their friendship was sealed. Having stayed in contact, many years later the duo began an exploration of ideas with their 2019 debut ‘A Pail Of Air’ on Painted World records (who’ve also released records by Nik Turner from Hawkwind, Youth, Roger Eno and Jaz Coleman). So far the duo have performed a low key gig at Paterson’s unofficial lair The Book And Record Bar, plus a bigger stage at the Roundhouse, alongside Leftfield, GAS, Ulrich Schnauss and System 7. Clearly making a lasting impression on Alex, the duo’s name was first referenced on The Orb’s own ‘Chocolate Hills Of Bohol’ remix of their single ‘Assassin’ in 1992, which was the same year Alex got blown away when visiting the prehistoric geological formations and enchanting jungles of the Bohol province in the Philippines.

Remastered and cut at 45 RPM, using a one step process for the highest fidelity. First batch of 300 are available now.The Break of Dawn marks the debut full-length from Japan's Blue In Green, a composer and guitarist whose work quietly bridges bossa nova, jazz, and hip- hop. Originally released in 2011, this newly remastered edition presents 11 tracks with unhurried rhythms, gentle piano and guitar lines, subtle horns, and warm analog tones, creating an atmosphere that feels both sophisticated and inviting -- perfect for late nights, slow mornings, or lazy summer afternoons.One step records stand out from regular vinyl by simplifying the traditional three step process down to just one.

With fewer steps, there's less loss along the way, giving these pressings high fidelity sound and a more lifelike listening experience.Mastered by Mark DannLacquers Cut by Misjah@24MasteringManufactured by MobinekoMetal Processing by FutonekoTaken from the original digital masters, remastered to tape, and cut to lacquers from digital files.

Another sureshot heater from a magnificent underground label with a cult following, Adeen Records drops AR026, a landmark release uniting two titans of house music: New York's legendary Pal Joey (Joseph Longo) and Chicago's iconic voice Robert Owens. Side A's 'The Me Inside' is a masterclass in deep, soulful club music. Joey lays down a signature groove-hard-hitting drums and lush piano chords-while Owens bares his soul, asking listeners to witness the vulnerable core of his artistry. It's a heartfelt vocal performance rooted in classic Chicago house, paired perfectly with Joey's unmistakable production style. An instrumental follows, ideal for DJs keeping the vibe deep and emotive. Flip to Side B and you'll find Paolo Aniello aka New Digital Fidelity bringing the heat. Known for his work on Snuff Trax and collaborations with house luminaries, Paolo delivers a pulsing, bass-heavy dub remix that's built for peak-time floors. When legends align, magic happens-AR026 is a future classic.

AAA Audiophile 200g 45rpm Triple Disc LP!
Sourced from First Generation Analogue Recordings without Any Digital Corruption!
2xHD Mastering on Nagra Equipment by René Laflamme!

Sound Restoration by George Klabin & Fran Gala!

Cut All Analogue at Bernie Grundman Mastering on Tube Cutting Equipment!

There have been many guitar gods, but there's never been an electric bassist as deified as Jaco Pastorius. – Michael J. Agovino

This live album by Jaco Pastorius and the Word-of-Mouth Big Band, featuring harmonica virtuoso Toots Thielemans as special guest, was recorded in analog 24 tracks by the Record Plant mobile truck at Avery Fisher Hall in NYC on June 27, 1982, as part of George Wein's Kool Jazz Festival. This Deluxe 45rpm 200g edition is the first one to be mastered from the original 2 track master tapes that were found some 30 years later (the previous digital download versions were released from a digital remix of the 24 tracks). What we have here is the direct copy of the original pure analogue 2 track mix.

The brightest star in the electric bass firmament, Jaco Pastorius burst onto the national scene in 1976 with his audacious self-titled album on Columbia Records, featuring a line-up of top jazz musicians. With his extraordinary fretless electric bass playing as the centerpiece, Jaco Pastorius created an immediate sensation with the public and the media. His signature approach employed Latin-influenced funk, lyrical solos on fretless bass, bass chords, and innovative use of harmonics. In Jaco's work with Weather Report and beyond, the self-described "greatest bass player in the world" (an assessment shared with virtually the entire music world) established a new identity and role for his instrument and became the torch-bearer for a new way of playing both technically and conceptually. But behind it all was an ever present R&B and Latin-influenced groove and a screaming rock-'n'-roll attitude that he refined and incorporated into sophisticated jazz harmonic structures.

In addition to his extraordinary virtuosity, Jaco was also developing into an accomplished and sophisticated composer and arranger and those talents are gloriously on display on this album. The 3-time Grammy Award nominee was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honored (and the only electric bassist). His legacy as a bass innovator continues to this day, more than 30 years after his untimely death in 1987.

Provocative percussion from the jazz trio Zen Widow!
Recorded live to 2-track analogue tape at Capitol Studios (CAP A)
Produced by Tone Poet's Joe Harley, recorded by Mike Ross
100% analogue mastering* by Kevin Gray at Cohearent Audio
Pressed on 180-gram ultra-quiet vinyl at RTI
Deluxe Old Style Tip-On single pocket gatefold jacket by Stoughton Printing

*Track 8 finished from high-resolution digital for vocal track
Intervention Records presents a special collaborative distribution effort with Italian objet-a records, Zen Widow IV – (from one dark age to another). This AAA 180G vinyl release is the fourth recording of Zen Widow, and it places an emphasis on highly melodic, spacious, and engaging treatments of medieval compositions ranging from Gesualdo Da Venosa, the Burana and Chantilly Codex, Welsh Gower folk melodies and texts, as well as the Bach Cello suites. These rich compositions are then reimagined through the lens of a highly accomplished and adventuresome jazz-improvised music trio.

Zen Widow is an international improvisational music-jazz super group. They have recorded and performed in clubs and festivals throughout the United States and Europe for that last 20 years. The trio consists of Gianni Gebbia (Bb soprano saxophone – cornettophone ) from Sicily, Italy, Matthew Goodheart (grand piano – transducer-actuated gong) from New York, Garth Powell (drums, percussion, and gongs) from Los Angeles, and is joined by special guest Dwight Trible (vocals) for this recording. Their previous release featured trumpet and jazz master Wadada Leo Smith, and like this recording was produced by Joe Harley (Blue Note – Tone Poet Series, Charles Lloyd, and Music Matters Jazz).

Garth Powell is also an audio industry legend, and AudioQuest’s Sr. Director of Engineering. Garth is the driving force behind the company’s multi award-winning line of Niagara series power conditioners and its Mythical Creatures ultra high-performance cables.

As powerful as these performances are, the sonic results created by this production/engineering team is equally stunning – a truly reference quality analogue experience.

This recording is captured live-to-two-track analogue, 30ips tape at Capitol Studios (studio “A”) by Mike Ross and Steve Genewick. 7 of the 8 tracks are AAA, while the last track alone is finished high-res digital to accommodate the vocal track. Mastering and lacquers cut by Kevin Gray at CoHEARent Audio, with 180-gram pressings by RTI (Camarillo, California).

The single-gatefold jacket is a deluxe Old Style “tip-on” from Stoughton, designed by Intervention’s longtime Art Director Tom Vadakan.

French label D3 - which when pronounced in French sounds like there French word for Detroit - is a decade old and celebrates the milestone with a special three-part EP series. As has always been the case over that 10 year period, the sounds it serves up are deep and housey. This various artists affair kicks off with AsTreJinkins' slow and propulsive 'Terror' before some nice airy and live sounding broken beats from New Digital Fidelity.

Moroka picks up the pace with some hi-tek soul that sounds straight from the Motor City and Byron The Aquarius shows off his mastery of the keys again with a dreamy deep cut 'Tua Su Ra'. Nico Lahs shuts down with a heavyweight beatdown in the form of 'It's Spelled BARI.'

The fourth release in Fu Manchu's 30th Anniversary vinyl reissue series, No One Rides For Free, is a new vinyl specific remaster of the band's debut album. These songs are the only recordings of the band's line-up of Scott Hill (vocals/guitar), Mark Abshire (bass), Eddie Glass (guitar) and Ruben Romano (drums). The 8 song collection was recorded on April 16 and 17, 1993 at Sandbox Studios in LA, produced by the band along with Brant Bjork. This reissue was remastered by Carl Saff for optimum fidelity. This limited edition 2,000 unit LP run is pressed on red vinyl with white splatter and the newly designed gatefold package includes never before seen photos of the band and flyers from the shows of the era. The limited edition 1,000 unit CD run also features the updated art and a digital specific remaster.

Every Aspect of the Production Personally Supervised by Barbra Streisand
Mixed by Jochem van der Saag from the Original Analogue Session Tapes & Mastered in 24 bit/96 kHz by Paul Blakemore
Lacquer Pressing Master Created by Bernie Grundman
Pressed at RTI
Tip-On Gatefold Jacket
Deluxe 12-Page Booklet Featuring Barbra's Recollections, the Recording's History & Production, and Performance Photos

The Premiere New York City Nightclub Event of 1962! The Most Anticipated Live Album of 2022!


In the fall of 1960, New York City wasn't the same urban mecca it is today. Neither was eighteen-year old Barbra Streisand, who emerged on the Greenwich Village club scene at a small, cozy venue on West 8th Street called the Bon Soir, where she received rave reviews and wooed the crowd with her incredible performances. Within two years Streisand, whose magnificent interpretations of both standards and quirky, obscure cabaret tunes was a nationwide sensation, was knocking audiences dead with her nightly performance as Miss Marmelstein in David Merrick's I Can Get It For You Wholesale on Broadway.

Sixty years, multiple Grammy, Emmy, Oscar, Tony and Golden Globe awards and nearly two hundred million record sales later, Barbra has for the first time authorized the release of a major portion of her Bon Soir performances, as captured in 1962 by Columbia Records. IMPEX Records - in conjunction with Sony Music Entertainment - is proud to present the audiophile 180-gram vinyl LP and SACD editions of the most sought-after recordings in Barbra's legendary career: Live at the Bon Soir: Greenwich Village, NY - November 1962. This gorgeous album features twenty-four brilliant performances personally selected by Barbra Streisand from the original Bon Soir master tapes and expertly mixed and mastered by Paul Blakemore and Jochem van der Saag, under the supervision of producers Barbra Streisand, Martin Erlichman and Jay Landers.

IMPEX RECORDS has created two versions of this noteworthy release: a two-LP vinyl edition and a 24 bit / 96 kHz SACD. To achieve the best fidelity possible, engineer Paul Blakemore transferred the original three-track session tapes to high-resolution 96/24-bit digital files, which were then mixed by Jochem van der Saag. For mastering, Blakemore used an all-analog signal-processing chain in order to maintain the warmth of the original analogue recordings. To master the vinyl LP edition, IMPEX engaged Bernie Grundman, who has mastered many of Barbra's albums over the last sixty years, to create the lacquer pressing master.

Rich with the club's atmosphere, these historic, essential recordings present a warm, charming portrait of a truly important moment in New York City history and American pop culture. Several years removed from Manhattan's flourishing jazz nightclub scene, tiny clubs such as the Bon Soir began popping up, and served as both a forum and launching pad for some of the finest vocalists and musicians the east coast had to offer.

Because of Barbra's success there, Columbia Records A&R rep David Kapralik decided that the first album from his newly-signed artist would emanate from a setting in which she had become most comfortable: the small stage at the Bon Soir. Producer Mike Berniker and recording engineers Roy Halee and Adjutor "Pappy" Theroux set up the mics and recorders, and for three nights harnessed the electrifying show that Barbra had crafted.

"The recordings we did at the Bon Soir were so authentically 'Barbra.' I produced her first three albums at Columbia, and while they were wonderful accomplishments, I thought that what she did each night at the Bon Soir transcended anything we ever did in the studio." - Mike Berniker

Columbia ultimately decided to bring Barbra into the studio to record her first album, and except for the inclusion of several tracks on compilations through the years, the Bon Soir tapes laid dormant in the vault. Now, through this extraordinary release, everyone can at last enjoy the early sound and style of an icon in-the-making: the same brilliant artist whose performances at the Bon Soir were lauded by everyone from actress Helen Hayes to lyricists Alan and Marilyn Bergman. We invite you to join us for an evening at the fabled Bon Soir. Take a seat, order a drink and revel in the magic that is Barbra. You will not be disappointed!

Vinyl version of Regina Spektor’s eighth sudio album ‘Home, before and after’ which was released on CD and digital earlier this year and features the single ‘Up The Mountain’.

‘Home, before and after’ is Spektor at her most inspired and opens with the recently released ‘Becoming All Alone’, a surrealist ballad with a majestically swelling arrangement that comes alive. The album possesses her most palpable New York atmosphere in years, which is fitting as it was recorded in upstate New York, where it was produced by John Congleton and co-produced by Spektor.

The Russian-Jewish-American singer, songwriter and pianist first achieved commercial success with the RIAA Gold-certified breakthrough ‘Begin To Hope’, which included the singles ‘Fidelity’, ‘On The Radio’, ‘Better’ and ‘Samson’. Spektor’s fifth and sixth albums ‘Far’ (2009) and ‘What We Saw From The Cheap Seats’ (2012) both debuted at #3 on the Billboard album chart. She has performed at The White House as well as on Broadway and Saturday Night Live, and has contributed to many projects spanning film, television, and music including ‘The Hamilton Mixtape’.

Spektor’s previous album, 2016’s ‘Remember Us To Life’, received extensive critical praise from the likes of NPR, Entertainment Weekly, New York Magazine, People and many more. Her subsequent UK tour included a London show at the Eventim Apollo, which prompted The Guardian to state, “All hail a songwriter of substance… she’s a cult artist, but it’s a cult big enough to fill the Apollo.”

During the summer of 2019, Spektor completed a successful five-night Broadway residency at the Lunt-Fontanne Theatre. Next comes a run of solo shows, including a special night at Carnegie Hall, plus tour dates with Norah Jones.

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

Many Worlds Interpretation is a collection of cosmic Americana for electronics, guitar, and percussion culled from Jon Iverson’s extensive home-studio archive. 1984, Los Osos, California. In a small cinderblock cottage, hand-painted with bright psychedelic flora, Jon Iverson created vibrant new worlds. He spent long days and nights immersed in sound, perfecting home recording on his 8-track reel-to-reel, combining his love for kosmische and Berlin School electronics with an infatuation with ethnographic sounds and expansive guitar music. In a duo with fellow sonic traveler Thomas Walters, Iverson released missives from the studio on a self-titled LP released on country legend Guthrie Thomas’ Eagle Records. That release featured
three electro-acoustic compositions (“Naningo”, “River Fen”, and “Fox Tales”) as well as a gathering of guitar duo tapestries. Many Worlds Interpretation re-imagines those interplanetary works alongside several unreleased compositions that also feature synthesizer, guitar, and percussion, creating a re-visioned album which leans into Iverson’s electronic studio wizardry.

All songs have been carefully transferred from analog tape to high resolution digital, retaining their vintage studio warmth, but mixed and mastered for modern ears and audio systems. The album is pressed at 45rpm, further enhancing the audiophile experience.

Artist Statement

I worked in a Harley Davidson parts warehouse in the summer of 1976 in the San Francisco Bay Area. The goal was to save enough money to buy transportation for college and a Teac 4 track 1/4" reel to reel tape machine. By September there was a rusting monkey-vomit green car in the driveway and shiny new Teac with a Sony condenser microphone in the bedroom. At this point I had been playing guitar for a dozen years and like most children of the sixties, dreamed of joining
a band.

Went to college instead to study business.

But all was not lost. 1978-1979 was spent as Weird Al Yankovic's roommate and we recorded and created enough songs to play shows around San Luis Obispo, California, where we were attending college. Many of those recordings have yet to be heard by the public, including the first performances of My Bologna and many other parodies of pop songs of the day. We sent tapes to Dr. Demento, we auditioned for The Gong Show and were barred from playing at the local college after one memorable performance. Wild times.

I, however, was more intent on working on "serious" music, with albums from Vangelis, Tangerine Dream and Jean Michel Jarre providing inspiration. DJing at the local college radio station and then public radio outlet provided exposure to an endless stream of obscure albums (Sky Records from Germany was a particular favourite). Most of them would never make it to the air, but my buddies and I would pass them around like exotic treasure.

Fast forward a couple more years and I had picked up a Mini-Moog and eventually a Prophet V synthesizer as well as starting a collection of instruments from around the world. The Teac and synths formed the basis for a growing DIY studio that had taken over a modest-size garage (pictured on the cover) that had been converted into a two room cottage in Los Osos, California.

The Teac was eventually joined by a rented Otari 1/2" 8-track and then finally a vintage MCI JH-100 2" 16-track. The compositions on this album were recorded on these three machines between 1982 and 1989. At some point an Apple II computer with Alpha Syntauri sound card and keyboard were added and then later the first personal computer sampling hardware/software kit, the Decillionix DX-1. The DX-1 forms the rhythm track for “Fox Tales” and the Alpha Syntauri was programmed to create the pulsing synth for “Naningo”. “River Fen” was tracked with both the Alpha Syntauri and the Prophet V.

I knew this music wasn't commercial, but didn't care. It was inspiring working with the first computer-based synths and semi-pro gear. Home studios were still rare in the early 80s until the Tascam Portastudio blew the DIY door wide-open. But I was more interested in sound quality so stuck with reels of tape instead of lower fidelity cassettes.

During the time these songs were recorded, I was also collaborating with my good friend and mandolinist, Tom Walters. “River Fen”, “Naningo” and “Fox Tales”, were solo recordings that also ended up on the first Iverson & Walters album, First Collection. The other four pieces on this new LP were never fully finished or released until now.

— Jon Iverson, September 2022

This boxset features remastered versions of all of Sade’s studio albums to date, on pure 180 gram black vinyl the first complete collection of their studio work up to the present day All six of the band’s acclaimed albums Diamond Life 1984 Promise 1985 Stronger Than Pride 1988 Love Deluxe 1992 Lovers Rock 2000 and Solder Of Love 2010 are packaged into the beautifully finished, white case bound box Revisiting the audio, the band worked from high resolution digital transfers of the stereo master mixes, from the original studio recordings, remastered at half speed at Abbey Road Studios The elaborate, half speed mastering process has produced exceptionally clean and detailed audio whilst remaining faithful to the band’s intended sound No additional digital limiting was used in the mastering process, so the six albums benefit from the advantage of extra clarity and pure fidelity, preserving the dynamic range of the original mixes for the very first time The six album sleeves have been meticulously reproduced in exact detail with authentic paper and printing methods, perfectly replicated for the first time since their original release.


Over an exceptional career spanning more than three decades, Sade’s six albums have amassed over 60 million worldwide sales and have been certified platinum 24 times over Producing singles such as ‘Your Love Is King’, ‘Smooth Operator’ and ‘By Your Side’, Sade have gone on to achieve Number 1 albums across the world, collected several Grammys, MTV Video Music Awards, and a BRIT Award along the way, quietly taking their "place in the pantheon of cultural influence” New York Times, October 2017. Their most recent studio album, Soldier Of Love, charted at number one in 15 countries, including the US, upon release in 2010.

Paris-based producer Alexandre Bazin returns to Umor Rex with another side to his music approach. If in Full Moon (Umor Rex 2016) he explored the analog electronic music merged with classical minimalism, in this new work, Bazin dives into totally rhythmic terrains while maintaining his devotion to electronic exploration and acoustic drums. Four Steps even rubs shoulders without discretion with techno music and the dancefloor, and retains his refined obsession with melody and structure.

In these pieces, Bazin lends space to electronic soundscapes, experimentation, and computer programming, everything derived from precise compositions. With melodies created with Buchla Music Easel, EMS Synthi, among other instruments, Four Steps –through the drone and ambient music– crosses roads with elegant and infinite techno loops. The album is a 4 track EP released in vinyl 12" in 45 rpm, finely mastered by John Tejada with a focal point in harmonics and dimension, offering an exquisite hi-fidelity experience even for the digital lossless audience.

Alexandre Bazin has been a member of the France GRM (Groupe de Recherches Musicales) since 2005.

Composed & mixed by Alexandre Bazin at Château Rouge. Drums in Four Steps III by François Desmoulins. Mastered by John Tejada in Sherman Oaks. Artwork & photos by Daniel Castrejón in Mexico City.

Retro-futurist cinematic synth-fest from Supersilent keyboardist and composer. Just as radio drama is said to provide the best pictures, so some music can make for a perfect film soundtrack without the need for a film to exist at all. ’The Haze of Sleeplessness’ is a case in point: as the album starts to play, the listener’s imagination kicks in and does the rest, supplying the necessary plot, character and setting until a full-scale narrative unspools behind one’s eyes. A suite of seven movements whose common musical material is continuously recycled into new shapes and sounds, while recurring leitmotifs create a connecting thread of continuity, ’The Haze of Sleeplessness’ operates on several levels simultaneously. Most obviously, perhaps, it’s an unapologetic synth-fest; a love poem to old-school electronica and analogue sound whose squelches, bleeps and blurts can’t help but recall the heroic era of Wendy Carlos, Vangelis and Tangerine Dream. It’s also a remarkably original and successful attempt at using by now antique instruments to form a true orchestral palette, building a symphony of sound through combining monophonic sources and their new digital variants into a densely populated audio landscape that is captured with astonishing sonic fidelity. The super-saturated surface of the music fairly crackles with raw electricity, as if the over-amped distortion was about to short-circuit itself, with a wobbly jack plug connection flickering dangerously before finally cutting out. That many of these sounds and their treatment can’t help but suggest the retro-futurist setting of a dystopian sci-fi thriller might make the cinematic analogy inevitable, but it doesn’t lessen the music’s power or cheapen its effect.

The Mental Traveller - A Soundtrack by Noa Erni

If music can take our mind to any imaginable place, on endless individual journeys, Noa Erni's "The Mental Traveller" is the infinite soundtrack. A soundtrack for mental wandering and soul searching, a blend of rap, jazz and hip-hop beats. "The Mental Traveller", an album assembled like a literary anthology, offers musical arrangements and unique narratives where epilogue and prologue of each track merge seamlessly. Far beyond the horizon of compiling single tracks, "The Mental Traveller" is a journey of sound and unity. Inspired by David Axelrod and William Blake, Ahmad Jamal and Flying Lotus - just to name a few - this work aims to be a tribute to these legends' legacies of past, present and future, detached from trends, norms and classical narrative structure.

Swiss-born producer and computer conductor Noa Erni has been crafting obscure jazz and hip-hop behind closed curtains (a.k.a. his flat in Berlin, Germany) for years - free from external pressure and as an adjunct to his day jobs as sommelier and co-owner of local fine wine store "Friedenauer Weinhandlung". On April 30th, 2021, Kommerz Records will release Noa Erni's debut album "The Mental Traveller" on 12" vinyl as well as on all digital platforms. The project features internationally renowned artists such as Count Bass D (alternative rap pioneer, who worked with Snoop Dogg, MF Doom (R.I.P.) and Retrogott), Miles Bonny (New Mexico-based singer and trumpeter), S. Fidelity (hip-hop producer signed to German tastemaker label Jakarta Records) and more. Erni's guests meld seamingly with this unapologetic and experimental album showcasing stand out performances on vocals, instruments and production.

While the album sounds like it was played by a jazz outfit with years of stage experience, the truth surprises and is even more exciting: Noa crafted the songs in countless hours of experimenting with a midi keyboard, various instrument plugins and perfected reverb settings. It was not one and the same band but one and the same person. Just a few tracks include actual live instruments: drums by Max von der Goltz on "The Mental Traveller Theme" and "Uncertainty", bass by Roman Klobe on "Longitude" and flugelhorn by Miles Bonny on "Train Ride".

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

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

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

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

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

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

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

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

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

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

'Sometimes it's hard to say how you feel,' says songwriter-vocalist
Jade Vincent. 'These songs are vulnerable stories for me to tell -
they're things I couldn't say out loud. But I found that I could sing
them. And then I closed my eyes when they would listen.'
Listening to Vincent's songs were her partner - producer/composer
Keefus Ciancia - and DJ and producer/composer David Holmes.
Together, Vincent, Ciancia and Holmes make up Unloved, the musical
project that evolved out of a late-night Hollywood bar in 2015,
releasing a stunning debut album the following spring and this year
crafting the soundtrack to Phoebe Waller-Bridge's acclaimed new
series 'Killing Eve'.
Introduced to Ciancia through soundtrack work, Holmes found
himself invited to DJ one night and to curate other nights at the
Rotary Room. To invite Holmes to DJ is to unleash a kind of whirling
dervish of musical enthusiasm but through those nights the trio
discovered a shared love for 60s girl groups and French pop and film
noir soundtracks, Brigitte Fontaine, Shuggie Otis, George 'Shadow'
Morton, Bruno Nicolai, Lee Hazlewood and Jack Nitzsche, along with
a tremendous desire to work together.
Their debut EP - 'Guilty Of Love' - and the full-length, self-titled
album that followed in the spring of 2016, offered a quite remarkable
thing: a sound at once hauled out of the silty depths of the past and
simultaneously wholly modern. There was the soft hiss of a lo-fidelity
recording - the murky crackle of sample, beats and half-remembered,
long-lost favourite tunes. However, much of the songs' success
belonged to Vincent's sublime voice and lyrics, both possessed of an
aching, rich-smoked tone of loss and love.
Unloved's second album, 'Heartbreak', is about love. The album plays
out each song like a vignette of nothing but love. The songs that rose
up were in some ways surprising, but also felt insistent. 'They're real
feelings and real experiences that I had the guts to finally say, but
always ambiguous, this is very important to me,' she explains, 'and
always about love, one way or another.'
LP pressed on red coloured vinyl with digital download code.

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!

This special collector's edition electronically reproduced stereo 7' single (only 200 copies), comes in two fantastic coloured vinyl options (100 x red vinyl and 100 x purple vinyl). A refreshingly new take on mono to stereo conversion. Elvis fans growing up in the 1960's and 1970's unwittingly listened to his 1950's catalogue in electronically reprocessed stereo, love it or loathe, it was pretty much all there was back then unless you could afford to track down expensive mono copies. To better understand where the electronically reprocessed stereo versions originate from, we need to go back to 1961, at which point RCA had begun the process of taking Elvis' 1950's mono masters and converting them into a stereo sounding effect. By 1960 when Elvis returned from the army, he was recording in true stereo and as far as RCA were concerned, mono was a thing of the past. You just need to listen to the sound quality of the 1960 'Living Stereo' version of the 'Elvis Is Back' album, to appreciate just how much the recording industry had moved on in just two years. Such was the demand for stereo records in the early 1960's most major labels had created their own process for converting mono into stereo or 'fake' stereo as it became known, with some labels producing better results than others. Opinions on Elvis' 1960's electronically reprocessed stereo versions are mixed, with some recordings making the transition from mono to stereo effect better than others. Some DJ's actually preferred playing the electronically reprocessed stereo versions, believing they gave a wider fuller sound on the dancefloor. By late 1970's, RCA had once again begun to re-issue original mono masters, giving many fans their first opportunity to hear how these tracks were originally issued. By the time compact discs had arrived on the scene in the 1980's, electronically reprocessed stereo was well and truly dead and buried. Very few electronically reprocessed stereo recordings ever made it onto a digital format and the few that did are now highly collectible. Recorded at RCA Studio 1, New York on the 30th of January 1956, My Baby Left Me is a driving powerhouse rockabilly masterpiece with a real Sun Records vibe to it (produced by Steve Scholes with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar, Bill Black on bass and D.J. Fontana on drums). Our flip side Blue Moon Of Kentucky is another rockabilly classic which first appeared as the opposite side to That's All Right (Sun 209) in 1955 (Elvis' first single). Blue Moon Of Kentucky was recorded on the 7th of July 1954 at Sun Records (produced by Sam Phillips with Elvis on vocals and acoustic guitar, Scotty Moore on electric guitar and Bill Black on bass). Both tracks have been painstakingly re-engineered to create a stereo effect sound. The result is a bigger, sharper sound that jumps straight outta the grooves at ya! One reviewer described the process as - it's as if a veil has been lifted off the tracks'. Both tracks are taken from the forthcoming album titled 'Elvis Presley - The 50's In Stereo' (mono to stereo re-visited). For best results play this killer double-sider very loud!!!