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Here we go with the 10th release of Gabberhead Records

IT DEEL is the multi-year project of the Kleefstra Bros together with Popfabryk; production house for Frisian pop culture.

For IT DEEL III the Kleefstra Bros have entered into a collaboration with the Belgian multi-instrumentalist Karen Willems. Together they worked in the Thomaskerk in Katlijk on new material that was released on vinyl by Moving Furniture Records.

The Kleefstra Bros are poet Jan Kleefstra and guitarist Romke Kleefstra, both also members of Piiptsjilling, The Alvaret Ensemble, CMKK, Tsjinlûd and Kleefstra|Bakker|Kleefstra. Based on a deeply felt mission, the makers want to create awareness of the universal connection between people and nature and use the means available to them to this end: poetry and music.

The Belgian multi-instrumentalist Karen Willems is active in various fields. Started as a drummer in rock and pop groups such as Zita Swoon Group, Jan Swerts, Pascal Deweze, Yuko, Novastar, Mauro Pawlowski and others. With a number of musicians she built a tradition in improvised music and sound art. Just like the Kleefstra Bros, Karen Willems is intrigued by the forests, landscapes and nature that can be heard in her work.

Riding a wave of critical praise and positive feedback for his most recent Emperor Machine album, the fabulous Island Boogie, Andrew Meecham returns with a typically wild and dancefloor-focused set of dubs, ‘versions’ and remixes.

According to Meecham, Island Boogie is his most personal set to date – a full-length excursion that not only delivers perfectly formed expressions of his dub-tinged, off-kilter synth-boogie sound, but also tracks that draw deeply on his earliest influences and long-held musical expressions.

It’s fitting, then, that this remix EP begins with his own sparse, stripped-back ‘version’ rework of ‘S-S-S-Single Bed’, a fine cover of the mid-80s Fox single featuring the vocals of Michelle Bee. Meecham’s dub-wise revision is a skeletal and driving affair, with snippets of echoing guitar, colourful synths and Bee’s distinctive vocalisations rising above a weighty dub disco bassline and rock-solid percussion.

It's followed by two revisions of album favourite ‘Wanna Pop With You’ from A Love From Outer Space main man Sean Johnston under his now familiar Hardway Brothers alias. Combining his own love of raw, analogue-sounding electronics and trippy dancefloor psychedelia with select elements of Meecham’s original – percussion, synth sounds, crisp guitar licks and elements of Severine Mouletin’s lead vocals, Johnston’s main ‘remix’ is a weighty, mid-tempo treat. Arguably even better is his accompanying dub, which is more groove-and-effects focused and makes more of Beecham’s superb original bassline. It’s heavy, spaced-out and undeniably intoxicating.

To round off the package, long-time friend of the label (and sometime contributor) Rose Robinson dons her Tigerbalm pseudonym and gets to work on ‘La Cassette’. Brilliantly cutting up Severine Mouletin’s vocals, she delivers a driving slab of spaced-out, synth-heavy dub disco that adds more weight and energy to Meecham’s original. It’s a fittingly on-point way to close out a superb selection of club-ready revisions.

This is the only album produced in 1975 by the 11-piece Turner Brothers, who were active mainly in Indianapolis, Indiana, USA!
As the band's name suggests, the Turner Brothers were a funk band consisting mainly of the Turner brothers. From driving high-speed funk to slow ballads, the rhythm section supports the backbone of the band, and the vocals and chorus are perfectly matched to deliver a superb groove that only a family band can deliver. The band's groove is as breathtaking as a family band can be! The opening number "Running In The Rain" (M1) starts with a thunderous sound effect and is followed by a thick brass sound, while "Please The People" (M5) starts with the sound of rain and shouts, with the brass blowing in all directions, The percussive beat of "Cause I Love You" (M3) with MJ-like boy vocals, the rich sweet soul of "I Remember" (M6) that will make you cry, and the killer soul of "Sweetest Thing In The World" (M7) that should be considered the highlight of this album, are just a few examples of the many soulful tracks on this album. The album is a top-quality disc that is full of the best of soul and funk, including the killer soul "Sweetest Thing In The World" (M7), which is the highlight of the album!
This is a newly remastered reissue with the latest specifications!

alphacut sets off into brushy tribal jungle

the early 2010s have been a prosperous era for a lotta fast dance and bass music. dubstep's magic was fading due to brosounds taking over but the idea of some fresh air inbetween drums and basslines was thankfully carried on into the jungles too. not only halftime but also tribal beats grew strong, whether it being in warm dubby or cold darker reincarnations.
speaking of living on, this plate is not only a sequel to that era but also a tribute to the one like morphy, who brought dubby tribal brushy jungle onto alphacut around that time. it light up a spark to head for new territories, its soul is vibing on in 45seven and especially in this new alphacut - post morphem!

rude operator are opening with a minimal dancehall feel, wriggling from 8bar to 8bar, switching tensions with patterns with a slice of footwork dna inside - zero chances to freeze!
rainforest is stepping on with enlightening skanks and mystic basses under a riddim one simply can't escape as well.
paradox effects is not only flipping sides but vibes pretty much too. keeping it tribal and one-seventy but much darker with an amen from the vaults in a bunker-conrete jungle - the raw and free sound of leipzig.
dreadmaul is closing with a masterpiece which could have been executed by the homaged dubbing don himself. moody pads meet distant dub sirens and robotic amen leftovers step up into a hypnotising groove, taking you back down in the woods.

we are happy to be back with a solid round-up package which should never leave your tribal crates again, zooom!

Marco Beltrami and Buck Sanders' score to the zom-rom-com Warm Bodies faced a tall order: their music had to balance genuinely scary moments, romantic moments, bits of comic relief, and convey the quiet despair of a post-apocalyptic world. The duo delivers on all counts: highlights include the quirky, wittily named "Music for Airports," the strangely poignant "Zombie Bros," tense cues such as "Run for It," and hopeful tracks like "I Wanna Hold Your Hand." Elsewhere, "Admission to Dream" and "Looking for Julie/Balcony Serenade" add more depth and atmosphere to the proceedings . Marco Beltrami and Buck Sanders have collaborated in creating numerous soundtracks, including that of The Hurt Locker, for which they received an Oscar nomination for the best soundtrack in 2010.

Enjoy The Ride Records in conjunction with WaterTower Music, Warner Bros. Games, and NetherRealm Studios proudly presents the Mortal Kombat 1 (Original Video Game Soundtrack).

It's In Our Blood. Mortal Kombat 1 is the latest title in the acclaimed Mortal Kombat video game franchise developed by award-winning NetherRealm Studios. The game introduces a reborn Mortal Kombat Universe that has been created by the Fire God Liu Kang, featuring reimagined versions of iconic characters as they’ve never been seen before, along with a new fighting system, game modes, bone krushing finishing moves, and more.

Mortal Kombat 1 (Original Video Game Soundtrack) showcases the game's music by Wilbert Roget, II and features stage music composed by Dan Forden, Stephanie Economou, Nathan Grigg, Dan Negovan, Dean Grinsfelder, Casey Edwards, and Joel Corelitz.

Wilbert Roget, II is a veteran composer in the video game and film industries. He joined LucasArts as a staff composer in 2008, where he scored several games in the Star Wars universe, including Star Wars: The Old Republic and Star Wars: First Assault. He later became a freelance writer, scoring Mortal Kombat 1, Star Wars: Outlaws, Call of Duty: WWII, the Emmy Award-winning Star Wars: Vader Immortal, and many other high-profile game scores. He has also written for Japanese anime, scoring the upcoming Gundam: Requiem for Vengeance. His work has earned him several awards and nominations from ASCAP, the Game Audio Network Guild, the Academy of Interactive Arts and Sciences (D.I.C.E. Awards), and others.

Roget also co-founded Impact Soundworks, a successful music software company, and is an accomplished lecturer on game music. He frequently gives online masterclasses and tutorials on music composition and production and has a passion for teaching the craft. He is an avid multi-instrumentalist, performing solo flute, keyboards, world instruments, and guitar on many of his scores.

Available on vinyl for the first time, Mortal Kombat 1 (Original Video Game Soundtrack) is a 3xLP, housed in a soft touch gatefold jacket with spot gloss accents. It includes a full-color double-sided 12" x 24" poster.

The music industry, once revered as a realm of artistic expression and creativity, has gradually transformed into a breeding ground for commercial nonsense. The rampant commercialization of music has resulted in an environment where genuine talent often takes a backseat to profit-driven motives. It’s high time we unmask and challenge the prevailing commercial bullshit that plagues the music scene today.

In the midst of all this commercial nonsense, it’s essential to recognize that there is a thriving underground and independent music scene where authenticity and creativity still flourish. Listeners can play a vital role in reshaping the music industry by supporting independent artists, seeking out diverse sounds, and rejecting the homogenized offerings of major labels.

To combat the commercial bullshit in the music scene, we must prioritize artistry over profit, diversity over uniformity, and creativity over conformity. Only by championing these values can we hope to revive the music industry as a bastion of authentic expression and genuine talent, free from the shackles of commercial exploitation.

Hardway Bros teams up with Beth Cassidy on Rekids for a timeless ode to the legendary Murk Records The release includes a ‘coral way’ dub mix and a remix by Erol Alkan and Richard Norris’ Beyond The Wizards Sleeve.

Sean Johnston is the man behind Hardway Bros, an alias well known for wobbly, downtempo, and synth-laced disco jams which have appeared on the likes of Is it Balearic? Whiskey Pickle, and Throne of Blood over the last decade. On this single, which is a love letter to legendary early 90s label Murk Records, Johnston links with vocalist Beth Cassidy, known for her work as part of Manchester’s Sea Fever and Section 25.

Hardway Bros’ wonderful 'Murky' is deep and sensual house music. The vocal brings sultry charm, unfolding in soulful style over whimsical ambient pads and chunky drums. It oozes with character and harks back to actual songwriting of days gone by.

Beyond The Wizard's Sleeve is an alias of dance music pioneers Erol Alkan and Richard Norris. It was established to bring psyched-out, acid touches to the dance floor and has resulted in a critically acclaimed album on Alkan’s Phantasy Sound and much more. Their excellent Re-Animation is eight minutes of drawn-out disco chug, loose grooves and masterful chord work. Up last is a Coral Way dub that strips things back to the beats, layers in plenty of cosmic FX, and lets your imagination run wild on the tripped-out synth leads that pan between the stars.

Eurovision Song Contest: The Story Of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star in the film. ""Volcano Man"" was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a ""Song-A-Long"", producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little from The Black Eyed Peas. The cherries on top are vocal cameos from Eurovision champions: Conchita, Netta, Jamala, Loreen, and Alexander Rybalk. The album also features the cult hit “Jaja Ding Dong”. The soundtrack has been nominated for Best Compilation Soundtrack For Visual Media at the upcoming 63rd Annual Grammy Awards. The soundtrack from Eurovision: The Story Of Fire Saga is available on black vinyl and contains a 4-page booklet and printed innersleeve with movie stills.

Love Makes Magic, the debut LP by JIM - aka Jim Baron of Crazy P & Ron Basejam notoriety - was released in June 2023 and the album has connected with an ever growing number of fans; lured in by great songs, Laurel Canyon singer-songwriter acoustics, 60’s psychedelic folk-rock, a dash of Balearic, discoid funk and a healthy dose of yacht-rock.
The album was voted Album of the Year in the Bill Brewster Furtive 50 chart for 2023 - like a Balearic BAFTAs - and Still River Flow (Generalisation Dub) came 2nd in the tracks of the year... which was nice.

Disco Pogo, Piccadilly Records and Mr Bongo all gave the LP honourable mention in their end of year charts too.
As you’d expect with an artist who has 25 years of dance music connections the accompanying remixes weren’t bad either... Crooked Man, Ruf Dug, Flying Mojito Brothers and Generalisation all came up with fine reinterpretations. Luke Unabomber hailed The Crooked Goth version of Phoenix as his track of the year. The vinyl run of the Crooked Mixes sold out in record time.

As the remixes racked up we considered collecting them together for a remix LP. And so here we are...
presenting Love Makes Magic - The Remixes.

The five aforementioned mixes will be joined by five brand new ones from X-Press 2, Mang Dynasty, Chris Coco, Begin ( James Holroyd) and Brown Fang. Spanning pumping club bangers, perfect sunsets soundtracks and left-field electronica.
We love them.
We hope you do too..

Sie sind ein großer Fan von Videospielen? Entdecken Sie eine Zusammenstellung der besten Videospiel-Soundtracks, aufgeführt von Londons besten Filmmusikern, London Music Works. Von 'Call Of Duty' über 'The Legend Of Zelda' bis zu 'World Of Warcraft' – lassen Sie sich von diesen Videospiel-Musikuniversen überraschen! Gepresst auf klarem Doppelvinyl.

Ajay Saggar is BHAJAN BHOY. Since his debut album was released in June 2020 (“Bless Bless”) he has been receiving critical acclaim for his recorded output and his live shows. His second album “Shanti Shanti Shanti” was initially released on a limited edition cassette in November 2022 on his own Wormer Bros. Records. However, when respected label honchos at Cardinal Fuzz (UK) and Feeding Tube Records (USA) heard it, they insisted that this mighty album deserved a vinyl release. This album is part of a triptych. The other two albums in this series (“To Love Is To Love Vols.1+2”) were released in March 2023 to universal acclaim, with publications such as Mojo and Uncut and the Wire heaping praise on the two albums. "Another fine release by Dutch musician Ajay Saggar. His basic thrust is modern psychedelia, minted from radio snippets, dubby reverb flapping, elegant guitar washing, electronic drones interwoven with flashes of mock jaw harp or sploshy drums, and a generally stoned atmosphere. And the concept is spectrally sound!" (Byron Coley / the Wire magazine...January 2023) The songs on this album are varied stylistically. Combining psych, drones, minimalism, free jazz, electronic music and dub in this work, this is another album's worth of musical joy and wonder for all to enjoy.

Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beach-front Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.

Limited to 12,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.

The premium packaging and gorgeous presentation of the UD1S Van Halen pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.

Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption"? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretence, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol – a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.

As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24-track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere – Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage – humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.

Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" – announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming – and continues through the conclusion of the white-hot "On Fire," goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.

Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky: There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man." Like the man says, on Van Halen, all the flavours are guaranteed to satisfy.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior


Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Gaucho — Steely Dan's Grammy-winning seventh studio album now on UHQR!
Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl!
45 RPM LP release limited to 20,000 numbered copies
Mastered by Bernie Grundman from a 1980 analogue tape copy originally EQ'd by Bob Ludwig
Pressed at Quality Record Pressings using 200-gram Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing


Gaucho — the iconic seventh studio album by Steely Dan, released in November 1980 — and Grammy-winner for Best Engineered Non-Classical Recording, was also Grammy-nominated for Album of the Year and Best Pop Performance by a Duo or Group with Vocals. The album represents the band's musical evolution towards a more polished and sleek sound, featuring a collection of meticulously crafted songs that blend jazz, rock, and pop music, while exploring themes of decadence, longing, and disillusionment.

Gaucho opens with the title track, a jazzy instrumental piece that sets the tone for the rest of the album. The standout tracks on the album include "Hey Nineteen," a catchy and upbeat tune that features a memorable saxophone riff and lyrics about an older man's attraction to a young woman, and "Babylon Sisters," a funky and groovy track that showcases the band's impeccable sense of rhythm and melody.

The sessions for Gaucho represented the band's typical penchant for studio perfectionism and obsessive recording technique. To record the album, the band used at least 42 different musicians, spent more than a year in the studio, and far exceeded the original monetary advance given by the record label. Still, the album features multiple layers of instrumentation, carefully crafted arrangements, and the use of top-notch session musicians to create a lush and sophisticated sound that is uniquely Steely Dan.

Despite its critical and commercial success, Gaucho was a challenging album to make. During the two-year span in which the album was recorded, the band was plagued by a number of creative, personal and professional problems. MCA, Warner Bros. and Steely Dan had a three-way legal battle over the rights to release the album. After it was released, jazz musician Keith Jarrett was given a co-writing credit on the title track after threatening legal action over plagiarism of Jarrett's song "'Long As You Know You're Living Yours."

Gaucho marked a significant stylistic change for the band, introducing a more minimal, groove- and atmosphere-based format. The harmonically complex chord changes that were a distinctive mark of earlier Steely Dan songs are less prominent on Gaucho, with the record's songs tending to revolve around a single rhythm or mood, although complex chord progressions were still present particularly in "Babylon Sisters" and "Glamour Profession." Gaucho proved to be Steely Dan's final studio album that Donald Fagen and Walter Becker would make together until the year 2000.

Gaucho reached No. 9 on the U.S. album chart and was certified platinum-selling. "Hey Nineteen" reached No. 10 on the U.S. Singles Chart and went to No. 1 in Canada. Pitchfork, in its review, describes the almost "pathologically overdetermined production" as elegant, arid and a little forbidding. "Every last tinkling chime sounds like it took 12 days to mix, because chances are, it did." The New York Times deemed Gaucho the best album of 1980, beating out Talking Heads' Remain in Light and Joy Division's Closer.

Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations.

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Gaucho remains a testament to Steely Dan's enduring musical legacy and their ability to create timeless music that transcends genre and style.

EIVIND LØNNING, ESPEN REINERTSEN, ROMKE KLEEFSTRA & JAN KLEEFSTRA

For IT DEEL II the Kleefstra Bros have collaborated with the Norwegian duo Espen Reinersen and Einvind Lønning (who also collaborate as duo Streifenjunko). Ten years ago the Kleefstra Bros saw Streifenjunko perform at WORM, Rotterdam (NL), and this always stuck in memory. This is why now for IT DEEL II they got together.
The music by Reinersen and Lønning, with the use of wind instruments and electronics, is experimental, but open. It finds a way between improv, jazz and soundart. And like Jacaszek (IT DEEL I) they work with field-recordings in their electro-acoustic music. Like the Kleefstra Bros, Reinersen and Lønning are intrigued by forests, and for IT DEEL II they brought field-recordings made in the forests surrounding Oslo (NO). During the recording sessions as a quartet, they created a dialogue between the forest sounds from Oslo and the Frysian forests, and their instrumental improvisations.
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The result you find on this new LP IT DEEL II is one of contemplation about how we treat our environment, our nature, and more specific our (local) forests.

Coral Red Vinyl. Frank Zappa was instrumental in getting former Mothers Of Invention member Lowell George and his new band, Little Feat, featuring Roy Estrada, RIchie Hayward and Billy Payne, a contract with Warner Bros. Records. The eponymous first album delivered to Warner Bros. was recorded mostly in August and September 1970, and was released in January 1971. Despite good reviews of their sophomore effort, lack of commercial success led to the band splitting up, with Estrada leaving to join Captain Beefheart's Magic Band. In 1972 Little Feat reformed, with bassist Kenny Gradney replacing Estrada. The band also added a second guitarist in Paul Barrere, who had known George since they attended Hollywood High School in California, and percussionist Sam Clayton (brother of session singer Merry Clayton and the brother-in-law of the jazz saxophonist Curtis Amy) and as a result the band was expanded from a quartet to a sextet. This new lineup radically altered the band's sound, leaning toward New Orleans funk. The group went on to record 'Dixie Chicken' (1973) - one of the band's most popular albums, which incorporated New Orleans musical influences and styles - as well as 'Feats Don't Fail Me Now' (1974), which was a studio-recorded attempt to capture some of the energy of their live shows. This recording was made in between the 'Dixie Chicken' and 'Feats Don't Fail Me Now' albums. Recorded live in Denver on July 20, 1973 at Ebbet's Field.

Coral Red Vinyl. Frank Zappa was instrumental in getting former Mothers Of Invention member Lowell George and his new band, Little Feat, featuring Roy Estrada, RIchie Hayward and Billy Payne, a contract with Warner Bros. Records. The eponymous first album delivered to Warner Bros. was recorded mostly in August and September 1970, and was released in January 1971. Despite good reviews of their sophomore effort, lack of commercial success led to the band splitting up, with Estrada leaving to join Captain Beefheart's Magic Band. In 1972 Little Feat reformed, with bassist Kenny Gradney replacing Estrada. The band also added a second guitarist in Paul Barrere, who had known George since they attended Hollywood High School in California, and percussionist Sam Clayton (brother of session singer Merry Clayton and the brother-in-law of the jazz saxophonist Curtis Amy) and as a result the band was expanded from a quartet to a sextet. This new lineup radically altered the band's sound, leaning toward New Orleans funk. The group went on to record 'Dixie Chicken' (1973) - one of the band's most popular albums, which incorporated New Orleans musical influences and styles - as well as 'Feats Don't Fail Me Now' (1974), which was a studio-recorded attempt to capture some of the energy of their live shows. This recording was made in between the 'Dixie Chicken' and 'Feats Don't Fail Me Now' albums. Recorded live in Denver on July 20, 1973 at Ebbet's Field.

The debut recording by Setting, a trio comprising Nathan Bowles (solo/trio, Pelt, Black Twig Pickers); Jaime Fennelly (Mind Over Mirrors, Peeesseye); and Joe Westerlund (solo, Califone, Sylvan Esso, Jake Xerxes Fussell). Deluxe LP edition features 140g black virgin vinyl and a reverse board jacket with art by Timothy Breen. Deluxe CD edition features a gatefold jacket with art by Timothy Breen. RIYL: Popol Vuh, Brian Eno’s Ambient 4, Harmonia, The Necks. Setting, befitting its name which can be read as noun or verb, and simultaneously suggests the sun, or any star in the firmament from our earthbound perspective; a story and its surroundings, its scenic context or mise en scène; or a psychedelic experience, as in the prescription to mind one’s “set and setting” arose outdoors, uncontained and unconstrained by architecture. The group’s debut recording Shone a Rainbow Light On traverses textural, phosphorescent topography with a certified organic folk-engine. Kosmische correspondences are inevitable and valid, but also somewhat deceptive, given this meditative music’s terrestrial rootedness in the familiar natural world, more in native humus and humidity than in outer space. Fuelled by a vibratory hybrid of acoustic and electronic instrumentation, these four stately longform pieces sound like a UFO slowly sinking into a peat bog (or, as we call it in North Carolina, a pocosin). An instrumental trio comprising Nathan Bowles (solo/trio, Pelt, Black Twig Pickers) on strings, keys, and percussion; Jaime Fennelly (Mind Over Mirrors, Peeesseye) on harmoniums, synthesizers, and piano zither; and Joe Westerlund (solo, Califone, Sylvan Esso, Jake Xerxes Fussell) on drums, percussion, and metallophones, Setting established its own setting and found its footing in regularly scheduled improvisational sessions outside Westerlund’s home in Durham, North Carolina, beginning in 2021. The three players began as two, in the context of occasional Bowles and Westerlund percussion duo performances dating back to 2018. Fennelly provided the initial impetus to gather and play together with intentionality and discipline, as well as an harmonic adhesive and thickening agent in the grain and gravity of his harmonium and synthesizer. As always, Bowles’s background as a pianist and drummer informs his approach to banjo, imparting a woodiness, a piney verticality and resinous tang. Westerlund’s training with Milford Graves is apparent in his polyrhythmic flow and its correspondences to human circulatory and corporeal rhythms. They recorded their collective discoveries with engineer Nick Broste in the spring of 2022.The record begins, like the group’s name, and like the language of its unique instrumental interplay, with ambiguous grammar: “We Center,” the first and longest track at thirteen and a half minutes, builds patiently to a percolating climax of tidal heaving, with ceremonial connotations. “Zoetropics,” the shortest piece, follows, offering a more diaphanous counterpoint to the density of its predecessor. The zithery, shivering “A Sun Harp,” its title redolent of Sun Ra, showcases Westerlund’s unfettered drumming, which skitters restlessly until anchored, at its conclusion, by a minor bass progression. Finally, “Fog Glossaries” exhales through the maritime and meteorological evocations of its title, distant buoys clanging. Although certainly elements and strategies of so-called ambient and drone musical traditions are invoked and deployed, those diffuse terms feel inadequate to describe everything else happening here: the devotional valences, the minimalist rigor, and even submarine jazz inclinations perceptible beneath the surface. Throughout this four-movement program, which invites deep listening, it is often difficult to differentiate individual instruments from the massed choir of the group’s unified sonic presence. At times what sound like field recordings cicadas, birds, wind, water splash out of this slow but powerful current, only to be revealed as overtones produced by harmonium, banjo, or cymbals. Setting’s sound is fundamentally synthetic in the sense of synthesis, not artifice—in a manner remarkable for its almost entirely acoustic arsenal of instrumentation, often registering as the product of a single alien technology, perhaps the rainbow lights of that bog-marooned UFO. (“Setting,” of course, can also refer to a machine’s variable operational amplitude its temperature, volume, speed, elevation, etc.) Sometimes the most seemingly extraterrestrial lifeforms are in fact our unfamiliar earthbound neighbors. Despite the destruction of many such habitats, the coastal plains of eastern, tidewater North Carolina is home to more pocosins freshwater, evergreen wetlands with deep, acidic, sandy, peat soils than anywhere else in the world. These threatened peat-bog ecosystems are the only native environment to sustain the carnivorous Venus flytrap, among other oddities. The sonic ecosystem of Setting similarly deep, acidic, and boggy contains equivalent wonders, savage and delicate, for listeners willing to take the time to sink.

Mix a producer obsessed with 1970's Euro-Glam singles with a Los Angeles MC who's only about now & you get the freshest sound since 1988! Street smart/hood muthafukka MC meets a beat-smart/ill-informed muthafukka producer. A conscious melding of Trap Rap & Boom Bap, staying original, precise & exact. Whether you are 15 or 50, this sound will survive any fad's that will be. Special guests include Double Dee (of Double Dee & Steinski) & Don Bolles (Germs, 45 Grave). For fans of : Publilc Enemy, Gary Glitter, Jungle Bros. Roxy Music & James Brown, Twenty Dollar bills, 45 R.P.M. adapters, Fab 5 Freddy, American Muscle, Melvin Van Peebles, dogs, turntable #1 & turntable #2, Dave Lombardo (from Slayer), God & the Devil.

From small beginnings in 1974 as a local cinema and university event, Film Fest Gent has grown yearly in stature and is now recognised as one of the major destinations for the film industry. A vital component is the celebration of film music in the shape of the World Soundtrack Awards which honours the very best composers at work in the world of cinema. In 2016 the award went to one of the most brilliant composers of his generation, Ryuichi Sakamoto. This is the first overview of his remarkable catalogue of film scores, fully approved by the composer and performed by the masterful Brussels Philharmonic under the baton of Dirk Brossé. Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when director Nagisa Oshima asked him to write the score for Merry Christmas Mr. Lawrence in 1983 and also to star alongside David Bowie. In a 30 year plus career since then he has worked with the cream of film directors including Bernardo Bertolucci (The Last Emperor), Brian De Palma (Snake Eyes), Pedro Almodovar (High Heels) and most recently Alejandro Gonzalez Inarritu (The Revenant). This compilation is a fitting tribute to his status as one of the greatest living musicians and film composers.

For this album Ghetto Kumbé has enlisted an all-star roster of artists from four different continents, they’ve put together a fresh version of their debut album that’s been specifically geared to the world’s diverse slate of dancefloors, whether at home or in the club, this double 12” 45 RPM is the perfect format to experience this music. There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé who were already one of Colombia's most prominent alternative acts have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooka a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of soundsystems around the globe.a

Colour in colour vinyl, transparent and red with blue splatter. Limited to 200 copies. "I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I'm rereleasing this record on HPS and I've decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again." New album cover by Maarten Donders. Remastered by John McBain !!

A/B-Side effect green/yellow/purple vinyl. Limited to 200 copies. "I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I'm rereleasing this record on HPS and I've decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again."

Taking up the gauntlet thrown down by New York's no wave scene, many Italian bands of the early '80s, playing far from the footlights of the world's stage, began creating compelling, and often cutting edge, hybrid sounds. This kind of experimenting soon went viral along the entire peninsula: from Southern Italy to the Alps, creating a brave new Italian take on post-punk. From the nervous white funk of Neopolitans Bisca, to the instrumental explorations of Confusional Quartet, to the "fake jazz" of the Hi-Fi Bros (who even had a track produced by Arto Lindsay), to Band Aid, this collection testifies to one of the most creative periods of the Italian underground. Also features: Eazycon, Modern Model, Die Form, Funkwagen, Nofun, Hakkah, Illogico, Rinf, and State Of Art. Includes CD; CD features the previously unreleased bonus track by La Maison, "Noise Express".

«Opening Soon» is a culinary buddy movie with a background of gourmet grooves where body tricks at the turntables have been replaced by acrobatic pizza tricks. This album from Jean Tonique and Mi Man is a real tomato concentrate and ingredients cleverly dosed which abound in suave and feel good tracks. 11 tracks that we can imagine as the perfect soundtrack to accompany the dolce vita 2.0 of this great musical duo (between Mario Bros and Cheech & Chong).

A tasty and pop cuisine that gives pride of place to a nostalgia that gathers behind the tiled counter («No One Really Knows», «Memories») or on the dancefloor («Running After Time», «The Music»). We let ourselves slide and be lulled by the smoothness of the arrangements as silky as an «Extra Virgin Olive Oil».

Do The Right Thing, as they say, and it seems like those two found a way to celebrate a lifestyle full of friendly looks.

Tonique, who had already accustomed us to the spiciness of his sharp guitars continues to demonstrate a knowledge all in funk and finesse. He is accompanied by Man, who brings his sweetness and harmony. They combine their strength on this project initiated with the title «Day & Night» and its languorous disco tinged with rhodes and percussions with Salsoul accents.

If the tablecloths are white and red, we don't doubt that the inside of the delivery van is lined with silk and velvet of the most beautiful effect to "cruise" the night as in Brooklyn and East Harlem to the rhythm of «Never Get Old». Lightness and nonchalance for a songwriting full of coolness and analogical charisma boosted by a Moog which invokes the best of the 70/80's.

Iconic and timeless, with or without a disco ball, wouldn't the key word be Pizza-Yolo?

Pink Siifu’s latest release, GUMBO!, is another sprawling Afrocentric vision from one of the boldest voices in contemporary rap. Following up on 2020’s NEGRO, the album’s songs are as rich and varied as its titular stew. Siifu’s boundless style makes for an unpredictable but rewarding ride across the album’s 18 tracks, as he explores the diverse sounds of his influences and breaks new ground with a unique class of co-stars.

Siifu, born Livingston Matthews and raised between Alabama and Cincinnati, has already notched a conspicuous list of collaborations in his burgeoning career, from legendary producer the Alchemist to Australian electronic group the Avalanches. Siifu also embodies various inspirations through a range of alter-egos, often producing under the moniker “iiye,” or as half of the duo B. Cool-Aid with Ahwlee, both of which appear on GUMBO!.

The variety of guest features and production on GUMBO! only elevates Siifu’s ability to push the boundaries of genre and song structure. “Voicemails Uptown” (produced by Soulection’s Monte Booker) is the second of two back-to-back posse cuts, sporting five plus vocalists each. “Lng hair dnt care,” the album’s first single, was produced by Ted Kamal, who first garnered attention for his outside-the-box edits of contemporary rap staples. And while several of the album’s tracks are well within his bag, the jazzy, drumless loop on “Fk U Mean/Hold Me Dwn” could’ve been a cut off of his collab album with Virginia rapper Fly Anakin, FlySiifu’s.

Though rife with standout tracks, GUMBO! is greater than the sum of its parts. Siifu’s ambitious range and impressive pool of features create an otherworldly listening experience. Overall, it reflects an intense desire for self-expression and creative growth, one which he shares with many of his influences. Like Outkast, Sun Ra, Baraka, or Bad Brains, his unique soundscapes re-imagine a genre without restrictions, breaking new ground in search of artistic and personal freedom.

"When the call came from WDR Rockpalast, we were thrilled - And the joy
grew from day to day," says Peter Bursch, head of the German Krautrock
legend Broselmaschine, founded in 1968 by "Germany's most famous
guitar teacher".Back in 1968, the Heinrich-Robert coalmine in Hamm was
still in its full bloom
Coal had been mined there since 1901, the year in which the Heinrich and Robert
shafts - as they are called in miners' jargon - were "abgeteuft", followed by the
Franz shaft in 1923. On November 10, 1997, the colliery closed its doors forever.
In the colliery's former wage hall, where the miners used to receive their
envelopes with their weekly wages, Broselmaschine rolled out carpets, plugged in
cables and set up their instruments on April 20, 2021. The high-ceilinged rooms
not only provided a matchless scenery, but also the basis for a unique ambient
sound. The perfect setting for Broselmaschine. But Corona had almost
completely paralyzed public life at this point; the pandemic was taking its toll on
the entire cultural scene. Spectators were not allowed to the events. The artists
and bands gave concerts anyway, sometimes from their flats, rehearsal rooms or
in small, empty clubs, and then came to the fans' homes via live stream. This also
applied for the WDR's Rockpalast with its "Offstage" series. The makers of
Rockpalast organized concerts with performances by artists in special places
that were deserted during the lockdown. That had its own charm and was
something very special.
This was also the case with Broselmaschine. The band played almost exclusively
songs from their latest studio album "Elegy" from 2019, as well as the title track
of the previous album "Indian Camel" and as a finale the Marc Bolan cover of
"Children Of The Revolution". Broselmaschine put on a great performance, no one
missed the audience that was not physically present. But it was there, this
audience. And it was in the hearts of the musicians. You can feel this with every
note this outstanding band was playing. Never were Broselmaschine more
musically valuable than on that special occasion.But judge for yourself.
Unique Rockpalast concert OFFSTAGE from the Corona era, recorded on April 20,
2021 at Heinrich-Robert colliery in Hamm, Germany - also available on vinyl

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. EASY TO SLIP (2023 REMASTER) [3:19]
[b] A2. COLD, COLD COLD (2023 REMASTER) [3:58]
[c] A3. TROUBLE (2023 REMASTER) [2:15]
[d] A4. TRIPE FACE BOOGIE (2023 REMASTER) [3:14]
[e] A5. WILLIN’ (2023 REMASTER) [2:54]
[f] A6. A APOLITICAL BLUES (2023 REMASTER) [3:25]
[g] B1. SAILIN’ SHOES (2023 REMASTER) [2:49]
[h] B2. TEENAGE NERVOUS BREAKDOWN (2023 REMASTER) [2:10]
[i] B3. GOT NO SHADOW (2023 REMASTER) [5:05]
[j] B4. CAT FEVER (2023 REMASTER) [4:35]
[k] B5. TEXAS ROSE CAFE (2023 REMASTER) [3:43]
[l] C1. SAILIN’ SHOES (DEMO)* [2:57]
[m] C2. EASY TO FALL (EASY TO SLIP) [DEMO FOR DOOBIE BROS.] [2:41]
[n] C3. TEXAS ROSE CAFÉ (DEMO FOR DOOBIE BROS.) [3:24]
[o] C4. COLD, COLD, COLD (ALTERNATE VERSION)* [4:17]
[p] C5. ROTO/TONE [4:07]
[q] D1. A APOLITICAL BLUES (ALTERNATE VERSION)* [3:46]
[r] D2. BOOGIE – TRIPE FACE BOOGIE [3:58]
[s] D3. TROUBLE (ALTERNATE VERSION)* [2:23]
[t] D4. DORIVILLE [2:44]
[u] D5. WILLIN’ (ALTERNATE VERSION)* [3:00]

[w] E1. TRIPE FACE BOOGIE (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:30]
[x] E2. HAMBURGER MIDNIGHT (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [3:41]
[y] E3. CAT FEVER (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)*[5:19]
[z] E4. WILLIN’ (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:06]
[xa] E5. STRAWBERRY FLATS (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [3:11]
[xb] F1. GOT NO SHADOW (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [5:08]
[xc] F2. TEXAS ROSE CAFÉ (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:05]
[xd] F3. SNAKES ON EVERYTHING (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:18]
[xe] F4. HOT ROD (ELDORADO SLIM) [LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71]* [5:08]

L(oo)ping is a story that began with great trepidation and an initial polite refusal and may have never have been told. Even for Rone, who's used to making bold moves, the orchestra had always seemed a step too far.

'Motion' laid the groundwork for L(oo)ping, a journey in which Romain Allender (who worked The Grand Budapest Hotel by Wes Anderson and The Shape of Water by Guillermo del Toro amongst others) acted as a creative translator for Rone. Leafing through Rone's repertoire he selected the tracks that would better lend themselves for symphonic reinterpretations.

The eleven pieces chosen each mark a different stage in Rone's trajectory, from one of his first-ever productions, 'Bora', born in a studio flat in Paris in 2008 when he was still a student, all the way to the soundtrack composed for the 2022 short-film, 'Ghosts', written by Spike Jonze, directed and performed by (LA)HORDE. L(oo)ping isn't just an orchestral re-telling of Rone's work, however. New life has been breathed into the music through Allender's arrangements as well as Rone's own interaction with the Orchestre National de Lyon and conductor Dirk Brossé.

There's a rich dramaturgy to the music, but not once does the acoustic trample on the electronic nor vice-versa. Rather, L(oo)ping manages to achieve an elegant and playful tight-rope balance between both voices that keeps listeners hooked on suspense and surprise.

From small beginnings in 1974 as a local cinema and university event, Film Fest Gent has grown yearly in stature and is now recognised as one of the major destinations for the film industry. A vital component is the celebration of film music in the shape of the World Soundtrack Awards which honours the very best composers at work in the world of cinema. In 2016 the award went to one of the most brilliant composers of his generation, Ryuichi Sakamoto. This is the first overview of his remarkable catalogue of film scores, fully approved by the composer and performed by the masterful Brussels Philharmonic under the baton of Dirk Brossé. Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when director Nagisa Oshima asked him to write the score for Merry Christmas Mr. Lawrence in 1983 and also to star alongside David Bowie. In a 30 year plus career since then he has worked with the cream of film directors including Bernardo Bertolucci (The Last Emperor), Brian De Palma (Snake Eyes), Pedro Almodovar (High Heels) and most recently Alejandro Gonzalez Inarritu (The Revenant). This compilation is a fitting tribute to his status as one of the greatest living musicians and film composers.

Die Zusammenarbeit zwischen NEIL GAIMAN und dem FOURPLAY STRING QUARTET startete 2010, als das Sydney Opera House's Graphic Festival FOURPLAY beauftragte, einen Soundtrack zu NEILs Novelle "The Truth is a Cave in the Black Mountains" für eine Live-Performance mit ihm zu schreiben. Diese Zusammenarbeit führte zu einer anhaltenden Freundschaft und kreativen Zusammenarbeit, bei der NEIL und FOURPLAY das Konzept einer Reihe von Original-Werken rund um das Konzept des Tierkreises erarbeiteten, wobei die traditionellen Zeichen durch eine neue Sammlung von Wörtern und Objekten ersetzt wurden, die Aspekte des Lebens erkunden. Sie nannten diese Zusammenarbeit Signs. Einige der Arbeiten in "Signs Of Life" wurden für dieses Projekt entwickelt. Neben diesen Original-Werken gibt es neue Gedichte und Geschichten von NEIL, die mit der Musik von FOURPLAY verwoben sind, zwei Covers von Songs aus NEILs früheren Projekten und ein Instrumental-Stück, das von NEILs Arbeit inspiriert ist. Da sich alle Beteiligten in ihrer Kreativität immer geweigert haben, sich in eine Schublade stecken zu lassen, haben sie mit "Signs Of Life" etwas Bemerkenswertes und Einzigartiges geschaffen. Das Album ist eine großartige, bahnbrechende und genreübergreifende Zusammenarbeit zwischen einem großartigen Autor und einem einzigartigen Musik-Ensemble. Es ist teils Songwriting, teils Poesie, teils Storytelling; allumfassend schön. NEIL GAIMAN ist einer der beliebtesten und am meisten gefeierten Schriftsteller unserer Zeit. Sein Werk ist genre-, alters- und formatübergreifend und spannt einen Bogen über Romane, Fernsehen, Film, Kurzgeschichten, Comics, Hörspiele, Theater und mehr. Kürzlich wurden seine Romane "Good Omens" (gemeinsam mit Terry Pratchett geschrieben) und "American Gods" als Fernseh-Serien von Amazon Prime adaptiert. Seine revolutionäre und bahnbrechende Comicserie "The Sandman" wurde auf Netflix und Warner Bros. Television veröffentlicht und war mehrere Wochen lang weltweit die Nummer 1 auf Netflix. Das FOURPLAY STRING QUARTET ist in der Welt der Streichquartette etwas ganz Besonderes. FOURPLAY, die eher eine Band als ein klassisches Ensemble sind, improvisieren, jammen mit Ideen und verwenden außergewöhnliche Instrumental-Techniken und Effekte, um verblüffend originelle Klänge zu erzeugen. Nachdem sie zunächst durch ihre Interpretationen der Musik von Künstlern wie METALLICA, THE STROKES, RADIOHEAD, THE BEASTIE BOYS und CHARLES MINGUS weltweit bekannt geworden waren, konzentrierten sich FOURPLAY auf die Entwicklung ihres eigenen Repertoires und auf die Zusammenarbeit mit hybriden Medien und Projekten.

From small beginnings in 1974 as a local cinema and university event, Film Fest Gent has grown yearly in stature and is now recognised as one of the major destinations for the film industry. A vital component is the celebration of film music in the shape of the World Soundtrack Awards which honours the very best composers at work in the world of cinema. In 2016 the award went to one of the most brilliant composers of his generation, Ryuichi Sakamoto. This is the first overview of his remarkable catalogue of film scores, fully approved by the composer and performed by the masterful Brussels Philharmonic under the baton of Dirk Brossé. Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when director Nagisa Oshima asked him to write the score for Merry Christmas Mr. Lawrence in 1983 and also to star alongside David Bowie. In a 30 year plus career since then he has worked with the cream of film directors including Bernardo Bertolucci (The Last Emperor), Brian De Palma (Snake Eyes), Pedro Almodovar (High Heels) and most recently Alejandro Gonzalez Inarritu (The Revenant). This compilation is a fitting tribute to his status as one of the greatest living musicians and film composers.

Red Vinyl

Super smooth and funky 2 track EP, limited red 10 Inch. UK Duo Flying Mojito Bros have their unique sound, mixing several US styles together to make their own brand: Disco, Westcoast and Swamp/Stoner Rock become: Swamp Disco! (side b of our release is an edit for none other than the Grateful Dead!) They have a huge following and just released their debut album. The duo has their boots firmly planted in dusty 70s sunsets, their pan-USA productions take cosmic country funk and rock to modern dancefloors via NYC latin disco and baggy acid house - on a bed of hefty contemporary rhythms. Their music has turned party people loose in clubs, parties and late-night festival tents at Glastonbury, Bestival, Pikes Ibiza, Austin City Limits and beyond. In addition to residencies at The Social, Spiritland and Nobu, they've been invited to work their hoodoo on remixes of Flamingods, Raf Rundell (The 2 Bears), Black Peaches, Jouis, 77:78, Scott Hirsch, James Matthew VII, Katy J Pearson, Jeffrey Silverstein, Rudy Norman and more - releasing on prestigious independent labels such as Heavenly, Paper Recordings and Ubiquity. The Flying Mojito Bros have seen over a million streams worldwide and a mushrooming US fanbase.

There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that_they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé_who were already one of Colombia's most prominent alternative acts_have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooko_a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente_and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of sound systems around the globe.

Regarded by many as the greatest funk album of all time, ‘One Nation Under A Groove’ was recorded at United Sound in Detroit & included a live track from their concert appearance at the Monroe Civic Center in Louisiana in April 1978. The band’s tenth studio album released during September 1978 was also their most commercial & gave the band their first platinum disc. The iconic title track was an international hit and a US R&B No.1. With lead guitarists Michael Hampton & Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell & Walter “Junie” Morrison’s keyboard wizardry & many more, the album was produced by the genius of George Clinton. Regularly ranked at or near the top of various “best album” lists, ‘One Nation Under A Groove’ is mastered for vinyl in a deluxe facsimile gatefold sleeve with booklet & lyric inner sleeves, all housed in a protective PVC sleeve. The albums’ original bonus songs are now included on a second 12-inch “Special EP” which adds the rare 11-minute “Disco Mix” of ‘One Nation Under A Groove’ to replicate the original first UK pressing from 1978. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Intervention Records is thrilled to announce the latest release in its (Re)Discover Series, a 100% Analogue Mastered 180G LP of “The Fantastic Expedition of Dillard & Clark,” featuring singer-songwriter Gene Clark and banjo genius Doug Dillard!

"The Fantastic Expedition of Dillard & Clark" is Intervention's first 180G LP to be pressed at Gotta Groove Records in Cleveland, Ohio. In addition to having a FIRM production schedule and shipping dates that we can absolutely rely on, GGR is the only plant we've found that we believe can meet or exceed our stringent quality standards. GGR replaces its 180G stampers every 500 records just how we like, and Matt Earley and his team press beautiful records with an AMAZINGLY low noise floor !

What a time 1968 was for the burgeoning country rock scene! Gene Clark and Gram Parsons had introduced rock fans to some country flair with The Byrds’ “Sweetheart of the Rodeo.” After Sweetheart, Parsons broke auspicious new ground with The International Submarine Band (just a year before he’d make The Flying Burrito Brothers’ “The Gilded Palace of Sin”), while Gene Clark teamed with banjo genius Doug Dillard for this bluegrass classic, “The Fantastic Expedition of Dillard & Clark.”

The picking virtuosity of Dillard, Bernie Leadon and others on this LP meshes beautifully with Gene Clark’s soulful vocal presence and guitar. The repertoire is endlessly fun and engaging, but punctuated with somewhat somber Clark offerings like “She Darked the Sun” and “Something’s Wrong.”

Country rock is familiar ground to Intervention fans, as we’ve already tackled greats from The Flying Burrito Bros., and Gene Clark’s amazing solo effort “White Light.” This is the roots of the music that paved the way for the Eagles and countless others.

The Fantastic Expedition of Dillard & Clark is 100% Analogue Mastered from the 1/4" 15-ips Original Master Tapes by Kevin Gray at CoHEARent Audio! The tapes sound beautifully dynamic and alive, with tuneful bass, extended highs and three-dimensional imaging. The IR cut has better separation and punch than ANY previous version of this amazing record!

Remixes by Moodymann, Potatohead People, Moodorama.

Kenny Dixon Jr. acuminates it deep and groovy, well, it’s his holy trademark sound. Potatohead People from Vancouver have been championed by Soulection, Nightmares on Wax, Questlove, Big Boi a.o. and have releases on Jellyfish Recordings, or NY label Bastard Jazz. The duo has worked with artists such as Moka Only, Kaytranada, Pomo, Phife Dawg a.o.

On top Moodorama’s remixes are trippy dubby jams. Moodorama have a long recording history, starting in the 90s on Stereo Deluxe, but even before that Martin Sennebogen was the DJ and co-producer of Knowtoryus, the legendary first hip hop outfit on Compost.

Inkswel & Colonel Red started out writing together more than decade ago & over the time have developed quite a unique sound when recording together,..a chemistry that blends music melody & lyric into every verse chorus & hook. So when Inkswel approached Colonel Red to create the 'Holders of the Sun' album, Redz response was to move his hectic schedule around & start immediately. Inkswel dropped the beats Colonel Red dropped the vocals & some fine musical tuning & 'Holders Of The Sun' Vol1 was born….while they promise a Vol. 2.
The fantastic artwork comes from Our Machine, Netherlands, who designed a lot of sleeves for Kindred Spirit, Tom Trago, Versatile, Build An Arc and m.o.

Colonel Red is a groundbreaking soul singer, musician, producer and performer, often referred to as one of the most powerful voices in the UK soul music community, a champion in equal parts of the original Broken Beat scene, as well as the UK soul scene. Working with and writing for the likes of Teddy Pendergrass, Amp Fiddler, Maurice White, Bugz In The Attic, Tony Allen and countless others. His track 'Belive In Me' was awarded the WORLDWIDE award from Gilles Peterson in 2014.
Colonel Red’s foray into the music industry began when Epic Record company giant Sylvia Rhone signed the then lead singer, Nikki Romillie, of Pride n’ Politix, to Atlantic Records. An accompanying publishing deal with Warner Bros. established the artiste, now known as Colonel Red, as one of the UK’s top cutting edge singer/songwriters.

Inkswel has been heralded as one of the busiest and most prolific beat based producers from Australia, a true master of his craft he has worked with the likes of Talib Kweli, Lee Scratch Perry, Andrew Ashong, Dwight Trible, Amp Fiddler and countless others as well as putting out timeless musical projects on labels such as BBE, Sonar Kollekiv, Rush Hour, Warner Music, Boogie Angst and others. He hovers evenly between Hip Hop and Club sensibilities, blending new age approaches with nostalgic leans. 'Holders of The Sun' is the audio melting pot of two musical aliens, future directive soul music drenched in the nostalgia of what once was.

Bongos, bouzouki and Farfisa organ galore ! The explosive cocktail of rock'n'roll and traditional Tsifteteli hailing from 1960's Greece is still alive thanks to Deli Teli : the Marseille-based quartet performs a string of forgotten hits that once set Athens on fire, with a contagious energy and a subtle dose of Mediterranean drama.

Half a century ago, while French seasiders would dance to « Yéyé » sounds and dig the Beatles or Pink Floyd, a whole other scene was happening further along the coastline. Notably, Greek artists were a huge influence beyond the Mediterranean cradle ; Aris San's version of « Boum Pam » (a.k.a. « Bros Gremos Kai Piso Rema »), brilliantly interpreted by Deli Teli on this record, was a n°1 hit from Southern Europe to the tip of India ! Far from being an exclusive Greek sound, Tsifteteli music has travelled through borders for centuries and means « double string » in Turkish. In the 1960's, it mixed with rock'n'roll, surf and Latin-american influences, and gave birth to the typical « Laïko » sound.

With their powerful electric bouzouki (Greek lute) and the distinctive sound of the Farfisa organ, Deli Teli have carved their style while digging through the incredible goldmine of the late 60's and early 70's Tsifteteli/Laïko singles. The 4 musicians met in 2019 with a burning desire to dive into electric sensations – bassist Christos Karypidis used to play oud and keyboardist Arthur Bacon played accordion in most of his former projects – and made the most of 2020's « lockdowns » by building their repertoire and thinking up Deli Teli.

On this mini-album, they also interpret Koko's « Chily Chily », a groovy belly-dance mover ; « Ekso Dertia Kai Kaïmi », an intoxicating and frenetic floor shaker ; « Tsiftetelli 1969 », a cool organ-lead surfing instrumental ; and 2 slightly freer and more psychedelic numbers, « Taksim Deli » (improvisation) and « Bournelis », a creative re-arrangement of 2 tracks by Leonardos Bournelis.

Deli Teli preach a collective, sensual and solar hip-wiggling across the continents and beyond ; they are ready to shake our minds and bodies until we all gel together... Join the « Tsifteteli Club » now !