Search:purple music inc

Therapy? are an alternative metal band from Northern Ireland. The band was formed in 1989 by original members guitarist-vocalist Andy Cairns and drummer-vocalist Fyfe Ewing and Michael McKeegan. For their fourth album Semi-Detached, which was released in 1998, the line-up included Graham Hopkins and Martin McCarrick as full-time band members while Fyfe Ewing left the band before recording. The album entered several European album charts and features the singles "Church Of Noise" and "Lonely, Cryin' Only" and the final single "Stay Happy".

Semi-Detached is available for the first time as full-length vinyl LP, celebrating its 25th anniversary. The album is pressed on yellow and black marbled vinyl and includes an insert with lyrics.

American blues musician Buddy Guy is an exponent of Chicago blues and influenced many prominent guitarists, including Jimi Hendrix, Jimmy Page (Led Zeppelin), Eric Clapton, and John Mayer. His 1998 album Heavy Love is one of his fine blues-rock records. Besides two songs of his own material, he covered classics including Willie Dixon “I Just Want to Make Love to You", Tony Joe White "Did Somebody Make a Fool Out of You", ZZ Top "I Need You Tonight". It is heavier compared to many of his other recordings, but he still finds his way back to the blues.

Heavy Love is available as a 25th anniversary edition of 1500 individually numbered copies on pink & purple marbled vinyl, housed in a gatefold sleeve.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

A true surprise success for Paharas Musica, originally written during the end of the pandemic, 'White Isle Memories' captured the loss of not being able to visit the white isle of Ibiza and combines the producer talents of Ridney & Inner Spirit (aka Richard Earnshaw).

A production aimed at the beach bar culture of the island the production duo are joined by multiinstrumentalist, vocalist and loop pedal extraordinaire Michael Sebastian. In it’s original guise the track has racked up well over 1.3 million streams and in that gained the attention of German producer SOMMA (1.7 million monthly listeners), who was keen to grab the stems and deliver a special 2023 remix.

Adding to the package Ridney’s sunset reprise from his Café Mambo Ibiza DJ sets and Inner Sprits own incredible 2023 remix.

DJ Support:

Mark Knight (support on Kiss FM), Purple Disco Machine, Mousse T, Ken Fan (Café Del Mar), Ryan McDermott (Café Mambo Resident), Hector Romero, Des Mitchell (Radio One Mallorca), Mr V, Lenny Fontana, Loeca, Jazzy M, Dario D’Attis, Danny Rampling, Chad Jackson, Brandon Block, Booker T, Black Legend, David Dunne, Graham Sahara, Lizzie Curious, Martyn the Hat.5

* Clear with Purple Center Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.

Bo Diddley was an American guitarist and singer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly, Elvis Presley, The Beatles, The Rolling Stones, The Animals, and The Clash.

A Man Amongst Men is his 24th and final studio album by this music legend and features an array of guest artists: Billy Boy Arnold, Johnnie Johnson, Jerry Portnoy, Keith Richards, Richie Sambora, The Shirelles, Jimmie Vaughan, Johnny “Guitar” Watson, Ron Wood a.o.

A Man Amongst Men is available on vinyl for the first time as a limited edition of 1500 individually numbered copies on purple coloured vinyl and includes a 4-page booklet.

Charli XCX is an iconic figure in the arts, having helped expand the landscape of popular music over the last decade by seamlessly traversing the underground and the mainstream with her artistic output. Pop 2 is highly regarded as one of Charli’s most fan favourite records, and includes a plethora of iconic collab-orators including Caroline Polachek, Kim Petras, Carly Rae Jepson and Tove Lo. It features Pop 2 features track Unlock It which soared to popularity last year on TikTok, and single Out Of My Head.

Celebrating 5 years since original release, Charli XCX’s mixtape. Pop 2, will be available on translucent purple vinyl with updated packaging including poster and silver mirror board.

Born of a thousand nights lost in a surrender to stillness and contemplation, In The Air is Anna St. Louis’ second full length album and her most considered work yet. St. Louis’ debut If Only There Was a River seemed to emerge fully formed out of the recesses of her mind; a gritty, mesmerizing affair, filled with jagged edges and ghostly apparitions. The type of record that announces a new voice; one haunted by what has come before.

But this time, St. Louis is no longer concerned with what could have been and sets her sights to exploring what could be. It’s an outlook on the world that was formed when her immediate one was small. The intervening years since her last album found St. Louis in a small one-bedroom cabin in the middle of the woods of upstate New York with a new love and time to think of what she wanted to express with her music. For weeks on end, the only trips she took were to and from her job as the front desk clerk at a nearby hotel. The previous years she had spent on tour and performing constantly in the venues of Los Angeles felt like they had occurred in another lifetime.

“It really compelled me to surrender to the unknown,” she says. And in this surrender, she found liberation. St. Louis is more self-assured, open-hearted and ready to say what she wants. St. Louis describes the writing period as one of a slow harvest; a fertile time but one that required a newfound patience. Instead of documenting her first thoughts, she spent more time with each song, going deeper with the themes and ideas she wanted to express.

This slower approach also guided the sonic textures of the album. Working with producer Jarvis Taveniere (Purple Mountains, Woods) in two extended recording sessions in Los Angeles in 2021, St. Louis used the studio in a previously unexplored way, opening up her songs to more experimentation featuring brighter tones and a more orchestral sound to accompany her new perspective. To that end, she was aided by a cast of friends and collaborators including Jess Williamson, Kacey Johansing, Oliver Hill (Kevin Morby, Vagabon) on strings, Alex Fischel (Spoon) on piano, Josh Adams on drums (Bedouine, Tim Heidecker) and Keven Lareau (Cut Worms, Hand Habits).

In the Air has the sound of a joyous consideration of the present moment; a quiet morning revealing a new snowfall outside, steam coming from the kettle, just before it whistles, St. Louis with her guitar, staring out the window, with a few free hours before work. She’s reflecting on the scene in front of her, imagining the times yet to come. You can hear it; she’s a long way from the noisy bars of Los Angeles, the rigors of the road. As she intones in “Rest”: “You spend your whole life believing in the chase. And then you realize that being somewhere doesn’t matter like it used to.” She doesn’t need a river to carry her anymore ... She’s in the air.

A musical project that was very close to the heart of Jon Lord. High-quality British blues at its finest. In 2010, Pete York (Spencer Davis Group, Hardin & York) asked Jon to join a concert that was named the Rhythm & Blues Allstars. As a result of having incredibly good time together, the band decided to form the Jon Lord Blues Project. Six successful musicians, old friends who have known each other since the 60s and 70s and whose musical past reads like the "Who's Who" of blues and rock music history: Deep Purple, Spencer Davis Group, Chris Rea, Whitesnake and many more. Recorded at the Rottweil Jazz Festival in 2011, Jon Lord, Miller Anderson, Maggie Bell, Colin Hodgkinson, Zoot Money and Pete York presented classic blues songs as well as contemporary compositions, such as by Deep Purple and Tom Waits. Being long out of print and sought after, this incredible live show will be available for the first time ever on blue coloured Vinyl, pressed on 180 gramm and housed in a gatefold with printed inner sleeves.

After the incredible debut of "Profondo Rosso" (Deep Red), the
soundtrack of the eponymous 1975 film directed by Dario Argento,
shortly afterwards Goblin would reach even further heights with a new
soundtrack
While "Profondo Rosso" had been partly composed by Giorgio Gaslini, "Suspiria" is
100% a Goblin album, the result of truly inspired creative work by all band
members. The band were able to experiment with a variety of musical
instruments such as bouzouki and celesta, tribal percussion, all kinds of sound
effects using voice and musical instruments. Perfectly combined with the trade
mark mid-70s progressive and jazz-rock Goblin. Together with "Profondo Rosso"
and "Roller" (a non- soundtrack instrumental album released in 1976), "Suspiria"
was Goblin's third hit album in just three years. An LP that still sounds incredibly
innovative and scary. Another masterpiece for all soundtrack music lovers to
own. 180gr. clear purple vinyl edition.

JET is very popular among Italian music collectors because from their
ashes came the commercial pop group Matia Bazar, and also among prog collectors because of their rarity.
Jet (or J.E.T. as their name was usually written) were formed in Genova at the beginning of the 70's from a previous band of the same name that also included later members of another pop band, Ricchi e Poveri. Their first album, "Fede speranza carità", released in 1972, derives from a radical turn in their musical style, to popular progressive rock. Its hard rock with falsetto vocals but in a
ProgRock style with heavy use of organ and a solid rhythm section, as in the long "Sinfonia per un re".

In 1974 the band added a female voice (Antonella Ruggiero)
and a new drummer (Giancarlo Golzi from Museo Rosenbach) and changed their name to Matia Bazar and started a long and successful career that still lasts today.

Rereleased in Purple Ltd Edition 180g vinyl.

The 1990s were a time when hip-hop infused with R&B became pop music, and at the forefront of this movement was En Vogue. Their most commercially and critically successful album, Funky Divas, stands as one of the best pop/R&B albums to emerge from that time, incorporating soul, hip-hop, pop, dance, and rock to create one of the era’s most diverse, dazzling, and exciting pieces of work. The album scored no less than five hit singles, three of which became Top 10 pop hits. It includes the unstoppable “My Lovin’ (You’re Never Gonna Get It)”, which was one of the biggest hits of 1992 and additionally the remake of “Giving Him Something He Can Feel,” “Give It Up Turn It Loose,” and “Free Your Mind”.

Funky Divas is available as a limited edition of 1500 individually numbered copies on purple coloured vinyl and includes an insert.

Recorded in 1973 at the Church of Saint Mary Magdalene in Paddington, London, Unfinished Picture is Rupert Hine's second LP. The songs where all composed by Hine with lyrics by David McIver and Simon Jeffries. On its sessions, Hine was surrounded by a host of outstanding musicians that included Simon Jeffes (Penguin Cafe Orchestra), Mike Giles (Giles, Giles & Fripp / King Crimson), Mick Waller (Cyril Davis, The Steampacket, Jeff Beck Group), Ray Cooper (Eric Clapton, Elton John) among others.



Rupert Hine's recording adventures started with the release of a 7" 45 by the folk duo Rupert & David "The Sounds Of Silence". In 1971 he was approached by Purple Records for the release of his debut solo LP Pick Up A Bone, which despite its lack of commercial success featured a strong collection of critically acclaimed compositions that made Purple Records want him to record a second album - Unfinished Picture, on which Hine showed a fantastic evolution to a more conceptual, cinematic approach. Echoes of Ray Davies, Kevin Ayers or hints of Nick Drake taken to a more 'happy' territoire mix with beautiful strings by The Martyn Ford Orange Ensemble and even some ARP synth explorations to build a fantastic collection of sounds that take the listener on a trip through the worlds of folk, psych and prog.



Hine's career would soon take off as a famed producer, he did work with Kevin Ayers, Milla Jovovich, Jonesy, Steve Tilston, Anthony Phillips, Camel, Saga, Rush, Tina Turner, Howard Jones, Bob Geldof, Suzane Vega, and many others.

Purple Vinyl

London’s abundant waterways and parks provide an oneiric muse for Cucina Povera and Ben Vince’s resounding debut full-length collaboration, an engrossing suite of weightless sax, synth and disklavier-bedded soundscapes that land somewhere between Grouper and Terry Riley.

As a newcomer to London, Rossi was caught up in a sort of wondrous reverie - a feeling that seeps through every movement of thia almost hour long album. Vince's plasmic echoes and Rossi's aerial delivery form a poetic union, twisting and painting each sound in pearlescent shades, finding a musical confluence between Rossi's words - fluid, dreamy, hazy ideations - and Vince's shadowy renditions.

Rossi's folk roots shine through like cracks of dawn sunlight on 'Sumu Puistossa' ("fog in the park"), reverberating over organ and dream-zone sax; her words tip into muted surrealism thanks to the controlled chaos of Vince's bleak treatments. His grasp of jazz is transfixing: bending sax motifs like ghostly memories of music from another timeline, smudging them into the soundfield. It’s most effective on the title tracx, where sickly, dissonant notes flicker like an almost-extinguished candle alongside motorised furniture music courtesy of a Disklavier.

From the Terry Riley-esque transcendence of '∞' to the sacred incantation of long-form closer 'Pikku Muurahaiskeko' ("little anthill"), the pair expose a new layer of creativity with each turn, gradually zooming out from discreet, vulnerable beauty to encompass a gently orchestrated chaos of sustained, sublime tension


[b] 02. [_]

LTD Purple Vinyl

Following on from the recent super-deluxe box set edition of The Mystic Revelation of Rastafari"s "Grounation" Soul Jazz Records are releasing a new edition of the group"s celebrated "Tales of Mozambique". This new limited edition is released as a one-off pressing purple vinyl double album and a one-off purple CD. Sleeve design also comes as a new purple version. Soul Jazz Records are releasing Count Ossie and The Mystic Revelation"s seminal 1975 album Tales of Mozambique in an expanded double album/single CD, fully remastered and with the inclusion of two bonus rare single-only tracks, full sleevenotes, exclusive photographs and interview. Count Ossie is the central character in the development of Rastafarian roots music, nowadays an almost mythical and iconic figure. His importance in bringing Rastafarian music to a populist audience is matched only by Bob Marley"s promotion of the faith internationally in the 1970s.

The American-based funk/disco band Heatwave formed in 1975 and its lineup originally consisted of Johnnie Wilder Jr., Rod Temperton, Roy Carter, Mario Mantese, Ernest (Bilbo) Berger and Eric Johns. Their most popular hits include “Boogie Nights” and “Always And Forever”, which both feature on the 1976 debut album Too Hot To Handle. “Boogie Nights” charted at #2 on both the UK Singles Chart and the Billboard Hot 100 and was certified Platinum by the RIAA. The track was covered many times, including by KC and the Sunshine Band, Will To Power, 911 and The Weather Girls. The album Too Hot To Handle is produced by Barry Blue, who also produced for Andrea Bocelli, Diana Ross, Celine Dion and The Wanted amongst others.

Too Hot To Handle is available on vinyl for the first time as a 2LP expanded edition, featuring 8 bonus tracks, including 2 alternative versions of their disco classic “Boogie Nights”. This 2LP-set is available as a limited edition of 1000 individually numbered copies on pink & purple marbled vinyl.

Baroness will release their eagerly-awaited new album ‘Gold & Grey’ on June 14th via Abraxan Hymns.



“Our goal is, was, and will always be to write increasingly superior, more honest and compelling songs, and to develop a more unique and challenging sound,” offers Baroness founder, guitar player and vocalist John Baizley. “I’m sure we have just finished our best, most adventurous album to date. We dug incredibly deep, challenged ourselves and recorded a record I’m positive we could never again replicate.



I consider myself incredibly fortunate to know Sebastian, Nick and Gina as both my bandmates and my friends. They have pushed me to become a better songwriter, musician and vocalist. We’re all extremely excited for this release, which includes quite a few ‘firsts’ for the band, and we’re thrilled to be back on tour to play these psychotic songs for our fans. Expect some surprises.”



While ‘Gold & Grey’ found the band once again working with Purple producer Dave Fridmann (The Flaming Lips, Mogwai), sequestering themselves at Fridmann’s remote upstate New York Tarbox Road Studio. The 17-track album ushered in two significant changes: a decidedly different recording process and guitar player Gina Gleason’s debut on a Baroness recording.



The band, who tracked portions of the vocals, guitars and overdubs in Baizley’s home-basement studio, another first for them, eschewed their normal routine of entering the studio with meticulously detailed plans and instead opted for a looser, more improvisational approach that resulted in their most collaborative and emotionally evocative release to date.



Featuring John Baizley (vocals/guitar), Gina Gleason (guitar), Nick Jost (bass) and Sebastian Thomson (drums), Baroness received a GRAMMY Award nomination for Best Metal Performance for ‘Shock Me’ from the 2015 album ‘Purple’.

Since 2013 Jail Job Eve has become an indispensable part of the German
rockstages - Whether festival stage, live club or rustic rockmusic venue -
for more than eight years now the five musicians from Osnabrueck,
Germany, have been playing their way across the country
After their first release "Bird of Passage" in 2015, the band signed a contract with
MiG - music in 2018, the label that, among other things, distributes the legendary
"Rockpalast" recordings of the German TV- and radio-station WDR and with bands
such as Siena Root, Br selmaschine and Wucan, the label has signed in the field
of retro rock under contract.Jail Job Eve's album "The Misson" received
recommended reviews in the music press throughout Europe, and the band thus
earned the reputation: "the hope of the national blues rock scene" (eclipsed
Magazine, Germany).With their upcoming release "Wildfire", Jail Job Eve is once
again setting new standards. The album, recorded entirely live, confirms the band
as a finely balanced rock machinery. The music is much harder, more
experimental and coarser, while the lyrics deal offensively and aggressively with
the most important ideological issues of our time, such as climate change,
sexism, LGBTQ + rights or the responsibility of art and culture as a mirror of
society and an instrument of peaceful protest. For example, the first single "Lost"
is a song about female empowerment and therefore an energetic, feminist
statement to sing along to.The band's audible role models include Rival Sons,
Blues Pills, Greta Van Fleet, but also the classic rockers of Deep Purple or the
omnipresent ubiquitous instance Led Zeppelin. The clearest fist in the face of the
listeners still is Victoria Semel, who virtuously puts her heart and soul into her
singing. Benedikt Schlereth, who plays his way through the album with his
distinctive guitar sound coined by the grand repertoire of rock history, Jens
Niemann, who lets his Hammond wobble sonorously and suffer shriekingly, as
well as Tim Beckers on bass and Josef R hner on drums, who create fulminant,
cast-iron floors under their bandmates

Waxwork Records in partnership with Back Lot Music is honored to release NOPE Original Motion Picture Soundtrack by Michael Abels. Oscarr winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope. The film reunites Peele with Oscarr winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer and Oscarr nominee Steven Yeun as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery. NOPE marks Abels' third feature film score with director Jordan Peele, having previously scored Peele's GET OUT and US. The album also features songs from the film, including a new version of Corey Hart's classic "Sunglasses at Night (Jean Jacket Mix)", Dionne Warwick's "Walk on By", The Lost Generation's "This is the Lost Generation", Exuma's "Exuma, the Obeah Man", and a never-before-released gem by a young Jodie Foster, "La Vie C'est Chouette" from the 1977 film MOI, FLEUR BLEUE. "NOPE is my most ambitious score to date," says Abels. "There are elements from the genres of sci-fi, action, horror, and westerns, but always through the tonal palette of Jordan Peele's unique vision. The lines between source music and score are blurred, as a good part of the score seems to be playing at the theme park, which is a key location in the story. The score is at times terrifying, yet also invokes the sense of awe and wonder that the characters feel as they realize what they are seeing. The film eventually becomes a grand adventure, and so the music expands into the larger-than-life scale we expect of a summer blockbuster." He goes on to say, "it was a joy to compose a score that encompassed such a broad range of genres and emotions, and I'm thrilled to have audiences experience all of them through this album." "Michael is one the most exciting composers working today - he has this amazing ability to create new sounds which was important for this film," Jordan Peele says. "He's able to play in the familiar and in the unfamiliar at the same time, so that helps give every film its own character, and he has an incredible mastery of so many different music genres." Abels is known for his genre-defying scores for the Jordan Peele films GET OUT and US, for which Abels won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, and multiple critics' awards. The hip-hop influenced score for US was short-listed for an Academy Awardr and was named "Score of the Decade" by The Wrap. Abels is also co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming and streaming media. Waxwork Records is thrilled to present the official NOPE deluxe double LP soundtrack album. The package comes complete with 180-gram colored vinyl, quality packaging, original artwork by Ethan Mesa, heavyweight gatefold jacket with matte coating, a multi-page 12" x 12" booklet, liner notes, & more!

In 1998 The Wave Pictures started carving out their own path in search of the lost essence of British Indie, since their acclaimed “Instant Coffee Baby” -nominated for The Guardian New Album Award and present in many lists of the best albums of the last 15 years– , until the most recent “When The Purple Emperor Spreads His Wings”, always giving their best in countless electrifying performances. Now The Wave Pictures are once again allied with Acuarela to release an exclusive double 7” with five songs (one, “French Cricket” included on their new album and the other four totally exclusive) and show that they are still an indie rock band without indie rock influences, a trio with its own style that doesn't want to be a blues group, but with blues –and soul, and country, and folk-, as the invisible core of everything they do. The Wave Pictures began their career in 1998. Since then the British trio hasn't stopped: at the frenetic pace of their concert schedule, they add a stakhanovist record production, which advances at the rate of almost one album per year. Example: “Great Big Flamingo Burning Moon”, which came out in February 2015, was already their thirteenth official LP (without forgetting that they have also released a large number of singles, EPs, rarities and unofficial material). But it is that in February 2016 the fourteenth album, “A Season In Hull” was released -which they recorded with a single microphone and only released on vinyl-, and in November of that same year its successor, “Bamboo Diner In The Rain” came out. In June 2018 they returned to the fray with another LP, “Brushes With Happiness”, and that November also dropped “Look Inside Your Heart”. The pandemic has made them slow down a little bit until May 2022 when they finally returned with "When The Purple Emperor Spreads His Wings". “When The Purple Emperor Spreads His Wings” is a double album dedicated to the cycle of life and in which each of its four sides (in the old fashioned way) is focused on one of the seasons of the year. The title refers to spring and its splendor. The result is pop in the style of The Wave Pictures, with all the essence of the band: those intense guitar solos by Dave, his acoustic plucking, the solid writing… in addition to the mandolin, the bluesy harmonica...you name it! All the band members, David Tattersall (vocals, guitar), Franic Rozycki (bass) and Jonny “Huddersfield” Helm (drums), are avid fans of rock'n'roll, classic country, 70s rock, soul and folk, and this album celebrates with joy all those musical loves of them, some rediscovered in recent times. Moreover, they have pointed out that Guided By Voices have also been a great source of inspiration on this recording, as well as re-listening to Sun Records’ rockabilly, African guitar records, the more country side of Neil Young, the crazy fun of The Who and some moments from The Yardbirds. The Wave Pictures are still playing what Modern Lovers did back in the day -and then Herman Dune or Hefner-, only they play it as if Rory Gallagher was their lead guitar. With the lo-fi pop-rock label as an amicable stigma, they never deny the maxim that places attitude before technique and they are always vaccinated against fashion. Years go by and they are still the same sly alley-cats, only sounding more and more classic. Tracklist: 1. French Cricket/ 2. From A Buick 6/ 3. Porcupines/ 4. Rufus Thomas/ 5. Cincinatti Flow Rag

Live At The L.A. Forum präsentiert einen außergewöhnlichen Auftritt der Jimi Hendrix Experience im April 1969. Vor einem ausverkauften Haus spielten Hendrix, Schlagzeuger Mitch Mitchell und Bassist Noel Redding ein einzigartiges Set mit Highlights wie "I Don't Live Today", "Purple Haze", "Red House" und einem erstaunlichen Medley aus "Voodoo Child (Slight Return)" und "Sunshine Of Your Love" von Cream. Diese unverfälschte Aufnahme, die von Hendrix' langjährigem Tontechniker Eddie Kramer neu abgemischt wurde, fängt die Jimi Hendrix Experience in ihrer unvergleichlichen Hochform ein. Ein Teil dieses Auftritts war zuvor Teil einer kurzlebigen Westwood One Radio-Dokumentationsbox Lifelines 1990-1992, war aber seit zwei Jahrzehnten nicht mehr in irgendeiner Form erhältlich. Die CD-Veröffentlichung mit einem 24-seitigen Booklet - komplett mit Linernotes von Billy Gibbons von ZZ Top, der die Show aus erster Hand miterlebte - gibt diesem bahnbrechenden Auftritt die richtige Plattform und präsentiert den kompletten Auftritt, der direkt von den originalen 8-Spur-Masterbändern abgemischt wurde.Enregistrée au printemps 1969 devant un public déchaîné et à guichets fermés, la performance captivante de la formation originale (Jimi Hendrix, Mitch Mitchell et Noel Redding) n'a jamais été publiée dans son intégralité. Cet album sort à temps pour le 80e anniversaire de la naissance de Jimi Hendrix. Après le succès massif du tiercé gagnant Are You Experienced, Axis: Bold as Love, Electric Ladyland en 1967-68, le trio est devenu l'attraction internationale la plus populaire du rock. C'est au L.A. Forum que le groupe dévoile pour la première fois la fameuse reprise de « The Star Spangled Banner », que Jimi allait canoniser quatre mois plus tard à Woodstock. Le live comprend «Purple Haze» et un medley incendiaire de 17 minutes de « Voodoo Child (Return) » et « Sunshine Of Your Love » de Cream. Le concert a été enregistré simultanément par Wally Heider et Bill Halverson, et récemment remixé par Eddie Kramer, producteur et ingénieur de longue date de Hendrix, pour une fidélité audio maximale et inclut une préface de Billy Gibbons de ZZ Top, qui a assisté au concert en 1969.

Anchor and Adjust is the debut album from, Australian synth-pop duo
Syzygy; Rebecca Maher and Gus Kenny both formerly of beloved
Melbourne synth-punk band Spotting
This new project explores a more unadulterated electronic aesthetic combined
with an unabashed pop sensibility.Gus was listening to a lot of 80s synth music
and minimal wave, while Bec was deep into mainstream 80s pop divas and new
wave. The resultant album sits at a crossroads of genre. The melodies of new
wave pop meet the synth tones of 80's coldwave, the vocal dynamics of postpunk and the DIY ethos and raw edges of punk. Layered synths twist and weave.
Featuring celestial, emotive vocals, the album is often bright and upbeat,
danceable, but also moody, thoughtful and clever. It is sparkling and edgy
electronic pop.
The album's lyrics explore the power dynamics in relationships, including the
relationship with yourself. It is about control and being controlled. Attempts to
unravel years of ingrained behaviour and decision making to try and see the world
another way. It yearns for clarity, asking questions and searching for definitions to
try to understand what is perception, what is manipulation and what is truth.
I was speaking to myself, through myself. Both aware of having these feelings
and disconnected from how they were making me feel. Making this record
allowed me to create order and meaning. It was both my wake up call and my pep
talk for changes I desperately needed in my life. Rebecca Maher. Pressed on
Transparent Purple Color vinyl.
GENRE : Synth-pop, Electronic, Darkwave

2LP black vinyl in a gatefold sleeve, polylined inners and download code. 2 x CD in 6 panel digifile sleeve.
When Darren Hayman made his debut in 1997 with the acclaimed indie band Hefner his lyrical remit was the broken hearted. His early songs told the story of the lonesome and lost, and broken dreams of love on the back streets of London. After Hefner, Hayman’s palette grew to include a unique take on place and memory. In the early 2000s he wrote a trilogy of albums around the history of Essex. In 2012 he made an instrumental album describing the tranquillity of Lidos. In 2016 Darren was awarded ‘Hardest Working Musician’ by the Association of Independent Music for his epic project on Thankful Villages, the 55 villages that survived the Great War with no casualties. His most recent record, 12 Astronauts, tells the personal story of the only men to have walked on the Moon. Darren is continually obsessed with the idea of what songs can be, and the stories they can tell. As he explains, “With projects like Thankful Villages, I became interested in what a record could be, using field recordings, interviews and songs to make sound collages. I wanted to return to the stricter art of song writing and try and make the twelve best compositions I could. I wanted to make useful songs, words that could be comfort, not just thoughts that would depress.” // "bold and unique" The Sunday Times // "Its delicately observed song cycle unfolds like a novella or short film, with tracks that might seem slight in isloation gaining resonance in situ." Q // “Bugbears is a rich and warming curio, and there’s something quietly noble about Hayman dragging the thoughts of these long-dead writers back into the light.” Mojo // “uniquely intimate and very satisfying” - BBC // “Hayman has hit a creative purple patch… a treat”. Mojo

Purple Vinyl in PicCover

"Since it's inception, the various artist compilation series SATURATED! has proven to be the epitome of curation in this small niche scene called bass music or whatever.
Each volume is carefully hand picked and is a picture in sound of the music at that point in time but overall has proven to be timeless.
The arrangement works in such ways that each tune flows perfectly into the next one and actually (given that you have two vinyls like a real dj), you could mix seamlessly from the first through the last track.

Saturate Records has become a hotspot for those seeking fresh sounds from well known and emerging artists within the scene.
Channeling the quintessential stylings of low-end driven beats from across the globe, they have been leading the way in all things bass heavy, broken-beat, experimental, glitch, hip-hop, psychedelic and trap for years now. Having featured releases from names like heRobust and G Jones early on in their careers, SATURATE! continues to help push the new school, hip-hop influenced sound forward with their fingers firmly on the pulse of future freshness.
A weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene.

It was 1974 when Magma’s fourth studio album Ẁurdah Ïtah came out. Originally, the album was released under the name of Tristan Et Iseult as a solo studio film soundtrack by founding member Christian Vander. He recorded the music for Yvan Lagrange’s 1872 avant-garde film Tristan Et Iseult. The recordings took place only a month prior to the sessions which produced Köhntarkösz. For these recordings for Ẁurdah Ïtah, only a core quartet of Magma members took part, including Christian Vander, Jannick Top, Klaus Blasquiz and Stella Vander providing only drums, bass, piano and vocals. Fifteen years later, in 1989, the album was re-released with Magma’s distinctive logo.

Ẁurdah Ïtah is available as a limited edition of 2000 individually numbered copies on purple coloured vinyl, housed in a gatefold sleeve.

For Fans Of...El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Deep, Hard Hitting Soul-Jazz Meets Dub Instrumental Analog Grooves For Your Psyche. In few words, Doctor Bionic can be described as Instrumental b-movie psych-hop. But that doesn't tell the whole story. Doctor Bionic is the brainchild of Cincinnati's Jason Grimes, formerly the producer of the hip-hop group MOOD (with emcees Main Flow & Donte). Having grown up in the Scribble Jam scene here in Cincy, and running in circles that included artists like Hi-Tek & Talib Kweli, Grimes' music has continued to evolve from sample-based loops, to live instrumentation with deep layering; provided by a revolving door of local musicians. The common thread in most Doctor Bionic tracks are the neck snapping drum breaks, but the tempo adjustments and varying instrumentation lends itself to a collection of non-genre specific songs - held together in unity by the flawless drums, often provided by Josiah Wolf (of indie-rock band Why?). The result of these recording sessions are a masterclass in musical juxtaposition. Spacious yet clustered. Futuristic nostalgia. Ideal for long car rides or setting the vibe during a laid back gathering of friends. Also Available From Doctor Bionic: The Invisible Hand LP. Tracks: 1.The Messengers 2. No Middle Ground 3. Purple Spark 4. Decades To Come 5. Shadows In The Sun 6. Snow Bird 7. In The Mirror 8. Dose Of Dank 9. The Things That We Love 10. History Lessons

There’s no escaping the motherlode - that eternal continuum of high drama and overheated amp stacks fit to raise the pulse and revivify the spirits. It’s merely an unmistakable band chemistry that transforms base hard rock into gemstones, and this process is an increasingly rare phenomenon in the here and now. Luckily for Stockholm’s alchemists LUGNET, they are one of the few. Here in these steamrollering grooves and strident anthems is just the kind of swagger and bravado on which rock built its foundations in the ‘70s, yet without any of the cliches or the bloated self-importance. The roots of LUGNET may be visible to see, and the primal stomp of early Deep Purple, the apocalyptic sermonising of Black Sabbath and the cinematic majesty of Rainbow can easily be detected in the almighty sturm-und-drang. Yet this sound is delivered with charisma and maverick energy that effortlessly summons fresh vibrant life to a classic form. The spark that lit LUGNET originates in 2009, when Fredrik Jansson-Punkka (also drummer of Angel Witch, and whose storied history includes stints in Witchcraft, Abramis Brama and Count Raven) met bassist Lennart ‘Z’ Zethzon at Sweden Rock Festival and the two first discussed getting together to jam. Three years later this finally came to fruition and guitarists Bonden Jansson and Mackan Holten joined the fray, alongside vocalist Roger Solander. An original plan to play ‘70s blues-rock with Swedish lyrics was ultimately warped and transformed into the monumental attack of 2016’s self-titled debut proper on Pride & Joy Music. The road to ‘Nightwalker’ saw changes afoot in the band, as Solander was replaced by the soulful pipes of Johan Fahlberg, who matches the swashbuckling charm of the Dio/Coverdale tradition with flourishes and personality all his own, whilst Bonden Jansson made way for wunderkind new guitarist Matti Norlin. This was a quantum leap on from the debut, replete with fiery interplay and incisive song writing, from the slow Zeppelin-esque catharsis of ‘Death Laughs At You’ to the monstrous ‘Stargazer’-esque grandeur of the mellotron-assisted finale ‘Kill Us All’. The aftermath saw Lugnet traverse from strength to strength, a notable highlight being packing out their tent at Sweden Rock Festival in 2018 even whilst a certain Birmingham-birthed Prince Of Darkness himself occupied the main stage across the field. Michael Linder (formerly of Troubled Horse) soon replaced Mackan Holten, and this line-up has subsequently amassed enough material for two albums, with all members throwing their hat into the ring song writing-wise. One of these ‘Tales From The Great Beyond’ has already been recorded at SolnaSound Recording with the dream-team of Simon Johansson (Wolf/ Soilwork) and Mike Wead (King Diamond/ Mercyful Fate) at the helm / mixed by Marcus Jidell (Avatarium/ Candlemass). Just like for the debut album, the front cover artwork was designed by Vance Kelly. Whatever the future holds for Lugnet, only a fool would bet on the result not being a spectacular explosion of righteousness. This machine is firing on all cylinders, and rockers of all persuasions would be well advised to get on board or get out of the way. Track listing: Still A Sinner; In Harvest Time; Another World; Out Of My System; Svarv; Eaten Alive; Pale Design; I Can’t Wait; Black Sails; Tåsjö Kyrkmarsch

Purple Vinyl

Concentric Records present this special edition EP by the Berlin-based duo YHDESSA - composed of Dutch-Italian composer and poly- instrumentalist Grand River and Sardinian electronic music experimentalist Enrica Falqui.

Entitled Along The Simple Line, the 5-track EP is a unique sonic journey that merges in pure form the distinct worlds of the two composers, exposing a warm and delicate essence. Perfectly punctuated, and in a pace of its own, the album gently and precisely unfolds through touching musical spaces, dramatic textures, entrancing rhythms and unexpected vocal lines, revealing a wonderful depth. The result is so perfectly uniting as if woven by the same two hands.

Yhdessa is a collaborative project made up of Grand River and Enrica Falqui which was conceptualised in 2017 while the duo shared a music studio and were living as a couple in Berlin. Their first piece, released in 2018 on the label One Instrument Records, was named after the Vermona E-Piano and is composed entirely using the analogue synthesizer that was built in 1978. Following this came their lingering soundscape Waldorf Micro Q featured on the record “One Instrument Volume 01” as well as an impelling remix of Dunes by Jiska Huizing and Rudi Valdersnes.

Aimée Portioli is a Berlin-based Dutch-Italian composer and sound designer who records and performs as Grand River. The name Grand River evokes nature, scale, and movement, all key forces in Portioli’s work. Her first release as Grand River was the resolute 2017 Crescente EP, which includes Flies, a composition named by XLR8R as one of the best tracks of that year. She followed this with her melodious debut album Pineapple (Spazio Disponibile, 2018), which garnered praise from The Quietus, amongst others. The moving and dynamic subsequent album, Blink A Few Times To Clear Your Eyes (Editions Mego, 2020) was lauded by Resident Advisor and The Verge, and was elected among the best albums of 2020 by Inverted Audio. Separately, Grand River’s work has appeared on compilations by Ghostly International, Tresor, Longform Editions and has composed an official remix for Tangerine Dream.

Enrica Falqui is a Sardinian music producer and DJ currently based in Berlin. With artistic versatility as one of her defining traits: she comfortably traverses between the dimensions of electronic music. For over a decade she has dedicated herself to the study of sound and the relentless excavation of lesser-known music, which has earned her bookings all over the world and commissions for her productions from some of the most respected labels including Marignal Returns which released Plexus, a mini-album of cool, divergent compositions. Enrica is also part of the coveted duo, ERIS, whose debut and sophomore EPs, Moments and Champions League, found their home on the illustrious Cabaret Recordings. The releases entwine the forceful with the ethereal and create an original, future-facing and club-orientated sound. Moloko, a drum-focussed track laced with weaving synths, was considered by Resident Advisor as one of the best tracks of 2019.

Aimée and Enrica’s musical union through Yhdessa, is one of colour and warmth. It expresses an experimental electro-ambient side of the two composers, to form a style that is meditative, other-worldly and at times introspective. Although, the two are now, no longer romantically engaged, they maintain a passionate friendship to match this profound musical partnership.

Brand new 2022 ‘Amethyst Edition’ repressing.
Includes 2LPs pressed on ‘ghostly’ purple and blue
vinyl, with zoetrope labels and a gatefold jacket.
 ‘South Of Reality’, The Claypool Lennon Delirium’s
epic sophomore album, might be just the antidote
this sick world needs.
 Music so potent it could repel an asteroid impact
from space, these seasoned warriors of
psychedelia have crafted timeless songs that may
as well be chiselled in stone.
 The monolithic dream team’s new record was
produced by Les Claypool and Sean Lennon
themselves and engineered and mixed by Les
Claypool at his own Rancho Relaxo studio in
Sonoma County, California.
 Grab your goggles and a month’s supply of KoolAid because The Claypool Lennon Delirium are
about to take you for a ride on a rock ‘n’ roll rocket
ship and frankly you may never come back.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDING INSERT
• FEATURING THE BRODSKY QUARTET
• LIMITED EDITION OF 2500
INDIVIDUALLY NUMBERED COPIES ON PURPLE COLOURED VINYL

The Juliet Letters is the 14th studio album by singer and songwriter Elvis Costello. Originally released in 1993, the critically acclaimed album peaked at No. 18 on the UK album chart. The entire instrumental backing for The Juliet Letters is provided by The Brodsky Quartet. Costello had become interested in classical music around the time of Spike and began attending classical concerts. One of the ensembles he enjoyed most was the Brodsky Quartet. Once Costello and the Quartet got to know each other, they were keen on working together, eventually resulting in a full length album.

Costello described The Juliet Letters as “a song sequence for string quartet and voice and it has a title. It’s a little bit different. It’s not a rock opera. It’s a new thing.”

The album is available as a limited edition of 2500 individually numbered copies on purple coloured vinyl and includes an insert.

Translucent purple 180 Gram vinyl with Download card including all 12
tracks that appear on the CD
Over a 45-year career as one of the world's top blues musicians, Ronnie Earl has
transfixed audiences with his distinct sound of emotion-laden blues. On his own
and with his band The Broadcasters, Ronnie is a four- time Blues Music Award
winner as "Guitar Player of the Year," with 28 albums and multiple chart-topping
compositions in his catalogue.
Ronnie sets the songs of this album into context with a quote from Rev Dr Martin
Luther King Jr prominently placed in the album art: "The Blues tell the story of
life's difficulties, and if you think for a moment, you will realize that they take the
hardest realities of life and put them into music, only to come out with some new
hope or sense of triumph."
These songs present triumphant Blues - uplifting and hopeful songs that point to
a better tomorrow, including "Soul Searching," "A Prayer for Tomorrow," "The Sun
Shines Brightly" and "Your Love Keeps Lifting Me Higher And Higher." Celebrating
artists who have contributed to the theme of hope, Mercy Me includes "Blues for
Ruthie Foster," "Blues for Duke Robillard" and "Dave's Groove" (co- written with
Dave Limina).

"Queen Of Nowhere" is the result of the photographic works by Kourtney Roy and the musician Dayve Samek (Trance Farmers) initiated by IIKKI, between November 2021 and March 2022.

The man behind the name Trance Farmers is Dayve Samek, a wanderer from Los Angeles to Louisiana, and his music has picked up just about every influence it can along the way. He has recorded his first album in 2014 on Leaving Records (Stones Throw Records). Not sure how to classify his music ranges, but something between sweaty, garage-born ballads brush shoulders with drifter anthems and gasoline drenched doo wop with at some points some beats close from the past Anticon works should make the point.

The Canadian photographer Kourtney Roy was born in Northern Ontario in 1981. Intrigued by the possibility of creating a tragic mythology of the self, she conjures an intimate universe pervaded by both wonder and mystery. Her photographer’s eye is drawn to places and settings whose lyrical qualities underscore the sublime banality of everyday life.

Roy’s studies in photography, at Emily Carr University of Art and Design in Vancouver and later at the Ecole Nationale Supérieure des Beaux-Arts in Paris, inspired her to develop her finicky aesthetic, which lends itself particularly well to both glossy paper and film. Roy works extensively as an independent photographer/filmmaker in the art world. Instilled with a dark sense of humor, taking their clues as much from the grotesque nature of seemingly placid settings as from the tensions simmering just under the surface, her photographs have garnered many prizes, including the Prix Picto in 2007, The Emily Award in Canada in 2012 and the Prix Carte Blanche PMU/Le Bal in 2013 and the Pernod Ricard Carte Blanche in 2018.

In May of 1957, Art Blakey and his Jazz Messengers went into the studio with Thelonious Monk to record a one-off album for Atlantic. The Jazz Messengers were a loose collective of young Jazz musicians, with a constantly rotating lineup to keep the music fresh, and help launch new careers (akin to today’s hip hop collectives.)

Blakey had recorded with Monk on various occasions, but this was the first time Monk sat in with the Jazz Messengers. The result is a true meeting of the minds, a beautiful union of Monk’s melodies with Blakey’s unshakable sense of swing, and Thelonious Monk’s only appearance on Atlantic. This 65thanniversary deluxe edition includes an extra disc of previously unreleased outtakes, celebrating the most sensational jazz collaboration of the 1950s.

PERSONNEL:
Art Blakey, drums; Thelonious Monk, piano; Johnny Griffin, tenor saxophone; Bill Hardman, trumpet; and Spanky Debrest, bass.

“A lush, ornate, and elegant celebration of the oft-maligned pleasure of pure surface-level beauty”. Pitchfork

London independent imprint Lo Recordings are excited to announce that they will release a vinyl version of the ‘Symbol’ album by the late Japanese electronic pioneer Susumu Yokota on the 8th of April 2022.

Originally released in 2004, the special limited edition reissue comes in a newly designed and beautifully packaged gatefold sleeve with liner notes by Ben Eshmade and Tsutomu Noda.

The prolific Yokota rightly saw this album as his masterwork. An incredible kaleidoscopic patchwork of samples from classical recordings by the likes of John Cage, Meredith Monk, Prokofiev, Debussy, Ravel and Tchaikovsky are brought together and lovingly transformed in Yokota’s inimitable style to create what Pitchfork described as an "ecstasy album”

Each track is a firework of temporality, as ideas collide and briefly hold together in the fragile moment before decaying and decomposing. Sampling, the re-imagining of music, is very much the instrument of Yokota. Within the restricted seconds of a digital sample you hear a recording from a certain time, you hear the room, you hear the dust on the cello bow, and you can just about sense what the musician was feeling that day.

The Effect Of Heavy Music: Rock Music And Revolution In 70s Zimbabwe. Eye Q’s music has never been collated and issued outside of its country of origin. Now, as part of the Now-Again Reserve series, their rare singles and even rarer album are presented in full. Just as the hippie era came to an end in America, a second 60s was beginning: in what is now Zimbabwe, young people created a rock and roll counterculture that drew inspiration from hippie ideals and the sounds of Hendrix and Deep Purple. The kids in the scene called their music “heavy,” because they could feel its impact, and it resonated from Zambia to Nigeria. At its peak in the mid-70s, the heavy rock scene united tens of thousands of young progressives of all racial and social backgrounds. The country was called Rhodesia then, one of the last bastions of White rule in Africa, and heavy rockers defied segregation laws and secret police to make a stand for democratic change. Eye Q is one of the greatest bands of the scene: their rock stands on par with the early Zamrock of WITCH and Ngozi Family. Please The Nation encapsulated Eye Q’s desire to forge forth, in a new, free country, and this set collates their 7” singles, ultra-rare album and songs from master tape and presents their music for the first time outside of Zimbabwe. In the accompanying oversized booklet, a trio of authors collaborate to tell the Eye Q story, and to investigate the genesis of the heavy rock scene under Ian Smith’s racist, oppressive government, and its dissipation after Zimbabwe’s liberation. The set also includes a download card for WAV files for all vinyl tracks, as well as bonus tracks.

10th anniversary reissue of this rhythmically churning one-man-band monster of an album, recorded in a single inspired studio session & originally released in 2012 on Editions Mego.

From the original Editions Mego press release:

“For anyone who still associates Oren Ambarchi exclusively with the clipped, bass-heavy tones of solo electric guitar works such as Suspension, this rhythmically churning one-man-band monster of an album-length piece might seem to come out of nowhere. However, listeners who have followed the breadth of his work for the last few years (solo and in projects with collaborators from Jim O’Rourke to Stephen O’Malley and Keith Rowe to Keiji Haino) will have noted how Ambarchi has allowed increasingly clear traces of his enthusiasms as a music listener (for classic rock, minimal techno and 70’s fusion, among other areas) to surface in his performances and recordings, all the time filtering them through his signature long-form structures and psychoacoustic sonics.

Recorded in a single inspired studio session, Sagittarian Domain displaces Ambarchi’s trademark guitar sound from the centre of the mix, its presence felt only as an occasional ghostly reverberated shimmer. Endlessly pulsating guitar and bass lines sit alongside electronic percussion and thundering motorik drumming (familiar from his work with Keiji Haino) at the core of the piece, locking into a voodoo groove like Faust covering a 70’s cop show theme. The work is founded on hypnotic almost-repetition, the accents of the drum hits and interlocking bass and guitar lines shifting almost imperceptibly back and forwards over the beat as they undergo gradual transformations of timbre. Cut-up and phase-shifted strings enter around the half-way mark like an abstracted memory of the eastern-tinged fusion of the Mahavishnu Orchestra’s classic Visions of the Emerald Beyond, before returning for an extended, stark yet affecting come-down coda, equal parts Gavin Bryars and Purple Rain.

While Sagittarian Domain contains traces of a diversity of influences, it mines all of them to uncover something that is clearly an extension of Ambarchi’s own investigations up to this point, exhibiting the same care for micro-detail and surrender to the physicality of sound that are present in all of his work, extending them in new ways to repetition, pulse and rhythm”.

Los Retros is the young Mexican American singer songwriter whose music has captured the hearts of fans around the world. He broke onto the scene with the viral single ‘Someone to Spend Time With’
in 2019, which has racked up over 40m streams. ‘Looking Back’ is his third EP.
 Los Retros was just sixteen when he first began recording in his family’s living room on an old fourtrack. The recordings comprising ‘Looking Back’ grew out of these early sessions. Now officially released for the first time. Includes fan favourite ‘Amtrak’ (2.5m YouTube views).
 For fans of Cuco, Beebadoobee, Toro Y Moi, Yellow Days, Mild High Club, Boy Pablo.