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Sister funk backed with a wonderful ballad. A real treasure for fans of independently produced soul music from the 1960s. Be quick, limited pressing.

Katya Shirskova - David Maranha - Le Héron / A Reuniåo

Stellagedelivers a compelling split LP fromKatya ShirshkovaandDavid Maranha, "Le Héron / A Reuniåo," set for release in July 2024. Created and produced in residence at La Box contemporary art gallery at ENSA - École national supérieure d'arts de Bourges in 2023, this album is a profound exploration of the two artists' respective voices, showcasing their distinctive approaches.

Katya Shirshkovaopens the LP with side-long "Le Héron." This piece is an unadulterated exploration of voice, devoid of any field recordings or added effects. Embracing minimalism, the work revolves solely around vocal loops and re-recordings, creating choral structures that evoke folk traditions while delving into experimental realms. The ASMR-like techniques employed serve not merely as an auditory gimmick but as an intricate tool to illustrate the delicate flight of birds, mirroring the ethereal quality of the entire composition.

"Le Heron" aptly draws inspiration from its avian namesake, weaving birds into its fabric through the concept of vertical polyphony. The piece is underpinned by a profound understanding of this polyphonic approach, demanding meticulous precision in its looping technique. Each fragile construction is crafted in a single, unbroken take, showcasing an impeccable blend of simplicity and complexity.

David Maranhatakes over on the flip side with "A Reuniåo," delivering seven suites of powerful, minimalist drone compositions. Maranha's mastery of sustained tones and evolving harmonics creates a mesmerizing, meditative experience that is both intense and transformative.A dynamic interplay of harmonics creates a dense, immersive auditory environment, a study in sustained tones and subtle variation, leaving a lasting impression.

Mixed and mastered by Giuseppe Ielasi

Hear the brutal anguish and aural suffering! LG Records has gathered out-of-print and unreleased recordings by two of San Diego’s more infamous and obscure punk bands from the very early 1990’s onto one blistering split LP. Often remembered merely as side-projects of Heroin and End of the Line, Sloog (aka Slug) and Brain Tourniquet were standalone outfits that were beloved locally but barely made any impact outside of the local San Diego scene. Sloog were heavy, tortuous, and disturbing. Fronted by mysterious and odiferous local character “Justinman”, Sloog sounded like they could have been the lovechild of Savage Republic and United Mutation. Brain Tourniquet were a younger thrash band who were noticeably inspired by contemporaries like Born Against and Crossed Out. Primitive and sublime, members went on to bigger things, but this was the not-so-humble beginning. The first release for each band was the 1991 Slug/Brain Tourniquet split cassette, released as Gravity Records #0. Copies of this tape were sold at local shows and during Brain Tourniquet’s west coast tour with Heroin. Sloog would record multiple demos in 1990 and 1991, and in the end they recorded what became their only vinyl release, 1992’s Pigs 7”. The material on this LP was pulled together from all of these recordings. Punish yourself with the Slug / Brain Tourniquet / Sloog vinyl LP out now on LG Records. Caution: this record may emit visible stink-lines into the air of your household. Open a window while enjoying the soothing sounds of Slow Death, circa 1991. 180-gram black vinyl only, 500 pressed, 28 pt tip-on jackets with printed inner sleeve.

"South Wales' Top 10 rockers Scarlet Rebels return with the follow-up to their #7 UK Top 40 Album 'See Through Blue'. Boasting an eye-popping album cover by Boomtown Festival poster designer Holy Moly, it certainly lives up to its name and perfectly illustrates the band's message of unity – i.e. 'Where The Colours Meet’.
Armed with the crack production team of Colin Richardson and Chris Clancy, 'Where The Colours Meet' sees the band radically expand their sonic palette, bringing in lush instrumentation, piano, keyboards and large drum sounds to channel the best of 80s rock. It’s an album full of fluid guitar lines, tasteful leads and irresistible choruses but with a contemporary full-on sound - imagine a modern-day U2 meets Bruce Springsteen!"

"Three years and two EPs into their short but ascendant career, Telenova announce their debut album ‘Time Is A Flower’.
The distinctive universe of Telenova - shadowy, sample driven alt-pop with prominent trip-hop and electronica influence, plus a touch of playful energy - is the design of lead vocalist, songwriter and filmmaker Filipina-Australian Angeline Armstrong and multi-instrumentalists Edward Quinn and Joshua Moriarty."

Ontology II is a rather impressive 20th full-length from The Corrupting Sea, a well-regarded ambient project helmed by Jason T. Lamoreaux and one that takes the form of a profound exploration of personal experiences and emotions using sound to delve into philosophical themes of being and existence. The album's four carefully crafted tracks transform abstract metaphysical inquiries into tangible auditory experiences that make for a meditative journey. It is quiet and patient yet captivating in its artistry and is exactly the sort of immersive ambient that makes a lasting impression.

2024 Repress

Der isländische Multiinstrumentalist und Komponist Ólafur Arnalds hat bereits mit seinen früheren Alben
„For Now I Am Winter“, „The Chopin Project“ und „Island Songs“ große Erfolge gefeiert.
Doch mit dem Soundtrack zur dritten und letzten Staffel der britischen Krimiserie Broadchurch“ beweist
Ólafur Arnalds einmal mehr, dass er noch viel mehr kann. Das Erfolgsdrama mit David Tennant und Olivia
Coleman in den Hauptrollen erreichte mit rund 10 Millionen Zuschauern den Status der meistgesehenen
Serie auf den britischen Inseln.
Die Euphorie, die die Serie ausgelöst hat, spiegelt sich auch in den 13 Millionen Streams des Soundtracks
wider. Die Musik von Ólafur Arnalds haucht der Serie Leben ein und kann als ihr künstlerisches Fundament
betrachtet werden. Arnalds ist es gelungen, einen bedeutungsvollen, bewegenden und atmosphärischen
Soundtrack zu komponieren, der sowohl mystisch als auch melancholisch ist.

2024 Repress

Die erste Staffel der Erfolgsserie verzeichnete rund neun Millionen Zuschauer pro Folge - das macht „Broadchurch“ zu einer der beliebtesten Fernsehserien im Vereinigten Königreich. Ólafur Arnalds wurde für seine
Musik mit dem prestigeträchtigen Bafta Award ausgezeichnet.
Die düstere und kühle Atmosphäre, die in dem verschlafenen englischen Küstenstädtchen Broadchurch
herrscht, wird von Arnalds auf musikalischer Ebene hervorragend umgesetzt. Der isländische Komponist
beweist einmal mehr, dass seine Musik zu den spannungsgeladenen Bewegtbildern mehr ist als nur ein
illustrativer Klangteppich.
Der Multiinstrumentalist verbindet elektronische Klänge mit Elementen aus Klassik, Jazz und Pop. Der
neue Song „So Far“, interpretiert von dem isländischen Sänger Arnór Dan, ist der musikalische rote Faden,
der sich durch alle Episoden der zweiten Staffel zieht. Gänsehaut pur!
Lange vergriffen und jetzt zum 16.08. wieder auf Vinyl erhältlich!

Following a stunning introduction to the world with her 'Sometimes I Forget You're Human Too' EP release in early 2021, Bored At My Grandmas House (AKA Amber Strawbridge) is back with the compelling new single Detox.

It's a tale of navigating change with Amber explaining it’s about “feeling alienated, not knowing who you can and can’t trust, and figuring out how to be yourself whilst also discovering who you are”. “The lyrics represent exactly how I felt in that current moment, numb, confused to who I was and overwhelmed by all the changes I was starting to encounter”.

While Detox retains a lot of the indie and shoegaze elements prevalent in Amber's debut EP, it also shows growth and maturity in sound, with more contemplative lyrics asking questions of the listener. It's a stunning synth-laden track which broods and swells.

Lyrically, there is a deep introspection and a philosophical desire to question and understand human nature, culminating in the "I think we need to Detox" hook.

The track will be released on a limited edition 7" vinyl via Clue Records with a bottle green vinyl available from the artist and label and a toxic yellow version available at all good indie record shops. Following the first 2 pressings of Amber's debut EP selling out ahead of release date, these will be highly sought after.

The track was recorded by Amber at home in Cumbria before being sent to Alex Greaves (bdrmm, Working Mens Club) to add some elements and mix the track. Amber and Alex worked closely together on the final revisions.

The origins of 21 year-old Amber Strawbridge's bedroom shoegaze project Bored at My Grandma's House are perhaps unsurprising given the name. Facing an extended stay with relatives after a trip to Cambodia, Amber used the spare time to start making beats on her phone with Garageband. Fast forward to 2022, the home set up's more than evolved, she's released her debut EP 'Sometimes I Forget You're Human Too' to critical acclaim ,and now steps back into the light with new single Detox.

Kannon is an album which was composed in the aftershadow of SUNN O)))’s most recent successes in immersive collaboration (the group worked with Scott Walker on Soused, Ulver on Terrestrials in 2013 and 2014) and also from the broad and influential wake of their epitimous Monolith’s & Dimensions . Kannon emerged both independently as a conceptual entity and with roots in the legacies of those projects, yet was fully realised years later, in 2015. The album is 36 minutes in length and consists of three pieces of a triadic whole : Kannon 1, 2 and 3.

The album celebrates many SUNN O))) traditions ; Kannon was recorded and mixed with SUNN O)))’s close colleague and coproducer Randall Dunn in Seattle, in Studio Litho, Aleph and Avast! ; and the LP includes performances by long term allies and collaborators Attila Csihar, Oren Ambarchi, Rex Ritter, Steve Moore and others. And at the core the composition centers around the dynamic and intense guitar and bass interplay of SUNN O)))’s founders : Stephen O’Malley & Greg Anderson.

It’s possibly the most figurative album SUNN O))) has created, which is unusual as they usually dwell in layers of abstraction and subjectivity. On the other hand the album is the most outright “metal” in years, drawing personal associations and memories of cherished albums like Panzerfaust and Twilight of the Gods again to the forefront of consciousness. At the third time it is very close to the cyclical character of mantra which the band has evolved into as a living creature, the enormity of intense sensate detail and manifestation of the live in concert face of SUNN O))), the organism that has flourished, metamorphosed and transcended tremendously over the past ten years.

The literal representation of Kannon is as an aspect of Buddha : specifically “goddess of mercy” or “Perceiving the Sounds (or Cries) of the World”. She is also sometimes commonly known as the Guanyin Bodhisattva (Chinese: 觀音菩薩) amongst a plurality of other forms. There is a rich lineage behind this idea tracing back through many asian belief systems, with as many names and cultural personifications of the idea .

SUNN O))) commissioned critical theorist Aliza Shvartz to write a text / liner notes around these ideas and topics. She also explores the relations and perceptions to their approach to these ideas via the metonym of music and SUNN O)))’s place/approach within the framework of music and metal overall.

SUNN O))) also commissioned Swiss designer/artist Angela LaFont Bollinger to create the cover artwork, an abstracted sculpture of vision of Kannon, and the French photographer Estelle Hanania to capture portraits of the core trio (Csihar, Anderson, O’Malley) in the impressive and obscurant Emanuel Vingeland mausoleum in Oslo.

The LP is packaged in immaculate tip on gatefold sleeve by our long time comrades Stoughton Printing, and pressed at Cascade in Portland, Oregon. CD, download and coloured vinyl versions are also available

‘Please Stay’, by The Cryin’ Shames, was the last song by producer Joe Meek to enter the UK Top 40.

Dies ist das fünfte Release des Labels Play With Records, die voller Stolz die zweite Folge ihrer erfolgreichen Serie ,Finest Champions Breaks" präsentieren. Wir haben ein Projekt voller Funk Basics und Old Style Sounds gefunden und der tiefe Vinylschnitt macht diese Platte ideal zum scratchen und mixen. Inklusive einer Tribute an JAMES BROWN und einer Zusammenstellung der besten Breakbeats des Meisters.

"Peak of Jin’Arrah" is the debut album by Guenna. Hailing from the southernmost part of Sweden, this 4 piece offers a thrilling take of fuzzy, progressive and heavy rock with vocal harmonies, perhaps described best by Nick Oliveri during a night when Guenna opened up for his band Stöner in Malmö; “Guenna sound like if YES played heavy stoner music, with all the harmonies and stuff. And I mean the good part of YES! It’s fucking rad!”

"Peak of Jin’Arrah" includes 8 new tracks recorded in Tambourine Studios, Malmö.

Recorded by renowned producer Andy Bell at the remote Red Kite Studios in Wales, Silver Horizon features 11 hook-driven indie folk songs set in a captivating, dream-like sound world, infused with Sam’s love for the ethereal textures of slowcore and dream pop bands such as Low and Cocteau Twins. Guitarist Stuart McCallum (The Breath) weaves epic reverb-drenched soundscapes around many songs, which are simultaneously otherworldly and deeply personal. “I’m still dealing with themes of love, loss, and change that have been a part of my earlier work, but at the moment, sketching events in an impressionistic way instead of documenting them in detail gives the songs more room to breathe.” This seamless blend of the intimate and ethereal makes Silver Horizon the most remarkable album of Carter’s career.

Die Musik zur Netflix Serie von Mike Myers. Aus der Feder von Paul & Phil Hartnoll, den legendären, kultigen, britischen Elektronik-Pionieren ORBITAL.
ORBITAL hat Musik beigesteuert zu: The Saint, Event Horizon, xXx, Spawn, Test Drive 4, Mortal Kombat, Mean Girls, Peaky Blinders, The Beach, Wipeout, Hackers, Teen Spirit, American Ultra und vielen mehr.

Doppel-LP gepresst auf Metallic Gold & Schwarzem Vinyl.

Ominous drums, obscure cellos, fuzzy and distorted guitars, psychedelic piano sequences: legendary Italian composer Alessandro Alessandroni creates a sombre and gritty war atmosphere on this classic library album "Storie Di Guerra". Originally released on the Octopus Records imprint by Flipper Music in 1972, this obscure and spooky library has been long out of print — 50 years past its release we are happy to bring this back on vinyl in collaboration with Flipper Music as a limited edition of 500 copies!

Francesco Anselmo, also known as Lee Selmoco, Dorsey Dodd, Alex Brown, Arsenio Bracco or Tommy Ruff, is an Italian keyboardist that covered the role of of artistic director for Vedette Records, historical Italian imprint founded by director and violinist Armando Sciascia, and also recorded for its notorious Phase 6 Super Stereo, its sub-label focused on instrumental records and production music.

"Mosaico (Le Tastiere Di Lee Selmoco)" is an incredible display of his creative and composing skills, featuring 14 tracks of what could be classified as "happy music", with killer electric organ and rhythms alternating with fuzzy guitars and spacey / psychedelic hints thrown in for good measures, written alongside Guido Baggiani, alias Ruscigan. We are very happy to start a series of reissues from the Vedette Records catalog with the first ever reissue of this title after 50 years from its original release, and since the original pressing did not feature the correct track listing, it is reissued here for the first time in its correct version!

Legendary Canadian EDM / Freestyle artists In-Dex return after their huge success with their sold out 2021 Brazilian only 12" vinyl "No Science for Love" with a very limited white vinyl 12", a brand new track "I'll Never Walk Away"

4 tracks, 3 exclusive to this record, including a special dub mix of "No Science for Love" and a special mix of their 1988 hit "Give Me a Sign".

Produced by Brazil's Decho Wanlu, fans of early Depeche Mode will love this. In-Dex were formed in 1987 & had three hits between '89 & '91 and reformed in 2021. Lead vocalist & songwriter Rupert Gayle is a 1994 Juno award winner for best R&B album recorded in Canada. By 2008 he had written four #1 songs in Canada for other artists. In 1993 he founded Beat Factory Productions & signed Dream Warriors to Island Records in the UK.

This limited edition, collectable 12" is much sought- after in Germany, Finland, Canada, USA & Brazil where the radio version has had many streams on the internet. The other 3 tracks will not be available to stream or download.

Tracks: I'll Never Walk Away (Radio Version) / I'll Never Walk Away (Dub Mix) / Give Me a Sign (Special Mix) / No Science for Love (Dub Mix)

Considered by many fans to be the best album from Livingston Taylor, Ink pays homage to pop songwriting with a collection of richly-realized interpretations, including Gerry Rafferty's "Baker Street" and the great Ray Charles' "Hallelujah, I Love Her So". With his rich vocals, exceptional guitar skills, and meticulous production Ink reveals itself as a document of a man who knows what makes a song a memorable and moving experience.

This album, a favorite with audiophiles, will be released on vinyl for the first time, as a 180 gram LP, on the 2nd August, 2024.

Poet's Tooth - the band's second album for Kill Rock Stars - steers the duo's whimsical western- tinted quality into fascinating new directions: cinematic- pop balladry on the autoharp- tinged opener "Young & Free," gently clip- clopping Americana-folk on "Hard Hearted Way," and bass-driven funk on the wry "Eggs In One Basket." With help from producer Danny Reisch, Tele Novella have crafted their most genre-rich, poetic, and sincere album yet.

goat (JP) are renowned for two albums released in 2013 and 2015 that took Kraftwerk’s man-machine concept back to its roots with swingeing, inch-tight drums, bass and guitar patterns that needed to be heard to be believed. For their long-in-the-making new album ‘Joy In Fear’, band leader Koshiro Hino (YPY, KAKUHAN) describes the process as “90 percent pain” - and we can well believe it - few other records we can think of transmute DAW-composed rhythmic precision into such an expressive instrumental performance. It really is a feat of determination, skill and execution that seems to defy human dexterity.

Make no mistake - an academic exercise it ain’t - in the most visceral sense, goat (JP) make BODY music, for dancing, flailing, for losing yourself in completely. As usual, Hino plays guitar, backed by bassist Atsumi Tagami, while Akihiko Ando joins on saxophone, while Takafumi Okada and Rai Tateishi step in to handle percussion, with the latter moonlighting on flute. Every sound is sculpted into a fragment of cadence: guitar and bass prangs alternately echo and dance between the drums, and Ando's sax is mutated into a respiratory slobber of guttural smacks and phantom breaths.

In some respects, it's tempting to label it jazz, but the kind of jazz that Miles Davis spearheaded on the game-changing 'On The Corner', the blueprint for so much post-punk, electronic music and avant rock. goat (JP) take that raw alloy and sharpen it like a blade, mangling the template with the knotty metrics of Autechre or Ryoji Ikeda. The accuracy is galvanic; it's almost impossible to comprehend each player keeping a mental note of the mathematical time signatures, and yet they floss them out with trills and icy stutters that seem to evaporate around the thick, taiko-like thuds.

They practically get our teeth gnashing with the bruxist rictus chatter of ‘III I IIII III’ , before ‘Cold Heat’ introduces subtly harmonised, new aspects to their sound with slivers of Hassellian flute and ringing overtones of their percussion, while the winding sensuality of ‘Warped’ slips down very nicely. Their links to OG no-wavers like Glenn Branca & Wharton Tiers’ Theoretical Girls - is manifest in the 8 mins of chipping stop/start pulse and parry to ‘Modal Flower’, while a total left turn into Mark Fell-meets-Ligeti-esque messed up metronomics in ‘GMF’ ties it off with a properly beguiling flourish.

Das sechste Album von Still Corners heißt "Dream Talk". Wunderschön arrangiert, elegant und wehmütig, ist "Dream Talks" eine Sammlung von zehn sorgfältig gestalteten klassischen SC Songs. Vom herbstlichen Opener "Today is the Day" bis zum heißen Sommernachtsfinale von "Turquoise Moon" haben Still Corners einen Sound geschaffen, der fokussiert, stilvoll und verführerisch ist. Tessa Murray sagt: "Die Entstehung vieler dieser Songs geht auf Träume zurück. Jede Nacht habe ich die Träume, an die ich mich erinnern konnte, aufgeschrieben. Während der Aufnahmen holte ich mein Buch der Träume heraus und sang über verschiedene geloopte Phrasen, an denen Greg gearbeitet hatte. Die sich wiederholende Natur der Loops und des Gesangs fühlte sich fast wie eine Trance an. Viele der Songs sind aus diesem Prozess entstanden, es hat Spaß gemacht, und was ich für eine Art Geschwafel hielt, hat uns am Ende mit seinen verschiedenen Bedeutungen und Bildern überrascht." Schwarzes Vinyl kommt mit einem Download-Code, die CD ist ein Digipak.

The second LP by Tokyo ambient conceptualists UNKNOWN ME began as a commission for historic Japanese cosmetic conglomerate Shiseido, conjuring audio approximations of seasons and scents, but soon flowered into its own refracted and rarefied environment: Bitokagaku. Translated as “beauty and science,” the album is the foursome’s first composed solely with software, reflecting the collection’s utopian, laboratorial muse. 
From levitational electronica (“A Rainbow in Meditative Air”) and vaporous downtempo (“Dancing Leaves”) to planetarium reverie (“Kitsune No Yomeiri”) and AI IDM (“Retreat Beats”), the music moves like weather patterns in a bio-dome: dazzling, microcosmic, and delicately calibrated. Percolating synths crossfade with field recordings from Shiseido’s research division; the sound of streams and distant birds blur into a processed haze; clinical voices read lists of precious stones. It’s a vision of new age as soft robotics, of serenity streamlined by sentient systems.
UM’s team of engineers (Yakenohara, P-RUFF, H. Takahashi, and Osawa Yudai) cite an eclectic swath of inspirations behind Bitokagaku – molecules, stars, Kenji Miyazawa, Akira Kurosawa, even “the sparkle of rainbows” – but their guiding artistic principle is as ancient as it is eternal: “beauty.”

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and shortly after returning with the first ever vinyl release to attend to James Tenney’s legendary “Postal Pieces”, the label is now offering a brand new, ambitious work by the American composer Ben Vida, entitled “Vocal Trio”, conceived, performed, and recorded in Bremen, Germany, during the Spring of 2022. A truly stunning work of compositional conceptualism, combining the ideas of systems based synthesis with real-time vocal collaboration - issued in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score - it’s a landmark in contemporary experimental practice and arguably the most forward-thinking and exciting piece by one of the most exciting American artists working today.

Ben Vida first emerged during the mid 1990s within a loose constellation of experimental musicians, centred around a performance series of improvised workshops at the Myopic Bookstore in Chicago, alongside Jim O'Rourke, Kevin Drumm, Chad Taylor, and the other future members of Town and Country - Jim Dorling, Joshua Abrams, and Liz Payne - the band within which he would gain widespread recognition over the following years. Like many other members of that scene, Vida remains a restless product of a fleeting context - Chicago during the 1990s and early 2000s - continuously undermining concrete notions of idiom and signifier within a practice that witnessed him rendering bristling abstractions within Pillow, glacial melodies with Town and Country, the art-rock mayhem of Bird Show Band, and the angular, driving indie rock of Joan of Arc, before becoming immersed in a practice of systems based synthesis, beginning in the 2010s, that guided much of his first decade of output as a solo performer and composer.

As early as 2013, he began to incorporate acoustic sound sources - specifically the human voice - into his work. It was this shift, evolving and refining itself over the last decade, that underscores radically the leap in his practice represented by “Vocal Trio”, a work that encounters Vida composing for the human voice with the ideas that allow for synthesis - transferring the underlying concepts and structures of both subtractive and additive synthesis to the acoustic realm - without using a synthesiser.

During the Spring of 2022 Vida was in Bremen, Germany, collaborating on a dance piece with the choreographer Fay Driscoll, when the production fell into delays. Finding himself with time on his hands, a space at his disposal, and the company of two dancers - Amy Gernux and Lotte Rudhart - who were also singers, the idea for the piece - to utilising the larynx as audio paths (multi-harmonic or harmonically pure) while conceptualising each person’s mouth as a filter to sculpt the timbre and resonance of a given tone - began to take shape in his mind. Considering how typographical scores might be developed into a non-linguistic social framework, Vida drafted a single page of text - what became the score for “Vocal Trio” - accompanied by a set of harmonic suggestion and loose parameters, seeking a core meaning from each word's phonic make-up by each of the three singers (Vida, Gernux and Rudhart) singing as slowly as possible.

At the core of the pulsing vocal drones - intoxicating, harmonically rich long-tones - that make up the duration abstraction of “Vocal Trio”, is Vida’s regard for music as a social space. It is an experiment that seeks liberation through the act of collective music making, by challenging the terms through which the act of composing is perceived and then relinquishing control. The piece’s rehearsals were simply the three performers hanging out, allowing their knowing each other and natural dynamics to contribute to its form as the score, before recording during a single afternoon at the end of a number of days sharing company and space.

Creatively visionary and groundbreaking on numerous terms, as well as being intoxicatingly beautiful and remarkably listenable, Ben Vida’s “Vocal Trio” represents a striking step forward for one of the most ambitious and outstanding sonic artists working in the United States today. Issued by Blume in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score, this is hands down one of the most important contemporary records we’re likely to encounter in 2024.

keiyaA ist eine in New York lebende Singer-Songwriterin, Produzentin und Multiinstrumentalistin. Aufgewachsen in Chicagos South Side, verbindet keiyaA ihre Jazz-Ausbildung, ihre R&B-Sensibilität und ihre Hip-Hop-Erziehung, um neue Soul-Sounds zu kreieren, die von ihrer kraftvollen, schwülen Stimme und ihrer dichten Lyrik überflutet werden. Ihr Ziel ist es, die Erzählung und den Intellekt der schwarzen Frau in der spätkapitalistischen Welt in den Mittelpunkt zu stellen. Forever, Ya Girl" fand großen Anklang und landete auf mehreren Best of the Year"-Listen, was sie an die kulturelle Spitze katapultierte und ihr das Lob von Künstlern wie Solange, Jay-Z, Earl Sweatshirt, Blood Orange und Moses Sumney einbrachte und die Aufmerksamkeit von Marken wie Apple, Nike und Chanel erregte, die alle in Kampagnen auf keiyaA und ihre Arbeit aufmerksam machten. Seit ihrer Veröffentlichung ist keiyaA zu einer gefragten Kollaborateurin geworden und hat mit MIKE, Armand Hammer, Loraine James, Nilüfer Yanya, Bartees Strange, Nick Hakim, Mount Kimbie, Nubya Garcia und vielen anderen zusammengearbeitet.

FIRST TIME ON VINYL! AVAILABLE IN A BROWN & WHITE COLORED VINYL PRESSING IN A GATEFOLD JACKET WITH OBI LIMITED TO 1000 NUMBERED COPIES.

Memphis Rap legend Project Pat released his third studio album Layin' Da Smack Down in 2002 on CD and Cassette via Loud/Columbia/Hypnotize Minds. Following up Mista Don't Play, Project Pat spits rapid-fire street tales of the dirty south over DJ Paul and Juicy J's signature Three 6 Mafia bangin' 808 beats. From rowdy club tracks to smoother pimp tales and true-to-life stories of being incarcerated, Project Pat delivers another Hypnotize Minds North Memphis classic. The album also contains the single "Choose U" which would be reworked in 2007 for UGK's "International Players Anthem." Get On Down in partnership with Sony Music's CERTIFIED is proud to present Layin' Da Smack Down for the first time on vinyl. Pressed on colored vinyl packaged in a gatefold jacket with a printed insert and numbered OBI limited to 1000 copies.

-3rd album from veteran rap duo Dillon & Batsauce. Dillon on the raps & scratches, Batsauce on the beats. ('On Their Way' - 2018, 'Self Medicated' - 2020).
-Produced entirely by Batsauce, guest features include Grand Puba, Kool Keith, Quelle Chris, Reef the Lost Cauze, Headkrack and Jay Myztroh of Stono Echo.
-Atlanta, GA + Jacksonville, FL album release parties booked for end of July + Northeast Tour Run scheduled for August.
-Batsauce has been producing hip hop and soul for 20+ years with multiple albums on labels BBE (Barely Breaking Even) producing for his wife, soul-singer, Lady Daisey + Galapagos4 where he produced multiple projects for Qwazaar of Typical Cats. He is 1/3 of the group, 'The Smile Rays' (which includes Lady Daisey and Paten Locke). He's also done extensive work with Akrobatik, Mr. Lif and even has multiple songs with George Clinton!
-Dillon is an Atlanta, GA based MC/DJ who has been releasing records for 20 years, 10 of those years was running FULL PLATE, the label he started in 2013 with Paten Locke (RIP). Dillon has worked with many of Hip-Hop's elite from the old school to the true school such as Chuck D, Diamond D, Count Bass D, Kool Keith, Greg Nice, Grand Puba, Homeboy Sandman, J-Live, Quelle Chris, Sadat X, Ras Kass, Stacy Epps, Planet Asia, eLZhi, Slimkid3 of The Pharcyde - and the list goes on!
-Classic black, standard weight vinyl in full-color jacket w/ matte finish. Includes Download Card.
Underground hip-hop veterans, Dillon and Batsauce have been making unorthodox rap music together for nearly 20 years with a simple formula: Batsauce makes the beats, Dillon writes the songs, and whatever happens, happens. After carving out their own lane with a catalog of EPs and LPs over the past 2 decades, the duo has finally slowed down enough to ask themselves, 'What Have We Done'?
Is the title of their latest effort rhetorical or meant to be an actual question? If so, Dillon and Batsauce probably don't want to know the answer. They probably don't want you, the listener, to think too much about it either. Instead, 'What Have We Done' is an invitation to experience the trials and tribulations, the small wins and the big losses of being aging independent artists in an increasingly cut-throat world for music makers.
But Dillon & Batsauce aren't the only ones on this joyride, we also hear from a well-curated crew of characters they've befriended along the way, from bonafide legends like Grand Puba and Kool Keith to modern day rap heroes, Quelle Chris & Reef the Lost Cauze. The end result is a collection of songs that runs the gamut from personal to aspirational to...delusional. Whether it's 'too much' or 'not enough', the answer to the question, 'What Have We Done' remains open to interpretation. Perhaps it’s not a question at all, but merely the naturally visceral reaction when career creators look back at a life lived on the edge.
Track Listing: 1. What Have We Done (Intro) 2. Mind Made 3. Quiet as a Library 4. Eddie Farah 5. Make History 6. Cannonball feat. Grand Puba 7. Banana Peels 8. Accolades feat. Reef the Lost Cauze & Jay Myztroh 9. Wakin' up Hungry feat. Headkrack 10. Goin' Viral 11. Ready on the Left feat. Kool Keith 12. What Are We Doing (Interlude) 13. Watercolors feat. Quelle Chris 14. Speak Easy 15. Isiah Thomas 16. Rock Bottom 17. Yoga Flame

repressed !

Oxia's classic 'Domino' gets reworked for it's ten year anniversary - in 2 vinyl parts. A decade after initially seeing the light, Oxia's now classic 'Domino' get's reworked to celebrate it's anniversary. The new release features a new cut by Oxia himself as well as several remixes by none other than Frankey & Sandrino, Robag Wruhme and Matador. The EP will be released through Agoria's newly found record label Sapiens on February 24th.

Ten years ago the track made waves in the international dance music circuit, striking up chords with techno, trance and house DJs alike to quickly become an all-time classic. Having never expected the track to reach the status that it his, it's a very dear project to Oxia and he needed quite some persuading to give in and let Agoria and his team create something that was worthy of the original.

The set of tracks are the first officially commissioned remixes by Oxia ever. "Finding remixers took some time, the amazing Frankey & Sandrino who's track 'Acamar' is my absolute favourite of 2015, Matador that just launched his Rukus label as well is the multi-talented ex label mate at Kompakt Robag Wruhme. They are all incredibly gifted and fortunately patient enough to wait for this EP" - OXIA

As one of the most enigmatic figures of the 1970's Italian soundtrack and library music network Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography rivalling many of the long-standing bastions of the otherwise male-orientated business. * Strictly limited to 1000 copies.*
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Born in Rocca di Papa, near Rome, into a flourishing musical environment Emma was the younger sister of future award-winning composers Guido And Maurizio De Angelis, a duo, who under names like Oliver Onions and Dream Bags, would write chart-topping lyrical theme tunes for a wide range of Italian crime, Giallo and Spaghetti Western films featured alongside full scores by Ennio Morricone and the Magnetic System composers (Bixio Frizzi Tempera).
With encouragement from her brothers, Emma, who would also write music under the pseudonym of Juniper, would record a tight clutch of solo-penned material and seldom credited studio contributions to Guido And Maurizio's film commissions, such as the score for Giuliano Carnimeo's Simone e Matteo: Un gioco da ragazzi (aka Convoy Buddies). While simultaneously pursuing a career as an illustrator and set designer the De Angelis family contacts would lead Emma to the offices of Romano Di Bari, whose up-and-coming Flirt label was finding success providing custom built mood music for use in TV and film. Alongside important composers like Alessandro Alessandroni, Gerardo Iacoucci and A. R. Luciani, the young Emma Di Angelis would record a small number of tracks for a compilation called Underground Mood (credited in the small print to E De Angelis - not to be confused with Italian singer Edoardo De Angelis). It is from this rare LP that the record you are now holding is compiled. Within the Flirt family of labels Emma De Angelis would also share schedules with other important female composers such as Daniela Casa and Giulia Kema' De Mutiis - both of whom have appeared on dedicated Finders Keepers releases.
The tracks on this record provide us with a rare glimpse into Emma De Angelis' short musical career before she became a full-time visual artist. With an unknown personnel or studio date it is easy to speculate a potential family jam in Piero Umiliani's Sound Workshop studio in 1972. One only has to take a listen to Guido And Maurizio's instrumental theme Gangster Story from Enzo G. Castellari's 1973 thriller High Crime (which later appeared on Tarantino's Death Proof soundtrack) or the trippy title theme to Paolo Poeti's kinky 1976 drama Inhibition to spot the family resemblance

When I'm Called ist das bisher umfangreichste Werk von Jake Xerxes Fussell, dem aus Georgia stammenden Sänger und Gitarristen, Schüler der Piedmont-Blues-Legende Precious Bryant und Sideman von Rev. John Wilkins.

Das Album ist eine Platte mit warmen Instrumentaltexturen, die seine glühende Gitarre und seinen wettergegerbten Bariton unterstützen.
When I'm Called wurde von James Elkington produziert, von Tucker Martine gemischt und enthält Beiträge von Elkington (Gitarre, Klavier, Dobro, Synthesizer, Orgel, Pedal Steel, Mandola, Mundharmonika, Arrangements), Blake Mills (Gitarre), Joan Shelley (Gesang), Ben Whiteley (Bass), Joe Westerlund (Schlagzeug, Perkussion), Robin Holcomb (Gesang), Anna Jacobson (Bläser), Jean Cook (Streicher) und Hunter Diamond (Holzbläser).

Comprehensive, full-spectrum, sonic experiments build for clubs. Uncategorisable in all the right ways. Danny Daze and Jonny From Space team up for their joint Craigie Knowes debut. The ‘Tumbadora’ EP is a masterclass in technical production whilst retaining all the rhythm and power required to destroy dancefloors. It’s one of the listeners and the clubbers. Nick León steps in with a stripped back version of ‘Sweet Spot Radio’ that’s every bit as mind-melting as the 3 original tracks. Prepare for the freefall!

It is limited to 140 sales copies on red vinyl and comes with an insert "Snax for Trax" detailing how to make a tasty snack to eat whilst enjoying the music.
The tracks are from co-label owner Inkipak who kicks off with a big breaks tune which rises and falls, followed by Toytronic label boss Gimmik exploring the outer limits of drum programming and acid. The b-side sees Detroit legend Brian Kage deliver an acid infused house track, and lastly Pop Out & Play (Simon Tappenden and co-label owner Wil Russell) combine talent for a dancefloor friendly techno/house track finally pressed on vinyl, as supported by Grum on his mixmag mix and featured on Air Frances dance radio station. This is limited to this pressing only.

DIFF004 Distributed by One Eye Witness.
All tracks written & produced by Dmytro Avksentiev.
Mastered by Tangible Air.
Designed by Gerardo Corizzo.
Stickered cover.

Following floor shaking four trackers on Bliss Point and his own Professional Music imprint, SPF 50 continues his roll on Amsterdam’s Dzungla label with the Terrarium Trek EP.

Terrarium Trek finds SPF 50 exploring the vanishing space between electronic and organic, returning to us with four sonic ecosystems encased in no-frills club melters. Each track thumps with life, conjuring the beauty, mystery and terror of the natural world, stomping and wriggling out of the sound system and immersing the dancefloor.

Composed using modular synthesis, sampling, and a process that eschews the rational for something deeper, with Terrarium Trek SPF 50 has once again gripped the unknown and pulled it into us, turning the club up, inside and out.