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Limited Repressed 2021 !

Mental progressive pearl, dancefloor soft groove... 150 to 160 BPM spacial acid mental tribe.

The long lost 1968 debut album by singer-songwriter, Scott Fagan, once tipped to be bigger than Elvis, is set for release on 9th February 2024 via Earth Recordings. 'South Atlantic Blues' will be reissued for the first time in its original artwork, with an iconic portrait of Fagan by famed rock photographer, Joel Brodsky, following a widely celebrated 2015 release. Revisiting his mystical, mythical, and deeply soulful masterpiece, this psych-folk gem doffs a Tropicalia hat direct from downtown New York. "His songs embrace a broad sonic fantasia, swirling in '60s New York R&B and '40s jazz, as well as the Caribbean rhythms of calypso, meringue and Pachanga." New York Times Scott Fagan's story is worthy of a movie in itself. A swinging hipster who landed in 60s Greenwich folk scene, escaping the abject poverty of his U.S. Virgin Islands upbringing, Fagan found himself mentored by the Brill Building's Doc Pomus and Mort Shuman, and feted as the next big thing. "Forget Rodriguez, forget Searching for Sugar Man," says Sharyn Felder, daughter of the late Doc Pomus, the legendary songwriter who signed Fagan to management in 1964. "Scott was so much more. He was cut from a different cloth." 'South Atlantic Blues' is the perfect soundtrack to this tale, an epic song cycle wrapped around an impassioned love story, driven by Fagan's dense, allusive lyrics, and production by Elmer Jared Gordon (Pearls Before Swine) and rich arrangements by Horace Ott (Nina Simone, Sam Cooke, The Shirelles). The Earth Recordings reissue coincides with a resurgence in activity for Fagan, with a new album in the works - the never-recorded soundtrack to 'Soon', the 1971 Broadway rock musical he co-wrote and starred in - and a documentary 'Soon: the Story of Scott Fagan' currently filming through Scissor Kick Films, from director Marah Strauch, writer Chris Campion (who rediscovered the singer-songwriter in 2015), and producer Eric Bruggeman. Classic Black Vinyl + DLC

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series – and the second to celebrate the ‘90s, NOW – Yearbook 1990; 79 tracks from a fantastic year in Pop! Available on 4CD deluxe book format with 79 tracks , 4CD std digi with 79 tracks and 44 tracks from a fantastic year in Pop, pressed on gorgeous translucent triple orange vinyl. Disc One includes #1s from New Order, New Kids On The Block, Steve Miller Band, and The Beautiful South, as well as Pop smashes from The KLF, The B-52’s, Kylie Minogue, Whitney Houston Kim Appleby, and concluding with the theme from Twin Peaks, Julee Cruise’s ‘Falling’, Chris Isaak with ‘Wicked Game’ and Pet Shop Boys defining ‘Being Boring’. Dance floor-fillers kick off Disc 2 from Deee-Lite with ‘Groove Is In The Heart’, #1s from SNAP!, and from Adamski & Seal plus club classics from Bass-O-Matic and Adventures Of Stevie V with ‘Dirty Cash (Money Talks)’, plus the unexpected collaboration between DNA & Suzanne Vega. Disc 3 opens with the still-breathtaking interpretation of Prince’s ‘Nothing Compares 2 U’ from Sinéad O'Connor. Up next are film related hits; Maria McKee’s ‘Show Me Heaven’, from the ‘Days Of Thunder’ soundtrack, and the ‘Young Guns II’ track ‘Blaze Of Glory’ from Jon Bon Jovi

The 10th pearl from DST prod brings oldschool Asystematik with a news sound : Electro tribe, sweet and dancefloor.

BIG UP !

KULA SHAKER"s new album "Natural Magick" finds the band harnessing the power to cast their most potent spell yet, incorporating blazing psychedelic sermons, raga rave-ups, stardust-coated pop pearls and mood-enhancing mantras. "This chapter in the band"s life is very much driven by live energy and that spiritual connection with the audiences which comes with it. We all agreed that the songs should be no longer than three minutes. There are no epics." (says Crispian) Reformed permanently in 2021 due to the return of keyboard wizard Jay Darlington, reuniting all four members of the band"s classic line-up for the first time since 1999.The band became UK chart-toppers with 1996"s debut album "K" and "99"s follow-up "Peasants Pigs & Astronauts" saw them push the creative envelope prior to their premature dissolution. Having made a welcome return in 2007 with the self-funded "Strangefolk", Kula Shaker have built towards the sonic summit.

10 DOUBLE SIDED NORTHERN SOUL GEMS FOR THE FIRST TIME EVER ON 7" VINYL. THERE IS SOMETHING FOR EVERYONE. SUPER LIMITED, AND WHEN THEY ARE GONE THEY ARE GONE JUST LIKE VOLUME 1 AND 2 THAT NOW SELL FOR OVER DOUBLE INDIVIDUALLY.

Edo.G's latest Album FreEDOm couldn't come at a better time in history as we are in an age where it seems like our freedoms are slowly getting taken away with a corrupt dictator in office.

FreEDOm has a sound that is reminiscent to one of your favorite Hip-Hop albums with songs that touch every part of your life. Edo.G's conscious lyrics over banging beats are bound to resonate and inspire. The song "Smoke" features Masta Ace, marking their first collaboration since the critically acclaimed 2009 "Arts & Entertainment" album. “Boom”, Produced by Sir Williams is the first music video from the album that sheds light on gun violence and the affect it has on victims, families and communities. FreEDOm is Edo.G’s 15th studio album produced by up and coming producers Torchbars, Kelz With Tha Heat, Sir Williams, Geronimo X, DJ Scienz & more.

If the album wasn't enough, the Digipak CD includes a full-length documentary based on the ED O.G & Da Bulldogs hit song "I Got To Have it". This ground-breaking documentary is a true artistic masterpiece on how one song can change your life. This is an in-depth look into Edo.G's journey through the music industry being dropped from a major label to finding his way independently. It highlights his life and career from his early teenage years to the present day. Through touring the world and making a positive impact with his music, Edo.G’s continued relevance in Hip Hop is not to be questioned.

ONO Records is proud to present a long awaited project from EDN, the recording project of Elena Nees. Hailing from Adelaide / Kaurna, Elena has crafted her sound in the form of sweet bedroom folk and pop, self releasing a number of tender EPs since 2020 along with releasing a fantastic six track cassette with the esteemed Naarm based cassette label Healthy Tapes under her Allume alias. Here, the EDN moniker takes these folk pop sensibilities and filters them through a love for electronic hardware production and music.

The record begins with the end-of-the-night dancefloor ballad ‘A Mirror’. Jittering and agitated drum programing makes way for EDN’s feather-weight vocals, cleverly manipulated over bubbling synths as the track melts into a bonafide braindance-pop anthem. ‘(Blue!) Flor’ keeps the tempo rising, breaking out into a funked drum machine jam allowing pearlescent pads to intermittently wash over. The thumping ‘Ummmm’ continues the jam ending the first side with an urgent techno-not-techno freak out.

Side B opens with the crystalline fourth world ambience of ‘Mess 1’ before EDN’s angelic antipodean twang takes the spotlight again on the gorgeous and introspective ‘2 Bored Angels’. Interluding briefly with the trip-hop induced breakbeat experiments of ‘Slo’, ‘Mirror Fuck’ bookends the record perfectly with glistening keys and EDN’s soulful vocals singing of longing and desire. An excellent closer. 

EDN gives us a triumphant and utterly unique record that unveils itself more and more with each listen and highlights her immense and diverse talent. One we are proud to include in the ONO catalogue!

Written & Produced by Elena Nees
Artwork by Mathieu Larone & Grace Otto
Mastering by Marco Pellegrino

PRESSING OF 200 COPIES ON CLEAR VINYL.

RIYL Zero 7/ Plaid / Hot Chip / Weather Report / Isolee / Baby Fox

Old friends Julian Bates and Alex Gray —working together as Mighty Truth for the first time since 1995’s From The City To The Sea — filled a car with old analogue synths, kids’ noise toys, and collected field recordings took a road trip down to hole up in an old water mill in southwest England’s bird-twittery, bee-loud Quantock hills.

Things got cinematic: unequal measures of early Weather Report, Wim Wenders, and Serge Gainsbourg kept them wonderfully lost in their imagined world. Back in London with guest singers Allonymous (Paris via Chicago) and Wayne Paul (London), they completed the album and decided to just call it Mighty Truth. With an aim to present the live show at moonlight pop-up cinema venues, Mighty Truth are here for the next chapter in their epic saga.

Back then….

Old friends Julian Bates and Alex Gray first met through their shared obsession with classic cars (both owned old SAAB 96s). At the time, Julian’s band Nightrains was signed to ACE Records in the UK whilst Alex worked first as a session keyboardist for the likes of Edwyn Collins, Billy Mackenzie, and Busta “Cherry” Jones, and later as a mixer and remixer working with S’express producer Pascal Gabriel, Malcolm McLaren, and soul DJ legend Dr Bob Jones.

Working together in the studio for the first time producing Vanessa Freeman (4 hero), Alex and Julian decided to embark on a drop-tempo jazz trip project they named Mighty Truth. Dr Bob heard that first self-released vocal track “Rebirth” and started dropping it on Kiss FM (UK). After guest DJ slots on Coldcut’s Kiss show, Alex and Julian signed to Tongue and Groove records.

The album From the City to the Sea produced a number of singles and both “Rebirth” and “Is it a Wizard or a Blizzard” were licensed to many compilations both in the UK and internationally (eg. Dope on Plastic, Mole Listening Pearls, Eight Ball).
The Sound of Sinners is a NYC boutique record label focused on vinyl and digital releases by Indie, ambient, avant-garde and electronic artists.

Es ist eine futuristische Musik, die auf dem Debut-Album von THE DRAW zu hören ist - mit einem elektroakustischen Set-Up aus modularen Synthesizern und akustischem Schlagzeug. Ursprünglich hatten die beiden Musiker Uwe Haas und Eric Schaefer, die sich für dieses Projekt zusammengefunden haben, zwei Alben geplant. Deshalb besteht das Doppel-Vinyl MAIKRO eigentlich aus zwei Teilen, die thematisch und musikalisch klar voneinander abgegrenzt sind - und doch in einem Spannungsverhältnis zueinander stehen. So sind auf dem ersten Longplayer mit dem Titel MAKRO Spielformen des Dub, Industrial und Noise zu hören. Mit ihrer Kraft und Vitalität von verzerrten Drums und pumpenden Bässe erinnert diese Musik an den akustischen Raum repetitiver Clubmusik. Im Gegensatz dazu ist MIKRO von der Anmutung und dem Detailreichtum der Musique concréte und des Ambient geprägt. Nahe mikrophonierte Perkussion, Field-Recordings und Oszillatoren führen in eine Welt, in der feine, kaum hörbare Klänge, wie unter ein Mikroskop gelegt, vergrößert werden. Die beiden Musiker lassen ihre Improvisationen auf MAIKRO organisch wuchern, lassen Klanglandschaften entstehen, aufregend, ungehört und unberechenbar - und halten ihre Kompositionen doch stets in der Schwebe zwischen Spontaneität und struktureller Klarheit.

Ist es eine spukhafte Welt, die der/die/das (ominöse) EZ bewohnt? Eine unheimlich-geisterhafte? Mysteriös-beängstigende? Das Wortfeld eerie gibt zahlreichen Interpretationen Raum - genau so wie Ulrike Haages wundervolle Musik, der hier einmal mehr das Zusammenspiel aus Anstrengung und Leichtigkeit, aus konzeptioneller Schwere und melodieseliger Leichtigkeit, aus Schönheit und Gefahr zu eigen ist. Da wird als Grundmotiv ein zunächst leicht wirkendes Thema wiederholt und entwickelt so - auch und gerade durch das einem stetigen Wandel unterliegende KlangDesign - eine immersive Kraft. Hier vom dunklen gedämpften "Grand Piano", dort als thereminhafter SchaltkreisZauber, gern auch mit Glasharmonika oder Glockenspiel: das bekannte und doch immer neue Prinzip aus Wiederholung und (Ab)Wandlung in feiner Balance. Mal entrückt und von feenhafter Gelassenheit, dann wieder voller Dramatik und Spannung skizziert Ulrike Haage eine immer ein wenig verschwommene und dabei doch sehr luzide Landschaft aus Tönen. Unter all dem findet sich vereinzelt auch eine seltsam angespannte Rhythmik, die dann zwar nicht hektisch aber doch irgendwie bedrohlich daherkommt. Der nervöse Beat von Rebel (2) z. B. scheint mir klar zu signalisieren: EZ ist auf der Jagd. Auch Deceptive Methods prägt ein - hier eher gespannt-schleppendes - elektronisches Metrum. Kurz: uns begegnet hier impressionistische Filmmusik in Vollendung. Ja, diese (nur auf Vinyl erhältliche) Platte ist "eigentlich" Filmmusik. Filmmusik, die nicht (nur) begleitet, sondern aus sich selbst heraus Stimmungen zu erzeugen vermag. Filmmusik, die ergänzen und nicht illustrieren will. Filmmusik, die sicher primär dem Film dient, für den sie geschrieben wurde, die aber auch für sich steht, weil sie zuallererst und vor allem Musik ist, die uns, auch aus jedem Zusammenhang gelöst, im Innersten anspricht.

After the fall of the Deep City label, Rocketeers bandleader Frank Williams set up shop under the name of his twin daughters Saadia and Giwada and got to work reinventing the Miami Sound. Tracked between 1968-1970, this LP gathers 15 of Saadia's funkiest and deeply soulful moments, featuring Pearl Dowell, Joey Gilmore, Little Beaver, Frank Williams' Rocketeers, Robert Moore, Brother Williams, and Sam Baker. Your next sample, first dance, workout jam or closing credits is buried in here somewhere.

Super Funky Forest Green and Blue Splatter Vinyl.

After the fall of the Deep City label, Rocketeers bandleader Frank Williams set up shop under the name of his twin daughters Saadia and Giwada and got to work reinventing the Miami Sound. Tracked between 1968-1970, this LP gathers 15 of Saadia's funkiest and deeply soulful moments, featuring Pearl Dowell, Joey Gilmore, Little Beaver, Frank Williams' Rocketeers, Robert Moore, Brother Williams, and Sam Baker. Your next sample, first dance, workout jam or closing credits is buried in here somewhere.

Heart Food is 100% Analogue Mastered directly from the original analogue master tapes by Kevin Gray at CoHEARent Audio. The master tapes are in fine shape, and listeners will be blown away by the increased inner detail and three-dimensionality of these achingly gorgeous recordings. This Intervention reissue represents THE definitive listening experience for this classic LP!

Clear Vinyl

On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.

Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.

Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.

Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.

This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.

Limitiert auf 100 Stück

Dieter Moebius ist einer der wichtigsten Protagonisten der avantgardistischen elektronischen Musik in Deutschland (er ist/war Teil von Cluster und Harmonia). "Tonspuren" stammt aus dem Jahr 1983 und war sein erstes Soloalbum. Es enthält akribisch gefertigte Perlen elektronischer Musik mit Sinn für Pop-Melodien. Zum 40-jährigen Jubiläum des Albums gibt es eine auf 500 Exemplare limitierte, handnummerierte, rote Vinyl-Edition. eng Dieter Moebius is one of the most important protagonists of avant-garde electronic music in Germany (He is/was part of Cluster and Harmonia). "Tonspuren" dates back to 1983 and was his first solo album. It features meticulously fabricated pearls of electronic music with a sense of pop melody. For the 40th anniversary of the album we"re making a limited red vinyl edition, hand numbered, 500 copies.

The new recordings from The Dengie Hundred unfurl on Tain Records after a busy year releasing a solo tape on Sagome and a collaborative LP and tape with Japan Blues on Demdike Stare's DDS imprint.

Lammas Land is an album which meditates on the Walthamstow Marshes, an ever-changing watery landscape, rich with history and wildlife. The Dengie Hundred writes:

"I am sitting at my table overlooking the marshes listening to Lammas Land in November 2023, watching crows fight a never-ending aerial battle with the gulls. In summer, you can see bats from here every evening, fluttering around the windows as the light begins to fade, but today it is colder so there is smoke rising from the boats on the River Lea and the dog walkers are wrapped up tight against the wind.
Most of Lammas Land was made sitting right here, playing guitar and recording the sounds passing by. I would hang a microphone out of the window to capture the ‘putput’ boat which delivers provisions, or the trains that rattle along the tracks that cut across the marshes and up to Stanstead, carrying passengers to the airport and away.
I wonder what tourists make of the marshes as they cross them, the landscape opening up for a moment between the urban sprawl of the East End and the rampant development of Tottenham. They offer a jarring pause of green and sky. I feel very lucky to be living in that pause, a resident, for now…

The album contains a whole year of found sounds recorded from the window and while out walking. It is full of bird song and radio sounds, singing, life.

Many others have been inspired by this space, this pause. The author Esther Kinsky who wrote River, published by Fitzcarraldo Editions, captures this area so perfectly. I borrowed the two track names for this album from her book. I hope she doesn’t mind.

Also, the photographer Paul Fuller whose work reflects the atmosphere I feel here precisely. On hearing the music he wanted to collaborate on the Lammas Land project, He spent a year filming the marsh through the seasons. Some of his images are included with the vinyl release, and there is an accompanying film close to completion. I am so pleased this project is continuing in new forms.

The vinyl also contains a piece of writing, ‘Sound Fishing’, by Gemma Blackshaw, an author, art historian and curator who in a twist of fate also found herself spending time on the marshes, but that is her story, for another day."




The Dengie Hundred
Lammas Land
LP, with essay insert + five photographic prints
Cat No: TAIN02
Price: £14.49
Due next week

A: A hand full of ever thickening twilight
(Sample clips 1 / 2 / 3)

B: A string of pearls pulling
the night away
(Sample clips 1 / 2 / 3)

Plastic-free disc production: Under the Waves OST vinyl is the first of its kind Biovinyl, with all petroleum in S-PVC replaced by recycling used cooking oil or industrial waste gasses. Plus this vinyl comes in a nice transparent green color called "petrol"

Eco-friendly packaging: this 2xLP gatefold packaging is made of 100% recycled paper and cardboard, and printed with sustainable inks made from plant oils.

Eco-friendly design: we set up a minimalist approach throughout the whole design to save the use of paper and ink: no printed booklet, no large plain-colored full-surfaces, only 1 color used.

Under the Waves OST is a 21-track piece of art composed by Nicolas Bredin, influenced by Icelandic composers such as Valgeir Sigurdsson and Ólafur Arnalds, as well as post-rock bands like Mogwai, Sigur Ros and Radiohead. Released by Kid Katana Records, it had to be consistent with the game’s ecological commitment, especially when talking about a physical edition. That’s why Kid Katana has found the most eco-friendly solution: this OST vinyl will be manufactured in Germany using the brand new Biovinyl process developed by one of the leading manufacturers in Europe, Optimal Media.

To celebrate the 40th anniversary of his recorded music career, Cherry Red is both proud and delighted to release a brand new ‘Very Best Of’ compilation to mark this momentous occasion.

For his 40th anniversary, Howard wanted to create a truly unique collection. ‘Celebrate It Together The Very Best Of Howard Jones 1983-2023’ is the first anthology that looks at his entire catalogue, from the original version of “New Song,” all the way to a 2023 Elephant Talk remix of it that recasts it within a modern electronica context. It includes songs from his classic Warner-era catalogue, as well as work from his independent Dtox label. For ‘Celebrate It Together’, Howard has personally chosen to group the songs into four categories: “Popular Hits,” “Electro,” “Chill,” and “Curiosities.”

He wanted to elevate this selection of songs beyond the typical chronological approach and create themes that mix and match different pieces from different eras, with the overall listening experience top of mind. Released on three different formats, this deluxe 2CD digipack contains 35 remastered tracks. Featuring a comprehensive collection of hit singles, remixes, key album tracks, alternative and live versions. Packaged in a deluxe digipack featuring brand new photos of Howard. Includes a previously unreleased track and a further 3 tracks previously unreleased on CD.

12 page fully illustrated booklet containing brand new photos plus a brand new sleevenote where Howard in conversation with Anil Prasad reflects upon the 40 years of his recorded music career.

Dance is an album by Within Temptation, released in 2023. Dance includes a.o. the following tracks: “The Dance”, “Another Day”, “The Other Half (of Me)”, “Remix Restless” and more. The album is a High Quality, Insert rock LP.

"Omoiyari" means to have empathy and consideration for others, and act on it. This fall, the American indie-folk multi-instrumentalist and singer-songwriter Kishi Bashi is set to release the companion album to his forthcoming documentary song film, titled Music from the Song Film: Omoiyari. Consisting of two LPs_"The Songs" and "The Score"_the release showcases what is essentially the soundtrack to Omoiyari, the feature-length motion picture co-directed by Kishi Bashi, aka Kaoru Ishibashi or "K," which is being released via MTV Documentary Films in November. Focusing on K's own six-year journey of discovery surrounding his research of the incarceration of 120,000 Japanese Americans that followed the attack on Pearl Harbor in 1941, the film is part social justice documentary and part song-film experiment. The album includes K's live improvisations, which are featured in the documentary, many recorded on the sites where the concentration camps stood. Written during and about the artist's transformational dive into his personal identity and serving as a broad survey of the Japanese American experience as well as the incarceration_Music from the Song Film: Omoiyari serves as an evocative musical accompaniment to the lessons of empathy and compassion portrayed in the film and highlights the process and power of one of modern indie's most talented musicians.

■ Das Album "Spiral" wurde ursprünglich 1973 von der Harry Roche Constellation veröffentlicht.
Angeführt von Posaunist und Musikdirektor Harry Roche, mit ein wenig Unterstützung von einer
Gruppe von Arrangeuren, darunter Pete Moore (der Mann, der für das unvergessliche Pearl &
Dean-Jingle verantwortlich war), Don Lusher und sogar Stan Tracey, war die Constellation eigentlich
nie eine fest arbeitende Band, sondern eher eine Gruppe führender Session-Musiker.
"Spiral" bietet jazzige, funkige und verrückte, aber entspannte Instrumental-Neuinterpretationen von
Stevie Wonder, The Who und Bob Dylan. Der Titeltrack enthält den Gesang von Claire Torrey, die
auch zu Pink Floyds "The Dark Side of the Moon" beigetragen hat. Das Album wurde bei seiner
Erstveröffentlichung völlig übersehen und schnell aus dem Verkauf genommen. Es findet seinen Platz
in der Jazz-Lounge-Szene, wo "Spiral" auf Augenhöhe mit Roy Budds Get Carter Score steht.
Zur Feier seines 50. Jubiläums ist das Album als limitierte Edition von 1000 einzeln nummerierten
Copies auf White Vinyl erhältlich.

Bryan Ferrys neuntes Solo-Studioalbum "Mamouna" wird zum ersten Mal seit 1994 wiederveröffentlicht und erscheint in zwei Deluxe-Formaten. Es war das erste Studioalbum von Bryan Ferry seit sieben Jahren mit Originalaufnahmen, nachdem er sechs Jahre lang unter dem Arbeitstitel "Horoscope" an dem Album gearbeitet hatte.

Die bisher unveröffentlichten alternativen Aufnahmen zu den endgültigen "Mamouna"-Versionen sind zum ersten Mal auf diesen
Deluxe-Wiederveröffentlichungen als "Horoscope"-Album
zusammengestellt.

Das audiophile 2LP-Schwergewicht-Vinyl wurde in den Abbey Road Studios, London, von Master Engineer Miles Showell in halber Geschwindigkeit geschnitten. Die 3CD-Version enthält auch das "Horoscope"-Album sowie eine zusätzliche Disc mit bisher unveröffentlichten Demos oder "Sketches" von den beiden Alben "Mamouna" und "Horoscope". Das Artwork für die aktualisierte Neuauflage wurde von Bryan Ferry selbst gestaltet.

Das Album enthält eine hervorragende Besetzung von Begleitmusikern wie Nile Rodgers, Guy Pratt und Steve Ferrone sowie Beiträge von seinen Roxy Music-Bandkollegen Phil Manzanera, Andy Mackay und Brian Eno. Das Album erreichte Platz 11 der UK Official
Album Chart und enthält die Singles "Don't Want To Know", "Your Painted Smile" und den Titelsong "Mamouna

Perth-born, Naarm-based duo Special Feelings, aka Naomi Robinson and Poli-Pearl, are stepping up on Bradley Zero’s Rhythm Section label with their first long player – released on November 10, 2023. Across its 9-tracks, Special Feelings combines the electrically improvisational feel of live performances, with snappy broken beat-esque percussions and house-inspired looping synth hooks. Tapping into the infectious collaborative spirit of Naarm’s jazz community, Special Feelings are joined by a crew of the city’s rising artists.

Early iterations of Special Feelings’ music drew on psychedelic sun-dappled rock, with Naomi playing guitar and singing alongside Poli-Pearl on the drums. Over the years, this has shapeshifted into Naomi on bass and rhythms, with Poli-Pearl helming synths and keys – rooted in the sounds of Perth’s and London’s jazz of the moment, intertwined with Brainfeeder-nodding electronica. Today, Special Feelings’ influences span from the deep grooves of Moodymann to the freewheeling horns of Emma Jean Thackray to the stepping drums of Kaidi Thatham, and beyond.

Both Naomi and Poli-Pearl are self-taught multi- instrumentalists and producers; Naomi got her start playing in high school dream pop bands, before moving to Naarm to immerse herself in its musical communities, and study classical guitar at the University of Melbourne.

“A piece of music never truly comes to An end. Revisiting a theme illustrates this idea that life goes on.” These are the words of Wayne Shorter, uttered in 2018 upon the release of Emanon, his final opus. On this record, the octogenarian uses dusky hues to shade in the passions of his youth - drawing and science-fiction, as well as the causes he has defended all his life - the fight against ecological upheaval and structural racism. This sentiment did not fail to resonate with Julien Lourau, who has reached a stage in life where he has begun to look back over certain pages written by the man he has always considered one of the masters of his trade. Five years later, this Parisian native has also chosen to revisit his glory days, offering reworked versions of specific tracks composed by his titular elder throughout the 80s. “When I play this music, I find myself back in my teenage bedroom. These are my standards, and they remind me of autumn in Rambouillet.” At that time, after practising his scales, Julien would also play Dungeons & dragons, and immerse himself in SF as well as heroic fantasy - epic influences which are not without a certain connection to the dreamworlds Shorter conjured up, as another fan of landscapes beyond the grasp of reality.

This album features four themes taken from Atlantis, which came out in 1985, and two from Joy Ryder, released three years later. To these, he has added a composition penned at around the same time for Sportin’ Life, the penultimate LP by Weather Report. This is rounded off by a tune taken

from Native Dancer, the record which, ten years earlier, in 1975, brought together this saxophonist who learnt his trade alongside Art Blakey, before joining Miles’ second quintet, and Brazilian Milton Nascimento.

“Between Native Dancer and Atlantis, Shorter did not release anything under his own name, but he took the time and care to really perfect his writing. Upon his return, he injected a very Brazilian form of subtlety into his compositions, especially rhythmically. And from a harmonic point of view, these themes are extremely sophisticated, and reveal truly singular colours. In fact, he decided to display the score as if it constituted the liner notes of Atlantis.”

Julien Lourau is a fan of every Wayne Shorter era, from his Blue Note days, where Mr Gone defined the bases of a truly unique repertoire, all the way to his final quartet - a reference like no other. He decided to focus on this “highly electric” period, which is not necessarily Shorter’s best known, nor his most widely appreciated - despite being a unanimous reference, Shorter has nonetheless never had a direct descendent. In Lourau’s line of sight there lies a desire to focus on typically South American tonic accents which characterise this repertoire, twinned with the ambition to switch up their actual sound “by attempting to open up onto a production highly influenced by eighties fusion". However, he admits that modifying the structures of these most unique of worlds constituted a fresh challenge. “There’s this labyrinthine harmonic system where you’ve no idea how it holds together, but where it’s actually impossible to touch the slightest element without the whole edifice wavering. It is in fact a very difficult thing to achieve!”

In order to successfully transcribe all this creativity free of obstacles, Julien Lourau once again called upon the help of Mathieu Debordes. From January 2023 onwards, Mathieu endeavoured to break down all the musical elements, on paper, before creating any actual music. The record was therefore constructed on the faith of these scores, without necessarily transiting through a creative residency - just two live gigs, to make sure the setup worked. Besides Mathieu Debordes and his synthesisers, Julien Lourau has assembled an ad hoc team by his side. On the bass, according to the track, we can hear erstwhile companion Sylvain Daniel or a new acolyte on the fretless bass, Joan Eche Puig.

Stéphane Edouard, on percussion, even dives headfirst into an unlikely proto-rap of sorts, on Pearl On The Half Shell (where, on the original version, Bobby McFerrin adjusted his interventions in a rather madcap style). Aesthete and drummer Jim Hart as well as pianist Leo Jassef also figure on this release - both were present on previous project devoted to label

CTI. “At sixteen, I wanted to sound like Michael Brecker rather than Ben Webster - that was equated with modernity in those days”, adds Julien with a smile, as for him, all this rings out a little like a logical next step, a joyful immersion into the fountain of youth. And if, for this record, he plays the soprano more than ever, the saxophone Shorter set in his sights on, he never tries to replicate an unattainable ideal note by note. What would be the point?

“Wayne Shorter is not just a saxophonist’s saxophonist. In fact, I don’t know a single person who has risen to challenge of his solos. I have not done it myself either, but on the other hand, I have retained a lot of his phraseology. His way of approaching the instrument reveals a more evanescent language, a work on colour and shape. Keeping this in mind has allowed me to gravitate towards certain elements, that in hindsight, I find echoes of in my work, even in Groove Gang.” Shorter etches out these phrases, creating a groove within which Lourau had traced subtle punctuation, managing, from a highly written base, to create fresh apertures, promises of a great escape. Emblematic of this standpoint, his regal version of Ponte de Areia, originally a wonderful dialogue between Milton Nascimento and Wayne Shorter. Here, the Frenchman takes liberties with the original melodies, without ever growing distant from the original spirit, extending one section with delicacy, offering a rubato development and then a groove “like a little suite”. Julien Lourau also renews with an accomplice from last century, Magic Malik, who lends his high-pitched vocals to the track. Though they had not recorded together for more than twenty years, the two of them got on as if they had only ceased collaborating yesterday, everything flowed naturally. The track was wrapped up in just one take, much like other themes, such as opener Who Goes There where the flautist deploys smooth, enchanted and smoky wisps.

Fundamentally, reflecting of the sleeve which features a child playing with a ball, image that could symbolise the sun just as much as the moon, Julien Lourau manages to translate the ambiguous candour which characterizes Shorter’s work - solar and crepuscular at the same time, that of a visionary and poet definitively situated outside of all chronology, but with whom Julien shares surprising and ‘timely’ coincidences. Shorter was born August 25, 1933, the same day as Julien’s father, “if we take time zones into account”, and who died on Lourau’s birthday, March 2, 2023. Should we take this as a random fact? Or could we not see here the sign of a destiny connecting the agnostic Frenchman to the man who, as a fervent Buddhist, believed in the transmission of his spiritual flow ?

As an important agent of Gothenburg’s underground scene, Dan Johansson has been a member of several experimental harsh noise projects such as Sewer Election, and lo-fi indie folk bands like Enhet För Fri Musik and Amateur Hour. Ordeal is his latest solo output, and might as well be ashes stuck in the blast furnace's edges of his last longing career. Not by means of summing up genres or as a culmination of his musical development, but as a profound music piece weaved in his own household.

With not much more than a synthesizer, Vätterns Pärla is built by trembling, dissonant drones stained in feedback and reverberation, thickly textured by the no-fi quality of the recording, depicting a menacing atmosphere congested with heavy fumes. In Johansson's words, Ordeal "takes inspiration from the early 80’s albums of Maurizio Bianchi, filtered through a Gothenburgian no-fi bleakness. It’s an album for inner voyage, childhood memories, and places that now lost purpose and meaning”.

There's certainly intimacy and nostalgia, yet a claustrophobic, hypnotic ambiance wraps it all up in a contained and narrow space. Emphasis is put on texture rather than on detail, on color rather than on progression, on suspense rather than on conclusion. Tension varies stiffly, sometimes a drone layer dismantles and the mood seems to filter, but ragged edges are never polished. We can feel the walls and the air, which although tarnished, can be breathed in somehow. It's as if waking up in a dark room and having to recognize it with our ears and tact, testing its dimensions and its surface. The stillness in the chamber is like the stillness between gasps of storms.

Without visible stars, an enclosed share of night sky hides a heavy load of industrial debris underwater. These remnants are maybe the pearl regarding the album's title. It all can seem like a dream, a grim mechanical soundscape deafened by hefty, yet sporadic winds. Soil strives to make something grow, but sprouting is kept suspended, held by a dismal presentiment. Long shadows on the ground prove that darkness is about to befall. And as these shadows stretch, almost about to break up in a loud strike, the noise turns white.

Anlässlich seines 40-jährigen Künstlerjubiläums wollte Howard eine wirklich einzigartige Werkschau zusammenstellen. "Celebrate It Together" ist die erste Anthologie, die sich mit seinem gesamten Katalog auseinandersetzt, von der Originalversion von "New Song" bis hin zu einem 2023-er Elephant Talk-Remix, der den Song in einen modernen Electronica-Kontext stellt.

Diese "Very Best Of 1983- 2023 - Celebrate It Together" enthält Songs aus seinem klassischen Katalog der Warner Music-Ära, sowie von seinem unabhängigen Dtox-Label.

It’s time to deck the halls and put up the Christmas tree as the
yuletide season is upon us. Christmas Collected is the brand-new
compilation with both traditional and modern songs celebrating
the festive season. Artist and groups including Queen, Bruce
Springsteen, Band Aid, Paul McCartney, U2, The Teskey
Brothers, Frankie Goes To Hollywood, Amy Winehouse, Ariana
Grande, Mud and many more are featured on the 2LP.
Christmas Collected is available as a limited edition on translucent
green (LP1) and translucent red (LP2) coloured vinyl and includes
an insert.

Nachdem sie die letzten 2 Jahre damit verbracht haben, das Vereinigte Königreich und Europa mit 3 ausverkauften Tourneen zu erobern, kehrten Dirty Honey nach Australien zurück, um ihr zweites Album "Can't Find The Brakes" mit dem Produzenten Nick DiDia (Rage Against The Machine, Bruce Springsteen, Pearl Jam) aufzunehmen.

In den letzten Jahren war die Formation beständig auf Tournee, was zum ersten Besetzungswechsel führte: Anfang des Jahres ersetzte Jaydon Bean Corey Coverstone am Schlagzeug, dem das dauerhafte Reisen zu viel geworden war. Dieses Leben inspirierte sie aber auch zum Titel der neuen LP.

"Can't Find The Brakes fasst unsere Lebenswirklichkeit gerade sehr gut zusammen", so der Frontmann. "Wir sind immer in Bewegung und jeden Tag in einer anderen Stadt.

Manchmal fühlt es sich als tourender Musiker so an, als würde man in einem Zug sitzen, der mit Vollgas über die Strecke rast. Aber selbst wenn wir die Bremsen finden würden, wäre immer noch nicht klar, ob wir sie auch betätigen wollen."

As the front person of celebrated indie band Cymbals Eat Guitars, guitarist and singer Joseph D'Agostino spent over a decade setting autobiographical, emotionally vivid lyrics against a backdrop of soaring and compositionally ambitious rock. After four critically acclaimed LPs that solidified D'Agostino's reputation as a gifted songwriter, he chose to break from his long-term band and debut a new project: Empty Country. The project's second full-length is a thrilling affair, delivering an engaging and deeply moving rumination on time, family, and the disintegration of America. Although it is a record about the forces that drive Americans apart, it's also imbued with empathic love and an understanding of what binds people to family and country-in spite of the darknesses we encounter. The concept of a Great American Rock Album might scan as outdated in 2023, but with this sprawling and uncompromising epic, D'Agostino and Empty Country shatter ambivalence and confront the horrors with a community-minded sense of cautious optimism. "We may be staring into an abyss," says D'Agostino. "But we're all staring together." Despite the stoicism of its storytelling, Empty Country II cuts the darkness with beauty, humor, and an earnest belief in the transcendent power of rock music. Its sprawling and sonically adventurous arrangements range from luminous jangle-pop to scorching emo-punk to narcotized Americana. Empty Contry II featuring ome of D'Agostino's most danceable songs too. Legendary recording engineer John Agnello, whose previous collaborations with Cymbals Eat Guitars resulted in their 2014 high-water mark, LOSE, brought his trademark clarity and nuance to the process, helping Empty Country II crackle with a vital energy that imbues these stories with genuine lifeforce. RIYL: Silver Jews, Pixies, Husker Du, Wilco, Pavement, Superchunk, Modest Mouse. Ltd pink vinyl LP (500 copies ww)

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 12LP+ Blu-ray features 47 previously unreleased tracks and over two hours of live filmed concert footage in high definition.

Following the successful release of the 1999 Super Deluxe Edition (2019), and Sign O’ The Times Super Deluxe Edition (2020), the Diamonds And Pearls Super Deluxe Edition represents the third deep dive into Prince’s vault. It includes a total of 75 audio tracks across 7x CDs and 12x 180g vinyl records.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix. The Super Deluxe Edition also features 33 previously unheard studio gems from Prince’s Illustrious vault, ranging from alternate versions of album tracks to numbers Prince gave away to other artists, and songs recorded while on the road in 1990.

Prince & The NPG previewed the Diamonds And Pearls Tour at Prince’s Minneapolis club, Glam Slam, on January 11, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24-track master and rounds out the audio content of this 12LP set.
This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck.

The Blu-ray is completed by the long out of print Diamonds And Pearls Video Collection, originally released on VHS and LaserDisc in 1993. The 120-page hardback book which accompanies the SDE set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

On the second sampler the first gem on the A side is undoubtedly one of the greatest pearls and trance compositions of the 90's, released on the prestigious German label that all current techno producers revere: Le Petit Prince. Microwave Prince 'Eternal Light' was, upon its release in 1995, already an extremely difficult record to find. 28 years later, this has not changed in the slightest. Closing the A side we have the essential DJ Wout remix of Dave Kane's 'Zero Plus', an enormous hit in the early 00's in clubs like La Bush, La Rocca, etc.

The B side brings us the legendary Delerium 'Innocente', reinterpreted by Mr Sam in his iconic and now timeless 'The Space Between Us Remix' and the German techno gem 'Don't Stop' by Mark N-R-G.

The C Side features 'Miracle', one of the most beautiful trance records ever made coming straight from Germany in the person of Taucher, undoubtedly one of the best producers of his generation. With S'N'S 'Conflicts' the C side brings us another true genius, a future prodigy of progressive and melodic house at the time of this release: Sander Kleinenberg. An emblematic record at Extreme on Mondays if there ever was one.

The D Side is taken up by two tracks that take us even deeper into the essences of trance music with the enigmatic track 'Together We Can Learn' by Awa. This mid 90's English trance gem was already a collector's item upon its release, so it's our privilege to have it on this sampler in 2023. As is the case with the second track 'Lonely Casseopaya' by L.S.G., composed by one of the true pioneers of trance: Oliver Lieb. This record is a treat for those who listen to it closely and feel the classic 'after' vibe of our golden age of Belgian clubbing.

Following the news that all three Lush albums are going to be reissued, Emma Anderson, the band’s co-founder, has announced her debut solo album, Pearlies. One of the most underrated British songwriters to emerge from the era that encompassed shoegaze and Britpop, she has teamed up with producer James Chapman (aka Maps) for this collection that combines effervescent electronic pop with psych and folk textures with lyrics covering themes such as confronting your fears, embracing independence and moving on in life.

Demon Records is proud to present ‘Produced by Tony Visconti’, a new definitive retrospective compilation assembled with the assistance of legendary record producer Tony Visconti.
“This boxset covers five and a half decades of my efforts in the art of making iconic recordings. Some of it is familiar and some will have a eureka moment, ‘I didn’t know Visconti produced that one!’
I am honoured that Demon Records took on this enormous task.”
– Tony Visconti

Often described as one of the most important
producers in rock, Tony Visconti has helped create
countless classic musical moments. His work can be
heard on celebrated albums by artists such as T. Rex,
Procol Harum, The Moody Blues and Thin Lizzy to
name but a few.
• This new collection features 30 tracks personally
curated by Visconti, gathering together some of his
favourite production work from across his career.
• Includes tracks by T. Rex, Sparks, Thin Lizzy, U2,
Dexys Midnight Runners, Gentle Giant, The
Boomtown Rats, Manic Street Preachers, The Good,
The Bad & The Queen, and many more.
• Pressed on 2 x 140g LPs, mastered by Phil Kinrade at
AIR Mastering, approved by Tony Visconti. Artwork
designed by Grammy-winning creative studio
Barnbrook.
• Includes a 12-page booklet with previously unseen
photographs, and extensive track-by-track liner
notes by Mojo writer Mark Paytress based on new
interviews with Tony Visconti.

























x 5. U2 – A Sort Of Homecoming Live

The Titillators became a band in 2018 and emerge from a bold
compulsion: to sound completely unlike any other musical group in
existence
On their third album to date, That's The Night , it's clearer than ever that they've
been successful in this endeavour.
It's a tuneful, mainly instrumental batch of bent exotica played by a group of
some of Toronto's most inventive and highly regarded musicians. And while
listeners will catch aural whiffs of jazz, pop, soul, electronica, and free
improvisation there's something irrefutably singular about their output.
They're led by Ryan Driver, whom you may know from his solo recordings on Tin
Angel, from groups such as Eucalyptus, and from his frequent collaborations with
Eric Chenaux. Driver provides the compositions and plays street sweeper bristle
bass, an instrument of his own devising consisting of a small tine of metal
plucked on top of an amplifed cigar box.
The ubiquitous and multitalented Thom Gill's whistling often plays a
disconcerting lead role, while both he and acclaimed jazz pianist Tania Gill play
synths. Meanwhile the trifecta of percussionists Phil Melanson, D. Alex Meeks,
and Nick Fraser offer rhythmic interplay with one crucial caveat: none of them are
permitted to play any component of a standard drum kit.
PR will be dealt with in-house at Tin Angel.
Limited edition of 300 copies on 180gram Atlantic Pearl Blue Vinyl + OBI strip

This is the first official reissue of The Candles Burning Blue’s highly appraised cult album Pearls Given To The Swine. For two decades the original CD pressing has been sought after but nearly impossible to find. Known for their violent and chaotic gigs, The Candles Burning Blue were an unconventional Gothic Rock band. Instead of romantic beauty they dealt with the harsher aspects of the darkness oozing from their own troubled lives. Even though they only released two CD-r, a split 7” and one full album, their impact on the Finnish Goth underground was a lasting one. Pearls Given To The Swine was recorded in 2000 and released in 2001 on CD, with only 500 official copies pressed. Some years later new copies appeared from shady sources, but basically the album disappeared from the face of the Earth. In 2001 the band started to work on the second album Pleasure Dome and also had some material recorded for the projected third album Abhorrence, but ceased to exist before any of this material was released. Until now. This reissue has a full length bonus disc consisting of these songs. The Candles Burning Blue had its roots firmly in Gothic Rock as performed by bands like Bauhaus, Christian Death, Virgin Prunes and The Cure, but they mixed in elements of experimentalism and art rock. Pearls Given To The Swine is a lost and found classic of Finnish Gothic Rock, and a fine example of Finnish dark culture around the turn of the millennium. Members went on to play in bands like Reverend Bizarre, The Puritan, Werwolf Lodge and Opium Warlords, but never reunited.