Buscar:s fidelity

From a club-friendly chrysalid onto deploying his wings as a full fledged pop artist in recent years, Saint Petersburgs Kito Jempere has enjoyed a journey unlike any other and his newest album, Part Time Chaos Part Time Calmness live-documents the chameleonic changes / game-changing paradox experienced this year between his life both as a musician and as a family man.

Better known for his work as a house producer which has earned him accolades from prominent dance music outlets throughout well over a decade of intense work both into and outwith the limelights, Kito has for all that never been focussed on writing solely discoid material, throwing as much effort over the years into multi-faceted parallel ventures, far and apart from strictly dance floor-oriented functionality. Yet, from this partition between various projects and mindsets, this is through a radical shift towards downtempo pop and out of the 4x4 loop that Kito got to fully assert himself as a musician, embracing the rejoicing variety of tone and mood of his tender loves, secret and not. The movie Ive never made but have the soundtrack for, Part Time Chaos Part Time Calmness is the fruit of change as much as change itself. A return to the simple means of his young self, his old trusty guitar from his late teens serving as the backbone to Killer Line and Love Myself But I Cant Make It Love, and the natural development to last years Green Monster, which
initiated these deep tectonic movements in Kitos approach to his art, PTCPTC is an intimate trip down the kaleidoscope of his present life. Joined up by an impressive cast of artists, including Jimi Tenor, Adam Evald and Hard Ton, Kito didnt just bin his old persona, he took it back to where it belongs. From the low-slung emotional folk of the opener, Killer Line, to the eerie flamenco-jazz hybrid Before Music Dies. via the broken soulfulness of Put Love Into Your Heart and anthemic 80s balearic breaks meets coastal synthwave vibe of Sounds of Love, the album pulsates with a refreshingly genre-unbound vision. To the naive, laid-back sonic bokeh of Footsteps,
succeeds the left-of-centre cinematic narrative of In The Countryside, which includes some fun nods to fictional brands taken from Tarantinos imaginarium (Red Apple cigarettes) or other movies like High Fidelity, after Nick Hornbys eponymous novel.

Freed from gridlocked programming and impersonal tropes, PTCPTC showcases a wide array of songs, beats, grooves old and new, some dating back to 2018 and improvised sessions with his 9-people Kito Jempere Band, all of which were finished within the same timeframe and with this all-inclusive momentum in mind. Through the epic synths of Absent Ascent. in revamping the universal classic Over The Rainbow with Celebrine, on the appeasing ballad Shorespotting feat. Evald or in the waves-ready closing cut Lovers, Jempere tells a tale of hard-earned emancipation and life-affirming freedom.

Audrey Powne's eagerly anticipated debut album has been met with widespread acclaim from a host of tastemakers and musicians. Garnering over 500 plays on UK radio, her music has reached an audience exceeding 2 million listeners. Many have touted her work as a strong contender for Jazz Album of the Year—a remarkable achievement for a debut release. This exceptional remix pack features a soulful interpretation from the illustrious DJ and producer Joe Claussell, profoundly inspired by the album cut "Souled Out." Claussell unveils three exquisite and spiritual remixes, each highlighting unique elements of Audrey's original production. Joaquin's Deep Version is quintessential Claussell, merging the bassy textures of a vintage King Tubby dub with vibrant percussion and dance-inducing beats. The "Sacred Rhythm Mix" is an essential for the dancefloor, weaving a seamless progression of expertly crafted sonic layers that culminate in a boogie-style crescendo, destined to be a summer anthem for DJs. The Cosmic Arts Interpretation Mix completes the trinity expertly with an enchanting downtempo mix expertly seasoned with orchestral and percussive elements which breathes even more magic into Audrey’s incredible vocal display on this track. True to Claussell's renowned craftsmanship, these remixes speak for themselves—listen and be transported. Adding to the allure of this remix pack are the superb renditions of "Feed The Fire'' by the legendary deep house producer Atjazz and the dynamic New York duo musclecars. Both remixes have garnered critical acclaim, elevating this package to an unprecedented level of excellence. Available for the first time on vinyl, these mixes are presented by BBE Music in a double pack, ensuring unparalleled sound quality that is spread out for maximum audio fidelity—a must-have for discerning DJs and vinyl aficionados who prize top-tier music pressed on wax. This release is not just a collection of tracks but a treasure trove of sonic brilliance, making it indispensable for enthusiasts of high-quality, heartfelt music.

SPR003 - Double Trouble, another vinyl only gem from Munich!

For his third release analogue synth aficionado and owner of the label Superpartyrecords Niko S. joined forces with established DJ and emerging producer Ninja Hagen.

Together, they let their creativity run wild and delivered four progressive/trance-infused peak time tracks that honor pioneering technologies in the history of sound engineering.

SPR003 is a true ode to ‘High Fidelity’ and ‘Superparty’-vibes on the dance floor.

Los Angeles-based ASHRR are back with a new cut which comes from their forthcoming Sunshine Low album which they have re-interpreted as their ASHRR Soundsystem alter ego, while System Olympia also steps up with a remix on this fine new package from 20/20 Vision. In the hands of the latter, 'What's Been Turning You' is a remix with plenty of hi-fidelity cosmic details over mid-tempo deep nu-disco drums. The version from ASHRR is a chugging and Italo-tinged classic with loose-limbed and jumbled drum funk and plenty of bright, shiny arps. A great collection then.

DJ Feedback

Glenn Underground:
"Nice!"

Bill Brewster:
"ASHHR Sound System mix doing it for me."

DJ Sprinkles:
"Yes I like it."

Pete Herbert/ Disco Deviance:
"Yes Yes loving System Olympia versions herb. Dirty low slung biz."

Massimiliano Pagliara:
"Great stuff!!"

Max Essa:
"This is wonderful, love the System Olympia mixes!"

Franck Roger/ Real Tone:
"Yes!! I like the 3rd remix."

Sean Johnston / A Love From Outer Space:
"Really nice!"

Dicky Trisco:
"Loving this sexy stuff."

Sam Fawcett/ 6 Music:
"Added to the list of recommendations!"

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

White Vinyl

Greyscale #10 is here for the masses! To make things even more exciting, the long awaited is a double vinyl edition! Submersion has been on many top deep and dub techno labels in the past 15 years such as Silent Season, Space of Variants, Milieu Music, Deep Electronics, diametric, Rohs! and more. A landing at Greyscale makes complete sense for the quality Submersion is known for. 'Entrainment' is for those deep dub techno fans that like extended atmospheric tracks surrounded by a heavy ambience. 3 of the 4 sides have 1 track to its entire side making the fidelity of these top notch! 'Transversal, Planetary, Capsule' fills up side A with an amazing and gentle intro that has ominous clouds on the horizon. The beat is distance, while the nuances of the airspace is fully dedicated to submerging you deep within. A truly magical and enveloping sound. The next track to uncover is 'Filter, Gradation, Centrifuge'. Imagine that the earth is a ever-evolving dub techno track and you were viewing or listening to it from the distance of the moon. This would be it! There is a tremendous distance that is created in this track where chords flow and move like clouds over large areas of distance. Sometimes, the best description is a visual one if it helps. Breathtaking! 'Stimulant, Perspective, Sensory' starts the next piece of vinyl with another epic one. It morphs like a planet is being formed before your eyes. Basslines move like mountains while chords strike like distance thunder. The last side has 2 tracks sharing the side. 'Reflectance, Reverberant, Cortisol' and 'Predawn'. The first is a grandious ambient number that sounds heavenly while the last featured song is equally stunning as almost a reprise of a previous. Entrainment will be available on white 180-gram double vinyl as well as CD digipak and digital. These are all supersonic soundscapes to immerse yourself in! Masterpieces!

• Gil Scott-Heron’s “Pieces Of A Man” is one of the most important albums in the history of black American music. Although it didn’t set the charts alight, it stands as a masterpiece alongside contemporary works such as Marvin Gaye’s “What’s Going On”, Curtis Mayfield’s debut LP, Funkadelic's “Maggot Brain” and Isaac Hayes’ “Shaft”. All were brilliant in their way, but lyrically Scott-Heron was on a different level from almost every other writer.

• It was a landmark album with its bold, poetic lyrical content allied to progressive and melodic music, and it saw producer Bob Thiele help Gil and his musical partner Brian Jackson paint the picture they needed to get their message across. Thiele put Gil and Brian together with Ron Carter, Hubert Laws and Bernard Purdie, giving them the musical heft they wanted.

• For many years the focus was on ‘The Revolution Will Not Be Televised’, which was included in the Grammy Hall Of Fame in 2014, but this focus sometimes overshadowed the heights which Gil reached throughout the album. Today ‘Home Is Where The Hatred Is’ and ‘Lady Day And John Coltrane’ are also considered standards, whilst the album’s title track is a prescient and heart-breaking warning about the way in which big business dehumanises its workers.

• The album reached its landmark 50th year in 2021 and we decided that we would create this special edition to celebrate its incredible sound. The original master tape was taken to Frank Merritt at The Carvery in London, who cut it as a double disc 2 x 45 RPM record, in an all-analogue chain. The original record - especially side two - was long, and serving it up this way allowed the music a greater level of fidelity.

• The release is packaged in the original album’s gatefold sleeve.

When Ryan DeRobertis announced the name change of his project from Saint Pepsi to Skylar Spence, there was no indication of any stylistic departure, though the change arrived with a musical shift toward faster tempos and more pristine production. Whereas Saint Pepsi had often used decades-old boogie, disco, and new wave as grist for the sampling mill, Skylar Spence is intent on trafficking more overtly in those genre aesthetics through his own production techniques and vocal contributions. With Prom King, DeRobertis reorients his music for his new full-band live act and winds up with an album full of tight and enveloping dance tunes.

Working with Carpark Records 'gave me the confidence to 'go big' with the new material: to write pop songs with universal messages in the sonic wrapping paper that I've grown accustomed to,' DeRobertis says. 'A few songs on Prom King are about specific events in my life—a party where I got too messed up, watching a friend's life spiral out of control and trying to help—but I tried hard not to be too autobiographical because I want my music to unite, above all else. I'm much more interested in connecting with the listener than mystifying my personality.'

While DeRobertis' previous long-players have been more amorphous collections in the style of beat tapes, Prom King is compact and cohesive, with the album's varied stylistic references (new wave, UK garage, boogie) united through strong guitar melodies and Todd Edwards-ian cobblings-together of tiny vocal samples. 'I slowed some music down and called myself an artist,' DeRobertis sings on lead single 'Can't You See,' acknowledging in his lyrics what is already apparent in the music's tone—he can maintain fidelity to his vision while working in more uptempo, disco-based song structures.

'Ridiculous!' and 'Bounce Is Back' are big groovers that capitalize on jacking hi-hats and hand drumming, respectively, and both have an air of Balearic warmth and smoothness. On the title track, DeRobertis entwines a chorus of unintelligible but expressive samples with his own vocals—what feels like a synthesis of two approaches—and the result is an affecting pattern of build and release. More contemplative sophisti-pop numbers like 'Fall Harder' and 'Affairs' add a realist's breadth of scope: thoughts of past foibles bleed into present-dwelling and dancing.

Prom King is DeRobertis making sense of missed opportunities. His high school did not have a prom king; he has filled the position with an imaginative album of personal and musical revisionism.

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

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

Tetragon ist das zweite Album des Tenorsaxophon-Virtuosen Joe Henderson beim Label Milestone, auf
dem er seinen Sound im Post-Bop-Bereich weiterentwickelte, bevor er sich später in seiner Karriere weiter
in den Bereich des Spiritual Jazz vorwagte, begleitet von einem Weltklasse-Ensemble mit Ron Carter, Jack
DeJohnette, Kenny Barron, Louis Hayes und Don Friedman.
Diese Jazz Dispensary Top Shelf-Neuauflage von Tetragon wurde von Kevin Gray aus den originalen Analogbändern (AAA) geschnitten, bei Fidelity Record Pressing auf 180-Gramm-Vinyl gepresst und kommt in einer
Gatefold-Tip-On-Hülle.

Rick James Blends Brazen Attitude, Fearless Sexuality, and Shrewd Charisma on Street Songs:

Punk-Funk Album Aims for the Hips and Head, Includes the Timeless Hit “Super Freak”
Sourced from the Original Master Tapes and Strictly Limited to 4,000 Numbered Copies:

Mobile Fidelity’s 180g 45RPM 2LP Set Presents 1981 Smash in Audiophile Sound for the First Time
1/4” / 30 IPS analogue master to DSD 256 to analogue console to lathe


“Punk funk” was a relatively unknown concept before 1981. But once Street Songs took the charts by storm that year, the world soon knew about what became Rick James’ signature style. And how. True to its name, Street Songs blends outspoken sexuality, brazen attitude, and edgy commentary amid contagious R&B-fueled arrangements that simultaneously aim for the hips, head, and various nether regions. And it’s never sounded better.

Sourced from the original master tapes, strictly limited to 4,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents James’ platinum-certified effort in audiophile quality for the first time. Playing with crisp dynamics, lively textures, airy headroom, and revealing clarity, this collectible edition of the record that stayed at the No. 1 spot on the R&B Album Charts for 20 weeks invites you to get closer to music that beckons you to turn your space into a private dance floor.

Then again, you’ll likely be so taken by how the taut bass lines, snappy rhythms, and four-on-the-floor beats — all rendered in stunning detail and with full-bodied architecture — come across with such accuracy and presence, you might stay pinned to your seat. On this pressing, the soundstaging, imaging, and lit-fuse energy of Street Songs reach new heights. Everything from the rubbery feel of the guitar lines to the depth of James’ temperature-raising vocals to the scale of the horn charts emerges as if James and his ace session crew set up in your room.

The Buffalo native and his ensemble waste no time getting their message across. On the album-opening “Give It to Me Baby,” James and company lay down a mix of sleek funk and pulsing disco that practically activates the bright lights of a discotheque and stimulates the libido of anyone within earshot. Having reached No. 1 on the Billboard Hot Soul charts, the song is pure sex — and just one of the carnal delights on a record that embraces the subject as fearlessly as James does his identity.

Of course, the most famous of James’ erotic excursions — the timeless “Super Freak” — hit No. 1 on Hot Dance Club Play charts, No. 16 on the Hot 100, and, later, No. 153 on Rolling Stone’s list of the Top 500 Songs of All Time. Bolstered by a quavering keyboard theme and electro riffs, the much-sampled track worms itself inside your muscles with smile-inducing subject matter, gliding vocals, nimble movements, a hot tenor-saxophone solo, and backing vocals by the Temptations.

The iconic Motown group isn’t the only celebrated guest artist on the Grammy-nominated Street Songs. James’ then-labelmate, Stevie Wonder, lends harmonica to the frank sociopolitical narrative on “Mr. Policeman,” a protest tune that also manages to stroll ’n’ strut via simmering organ, staggering brass accents, and James’ gritty vocal performance. In addition to contributing backing vocals on several cuts, Teena Marie turns in one of the album’s signature moments on “Fire and Desire,” a romantic old-school duet with James that impresses with smoothness, sensitivity, and smokiness.

High-profile colleagues aside, James remains the undisputed star, a figure whose leather-and-latex attire, braided hair, and natural swagger made him misunderstood by some in the mainstream and embraced by everyone in the know as a true original. As a testament to his magnetism and skills, his charisma and rawness seemingly seep through every note, whether on the balladic sweep of the risqué “Make Love to Me” or strident, poke-and-prod persuasion of the moonwalking “Call Me Up.”

On the closing “Below the Funk (Pass the J),” an uptempo autobiographical tale that addresses the visionary musician’s second-favorite love, the singer acknowledges his upbringing and inseparable connection with his roots — an homage to where he began and a toast to where he’s gone.

Rick James, keepin’ it real on Street Songs, still as real as it gets.

A Consummate Fusion of Wit, Humor, Satire, Honesty, and Chaos: Warren Zevon’s Excitable Boy Captures Dark Elements of American Culture with Uncanny Insight

• Sourced from the Original Analog Tapes for Definitive Sound: Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set and Hybrid SACD Play with Explosive Dynamics and Airy Openness

• Jackson Browne-Produced Album Includes “Werewolves of London,” “Lawyers, Guns, and Money,” and “Roland the Headless Thompson Gunner”

Excitable Boy established Warren Zevon as rock’s gonzo figurehead — or, as Jackson Browne aptly called him, “the first and foremost proponent of song noir.” A supreme collision of over-caffeinated energy, acerbic wit, dark humor, irreverent reporting, bittersweet romance, swept-under-the-rug truth, and illicit desire sent up with booze, pills, and therapist confessions, the breakthrough album zeroes in on frightening aspects of American culture with an incisiveness that’s even sharper today than upon the effort’s release in 1978. Its hard-boiled narratives owe to a tradition established by Raymond Chandler, continued by Hunter S. Thompson, and carried into the 21st century by Breaking Bad and Better Call Saul creator Vince Gilligan. And the music has never sounded so excitable. Sourced from the original analog master tapes, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set and hybrid SACD elevate the best-selling album of Zevon’s career to audiophile status.

Co-produced by Browne and Waddy Wachtel — and featuring contributions by members of Fleetwood Mac plus Linda Rondstadt, J.D. Souther, and Browne — the platinum-certified record now plays with a verve and explosivity that match its subject matter. Listeners will experience wide separation between the instruments; full-range dynamics; sterling transparency that draws a through- line to the original sessions at the Sound Factory; and a presence that enhances the body and tenor of Zevon’s vocals. Like the hairy creatures in “Werewolves of London” and the ghosts wandering the corridors of Excitable Boy, Zevon’s legacy still runs amok via the grooves of his finest studio work. Draw blood, indeed.

Recorded on a packed night at Portland’s beloved haunt The Showdown, this live album captures Jeffrey Martin at his most raw and spellbinding. Although technically a live recording, the album possesses the same fidelity as his studio work, utilising the same stripped-back techniques that allow him to captivate any audience. This performance captures the full power of Jeffrey’s live presence - complete with his remarkable storytelling, both in and between songs - and firmly places him among the most compelling American singer-songwriters of today.

After the excellent response to the first volume, Acid Jazz Classics returns with the second volume.
The Acid Jazz sound born in the 1990s, which harked back to the Soul Funk of the 1970s, found in IRMA one of the labels most dedicated to
this world, and still releases music that can be categorized under this name.
From songs from the 1990s with artists like Jestofunk, Bossa Nostra, Black & Brown, Gazzara, Italian Secret Service, LTJ Xperience, Sarah
Jane Morris, to the present day with artists like The Smoke Orchestra, Yuts and Culture, Fusion Funk Foundation, Micky More & Andy Tee,
Belladonna, and many others.
19 tracks on a double vinyl, some of them never before released on vinyl, all rigorously perfect for both the club and listening.
In fact, some tracks are little club gems:
"Say It Again" by Jestofunk in its very first version from 1993;
Belladonna - Black Jazz, one of her most requested songs ever released on vinyl;
Key Tronics Ensemble - You For Me, the Montuno Salsa version performed for years by Little Louie Vega at many of his gigs;
the Micky More & Andy Tee remix of Sarah Jane Morris's Hold On To Love!

Predatory Void returns with their third record, an EP titled `Atoned in Metamorphosis`, a concentrated statement of intent that compresses the band's restless energy into four precise movements. The music negotiates extremes: patient, reverb-saturated passages give way to sudden, metallic eruptions; subterranean basslines provide narrative weight beneath volatile guitar textures, vocals growl, wail and lament as drums alternate between measured architecture and volcanic release. The result is an austere, immersive sound that is both incandescent and violently sharp. Conceptually the EP takes on the ugly shadow of the unconscious and cathartically wrestles the demon onto canvas. Calling on elements from sludge, doom and black metal, as well as the unrelenting energies of hardcore and contrasting slower, haunted atmospheres, Predatory Void's signature sound is as volatile and piercing as ever. Concise, tight compositions that hook you in melody and then rage in filthy agony. The music can be confrontational, but it is never gratuitous_force is deployed to clarify rather than to overwhelm as emotional depth is at all times the compass. The production aesthetic prioritises fidelity to performance: takes are preserved for their immediacy, dynamics remain uncompromised, and the mix privileges contrast so that quiet moments carry as much dramaturgical weight as full-band climaxes. `Atoned in Metamorphosis` consolidates Predatory Void's forward motion and stakes a claim for a sound that prizes architectural heft and textural nuance in equal measure. Listeners should expect an immediate physical response in what is undeniably an ardent expression, and enjoy the reward of cumulative detail, for the EP dares you to listen closely: to feel transitions as processes, and to accept tension as a pathway to release. Predatory Void invites engagement, not escape, and demands to be met on its own terms, boldly. RIYL Hexis * CELESTE * Wallowing * LLNN * Downfall of Gaia * Witching

Predatory Void returns with their third record, an EP titled `Atoned in Metamorphosis`, a concentrated statement of intent that compresses the band's restless energy into four precise movements. The music negotiates extremes: patient, reverb-saturated passages give way to sudden, metallic eruptions; subterranean basslines provide narrative weight beneath volatile guitar textures, vocals growl, wail and lament as drums alternate between measured architecture and volcanic release. The result is an austere, immersive sound that is both incandescent and violently sharp. Conceptually the EP takes on the ugly shadow of the unconscious and cathartically wrestles the demon onto canvas. Calling on elements from sludge, doom and black metal, as well as the unrelenting energies of hardcore and contrasting slower, haunted atmospheres, Predatory Void's signature sound is as volatile and piercing as ever. Concise, tight compositions that hook you in melody and then rage in filthy agony. The music can be confrontational, but it is never gratuitous_force is deployed to clarify rather than to overwhelm as emotional depth is at all times the compass. The production aesthetic prioritises fidelity to performance: takes are preserved for their immediacy, dynamics remain uncompromised, and the mix privileges contrast so that quiet moments carry as much dramaturgical weight as full-band climaxes. `Atoned in Metamorphosis` consolidates Predatory Void's forward motion and stakes a claim for a sound that prizes architectural heft and textural nuance in equal measure. Listeners should expect an immediate physical response in what is undeniably an ardent expression, and enjoy the reward of cumulative detail, for the EP dares you to listen closely: to feel transitions as processes, and to accept tension as a pathway to release. Predatory Void invites engagement, not escape, and demands to be met on its own terms, boldly. RIYL Hexis * CELESTE * Wallowing * LLNN * Downfall of Gaia * Witching

Junun is the debut collaborative album by composer Shye Ben Tzur, Radiohead guitarist Jonny Greenwood, and the Indian ensemble the Rajasthan Express. Originally released in November 2015, the album was recorded in a makeshift studio within the 15th-century Mehrangarh Fort in Jodhpur, India. Radiohead's longtime producer Nigel Godrich worked on the album, creating a 2LP/CD release. World Circuit is set to reissue Junun on 16th January 2026, marking the album's 10th anniversary. This special edition will be available as a 2LP Gatefold Yellow & Orange Marble vinyl and a CD digisleeve. The album features Ben Tzur's compositions, which incorporate devotional Sufi qawwal musicians singing in Urdu and Hebrew. Greenwood contributed guitar, bass, keyboards, ondes Martenot, and programming, aiming to use chords sparingly and instead focusing on North Indian ragas. The recording process sought to capture the ""roughness"" of Indian music, avoiding the high fidelity often found in world music recordings. The making of Junun was also documented by acclaimed filmmaker Paul Thomas Anderson, offering an intimate look at the creative process and vibrant daily life during the album’s production. His film, also titled Junun, debuted at the New York Film Festival in October 2015. Junun (an alternate spelling of ""junoon,"" meaning ""mania"" or ""the madness of love"") received widespread critical acclaim—including Album of the Year honors from The Sunday Times, who called it “one of the most inspired releases of the year” and “intriguing, sinuous, and essential listening”. The group also supported Radiohead's 2018 Moon Shaped Pool tour, performing under the name Junun.

Moanin’ in the Moonlight, Wolfs erstes Langspielalbum aus dem Jahr 1958, versammelte ein Dutzend
Singles, die er im Laufe des vorangegangenen Jahrzehnts aufgenommen hatte, darunter die Favoriten
„Smokestack Lightnin’“, „Evil“ und „How Many More Years“.
Holen Sie sich den Sound des größten Blues-Labels Amerikas in High Fidelity mit der Chess Records 75th
Anniversary Series nach Hause. Diese audiophilen Neuauflagen klassischer Alben und Compilations aus der
Chess-Diskografie wurden von den originalen Analogbändern remastert und bei Quality Record Pressings
(QRP) auf 180-Gramm-Vinyl gepresst. Jede Platte ist in einer Tip-On-Gatefold-Hülle aus hochwertigem
Karton verpackt.







g 7 The Red Rooster [aka Little Red Rooster]







[g] 7 The Red Rooster [aka Little Red Rooster]

2LP, 180gm vinyl, “Impex Style” Heavy Duty Outer Sleeve w/Flap, Sealed with Analogue October Records Sticker, Hype Sticker
Abbey Road Half speed master from the original tapes
380 gsm Invercote G Sleeve 300 gsm 12 page insert
4.5/5 RECOMMENDED / Editors Choice in Jazzwise magazine
‘And much as audiophiles will savour the tech achievement of this re-issue, the point is the Kaleidoscope of Rainbows
remains joyous, optimistic music that embraces difference and divergence. It needs celebrating not as a revived fossil but as a timeless artwork. Enjoy. And enjoy again’
RIYL Ian Carr / Nucleus / Weather Report / Clips and Art: https://we.tl/t-PfY9QXSjlt
NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

The song titles on Van Halen's aptly titled Fair Warning don't lie. The likes of "Unchained," "Mean Street," "Push Comes to Shove," "One Foot Out the Door," and more indicate the mood the band channels on its double-platinum 1981 record — the nastiest, darkest, and fiercest album of the group's storied career. For the fourth time in four years, Van Halen throws down the gauntlet to all challengers and emerges victorious.


Sourced from the original analog tapes, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 5,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set plays with unfettered clarity, dynamics, and immediacy. Benefitting from superb groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and involving presence.

Taking a more controlled approach in the studio and still completing everything in less than two weeks, Van Halen and producer Ted Templeman relied on studio amplifiers to direct the sound. Further diverging from the live-on-the-floor approach of its earlier albums, the ensemble also employed overdubs to great effect. The result: Dense, stacked architecture that underlines the hard-hitting tenor of the songs — and which comes alive like never before on this reference edition that looks as good as it sounds.

The premium packaging and gorgeous presentation befit the reissue's select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, it is made for listeners who want to immerse themselves in everything involved with the album, including the iconic cover art adopted from William Kurelek's haunting painting, "The Maze."

Isolated frames from Kurelek's childhood-inspired work — including a man bashing his head into a brick wall, a guy pinning down an adversary as he delivers bare-fist blows to his face and others watch with apparent glee, a boy tied down on a conveyer belt and being sent through the equivalent of a meat saw — adorn the front and back covers. The sunnier visual disposition of Van Halen's prior efforts gives way to something sinister and tortured, traits reflective of the music within. The band members, too, are visually depicted not in glamorous shots but in a serious black-and-white portrait in which the quartet is clad in black leather jackets.

Tough, aggressive, stark: Fair Warning comes on like a series of bare-knuckled punches to the solar plexus and boasts lyrical narratives to match. Though not a concept record, the concise album revolves around themes of roughing it on the streets and struggling to survive amid dim prospects. Singer David Lee Roth reportedly penned many of the initial lyrics after traveling to Haiti and observing extreme poverty. The characters and situations populating Fair Warning reflect hardscrabble existence, last-chance desperation, and underlying danger.

Witness the crazies, poor folks, and hunters of “Mean Street”; the former prom queen turned pornographic actress on “Dirty Movies”; the menace and vice of “Sinners Swing!”; the streetwise hustle of “Unchained”; the isolation and alienation of “Push Comes to Shove”; the desire for escape on “One Foot Out the Door”: A carefree California beach party Fair Warning is not.

Having said he felt angry and frustrated during the sessions, guitarist Eddie Van Halen uses the forceful arrangements as a playground for his seemingly unlimited arsenal. Supported by a crack rhythm section and a hyped-up Roth, he performs with an almost impossible combination of punk-like intensity, technical finesse, lyrical fluidity, and unbridled emotion. The virtuoso was increasingly butting heads with Templeton and seeking a freedom in the studio he believed denied him.

No wonder he plays like a bat out of hell. Listen to the rapid-fire manner in which he slaps the high and low E strings on the 12th fret of his instrument on “Mean Street,” instilling the tune with funk flair and metal-spiked sharpness. For the pouty strut of “Dirty Movies,” Eddie Van Halen contributes slide guitar magic made possible after he sawed off the lower portion of a Gibson SG so he could reach further down the fretboard.

Related intensity, urgency, and daredevil momentum punctuate the surging “Sinner’s Swing!” A heavily flanged, delicately melodic introduction frames the attitudinal “Hear About It Later,” among the most creative arrangements of Van Halen’s career. And do riffs come any bigger or magnetic than those on the high-wire kick of “Unchained”? As for the out-of-left-field “Sunday in the Park,” an instrumental composed on an Electro-Harmonix micro-synthesizer: Who but Eddie Van Halen to supply creep factor in such an ingenious way?

Despite selling fewer quantities than Van Halen’s prior efforts, Fair Warning remains for many diehards the record that epitomizes all of the band’s immense strengths —Roth’s manic energy and tongue-wagging humor, Alex Van Halen’s rhythmic heartbeat-in-your-chest bombast, and Michael Anthony’s lucid bass lines included. Arriving when the New Wave of British Heavy Metal and new-wave movements were taking flight, it signaled a shot across the bow from a band determined to stay a step ahead and provide proof nobody could touch what it delivered.

More than four decades later, Fair Warning still sounds that alarm.

Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio’s chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP’s prowess was obvious from the start. The band’s self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.

Mastered at MoFi’s California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180g 33RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.

Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects — textures, nuances, effects, melodies, tempo changes — that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first version, you’ll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.

Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn’t prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad “Lucky Man,” whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.

Comprised of genre-defying originals and hybrid arrangements of two classical pieces, the album Rolling Stone originally and rightly said is “best heard as a whole” matches outrageous ambition with the otherworldly skills of three musicians who remain among the finest to ever pick up their respective instruments. While Emerson soon drew the lion’s share of headlines for his ability on keys — clavinet, Moog, piano, Hammond organ, and pipe organ included — Greg Lake’s aptitude on guitar and bass, along with well as Carl Palmer’s monster talents behind the kit, created a three-headed hydra that devoured everything in front of it.

That extends to the radical reinterpretation of Bela Bartok’s “The Barbarian” that begins the LP, a performance that in less than four-and-a-half minutes runs the gamut from distorted to churchy to angular and blustery. More classical flourishes, keyboard wizardry, hard-rock heaviness, and gothic signatures emerge throughout “Knife-Edge,” which reimagines music by Leos Janacek and J.S. Bach — and ultimately invites you to explore a cathedral of sound teeming with separate bursts of keys and percussion.

And did someone say “drumming”? Check out Palmer’s monster salvo on “Tank,” a rhythmic showcase that marches out with knee-bent notes and mirror-reflected passages. Or dive into the mythological suite “The Three Fates.” Replete with three parts and Emerson playing the pipe organ at Royal Festival Hall, it shoots off sonic fireworks via sophisticated arpeggios, jazz improvisations, dancing counter-meters, sizzling chords, and a few explosions. Please don’t hold anyone at MoFi responsible if your system cannot handle it; this is heady stuff.

Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.

The capstone of Miles Davis’ electric period, Agharta reigns as a funk-rock fireball — a blazing comet streaked energy and elan, a fearless organism feasting on adventure and freedom, a seven-headed Godzilla stomping its way through Osaka, Japan. Recorded on February 1, 1975 at Osaka Festival Hall at the first of a two-show stand, the double album offers an endless abundance of surprises and shifts — as well as a road-proven ensemble whose chemistry and abilities equal that of any of Davis’ celebrated bands. If the true measure of jazz is the capacity to adapt to the moment and challenge perception, Agharta is consummate.

Sourced from the original master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set of this epic live release presents it in audiophile sound on a domestic pressing for the first time. Offering greater degrees of separation, detail, and richness than the compressed CD editions and more clarity, openness, and presence than older vinyl copies, this version of the 1975 release helps bring the concert stage to your home. Just make sure your turntable and speakers are up to the challenge of Davis and Co.’s explosive performances — and producing the decibels they demand.

Teeming with vibrant colors, tones, and pace, Mobile Fidelity’s reissue captures the hear-it-to-believe-it flow, sweep, and moodiness of the music. Though the group honors looseness and freedom with religious verve, the specificity and scale rendered by this remaster allows you to detect methods behind the alleged madness that are often otherwise harder to discern. This insight extends to the understated changes in volume, harmonics, and phrasings. In many ways, you can listen as Davis himself did that early February evening as he helped coordinate the overall direction and decided on whether to blow his wah-wah-wired trumpet or take a turn on the organ.

Tellingly, Agharta would likely never have been made if not for Davis’ ventures overseas and, specifically, to the Land of the Rising Sun. Having for years faced a backlash on his native soil for his choices to experiment and blow past all known borders, Davis was welcomed with open arms in Japan. The concert documented on Agharta — as well as the day’s later show, captured on the equally exciting Pangea — stemmed from a sold-out three-week tour that would ultimately mark Davis’ final public appearances for years, as he soon settled into semi-retirement and nursed the wounds connected to an unprecedented stretch of restless and relentless output.

For all the band-fueled merit of Agharta — and there’s plenty, given the cast of saxophonist Sonny Fortune, bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, and guitarists Reggie Lucas and Pete Cosey seemingly blasts off to outer space and travels distant galaxies by the time this minimally edited record runs its course — Davis’ own playing often remains overlooked. As critics Richard Cook and Brian Morton observed, it is “often fantastically subtle, creating surges and ebbs in a harmonically static line, allowing him to build huge melismatic variations on a single note.” He attacks like a man on a mission, out to prove naysayers wrong and bent on trailblazing another new path forward. Convention and skeptics be damned.

Noisy and furious, dark and discordant, abstract and off-balance, radical and intense, abrasive and atmospheric, strangely beautiful and hypnotically eccentric: Agharta evades simple description, and refuses to be pinned down in any established category — rock, jazz, punk, ambient, prog, avante-garde, or otherwise. Shot through with trench-deep grooves, screaming riffs, scalding solos, and free-improv leads, its cosmic thrust comes on as the equivalent of an animated pointillist painting comprised of millions of textured dots, dashes, and dabs that hold your attention so raptly you want to revisit the ideas again and again.

Always steps ahead of everyone else, Davis knew what he was doing even when Agharta debuted in Japan before later hitting U.S. markets. Though “Maiysha” and “Theme from Jack Johnson” are identified in the track listing, the record contains a number of uncredited references to other Davis works, including a nod to “So What.” This decision to bypass labels only adds to the art of the reveal — the rare black magic in which Agharta expertly deals.

"Souvenirs opened the door for me in L.A. as far as not just being the kid anymore, but being one of the guys, so I remember that one as a real good time—probably way too good a time! It's a miracle we survived that record." – Dan Fogelberg

Impex Records, in collaboration with Epic Records and Iconic Artists Group, is proud to present the official limited-edition 50th Anniversary 180-gram LP of Souvenirs! Our audiophile vinyl LP has been newly remastered from original analog tapes and features original photographs, new notes, and remembrances from Dan Fogelberg and others who crafted this classic album!

Celebrate the 50th anniversary of Dan Fogelberg's breakout hit album, newly remastered and lavished with The Impex Treatment.

50th Anniversary Edition
180g Audiophile Vinyl LP
Contains the Top-40 Hit "Part of the Plan" & Fan Favorites "As the Raven Flies" & "Illinois"
Features Members of Eagles, Graham Nash, Gerry Beckley, Kenny Passarelli & Russ Kunkel
Mastered from a Flat 1:1 Transfer of the Original Analog Tapes by Chris Bellman at Bernie Grundman Mastering
Pressed at Fidelity Record Pressing
Exclusive Booklet Containing Original Photos & an Appreciation by Charles L. Granata Featuring Archival & New Interviews with Many of the Participants Who Helped Make This Classic Album
Limited to & Individually Numbered to Only 3,000 Copies

James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy: Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.

Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.

Just how lifelike does this reissue sound? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes: “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history.”

Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn,” the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.

As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.

Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group — as well as two different drummers — laid down a nearly 11-minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.” A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn,” each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.

Complicated? Somewhat. Unusual? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.

“Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II),” one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose,” which provides jolts on the order of sticking your finger into a socket.

Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World.”

And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn.” Mercy.

Ain’t it funky? Sure ‘nuff.

This holiday season, Harlem’s Capo, Jim Jones, brings At the Church Steps to vinyl for the very first time — and it’s more than just a reissue. A founding member of The Diplomats, platinum-selling artist, and a pioneer of NYC street rap, Jones has long been a voice of the hustle, style, and raw authenticity that define East Coast hip-hop. With over 2 million records sold and a deep-rooted influence on music and culture, At the Church Steps is now set to become a collector’s essential — reimagined for vinyl in a way no fan has ever experienced.

This limited-edition, audiophile-grade 2LP set is crafted for true connoisseurs. Pressed on premium Neotech 100% virgin vinyl, the release uses exclusive mastering technology that employs predictive analysis to correct groove deformation — delivering unmatched clarity, fidelity, and warmth. Every detail, from the sonic depth to the physical finish, speaks to the cult following Jones commands. Tailored for both the streets and the crates, this vinyl is a tribute to legacy and craftsmanship. Store it upright, keep it out of direct sunlight — and know you’re holding a piece of hip-hop history made to last.

Key Marketing Highlights:
Available on vinyl for the first time as a limited numbered 2LP set on Audiophile-Grade, COllector's Quality Vinyl
Brand new studio album from Jim Jones now available on 2LP
Jim Jones is a member of legendary hiphop group The Diplomats

This limited-edition remix of popular Hong Kong singer KENDY SUEN, featuring exotic breakbeats by top producer K.U.D.O, of Major Force
Productions, which relaunched in 2025, is now available in clear vinyl and special packaging!

This 7" remix of popular Hong Kong singer KENDY SUEN, by top producer K.U.D.O, of Major Force Productions, which relaunched in 2025,
is now available in a special edition!
KENDY's exotic vocals evoke danceable breakbeats over a dreamy sound reminiscent of the jungles of South Asia. A must-have limited edition
for all DJs from this club music legend! Mastered by Bernie Grundman Mastering

Limited Edition Eric Kupper Mix Of This Lost Classic From The Vaults Of America, Fully Licensed 100 Demos Only
The musical cream of the crop (MFSB / The Salsoul Orchestra) behind the soulful Sound of Philadelphia - Earl Young (drums), Ron Baker (bass), Norman Harris (guitar), Lenny Pakula (organ), Larry Washington (percussion), Vince Montana, Jr. (vibes) - joined forces with powerhouse vocalists David Simmons, Joe Freeman, Ron Tyson and Bobby Love at Philadelphia's historic Virtue Studios in 1982 to record some of the genre's biggest hits. This small, but sensational set of lush recordings, which were mixed at Alpha Studios - ensuring that every note and nuance was captured with the highest fidelity, recently caught the attention of the famed producer and remixer Eric Kupper. Kupper cut his teeth working as a keyboardist and guitarist for such producer/remixers as David Morales, Frankie Knuckles, Arthur Baker, Peter auhofer, and Richie Jones to name a few. Since 1986, he has performed on, remixed, and/or produced over 1400 records for artists spanning all contemporary musical genres. Presented here is "The Love I Lost"

Just when you thought you'd heard the final word on Norwegian black metal's golden age, Sevan Mater erupts from the underground with a breathtaking reissue of TSJUDER 's Norwegian Apocalypse - now unleashed in a deluxe triple gatefold 2LP edition, pressed on stunning 500 Gold and 500 Red vinyl. Originally released as a live DVD in 2006, Norwegian Apocalypse captures TSJUDER at their most primal and ferocious. Recorded in Oslo and Sandnes in 2005, this live document is a raw testament to the unrelenting, chainsawing riffage and relentless blastbeats that made TSJUDER legends. From the first crackle of the needle, the remastering breathes new fire into tracks like "Sodomizing the Lamb" and "Helvete."

The guitars slice sharper, the drums hit harder, and Nag's vocals tear through the speakers like a storm of razors. The live energy is palpable, preserved in glorious analog fidelity that towers over previous editions. But let's talk presentation - because Sevan Mater has outdone themselves. The triple gatefold cover is a work of dark art: blood- red visuals drenched in shadow, with exclusive liner notes and rare live photos from the original shows. This is not a reprint for casual listeners. It's a statement piece, a collector's treasure, and a monument to the uncompromising spirit of true black metal. Whether you're a longtime disciple of TSJUDER or just stepping into the abyss, this reissue of Norwegian Apocalypse is absolutely essential. It's not just an album. It's a summoning.

Just when you thought you'd heard the final word on Norwegian black metal's golden age, Sevan Mater erupts from the underground with a breathtaking reissue of TSJUDER 's Norwegian Apocalypse - now unleashed in a deluxe triple gatefold 2LP edition, pressed on stunning 500 Gold and 500 Red vinyl. Originally released as a live DVD in 2006, Norwegian Apocalypse captures TSJUDER at their most primal and ferocious. Recorded in Oslo and Sandnes in 2005, this live document is a raw testament to the unrelenting, chainsawing riffage and relentless blastbeats that made TSJUDER legends. From the first crackle of the needle, the remastering breathes new fire into tracks like "Sodomizing the Lamb" and "Helvete."

The guitars slice sharper, the drums hit harder, and Nag's vocals tear through the speakers like a storm of razors. The live energy is palpable, preserved in glorious analog fidelity that towers over previous editions. But let's talk presentation - because Sevan Mater has outdone themselves. The triple gatefold cover is a work of dark art: blood- red visuals drenched in shadow, with exclusive liner notes and rare live photos from the original shows. This is not a reprint for casual listeners. It's a statement piece, a collector's treasure, and a monument to the uncompromising spirit of true black metal. Whether you're a longtime disciple of TSJUDER or just stepping into the abyss, this reissue of Norwegian Apocalypse is absolutely essential. It's not just an album. It's a summoning.

Reflecting years of listening from behind the drum kit with Animal Collective, Boredoms, Dan Deacon, and Lifted arrives Low Air, the first solo LP from Jeremy Hyman.

The record is collected from home studio sessions, taken on the road, and sequenced through reflections of the live experience. Building on previous dance-floor-tuned outputs for Max D’s Future Times label, Low Air moves into a broader compositional arena: pared-down rhythms guide a wash of understated harmony, and compositions surface from a stream of purling noise. There were no standard operations across the music, but one key to the sound is the doubling and tripling of playback speed to fit musical passages into old sampling equipment. This process opened up a new line of inquiry into fidelity and pitch that can be heard throughout the LP.

The new Mono Jazz series - The Jazz Sinners - is designed, crafted and produced to the highest standards allowed by today’s music industry.
The tracks featured come from either rare, top-condition vintage first pressings or from meticulously sourced recordings to ensure the
best possible sound quality. Thanks to the expertise of Giorgio Cencetti (DJ Farrapo), we've created a fully organic mastering process that offers a
360° sound spectrumfor a truly high-fidelity listening experience. The vinyl itself is pressed under the supervision of Elettroformati - Milano.

The cover is 100% Italian-made, using premium 350g cardstock with a luxurious hand feel, with inner sleeves lined in polyliner for complete protection of the record.