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Felix's impassioned F minor quartet was the fiercely personal response to his
sister's death in 1847, only a few months before his own
The Takacs Quartet frames it with equally committed accounts of a much earlier
work, and Fanny's own important contribution to the genre.

Now available on LP for the first time

At the start of the 60s, a new wave of gospel-influenced jazz started to emerge, with hits such as Art Blakey & The Jazz Messengers' "Moanin'" and Cannonball Adderley's "Work Song" epitomizing this evolution in the genre. The terms "soul jazz" and "funky jazz" were coined as a way to describe this new sound that was making an impact in the US and also on the other sides of the Atlantic and Pacific oceans.

In 1964, Ray Charles made his first visit to Japan. Then, in 1968, Martha & The Vandellas and Stevie Wonder set foot in the country, followed by Sam & Dave in 1969, Ike & Tina Turner in 1970, and B.B. King in 1971. The TV show "Soul Train" also began airing in Japan in the early 1970s. A watershed moment happened in 1973 when Sammy Davis Jr. was cast in a TV commercial for Suntory whisky — and the influence of the US Black entertainment world had really landed, with soul, jazz, and funk artists becoming household names.

Nippon Columbia played a pivotal role during this turning point. The company had contracts with Buddah Records and Blue Thumb Records, releasing notable works by artists such as Gladys Knight & The Pips, Curtis Mayfield, The Crusaders, and The Pointer Sisters. At the same time, the label was also releasing several Japanese soul, jazz, and funk projects under the lead of music director Jiro Inagaki. Inagaki, a saxophonist who began his professional career in the early 1950s, honed his skills at U.S. military camps, where he shared his love of music with the Black servicemen. In the 1960s, he played with drummer Hideo Shiraki's band, which was widely considered to be Japan's representative group of the funky jazz movement. Later, Inagaki went on to pursue more cutting-edge sounds with his Soul Media project, including being a pioneering figure in the "jazz rock" genre. By working closely with Inagaki and his various musical projects, Nippon Columbia really placed the company at the center of an exciting and important period in Japanese music.

In 1965, Nippon Columbia opened a recording studio in Tokyo's Akasaka neighborhood. Akasaka was also home to the first ever discotheque in Japan, the legendary MUGEN, which ran from 1968 to 1987 and where many acts performed, including Con Funk Shun, the Bar-Kays, Ike & Tina Turner, B.B. King, Sam & Dave, Three Degrees, and Edwin Starr, as well as many local Japanese singers and musicians. This melting pot of creativity in the area led to the recording of many singles and albums by Japanese artists that were infused with the sounds of soul and funk. Most of these recordings were not available outside of Japan and remain rare and unknown musical gems. The selection you are holding in your hands is an explosive collection of 10 essential tracks released by the legendary Nippon Columbia label between 1969 and 1977, capturing the raw, unapparelled energy that was flowing through the air of the Akasaka streets at this electrifying time. Enjoy!

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180GWALP07 - Manufactured and distributed by 180g.

Mirai is a 2018 Japanese animated adventure fantasy comedy film written and directed by Mamoru Hosoda and produced by Studio Chizu (known for Belle, Wolf Children and The Boy and the Beast). The film stars the voices of Moka Kamishiraishi, Haru Kuroki and Gen Hoshino a.o. It was met with critical acclaim and became nominated for an Academy Award in 2019 for Best Animated Feature Film. Additionally, the movie received an Annie Award in the same year. Mirai follows the story of a four-year-old boy named Kun whose world is turned upside down when he meets his new baby sister. After venturing into a magical garden, Kun encounters strange guests from the past and future, including his sister Mirai, as a teenager. Together, Kun and teenage Mirai go on a journey through time and space, uncovering their family's incredible story. The soundtrack for the film was written by Masakatsu Takagi, who had previously scored Hosoda's Wolf Children and The Boy and the Beast. His work for Studio Chizu has been praised for its magical and whimsical atmosphere. For Mirai specifically, this dreamy aesthetic was mixed with a contemporary sound and made to be simple in tone and be reflective of family. Mirai is available as a limited edition of 500 numbered copies on turquoise coloured vinyl and includes a 4-page booklet.

Fust--the lyrical powerhouse Southern rock band from Durham, North Carolina--announce their new album Big Ugly, out March 7th on Dear Life Records, the record label that launched the careers of MJ Lenderman and Florry and that has become a haven for contemporary songwriters. Big Ugly arrives after the release of 2024's Songs of the Rail--"one of the best alt-country compilations_in a long, long time" (Paste) -- and 2023's standout Genevieve, which unassumingly introduced new listeners to Fust's unmistakable blend of "small-town poetry" (Mojo) with a familiar yet probing "country-tinged folk-rock" (KEXP) that made it "one of the most fun rock records of the year" (Pitchfork). Genevieve was their studio debut, recorded with producer Alex Farrar (Manning Fireworks, Rat Saw God, Tomorrow's Fire) in Asheville, North Carolina. The reception was far better than the band expected, stirring them to immediately start working on Big Ugly, their second collaboration with Farrar. Recorded over ten days in June of 2024, Big Ugly is the explosive sound of Fust uncovering a freedom within their sincere form of loose and fried guitar rock, realizing more than ever before an intimacy within bigness. The members -- Aaron Dowdy, Avery Sullivan, Frank Meadows, John Wallace, Justin Morris, Libby Rodenbough, Oliver Child-Lanning--weave their voices alongside guests like Merce Lemon, Dave Hartley (The War on Drugs), and John James Tourville (The Deslondes) to form a music that sounds like a conversation between old friends. And that's exactly what it is. At its heart, Big Ugly is a story cycle, following tough-skinned characters who seem to inhabit a shared and fictional small town--Big Ugly--that in reality gets its name from a lowly populated and unincorporated area in southern West Virginia around where Dowdy's family has deep roots. The album cover_a mural from the Big Ugly Community Center just off the Big Ugly Creek--was painted by locals for a 2004 play performed by the children that interpreted their elders' stories. In a way, Fust's Big Ugly does something similar as it takes the same area as its backdrop and reimagines a life depicted in the mural between the bars, gas stations, general stores, and double-wides. Throughout the album, we join the characters in finding history and meaning in the banal theater of their own private jerkwater.The songs on Big Ugly are hearteningly varied, moving from beer-fisted radio country to elegiac drones to deconstructed ballads. Songs like "Spangled" take up the theme of past traumas and present desensitizations colliding, of the small and cosmic coinciding in the life of a heedless protagonist. "Bleached" finds the soul-searching narrator recalling the feeling of inner vacancy in their childhood: thoughtless, speechless, herded around like cattle in backseats. And "Mountain Language" laments the poverties of Southern life at the same time that it promotes a higher poverty, a country utopia that's just out of grasp, where we could live if we could only "make it up the mountain again." The mystical hermeticism and the dime-store everyday are two sides of every insignificant thing in the town of Big Ugly.

Repressed LP on Neon Orange Vinyl, includes download card. It feels like someone left the light on in the studio and it all just ran itself, there had been a funky human input earlier in the day but, by a Darwinian machine-led kind of osmosis, the tracks recorded spent the wee small hours self-reducing and simplifying themselves. Marinated in music. “I believe more in the scissors than I do in the pencil,” said Truman Capote. ”Simplicity is the ultimate sophistication,” opined Leonardo da Vinci much earlier in proceedings. Yes, it’s the space around the object, what you leave out that makes what you leave in so important. ESG know this. Sure they can play the game but it’s the swagger of the groove and the minimal topping – like an anti-cup cake – that makes this unique New York sisterhood so appealing on ‘Keep On Moving’. Sampled on TV ads, lauded by critics and swooned over on the dancefloor, ESG’s post-punk took out the grunge and polished the basics. Cut them open and “less is more” is written all the way through. ‘Keep On Moving’ was released over ten years ago to much praise (Q said it was “even better” than 2002’s much loved ‘Step Off’). ESG had been sparring partners for PiL and early hip hop and four years after the ‘Off’, they were onto something new – rhythm as core, reflective storylines about relationship management, sensuality and insanity gather around the bass fix but they’re much blurrier than the incessant beats. Inadvertently they unmask techno and glitch and leave out any kind of superfluous fluff. It’s hard and temple throbbing. Turn it up. And keep moving. “If there's one tune which sums up ESG's enduring lust for life, it's the beautifully-judged Black Flag/early techno crossover of the closing 'Gimme A Blast'.” The Guardian 5/5 // “This album's every percussive aspect has been honed to impart the maximum amount of pleasure.” The Observer // “Despite their influence on younger bands (you can hear LCD Soundsystem's knobbly grooves on ‘Insane’), ESG still sound like nothing else.” The Guardian

A valentine for black hearts! An electric array of magic sounds! The shock return of a missing legend! The surprise formation of HOUSE Of ALL by five former members of The Fall was bound to provide some pleasant surprises, not the least of which being the creation of an identity distinct from that of any specific Fall line-up, and here the band offer an steep evolution of sound of their two previous albums . . . darker, more elliptic and can we say it? A more mystical sum of talents than most groups ever manage. They've kept their open door policy to former members of The Fall and expanded it. Phil Lewis, who's stepped in live for Pete Greenway, makes his studio debut, and the long-lost Karl Burns has emerged from his mystery lair to add a third set of drums to the line-up . . . besting The Glitter Band by 50%! How this will work live has yet to be determined, but the band has already scheduled dates in Spring, 2025. House Of All Souls is somewhat more psychedelic than its predecessors, and despite seven players, each with his own particular style, the songs and production are shockingly cohesive. From the breakneck pace of first tune, Tempest And Storm to the superb album closer, Born At Dawn And Dead At Sunset, there's quite a lot to unpack - it's an album-lover's album, each track magnificent in its own way and impossible for us to pick a fave from the lot of 'em. Plenty has been written about The Fall, whose 50th birthday is just a few years off, but rare is the group with an equally perverse and persuasive influence in that period. When HOUSE Of ALL debuted, Martin Bramah remarked on it being "part of the Fall family continuum" - a matter of actual fact, given the pedigree of its members. With this, HOUSE Of ALL's third full-length album, it's proven fact that the bright lights of those multiple talents behind the band have yet to dim.

Hello Softies,
Too Slow To Disco NEO is back with a (mellow) bang

A colored, strictly limited teaser 12 Inch featuring two exclusive new tracks:
Side A - a warm, lazy dub-disco track by L.A.'s electronic-slow-disco musician TURBOTITO
Side B - a funky Vibes4YourSoul Remix for mysterious New York artist 1-900.

Both tracks will be released on our sister label Too Slow Too Disco NEO, invented by Dj Supermarkt for modern, warm Sunset Disco.

Side A is also the first track from our upcoming summer compilation THE SUNSET MANIFESTO 2.
(featuring exclusive tracks/remixes by Poolside, Young Gun Silver Fox, Prep & Eddie Chacon, Woolfy, Lovetempo, Joel Sarakula a.m.m.
Side B will exclusively be available only on this 12 Inch

The tracks take the listener on a warm trip into a modern, laidback electronic sunset disco land, where groovy Westcoast-vibes meet dreamy Balearic sounds, mixed with a modern Nu-Disco/Daytime Disco style.

Enjoy your bottled sunshine (responsibly)!

Für Fans von Britpop, Shop Assistants, The Charlatans, C86, Tallulah Gosh, Kinks, frühen Velvet Underground... und
den Primitives!
In den letzten 14 Jahren gab es so viele Veröffentlichungen. Von den vier Songs, aus denen die mittlerweile
legendäre EP von 2011 bestand, „Never Kill A Secret“, bis zu der Single, die wir vor ein paar Wochen beworben
haben, „Sweet Sister Sorrow“. Von dem Song, der auf der Girlsville-Compilation-Kassette herauskam, über die
Singles, die auf dem in Georgia ansässigen Label Happy Happy Birthday To Me (HHBTM) veröffentlicht wurden, bis
hin zur Radiosession der Part Time Punks, die sie selbst auf einer EP veröffentlicht haben (und die auch als GedenkVinylsingle für die 30-Jahr-Jubiläumstour in Japan für ihr Album „Lovely“ herauskam). Und natürlich gibt es unzählige
Singles, Maxis, Vinyls und andere Songs (wie dieses Juwel für das Weihnachtsalbum, das wir 2012 herausgebracht
haben), die bei Elefant Records erschienen sind.

When Creed Taylor was setting up his CTI label one of his proposed signings was Billy Vera. This led to a deal for Vera’s younger sister Kathy McCord. In fact, McCord was the first artist signed and recorded by CTI. Her debut, “Kathy McCord” was released in 1970.

Although the label would go on to establish a fine reputation in jazz, “Kathy McCord” was a folk rock album. A gifted young poet the 17-year old McCord wrote many of the tracks on the album which were then interpreted in the studio by a crack team of jazz musicians that included Harvey Brooks (bass), Hubert Laws (flute), John Hall (guitar) and Wells Kelly and Ed Shaugnessy (drums). Musically and lyrically both the musicians and McCord stretched out on tracks like ‘Rainbow Ride’, ‘Jennipher’, ‘Candle Waxing’ and ‘Take Away This Pain’ to conjure up an amazing fusion of folk and jazz. The only cover on show was a version of Lennon and McCartney’s ‘She’s Leaving Home’ which McCord repurposed as ‘I’m Leaving Home’.

Upon release the album sold poorly. Creed’s expertise and contacts were in the jazz field and he had no idea how to market an album of folk jazz songs sung with fragile beauty by a good looking girl still in her late teenage years. Also, when Billy Vera did not sign to CTI McCord was dropped.

Over time “Kathy McCord” attracted a dedicated following amongst folk-rock collectors in America and the UK. In many respects it was an echo of something like Deena Webster’s 1968 folk rock LP, “Tuesday’s Child” that also came, went and is now sought after.

Ace are delighted to give the world the first vinyl reissue of “Kathy McCord” since 1970. Pressed on black 180gm vinyl it also includes liner notes from Billy Vera - who has this to say about his late beloved sister: “My sister had the goods. She could sing, she could write and she looked great. Like so many other talented people, she just failed to get lucky. Listen and enjoy her. I love her stuff”. You will too...

FOR FANS OF: EISBRECHER, MONO INC., NIGHTWISH, WITHIN TEMPTATION, BILLY IDOL, THE SISTERS OF MERCY, FALCO
Mit Ihrem neuen Album „SCHWARZ VOR AUGEN“ schlagen SCHÖNGEIST ein neues Kapitel deutschsprachiger „Dark Rock/Metal/Alternative-Musik“
auf, welche sich auch konsequenterweise nicht scheut, gesellschaftskritische Debatten modern zu thematisieren wie es sich für das Wesen des
Genres gehört. Wie z.B. beim Single-Track „FAKE NEWS“. Als Resultat dieses jetzt längeren Schaffensprozesses haben es nun 10 neue Stücke
geschafft, die einerseits die bewährten Stärken von SCHÖNGEIST aufzeigen und andererseits die künstlerische Weiterentwicklung und das Potential
der Band dokumentieren.
Für die Formation SCHÖNGEIST und dessen Bandbegründer und Sänger Timur Karakus spielt Ästhetik eine zentrale Figur im musikalischen Schaffen.
Sie ist Inspiration, Maßstab, Horizonterweiterung und zugleich auch die Fähigkeit, das jeweils Schöne darin zu entdecken. In den Songs spiegelt sich
genau das wieder. Diverse Spielarten fließen barrierefrei ineinander und werden dabei lediglich vom Anspruch an musikalische Ästhetik geleitet.
Der Entstehungsprozess begann schon vor vielen Jahren zusammen mit einem unserer besten Kumpels Alexander Wessselsky von der Band
Eisbrecher. Inspiriert von Stimmung und Zeitgeist begannen wir ungezwungen Ideen und Hooklines aus dem Bauch heraus zu komponieren und zu
texten, welche nicht aus Zwang sondern aus der puren Lust und Liebe zur Musik heraus entstanden sind. So vielfältig und modern – insbesondere
stimmlich - klangen SCHÖNGEIST noch nie.

Sammy Davis Jr was a singer, actor, comedian, dancer, TV host and noted amateur photographer. But, he is perhaps best remembered for his role in the iconic film Ocean’s 11 where he played a member of the Rat Pack alongside lifelong friends Frank Sinatra and Dean Martin, a role that he lived in real life.

In 1969 he had a #11 Billboard hit with ‘I’ve Gotta Be Me’ after which he signed to the mighty Motown Records in order to reach a younger audience.

The album was released internationally in 1970 and showcased Davis at his smokin’ best covering ‘Spinning Wheel’ and ‘Wichita Lineman’ with his trademark brassy tenor. At the time Davis was a top-draw act in Las Vegas alongside Elvis with whom he developed a close relationship. He appeared in Presley’s concert film That’s The Way It Is and included a superb version of ‘In The Ghetto’ on the album. The set also includes the Motown classics ‘For Once In My Life’, popularised by Stevie Wonder’, and ‘You’ve Made Me So Very Happy’ by Brenda Holloway, co-written by the Holloway sisters and Frank “Do I Love You” Wilson.

Sammy Davis Jr was posthumously awarded a Grammy Lifetime Achievement and his legacy lives on through his screen performances and his prolific recorded output.

Break Out is the tenth studio album by American female vocal group the Pointer Sisters, released on November 1, 1983, on Planet Records. It is the Pointer Sisters’ most successful album to date,

peaking at number eight on the Billboard 200 and earning a triple-platinum certification from the RIAA, with U.S. sales alone totaling 4.5 million copies.

This edition features the hit remix of “I’m So Excited,” contributing to a total of six successful singles from the album, including “Jump (for My Love),” “Automatic,” “Neutron Dance,” “I Need You,” “Baby

Come and Get It,” and “I’m So Excited.” Break Out earned the group two Grammy Awards and two American Music Awards, solidifying its place as a highlight of the Pointer Sisters’ career.

This MOV release comes as a limited edition of 1000 individually numbered copies on purple coloured vinyl.

Hereditary is a 2018 American psychological horror film written and directed by Ari Aster in his feature directorial debut.

He later went on to direct Midsommar (2019) and Beau Is Afraid (2023). The movie stars Toni Collette, Alex Wolff, Milly Shapiro, Ann Dowd, and Gabriel Byrne.

When Ellen, the matriarch of the Graham family, passes away, her daughter’s family begins to unravel cryptic and increasingly terrifying secrets about their ancestry.

The more they discover, the more they find themselves trying to outrun the sinister fate they seem to have inherited.

The soundtrack for the movie was written, arranged, and produced by Colin Stetson. Aster tried to keep it simple for Stetson regarding the music, but he wanted one thing to be apparent: the music had to “feel evil”.

This 2LP is housed in a gatefold sleeve that includes liner notes by the director, Ari Aster.

Anna and +1 Records are proud to announce the release of her sophomore album, Someone Should Stop Her, set for February 21, 2025. Following Shoemaker’s 2023 Hey Anna, a breakup, and a cross-country move, Someone Should Stop Her marks the start of a transformative new chapter. Known for her alt-leaning production, intoxicating pop melodies, and unflinching lyricism, Anna’s music vividly captures the turbulence, charm, and self-reflection of young adulthood. This album truly chronicles her journey of personal evolution. This upcoming release embraces a stripped-back production, offering listeners the intimacy of a late-night conversation with a big sister, where vulnerability takes center stage.

2023 was a whirlwind year for Oracle Sisters. The trio—Julia Johansen, Chris Willatt, and Lewis Lazar—followed the release of their debut album Hydranism with a globe-spanning tour that captivated fans and critics alike. From the highways between Knoxville and Nashville to sold-out clubs in rain-soaked Seattle, and festival stages across the UK, they logged countless hours on the road. Their journey was a tapestry of exhaustion and exhilaration, falling apart, brawls and disputes, love and acceptance. By the year’s end, just two days before Christmas, they found themselves in Tokyo, reflecting on the fleeting nature of time and the fragments of inspiration gathered along the way. It was there the seeds for their next album, Divinations, began to sprout. Composing as a true trio for the first time, Oracle Sisters pieced together sketches formed during stolen moments on tour. These fragments coalesced into Divinations, an album shaped by the band’s nomadic existence. The recording sessions spanned cozy Parisian studios, a barn in northern France, and the storied Valentine Studios in Los Angeles. Their creative process embraced experimentation—swapping primary instruments, playing with toy drum machines, and crafting melodies on quirky tools like the OP-1 and a baby Casio keyboard. This spirit of discovery lent the album a sense of spontaneity and wonder. At its core, Divinations channels mysticism and timeless storytelling. The band’s songwriting draws on diverse influences, from the surrealist poetry of Baudelaire and Rimbaud to the introspective philosophies of Carl Jung. Musically, echoes of Talking Heads, Air, and Leonard Cohen resonate throughout the album and tracks like “Riverside” delve into existential questions— “How far are you going? Is it more than money can buy?” Elsewhere on the album “Marseille,” born in the city that gave the song its name, kicks off as a trance with lyrics that play between the sincere and desperate self-help affirmations, we give ourselves while trying to find a bridge between our individual lives and a universal feeling. Lead-single “Alouette” is Oracle Sisters at their most direct; propelled by a driving bassline and exuberant strings, the track summons the sound of 80’s, 90’s, and early 2000’s rock n roll as they sing about “getting out of dodge, finding a pirate ship and sailing home.” Inspired by the book Caliban and the Witch, “Blue Left Hand” is a lyrical tapestry weaving together history, philosophy, and cultural critique. The lyrics, “It’s in the harbor of every page / It’s in the corner of the playwright’s stage / And every player and every fake / And every witch that we burned at the stake,” reflect on the forces that shaped the capitalist society we know today. Across Divinations’ 11 tracks it’s not only geographic boundaries that were crossed but also the boundaries of time and circumstance. While their work may not consciously reflect specific worldly events, they seek to embrace the universal and offer a space for healing. “Good music would make sense to a farmer in 17th century France as it would to a pastry chef in Slovenia in the 21st century,” shares Lazar. “It’s not written for any temporal powers that be. It’s about expressing our common humanity and taking it from there.” This intuitive approach fuels Oracle Sisters creative process - whether composing in a frozen French farmhouse or performing live with an ever-expanding lineup of collaborators, the band remains committed to exploring the unknown. Through Divinations, they hope to leave listeners feeling transcendent, levitating on waves of intuition and discovery.

Heavyweight Black Vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.


Colored Vinyl Details:
Heavyweight "A side - B side solid purple + transparent blue" vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.

Peronnel:
Mustafa Abdul Rahman - Tenor Saxophone, Percussion, Producer
Ahmed Abdullah - Trumpet
Malachi Thompson - Drums
Gregory Bufford - Bass
Richard Radu Williams - Piano
Rafik Abdur Rahim
Tony Smith - Guitar
Larry Banks - Synthesizer
Khalil Abdullah - Congas
Babafumi Akunyon - Percussions
Odell Grier Backing Vocals – Fred Harley, Hilda "Asia" Richbow , Linda Hall

Notes:
In the course of our deep research, we sometimes discover a hidden thread that unites musicians, songwriters, artists, and poets linked by music. Mustafa's 'Polygamy' is no exception. Apart from the music - the main reason we decided to work on this first ever re-press, a jewel at the crossroads between jazz funk, spiritual jazz and proto rap - are the many other things that make Mustafa an intriguing and fascinating character. For starters, he was a childhood friend of the Ayler brothers with whom he played in different formations. He also played with other beloved figures such as Noah Howard and Charles Tyler, on a still unreleased album recorded for Amiri Baraka's Jihad label, and worked with The Legendary Master Brotherhood and Steve Reid. This and much more will be revealed in a detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session.

Black vinyl / 505mcn paper / 30 x 60 cm Insert with Liner Notes by Tony Higgins printed on 250 mcn Lenza Top Recycling Paper / Condensed interview to Spata Sisters and exclusive pictures.

Personnel:
Enzo Randisi - Musser Percussion Keyboards
Riccardo Randisi - Acoustic Piano, Rhodes, ARP & Korg Keyboards
Marcello Pellitteri - Drums
Giuseppe Costa - Acoustic Bass & Electric Bass Guitar
Mimmo Cafiero - Congas & Percussions
Sandro Palacino - Tenor and Soprano Saxes
Loredana Spada - Vocalist
Cinzia Spata - Vocalist
Mary Lo Giudice - Vocalist
Mariella Gueli - Vocalist

Notes:
Did someone say Summer? Sicily is what Cuba is to the Caribbean, sun, sea, easy and friendly people with lots of troubles! You won't find anything better around that identifies the summer more than this album by Enzo Randisi who at the beginning of the 80s put together a Swing Ensemble as a tribute to that "cheerful" movement of Jazz music. But Enzo and his fellas just couldn't stay on track and put in the best that the alternative Palermo area could offer in that historical period, like the sisters Cinzia and Loredana Spata, who brought the production to a next level in the vocal version of All Blues or in Chic Corea's Spain. But what really struck us was Charles Cables' version of "Quite Fire" (here missspelled as "Quite Fair"), released a few months earlier only in Japan and which would only become famous in the 90s with the Acid Jazz movement, and this tells us a lot about how hungry Enzo and Riccardo were of musical knowle, to be able to find some pearls in a city with basically no record shops and isolated...well...it's on an island! For this re-press we enlisted Tony Higgins, who recently finished a very long commitment and greenlight to delight us with his polished English...Welcome back Tony!

The Dutch band Time Bandits, formed by Alides Hidding, had national and international success. In 1981 the Time Bandits scored a big dance hit with “Live it Up”, which ended up in the number 1 spot of the American Dance Charts.

Characteristic of the Time Bandits is the professional sound of funk, disco, soul and rock and the unmistakable voice and guitar sound of Alides Hidding. In 1983, the song “I’m Specialized In You” came in second in the dutch top 40. It was a monster hit with more than 90,000 copies sold in the Netherlands and 450,000 in France. The following single “Listen To The Man With The Golden Voice” also made it to the top 10.

In October 1983 the single “I’m Only Shooting Love” reached the top 10 while the band also continued to break through internationally. The single did very well in France, Portugal, America and Australia and reached the number 1 spot in the New Zealand single charts. The Time Bandits went on tour to Australia and New Zealand and another string of hits followed.

The “Endless Road” music video was filmed in Australia during the band’s 1985 tour. The video has been viewed over 2,5 million times on Youtube.

The vinyl edition of Greatest Hits features all their hits, various remixes and 3 fan-favorite bonus tracks; “Reach Out”, “Dancing On A String” and “Endless Road (High Energy Dance Mix by Ben Liebrand)”.

This is limited edition of 500 copies, pressed on transluncet pink coloured vinyl. This 2-LP set includes an insert.

The mysterious DJ EXS lands on AOD’s sister label, DHUTT, for his debut release. Blurring the lines between garage, techno & bass music!

In Mallrat’s (aka Grace Shaw’s) vision of the world, light is more than photons and electromagnetic radiation hitting the eye — it’s a moment of divine intervention. A bold swerve into the metaphysical, this is the premise of the prized Brisbane-born, LA-based pop songwriter and producer’s 2025 sophomore album: Light hit my face like a straight right. Set against a newly informed backdrop of expressive breakbeats and dance music, its 12 songs explore the intangible and mysterious allure of human connection, held together by curious investigations into light — “the closest thing to a concept this album has,” Mallrat says. She reunited with Butterfly Blue producers Styalz Fuego (Troye Sivan, Tate McRae) and Alice Ivy, while bringing into the mix indie electronic producers Chrome Sparks and Casey MQ. Mallrat serves up highs like “Hideaway,” a song where heart-racing garage clashes with her trademark candor: “I’ll be your lucky charm just let me hang around your neck,” she sings. Sleek and early standout “Pavement” gets a gritty underlayer with chopped up vocals from DJ Zirk’s “Born 2 Lose” and mid-album standout “Hocus Pocus” finds Mallrat singing about being pulled “under the spell” of someone new, borrowing a different part of the same DJ Zirk sample to build its shimmering, dancefloor-ready facade. It’s an endeavor that perhaps reaches a peak on “Horses,” the record’s gentle and organic closer which Shaw herself calls “objectively the best song.” Written after returning home to Brisbane and “feeling like an alien,” it gained new meaning in the wake of her late sister’s passing. For Shaw, it’s the convergence of the song’s minimalism, lyrics, space, and the way her voice cracks on the recording as she sings, “Hey, I’m right here, I look different now.” After years of solidifying herself as a master of well-crafted, timeless pop — fielding recognition from New York Times, NYLON, Teen Vogue, Billboard, The FADER, NPR, and more — Light hit my face like a straight right is a step into the art of world-building, bolstered by her intuitive songwriting and clever, studied production.

Of all the nicknames given to Elvis, only one of them really seems to reflect his importance in the history of rock: they called him The King.

Together with Chuck Berry, Elvis represented the young generation that vibrated to the music with new rhythms that appeared in the Fifties: Rock’n’Roll. Presley’s personality, not to mention his voice, charm, and a whole series of chart hits, guaranteed Elvis a special place in the hearts of his fans; and not only in his own lifetime, because the same is true some fifty years later.

The thirty titles included in this album are a brilliant demonstration of Elvis’ talents, and the music alone is enough to explain the cult following of his fans, who will worship him forever.

Celebrate a decade of Going To Hell with this exclusive 10th-anniversary collector"s item. Features include material-wrapped cover with a debossed logo, a stunning 32-page spread of rare behind-the-scenes photos capturing one of the decade"s most iconic album covers, and the album in the UK and Europe-exclusive Gold and Purple Marble Vinyl. Going To Hell is the second album from New York City rock band The Pretty Reckless. It went straight into number 5 on the Billboard 200 upon release, as well as #8 on the Official UK Albums Chart, becoming the band"s first Top 10 album in the US and UK. This collector"s piece merges the visual and sonic essence of The Pretty Reckless designed for those who live and breathe rock & roll.

Celebrate a decade of Going To Hell with this exclusive 10th-anniversary collector"s White and Purple Marble LP housed in a Gatefold Sleeve. Going To Hell is the second album from New York City rock band The Pretty Reckless. It went straight into number 5 on the Billboard 200 upon release, as well as #8 on the Official UK Albums Chart, becoming the band"s first Top 10 album in the US and UK. This collector"s piece merges the visual and sonic essence of The Pretty Reckless designed for those who live and breathe rock & roll.

Efficient Space honours the memory of producer and MC Ali Omar with Hashish Hits, a posthumous selection from the dub rebel’s self-released discography.

One of ten children in working-class Liverpool, Omar drew deep influence from his father's Arabic heritage—a thread central to his identity and sample origins. After art school and a spell clubbing during Manchester's halcyon days, he relocated to Sydney, where he cofounded the blunted downbeat duo Atone with fellow British expatriate Andy Fitzgerald. As an MC, he infiltrated the city’s house, dub, jungle, and bass circuits, becoming a regular fixture at the Bentley Bar, where he commanded the mic with his versatile, rumbling baritone and charisma.

Freakishly talented in the studio, Omar was a pioneer of the Akai sampler and Atari, deftly recording live sessions straight to DAT. Drawing on industry insights from his sister, Merseybeat firebrand Beryl Marsden—who supported The Beatles on their final UK tour and was signed to Decca and Columbia—the non-conformist sought to build a self-sufficient business model. Between 1998 and 2004, he independently issued four albums on CD through his Hashish Studios imprint, hustling copies directly to local record stores and live shows for instant returns, even hand-sewing screen-printed hessian sleeves for his final release.

Uncompromising in his principles and refusing to suffer fools or charlatans, Omar relished the opportunity to collaborate with those who embodied the same spirit. Hashish Hits offers a snapshot of his inner sanctum—Fitzgerald on the opening track's billowing smoke stacks, the serpentine vocals of Gina Mitchell and the magic hands of mixer Louis Mitchell on 'On Release,' and Wicked Beat Sound System’s Kye on 'Poor Man Beggar Man Thief'. Meanwhile, 'Suicide Bomber' smoulders with the tension of a lost Muslimgauze relic, as the instructional 'Roll Up' and 'The Last Straw' spiral deeper into Omar’s signature production vortex— where space stretches in slow motion and walls reverberate with ricocheting delay.

A true icon of Sydney’s underground scene, the larger-than-life Omar passed away on 23 June 2009 after a valiant battle with cancer. He is remembered for his assertive spirit, larrikin humour, wild anarchic personality, and enduring mantra: “Love and live your life”.1

Gatefold Sleeve and on sea blue 180 GSM vinyl. Recorded as an instrumental by Tractor in Rochdale in 1971 and originally released on LP in 1972 “Shubunkin” has now been sampled by LA band Broken Bells (Danger Mouse/ Brian Burton and James Mercer, the lead vocalist and guitarist for the indie rock band The Shins) as the basis of their track “To Anyone a Ghost”. Julian Cope writes about the Tractor track “Shubunkin” : ...“Then, one night in mid 1972, John Peel played a track that was more mysterious than almost anything I had ever heard. It was the music I thereafter wanted played at my funeral and was most certainly the sound of a soul approaching the canopy of heaven as it left the earth for the last time.” ..“without the proper printed Dandelion label there to guide me, I left a blob of marker pen on the side that began with ‘Shubunkin’ and that became the ultimate beginning to any LP in my collection.” Originally Issued in late 2019 as a vinyl LP as a protest against Rochdale Boroughwide Housing’s plans to knock down four of the Seven Sisters/College Bank Flats- these blocks of flats were home to Tractor’s drummer in the 1970s as well as their manager Chris Hewitt and Andy and Liz Kershaws’ dad and a whole host of poets, musicians, tv producers etc. Many Tractor numbers were worked out in these flats prior to recording at various studios around Rochdale and Heywood. All songs written by Jim Milne and Steve Clayton. Jim Milne -vocals guitar (and bass most tracks), Steve Clayton -Drums and Percussion, Dave Addison- bass on Northern City. The album now starts the way Julian Cope always wanted to run.

Special edition repress of the groundbreaking ‘Nigeria 70’ compilation, now available on translucent green vinyl 3LP to celebrate the label’s 25th Anniversary.

Originally released in 2001, the collection set the benchmark for a new generation of archive labels and releases mining the vaults for rare Afro funk and Afro jazz fusions and helped to paint the wider picture of the 1970s Lagos scene beyond Fela Kuti's catalogue for a legion of soul, funk and dance music enthusiasts. Check!

RAWAX prouldy welcomes Costin Rp to the artist Family!
Costin is delivering since years quality releases for our Sister label called Pleasure Zone and many other great Imprints.
It was more than about time to bring the man from Romania to RAWAX! We are very happy to present you two releases in the near future.

1/4" / 15 IPS / Dolby A Analogue Copy to DSD 256 to analogue console to lathe

Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities.

Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight.

The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy.

Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn.

On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza.

Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate.

Damian Lazarus uncovers ‘SPIRITS VII’, the seventh chapter of Crosstown Rebels’ visionary annual compilation series. The eight-track package sees the Crosstown Rebels founder curate another stellar lineup of emerging and established talent for the latest instalment of the ongoing highly acclaimed series.

Since its debut in 2017, Damian Lazarus’ SPIRITS series has become a definitive platform for rising stars and established talent pushing cutting-edge sounds, consistently setting the tone for the year ahead. With the release of ‘SPIRITS VII’ this February, Crosstown Rebels continues its tradition of curating groundbreaking talent, delivering an impressive collection of tracks from both new and returning names. Building on the momentum of previous volumes, the eight-tracker offers an expertly crafted selection of deep grooves, hypnotic rhythms, and forward-thinking productions - providing a glimpse into the future of house and techno while staying true to the genre’s roots.

Opening the release, US-based duo Lisbona Sisters present ‘OK GURL’, a trippy and warping track with their original vocals that sets an otherworldly tone. Next, Netherlands-based SHARE follows releases on Mobilee and Abracadabra with ‘Oh Please…’, an acid-led cut with hooky vocals from Def Eff that leave a lasting impression. Next, Bonafique, part of the Maccabi House family, infuse ‘Desperadio’ with signature Middle Eastern influences and organic, rhythmic drums, while Dino Lenny delivers ‘I Have Sampled Father’, a playful yet off-kilter cut loaded with a kaleidoscope of diverse elements balanced by captivating grooves.

The journey continues with Upercent’s ‘Where Are You’, a dynamic composition characterised by soaring synths, sharp drums, and heavy bass licks. Collaborating on ‘Le Tourbillon’, Timo Maas & Inámo craft a hypnotic blend of grooves and sweeping melodies, perfect for late-hour moments. Recorded in his Ibiza studio, John Monkman energises the collection with ‘Colours’, a track brimming with intricate synth work, standout vocals, and dynamic sound design, before Enamour closes with ‘Jackpot’, a dreamy and hazy masterpiece featuring colourful sonics and enchanting soundscapes.

With its distinct ability to uncover hidden gems and elevate them to global recognition, Crosstown Rebels remains a leading force, and this latest edition of SPIRITS proves precisely why it remains at the forefront of the global electronic scene as one of its most vital imprints.

SeeYouSpaceCowboy... mit Frontfrau Connie Sgarbossa an der Spitze präsentieren auf ihrem dritten Album eine Mischung aus Sasscore, Punk,
Mathcore und Metalcore: ein tiefgründiger und erschütternder Hörgenuss.
Farbige Vinyl: Wine Marble

New Project from EAE.

After the worldwide success of Toribio's "Bring Dat Jazz" 12", selling over 1K units worldwide - the mainstay NYC producer returns with another record on his own BDA Imprint (in collaboration with A-Trak and Chromeo's label Juliet) for a special 12" with a Crackzat remix.
"Daylight" is a warm, uplifting deep house jam with skippy beats, warm rhodes, bass and percussion. Vocals come from Toribio's sister Sharin
with an uplifting message referencing classic 90s house lyricism.
Originally released digitally in 2024, the raw humility of that song won the hearts of listeners the world over, with nods from Resident Advisor and Spotify's coveted Pollen playlist.

Coming in next on the 12", the always on Crackazat turns up the musicality even further, with cascading pianos and strings that anchor the emotion of "Daylight", with a sly bassline nod to Speed Garage sounds. Another hit from Bristol's masterful jazz-house expert.
Also included on the 12" is Toribio's stripped down, deep-in the groove Alternate Mix.

Larkin Poe"s new album "Bloom" sees the dynamic sister duo venturing further along on their evolving musical journey with a collection of songs that resonate with introspection, authenticity, and a profound connection to their roots in American music. Produced and largely co-written by Megan, Rebecca, and Tyler Bryant, the album marks a significant evolution for Larkin Poe, reflecting a synergy that extends beyond mere musical partnership. Already hailed for the sincerity of their songcraft, the Lovell sisters now place an even greater spotlight on their gift for storytelling, delving deep into personal narratives with universal themes of self-acceptance and individuality against a backdrop of contemporary blues and rock influences. With their distinctive blend of masterful instrumentation and soulful harmonies, each track unfolds like a chapter, with lyrics that wind deeper and deeper towards the heart of Larkin Poe.

Larkin Poe"s new album "Bloom" sees the dynamic sister duo venturing further along on their evolving musical journey with a collection of songs that resonate with introspection, authenticity, and a profound connection to their roots in American music. Produced and largely co-written by Megan, Rebecca, and Tyler Bryant, the album marks a significant evolution for Larkin Poe, reflecting a synergy that extends beyond mere musical partnership. Already hailed for the sincerity of their songcraft, the Lovell sisters now place an even greater spotlight on their gift for storytelling, delving deep into personal narratives with universal themes of self-acceptance and individuality against a backdrop of contemporary blues and rock influences. With their distinctive blend of masterful instrumentation and soulful harmonies, each track unfolds like a chapter, with lyrics that wind deeper and deeper towards the heart of Larkin Poe.

The enigmatic masked producer DJ Jackum makes his highly anticipated debut on Shall Not Fade's sister label, Time Is Now, delivering four hard-hitting, genre-defying bangers that are set to dominate the bass music scene.

With an incredibly fast rise to the top in 2024, DJ Jackum has quickly proven himself as one of the most exciting and innovative voices in bass music. His bold, fresh approach breaks free from the conventional, making his sound impossible to ignore in a crowded genre. The Jack It EP is a testament to his skill, featuring four meticulously crafted tracks designed to make an explosive impact on the dancefloor.

Already garnering support from bass music titans like DJ EZ, Anz, Ivy Lab, and receiving radio play from Tom Ravenscroft, Jackum's Jack It EP is poised to create waves this winter. This high-energy release is sure to light up clubs worldwide.

The Soultrend Orchestra is a side project of the producer and musician Nerio ‘Papik’ Poggi.
Owner of the main project, Papik, Nerio Poggi has been one of the most internationally renowned Italian producers for the Nu Jazz
Lounge sound for over ten years, with around forty albums under his own name and those produced by him with solo artists or
with monothematic collections such as the ‘Cocktail’ series.
With the project The Soultrend Orchestra, Nerio Poggi has dedicated himself in particular to the Soul Jazz and Disco sound, with
a particular eye on the 70s/80s sound that starts from artists such as Roy Ayers, George Benson and Donald Byrd to arrive at the
Acid Jazz sound of Incognito and The Brand New Heavies.
The first album '84 King Street', released in 2017, was the one most dedicated to the Disco sound, also for the title that reports the
address of the legendary New York club Paradise Garage from where Disco music in the late 70s was definitively launched all over
the world by the deejays David Mancuso and Larry Levan in primis.
With the second album of 2022 'Live For Funk' the sound ranges more towards Soul and Jazz thanks to some songs that have driven it such as About Love openly inspired by the sound of Roy Ayers.
This third album, produced like the second Live For Funk together with Peter De Girolamo (aka P.A. Jeron) is due out at the beginning of 2025 and is titled Non Imagine where he continues in the search for these same sounds.
With some of his closest collaborators such as Alfredo Bochicchio, Massimo Guerra, Simone ‘Federicuccio’ Talone and vocalists
Laura Lanzillo, Erika Scherlin and Anna Fondi, the album as always also has other illustrious guests such as Wendy D. Lewis, Ely
Bruna, Nadyne Rush, Filippo Perbellini, Stevie Biondi and Nicole Magolie on lead vocals.
In the tracking list we also find some covers in this album: Lost In Music, a symbolic song of Disco by Neil Rodgers and Bernad
Edwards (Chic) made famous in the 70s by Sister Sledge, and Summer Madness, a very particular song by Kool And The Gang,
famous for its magical atmosphere here perfectly rendered by Peter De Girolamo's keyboards and Anna Fondi's voice.

The Butcher Sisters sind eine deutsche Crossover-Band, die für ihre einzigartige Mischung aus Metal, Hip-Hop und elektronischen Elementen bekannt ist. Gegründet in Köln, haben sie sich schnell einen Namen in der deutschen Musikszene gemacht, indem sie harte Gitarrenriffs, aƽressive Rap-Parts und eingängige Beats kombinieren. Ihre energiegeladenen Live-Shows und provokanten Texte ziehen eine stetig wachsende Fangemeinde an.
Die Band hebt sich durch ihren kreativen Stil und ihre rebellische Attitüde von der Masse ab und genießt mittlerweile Kultstatus in der Crossover-Szene.