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Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Charles Tolliver / Music Inc ‘Live In Tokyo 1973’ 180g Vinyl (Pure Pleasure) 5/5

It’s incredible to witness this resurgence of Strata-East’s recordings over the last few years – an appreciation for the label’s ground-breaking approach to music-making, backed by a phenomenal catalogue, continues to attract listeners both new as well as its devoted faithful once again giving rise to its revered and cult-like status. The label’s return to prominence and its subsequent reintroduction to new audiences has been aided, in no small part, by reissues like these – Pure Pleasure as a prime example of a label that lovingly curates these treasured releases, repackaging them for vinyl enthusiasts the world over.

There’s certainly a keen eye that goes into the joyous task of plunging through the Strata-East vaults and although Charles Tolliver and Music Inc’s ‘Live in Tokyo 1973’ isn’t as forgotten a treasure as previous Pure Pleasure reissues of projects like Stanley Cowell’s ‘Such Great Friends’ may be, it’s no less of an incredible project to revisit in this way.

Recorded 7th December 1973, the fifth album by trumpeter Charles Tolliver and his quartet of musicians comprising Music Inc performed a 50-minute set in Tokyo’s Yubinchokin Hall. The performance was initially released through Strata-East the following year and would even be revisited a further time by Mosaic Records in 2005 as part of a three-disc box set – all of this a true testament to the masters of the craft gracing the stage on this night.

Despite the slew of releases with Music Inc, Tolliver boasts an incredible resume that has seen him perform alongside luminaries including Horace Silver, Andrew Hill, Roy Ayers, Gary Bartz amongst others. Born in Jacksonville, Florida, and raised in New York from the age of 10 years old, Tolliver’s inspired contributions to jazz couldn’t be celebrated enough – from his innumerable successes as a musician in his own right to his achievements as co-founder of Strata along with Stanley Cowell. Despite neither having any formal or business training, Tolliver and Cowell’s pioneering efforts positioned them as beacons for being an independent, black-owned success story.

With the Music Inc quartet comprised of bassist Clint Houston, drummer Clifford Barbaro and Stanley Cowell on piano, Tolliver and company present a set of five compositions including tracks from the pen of the trumpeter himself (‘Drought’ and ‘Stretch’) as well as a heralded rendition of ‘Round Midnight’ initially composed by Thelonious Monk. Kicking the project off with the exquisite slow build of ‘Drought’ which starts with Tolliver’s trumpet holding court on centre stage while the glorious crescendo builds around him. ‘Stretch’ eschews in another high-energy number before making way to the sublime lament of ‘Truth’.

‘Live in Tokyo 1973’ is certainly a project that has been afforded its due reverence over the years but once again, an exceptional performance from Charles Tolliver and Music Inc benefits from an unrivalled presentation at the hands of Pure Pleasure. By Imran Mirza/ukvibe.org - est.1993

Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde - Akira Sakata on saxophone and Takeo Moriyama on drums.

Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician.

Recorded at Kashiwa Church Chiba Pref. In Japan on 24 May 1986 by Yukio Tezuka on Sony stereo cassette recorder.

Mixed by Jim O’Rourke, Mastered by Martin Siewert. Graphic design/cover photo by Lasse Marhaug.
Liner notes by Kazue Yokoi.

HIGHLIGHTS: Let yourself go with the overwhelming musical output of Argentina's very own Melopea Discos, in a selection of songs that explore fusion with an air of mystery and a side of exquisite sensitivity across 11 carefully curated leftfield synth pop, experimental folk and ambient tracks. "Viento Sur" has been compiled by Argentine DJs and collectors Bárbara Salazar and Alejandro Cohen (dublab) based in Buenos Aires and Los Angeles respectively. Most of the songs are reissued here for the first time and many of them were previously unavailable on vinyl. Includes a 4-page insert with liner notes and photos. Remastered sound. Further Info: Viento Sur. Experimental Music & Fusion Music from Argentina. A Retrospective from Melopea Discos. Following the success of our 2020 release "América Invertida" (VAMPI 205), a fascinating survey of Uruguay's lesser-covered '80s endeavours in new wave pop, jazz-fusion, ambient folk and electronics, it's now time to cross to the other side of Rio de la Plata and let yourself go with the overwhelming musical output of Argentina's very own Melopea Discos. Born partly out of necessity and partly by a twist of fate, Melopea is a record label from Argentina created at the end of the 80s as a vehicle for the creative curiosity of its founder, Litto Nebbia, to document music not supported by the music industry. The songs that form "Viento Sur" do not provide a comprehensive vision of the different styles of the label but rather an approach to its more experimental side. This compilation puts together a selection of songs that explore fusion with an air of mystery and a side of exquisite sensitivity across 11 carefully curated tracks. From the southernmost latitudes of the American continent, "Viento Sur" brings soft and warm atmospheres that intermingle with more earthly pulses; sounds that reflect the beauty and richness of Argentina, from the jungle to the pampas, the subtlety of the forest, and the effervescence of the Río de la Plata and its neighboring candombe. "Viento Sur" has been compiled by Argentine DJs and collectors Bárbara Salazar and Alejandro Cohen (dublab) based in Buenos Aires and Los Angeles respectively. This release is presented with obi strip and a 4-page insert including liner notes and photos. Most of the tracks are reissued here for the first time and many of them were previously unavailable on vinyl. Remastered sound.

25TH DELUXE ANNIVERSARY EDITION OF AMERICAN BABYLON FEATURING LIVE TRACKS WITH BRUCE SPRINGSTEEN Grushecky and his band had been a club fixture in the Northeast for nearly 25 years when they released American Babylon in 1995. The Pittsburgh band had proven themselves to be the consummate bar band with occasional flirtations with national success. American Babylon found them teaming up with Bruce Springsteen, who handles production, plays on several tracks, and wrote two songs for the album. The title track is an uptempo rocker detailing the disintegration of societal mores. There are plenty of songs outlining love gone wrong and the struggles of common folk, all delivered in Grushecky’s warm, well-worn voice over a barroom mixture of blues-based traditional rock. However, delivered with such earnestness and spirit makes American Babylon a worthy contender and an enjoyable listen for fans of Mellencamp, Seger, and, especially, Springsteen. The 25th anniversary deluxe reissue edition will include LIVE tracks from the Houserockers’ legendary October Assault Tour recorded at an enthusiastic hometown show that same year. “American Babylon is an impassioned, sharply-etched portrait of working-stiff triumphs and travails.” -Rick Reger, Chicago Tribune “As the leader of the Pittsburgh-based Iron City Houserockers, Joe Grushecky hammered out four heartland rock albums in the late 70s and early 1980s. These won over more critics than fans, so he became a special education teacher to support his family. Still, he maintained a close relationship with Bruce Springsteen, and in 1995, they teamed up for American Babylon. The two remain tight and play together at least once a year, but this album remains their greatest joint accomplishment.” -Rolling Stone “At a time when rock had splintered into grunge, industrial, alternative, and more, Joe Grushecky planted a defiant flag in the soul of rock and roll with American Babylon--one of the very best and undeservedly overlooked albums of the 1990s, and one that sounds just as fresh, vibrant, and relevant 25 years later. Bruce Springsteen may have helped bring the album to life, but his contributions only elevate a collection of songs that in another time would have been radio classics on their own.” -Ken Rosen, E Street Shuffle

Mall Girl: «Superstar» Jansen Records 2022 «Superstar», the debut record from Norwegian art-pop outfit Mall Girl, represents an exciting new chapter for the buzzed-about band. The release follows a string of successful singles, including their 2018 track “Slay Queen,” which introduced them as an act to watch in the alt-pop arena. The chaotic year of 2020 brought a string of infectious, vibey singles, including “My Sweet Mall Girl” and the fierce “Bad Girl." Members Iver Armand Tandsether, Hannah Veslemøy Narvesen, Eskild Myrvoll and Bethany Forseth-Reichberg were forced to get creative when the pandemic hit, sidelining best-laid plans to flesh out some songs before heading into the studio together. "Because of COVID regulations and the four of us living in two different cities, we changed the way we worked with the songs quite radically in the months leading up to the studio recording,” Narvesen says. "We’ve always been very oriented towards the live performance of the songs, including when we compose them together in our rehearsal space. That way of working has led to some challenges when recording, as you end up listening to the songs in a different manner and might figure out you should have done everything differently." While others put their creative endeavors on hold, Mall Girl opted to try something different. Many of the songs on «Superstar» were tracks that the band regularly performed, but they wanted to seize the opportunity to evolve their sound even more. “We actually ended up ‘remote composing’ big parts of the album, with everyone working from their own home studio and bouncing ideas back and forth,” Narvesen explains. "This was a very welcome change of workflow for us, and it lead to us making some songs which probably wouldn’t have turned out that way had we been together in the same room." This experimental shift in their creative process led to the creation of songs bursting with infectious hooks, hypnotizing grooves and punchy lyrics.

Sixteen great tracks, a dozen of which were Muddy Waters most successful recording for Chess Records, including 'Hoochie Coochie Man' and 'I Just Want To Make Love To You', staple repertoire of British blues bands during the 60s.

Bonus CD includes the complete album 'The Best of Muddy Waters' plus fourteen bonus tracks. Digipak presentation with updated liner notes.











[k] 11. I Want You To Love Me [aka Mad Love]

Last Night From Glasgow is proud to be re-releasing theaudience's first and only album, theaudience

First released in 1998, theaudience features Sophie Ellis- Bextor's debut as a vocalist before her successful solo career, and were founded by Billy Reeves; formerly of indie group Congregation. Hotly tipped by the music press, the band released four fine singles--the latter two reaching the Top 40--before bringing out their self titled debut album in the summer of 1998.The record will feature the original LP split over 3 sides with the side 4 including the bonus tracks :"Mr. Doasyouwouldbedoneby" (original version)"I Know Enough (I Don't Get Enough)" (original version)"A Pessimist Is Never Disappointed" (Blah St acoustic version)"You Get What You Deserve" (piano version)"Keep in Touch" (piano version)"I Can See Clearly"

Limited to 200 copies!! hand-numbered

Back with his second release on DEMO TEST, Roy Vision explores the different layers of an original, raw and multidisciplinary house music.
“4” represents 4 variation styles that the producer fell for many years ago. The selected tracks were produced between 2017 and 2019, with dance in his sight, as demonstrated by the success of the track “La Danse Groove” in the eyes of House Dance lovers.

"Nina’s Talk" give off strong and mastered rhythmics; the energy of the tracks sends us directly to New Jersey of the 90’s. “Feelings” stays geographically close since it crawls in underground New York, where jazz and house music met.

“LL Tribute” is a spiritual connection between Chicago and NYC. It’s a hidden tribute to one of the main characters of the underground New York scene, between The Loft and Paradise Garage, where all social and cultural background were blending, dreaming of a passionate freedom.

Repress
Byron the Aquarius (aka Byron Blaylock), an accomplished keys player as much as he is a producer, has a deep love for the organic side of music. This shines through in his creations, back to his debut EP in 2007. More recently, Blaylock's skillful jazz beats have found a home on the one and only Jeff Mills' Axis Records. From his birthplace in Birmingham Alabama, Blaylock has grown into an international figure of acclaim for his explorative compositions.

Already having two successful EPs with Shall Not Fade under his belt - most recently marking the labels' 50th release with What Up Doe? Vol.2 - Byron the Aquarius returns for a gorgeous double LP. Expect the smoothness of deep house, melodic instrumental hip hop production of the J Dilla creed along with tight jazz pieces.

The New Beginning LP showcases range and expertise from the off, exploding with pulsing discordant jazz in "Amaya's Voyage". Psychedelic g-funk is the MO of "Smoke One For Huckaby", before a B-side milieu of jazz and hip hop reminiscent of Guru's Jazzmatazz. The album settles into a deep groove across its C-side, the highlight of which is the percussive workout of "Underground Was Black", complemented delicately with dazed pads and buoyant but smokey lounge jazz sounds in "Cosmic Jazz". Off kilter hip hop shines through in "Last Time We Gonna Do This" and its eclectic sound palette, then we are blindsided by the heavy electro distortion of "The End Of The World". The record closes with a collaboration of the genres explored throughout, pieced together into the pumping "Lost People of Tron". The album feels like a lap of honour around all the influences in Byron The Aquarius' sound - it's yet another artistic triumph.

Following on from the incredible success of 2020's "Teasin' You Again", we're proud to follow that up with one of Willie Tee's greatest double-siders and one of his very rarest 45s. Welcome to the incredible "First Taste Of Hurt" backed with "I'm Having So Much Fun".

This record was first discovered in Los Angeles in 1976 primarily for "I'm Having So Much Fun" which drew interest from the Northern Soul crowd, but then "First Taste Of Hurt" started catching on in wider circles. These days "First Taste Of Hurt" is the key side with a truly international audience across several scenes. An original Gatur copy of this will set you back £5000 and even the UK Grapevine reissue will cost you the best part of £100 these days. Expect another across-the-board Willie Tee smash which will match perfectly with "Teasin' You Again" and sell to many audiences.

Kenny Lynch was a popular singer, songwriter, actor and all-round entertainer. A self-styled “black cockney”, Kenny was one of the few people of Caribbean origin prominent in the British entertainment industry during the ‘60s and ‘70s.

During his musical career, Kenny released a number of Top 10 singles, including a version of ‘Up on the Roof’ (1962), competing with the original by the Drifters. He composed and co-wrote songs recorded by Dusty Springfield, Cilla Black, the Drifters and the Everly Brothers. He also worked briefly as a songwriter at the Brill Building in New York.

Whilst probably best known as a prolific Pop Crooner during the earlier part of his acting and musical career, we must not forget his stomping disco success of the early eighties, released under British-borne Satril Records. “Half The Day’s Gone, and We Haven’t Earne’d a Penny” was a milestone moment for British Disco. Produced by Kenny himself at Satril Studios, London 1983, this record still encompasses that organic late-70s disco sound, with true instrumentation and minimalist electronic synth elements.

This is the album’s first ever repress since 1983 and has been remastered in high-definition from the original analogue tapes. Pressed on heavyweight 180g vinyl, this is one not to be missed. Limited to 500 copies only.

Limited to 750 copies.
Pressed on Blue Vinyl.
Includes postcard and poster.
Formed in post-Postcard Glasgow as Popgun, Kevin McDermott (vocals/ guitar), Davie McCormick (drums), and Ross Drummond (bass/vocals) were joined by Roddy Johnson (guitar/vocals). In 1983, they changed their name to The Suede Crocodiles and released ‘Stop the Rain’ on the NoStrings label.
Single of the Week in both NME and Melody Maker, this jagged-edged, spiky pop-punk single caught the ear of many. The Suede Crocodiles went on to tour the UK with Nick Heyward.
The band split before releasing their second single, ‘Paint Yourself A Rainbow’ with songwriter and lead vocalist Kevin McDermott going on to form the Kevin McDermott Orchestra and having a successful solo career.

Acclaimed saxophonist, producer and composer Yasuaki Shimizu will release Kiren, his unreleased album from 1984, on the Palto Flats record label on February 25, 2022.

Liner notes by music historian Chee Shimizu, and credits in both Japanese and English.

By the early 1980s Yasuaki Shimizu had established himself on the Japanese new wave scene, producing many important experimental pop records and releasing several albums as the bandleader of
Mariah. Following the release of his widely regarded solo classic Kakashi, from 1982, and the otherworldly Utakata No Hibi, by Mariah in 1983, he went into the studio the following year with frequent
collaborators, producer Aki Ikuta and Morio Watanabe (bassist of Mariah), to record a mystifying collection of experimental dance music. Utilizing cutting-edge technology and studio trickery, Kiren
showcases Shimizu's trademark playfulness, marrying richly layered production techniques to off-kilter, sometimes traditional sounding rhythms and melodies. Portending his work with the Saxophonettes as well as forecasting trends in techno, new wave, and futuristic rhythmic music, this formerly lost album represents an important period of Shimizu's artistic expression, an artist at his peak, while successfully exploring the intersections of fusion, synthpop, new wave, and jazz.

As Chee Shimizu (no relation) writes in the liner notes, Kiren, and his concurrent release Latin were “born out of a free environment of collaboration that existed between Yasuaki and Aki Ikuta ... (exemplifying) his most energetic works.” In listening to Kiren, we might share with Yasuaki Shimizu the joy and excitement of experimentalism and movement that went into the making of this album, now released for the first time many years later.

Micheal “Eyedea” Larsen and Gregory “DJ Abilities” Keltgen first met in the mid-90s and soon began a working relationship that would play a prominent role in the burgeoning Indie-Rap movement of the time. After numerous successes across nearly every notable MC or DJ battle of the late ‘90s and early ‘00s, including HBO’s Blaze Battle, the Rocksteady Anniversary, Scribble Jam, the DMC’s and more, they had already cemented their legacies both as individuals in the battle scene and as the dynamic duo, Eyedea & Abilities, for their live performances and showmanship. However, determined not to be dismissed as one-dimensional, they set out to prove they were to be taken just as seriously at writing and recording. Together, they developed a near symbiotic creative union that produced three albums—First Born; E&A; and By The Throat—before Eyedea tragically passed away in 2010, at the age of 28.

The release of their debut album, First Born, had revealed their talents to be much more versatile and expansive than previously expected. The boastful arrogance and punchlines that had become synonymous with battling were notably scarce on the album. Eyedea chose to tackle subjects that were more conceptual and philosophical in nature, focusing on matters of reality and altered states of perception while pushing his urgent, dense delivery into darker, more abstract terrain. Meanwhile, DJ Abilities was able to craft worlds of depth and emotion, pairing hauntingly suspenseful beats with meticulous turntablism. The resulting album was rich in ambition, ideas and humanity. First Born came at the forefront of an exciting new era of underground hip-hop, delivering messages that emphasized questions over answers, ambiguity over certainty, and self-expression over exploitation, to an audience that was eager to expand their horizons beyond the commercial programming and clichés of the time.

Orange Vinyl


With his second contribution to the Lost Palms catalogue, Swansea-based producer Tom Vernon takes us by the hand and leads us with him on a contemplative journey through Japan's rural landscapes and their urban surroundings.

Following the success of his debut EP released on Shall Not Fade's sub-label Lost Palms, Tom Vernon returns with a blissed-out 5-tracker. Taking its name from the ancient temple district at the foot of the Japanese mountain, Minobu EP sees the emerging producer fuse field recordings with the stylistic tropes of house and broken beat, creating intricately woven tapestries imbued with memory and place.

The wistfully amorphous opening track "Onjuku" captures the stasis of a declining-population seaside town, taking its cue from the futile whine of the tsunami warning system that echoes daily through its empty streets. On "Minobu In The Train", the EP discovers its pulse, translated into the shuffle of maracas, reverberating cymbals and a hypnotic piano melody that New Zealand brothers Chaos in the CBD would be proud of. With instrumental-sounding percussion, a modest, throbbing bassline and the ambient backdrop of Tokyo station, "Unexpected Departure" takes jazz-infused broken beat as its reference point, and sees the EP at its most transportive. Bringing things to a close are the complex drum workouts and acid-tinged melody of "Route E52" and the more upbeat deep house track "Could This Be" with low pass filtered funk-infused melody that oozes sex appeal.

Minobu EP drops 22nd April via Shall Not Fade.

Revealed in the late 90s with his astonishing album “A Grand Love Story”, Kid Loco soon became a successful act on the international Trip Hop scene. The parisian artist is back with an album of covers called Born In The 60’s. On this record, Kid Loco pays tribute to all the acts he admires since he was a teenager, with cool tempo versions of The Rolling Stones, The Stooges, The Pink Floyd or even The Temptations.

Yosh returns with his fourth Time Is Now release. Following the success of UKG-focused 5-tracker, "The Warning" released at the end of last year, Modulate EP sees the London producer put his inimitable spin on breaks, translating into 4 tracks firmly rooted in the genre's antecedents yet offering something distinctly new.

"New Dawn" is a prime example of Yosh's priceless ability to create something which is at once hard-hitting and soulful with clattering breaks and luscious vocals which float blissfully above them. Next up, "Modulate" adds a thumping 4/4 beat into the equation, creating an assertive march with plenty of swing before "Snap Back" brings the ruffage with a sharp two-step rhythm and fierce bass womps. Finally, it's up to "Track 1" to close proceedings. A real heater, a syncopated triplet rhythm lends it its driving propulsion - almost resembling the club sounds native to northeastern regions of the US such as Jersey and Baltimore. Thudding assertively beneath the stylistic tropes of UKG, this makes for a truly unique sound and solidifies Yosh's status as a highly innovative and forward-facing producer.

The English synthpop, new wave group formed in 1977 in London and was led by Tony Mansfield, who later worked as a producer for furthermore Naked Eyes, a-ha and the B-52’s. Their success already kicked off with the first single, “Straight Lines” entered the UK Singles Chart within no-time.

Their second studio album Anywhere was originally released in
1981 and contained 12 tracks. The expanded edition contains 4
bonus tracks; “The Office”, “From The Village”, “Guitars” and the
12” version of “While You Wait”.

This expanded edition of Anywhere includes the corrected D-side and is available as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

Limited to 1000 copies.
Pressed on Blue Vinyl.
Includes postcard and poster.
The Bluebells have dug deep into their archive to give us the earliest recordings of these tracks, which have never been released before and are exclusive to this 7”
‘Everybody’s Somebody’s Fool’ is longer and more vibrant containing an extra verse and guitar solo which are not on previous versions. This is the closest recording to the one that was originally intended to be released on Postcard in 1981. The sleeve, designed by Bobby Bluebell features 2 of the earliest photos of the band.
THE BLUEBELLS were formed by songwriter / guitarist Robert Hodgens aka Bobby Bluebell in 1980. When deciding to form a group to start performing his songs, Hodgens remembered two punk musicians from Bothwell (brothers Ken and David McCluskey) he had interviewed for his fanzine, 10 Commandments. David (drums/ backing vocals) and Ken (vocals / harmonica) joined Robert and The Bluebells started performing live in and around Glasgow.
The Bluebells were soon involved in the burgeoning scene coalescing around Postcard Records in Glasgow (Orange Juice, Josef K, Go Betweens, Aztec Camera, Jazzateers), and it wasn’t long before The Bluebells were sharing stages throughout the UK with some of the Postcard groups. A single (Everybody’s Somebody’s Fool) was scheduled for release on Postcard, however after appearing on the
front page on Melody Maker and in NME / Sounds etc, major record companies started making serious offers to sign the group. The Bluebells appeared on BBC music program The Old Grey Whistle Test, the first unsigned group to do so, and it wasn’t long after this television appearance that the group signed a major record contract with London Records.
The Bluebells were soon in the studio working on songs for their debut album, with Elvis Costello producing. They were invited to open on UK tours for Haircut 100 and Elvis Costello & The Attractions, and started releasing singles to critical acclaim (Forevermore, Cath, Sugar Bridge). However it was their fourth single I’m Falling (co-written by Robert and Ken) that finally resulted in commercial success, chart success, and appearances on Top of the Pops.
The Bluebells released their debut album, Sisters, in 1984 to further commercial chart success, which was continued when their next single, Young At Heart, gave the group their second big hit single. However, when Young At Heart was reissued
in 1993, it reached number 1 in the chart for a month, making The Bluebells regular fixtures on Top Of The Pops

A Toolroom veteran of 15 years and longstanding member of the #ToolroomFamily, Dave Spoon (aka Simon Neale, or the better-known Shadow Child) made his label debut way back in 2005 with his 21st Century EP. Having released an incredible amount of music during his time with Toolroom, he is most known for his massive 2006 hit ‘At Night’ which saw a huge level of physical sales and massive radio support. Eventually being reworked with So Solid Crew’s Lisa Maffia on vocals, turning into ‘Bad Girl (At Night)’.

2012 onwards saw Simon shelve his Dave Spoon identity, creating the Shadow Child alter ego and his own Food Music record label. Having huge success with records such as 23, Climbing (Piano Weapon), Ooh Tune and his remix of AlunaGeorge – ‘Best Be Believing’.

He is a prolific artist and producer in his own right, having remixed records from high-profile artists Robyn, Paul van Dyk & Dizzee Rascal. As well as scoring multiple hit records under the Shadow Child moniker, the time is right to bring the Dave Spoon pseudonym back online. Taking form of ‘Steels’, a refreshingly new, fiery and fun party record that you won’t be able to get out of your head.

Legendary Polish Dance duo Catz ‘n Dogz are on remix duties for this one. The duo bring a refined, Disco-tinged, festival flavour to Dave Spoon’s summer hit, adding a slick groove with an emphasis on the insanely hooky records brass section. Throwing in similar elements such as the brass swells, melodic steel drum hits and the vocal cuts, Catz ‘n Dogz have created a remix that doesn’t stray too far from the original but lives completely in a world of its own.

A cut that has it all, Catz ‘n Dogz has nailed definitely nailed this remix by putting their own spin on the record whilst staying true to the originals fiery but fun feel. For sure, ‘Steels’ is a record you won’t be able to get out of your head.

After 'Transit', his successful solo debut, Safe is the second album Bert Dockx (Dans Dans, Flying Horseman, Ottla, Strand) is releasing under his own name.

This collection of songs and instrumentals navigates between threat and dream, between silence and storm. Unlike 'Transit', 'Safe' mainly consists of original work and just two interpretations (of The Velvet Underground & Ornette Coleman tracks). This time Dockx is not flying entirely solo either, he gets musical assistance from Loesje and Martha Maieu (Flying Horseman, Blackie & The Oohoos) and Thomas Jillings (Ottla, Linus). Koen Gisen, Ghent based producer for connoisseurs, is back at the controls. Together with them, Dockx paints a richly variegated and adventurous soundscape with echoes of his other musical projects.

We hear folk, psychedelia, ambient, introverted guitar rock, shaded jazz. Colourful vistas are contrasted with gloomy introspection. Careful listeners will also discover the narrative of a complex, painful, passionate love.

ARTS presents an inner section of the catalog that represents a combination of different sides of records that had a great success and impact in the scene. You will finally have chance to obtain physical versions of some of the great records that previous was in single format in our catalog all in one place.

Lander & Adriaan is a Belgian duo with drummer Lander Gyselinck (Stuff.,Beraadgeslagen,LABtrio) and Adriaan Van de Velde (Pomrad, Mauro Pawlowski, J. Bernardt).

Their common fondness for slick digital synths and 90s underground dance music genres brought them together to submerge in symbiotic jams during the very first lockdown in 2020.
After a bunch of very successful under-the-radar concerts, they recorded an album in the summer of 2021 that will be released in the spring of 2022.


Their gently disturbed mashup of 90s dance music genres like Chicago juke, Detroit techno, UK-Funky, Classic rave, corny jazz fusion and mundane jazz improv brings you to a pleasantly disturbed realm of unguilty pleasures, sheer weirdness and pure excitement.

Building on the success of a solo EP released in early 2021, Franco-American jazz pianist Tom Sochas, previously known for his work with London staple Phoenician Blinds, releases his debut album 'The Sorcerer', which introduces Tom's new trio with Greek bassist Thodoris Ziarkas and British drummer Olly Sarkar. The record is very much an ode to story-telling, to ancient myths and tales, which presents itself as a present-day reimagining of a classic character. The album follows a linear story-line through which Tom Sochas blends his love of hard hitting post-bop and his passion for western classical repertoire to create an atmosphere rich in risk and solace.

Repress!
R.A. The Rugged Man is one of the most fascinating figures in hip-hop history. His career spans decades, and defies simple narratives. The Rugged Man has been an up-and-coming star, an industry outcast banished and forgotten, an underground cult hero, an independent success story, and an influential master of the art form.

Now, R.A. The Rugged Man is back with ""All My Heroes Are Dead"", a brand new album that stands as his best work to date. “So many of the greats are gone, and the legends who made it out alive are cast aside,” R.A. explains. “Society left our heroes and their culture for dead. We have to dig that greatness out of its grave, and bring it back with an angry vengeance.” "All My Heroes Are Dead" features an all-star lineup of hip-hop heavyweights, including Atmosphere, Chuck D, Ghostface Killah, Immortal Technique, Vinnie Paz, Ice T, M.O.P., Kool G Rap, Brand Nubian, DJ Jazzy Jeff, Chris Rivers, Onyx, Inspectah Deck, A-F-R-O, Masta Killa, and more.

After 'Transit', his successful solo debut, Safe is the second album Bert Dockx (Dans Dans, Flying Horseman, Ottla, Strand) is releasing under his own name.

This collection of songs and instrumentals navigates between threat and dream, between silence and storm. Unlike 'Transit', 'Safe' mainly consists of original work and just two interpretations (of The Velvet Underground & Ornette Coleman tracks). This time Dockx is not flying entirely solo either, he gets musical assistance from Loesje and Martha Maieu (Flying Horseman, Blackie & The Oohoos) and Thomas Jillings (Ottla, Linus). Koen Gisen, Ghent based producer for connoisseurs, is back at the controls. Together with them, Dockx paints a richly variegated and adventurous soundscape with echoes of his other musical projects.

We hear folk, psychedelia, ambient, introverted guitar rock, shaded jazz. Colourful vistas are contrasted with gloomy introspection. Careful listeners will also discover the narrative of a complex, painful, passionate love.

Spectacular live recording from 1986 of two seminal figures of the Japanese avantgarde - Akira Sakata on saxophone and Takeo Moriyama on drums. Mitochondria captures the reunion of the two free jazz masters, who started playing together in the Yosuke Yamashita Trio in 1972 until 1975. For both, the experience with the trio was an important step in the development of their own career and musicianship. The recordings are a remarkable performance in which each successfully highlights the essential elements of his playing while giving of room for the other musician. Recorded at Kashiwa Church Chiba Pref. In Japan on 24 May 1986 by Yukio Tezuka on Sony stereo cassette recorder. Mixed by Jim O'Rourke, Mastered by Martin Siewert. Graphic design/cover photo by Lasse Marhaug. Liner notes by Kazue Yokoi

Tower Of Power is known to blend soul, funk, jazz and rock like no other band and has done so successfully for the past
50 years. Their debut album East Bay Grease was originally released in 1970 on Bill Graham’s Fillmore Records. The name of the album also describes its genre, which includes a “brass heavy funk-rock sound”. The album features the popular tracks “Sparkling In The Sand”, “Back On The Streets Again” and “Knock Yourself Out”.

Twice JUNO-nominated and two-time Polaris Prize listed, Toronto's soul songstress Tanika Charles unveils her album "Papillon de Nuit: The Night Butterfly".

"Papillon de Nuit: The Night Butterfly" is the third studio album from Canadian Soul/R&B powerhouse Tanika Charles and is slated to be released worldwide on Milan-based Record Kicks label on April 08th. Composed and recorded while in and out of lockdowns, "Papillon de Nuit" is an album anchored in growth and maturity. The thematic inspiration came from an unlikely source, a creature that soars after the sun sets, but often goes unnoticed until the light shines on it. It is the "papillon de nuit" to some, but drably referred to as a moth by others, revealing a bias in language alone.

"I always thought it was a strange insect. Once while in Paris, a friend swatted at one and I asked: 'Was that a moth?'. I was told: 'No, that's a papillon de nuit.' I thought that was the most beautiful description for this otherwise overlooked creature. When I later learned of the symbolism associated with it, I felt that really spoke to both my own situation and also what we've all been going through." Production on "Papillon de Nuit" was helmed by a mixture of old and new collaborators. The Safe Spaceship Records production team, consisting of Scott McCannell (Lydia Persaud, Claire Davis), Ben MacDonald and Chino de Villa (re.verse, Jessie Reyez), produced four songs on the album. The group also assisted as session musicians for songs produced by newcomer Todd "HiFiLo" Pentney (Allison Au Quartet, JUNO Award winner). "The Gumption" contributor Kevin Henkel ("Tell Me Something", "Look At Us Now") returned with three compositions, and old friend Jesse Bear (Sean Kingston, Stan Walker) contributed to one song.

Following the success of "Soul Run" (2016/17) and "The Gumption" (2019), Tanika had found a comfortable pace of releasing albums then hitting the road the following year to bring her show to new markets far and wide. So when things changed for all of us, and plans of touring "The Gumption" properly fell through, there was a realization that getting to work on the next project was the healthiest choice to make.

"I was in some dark places. My energy was stagnant and the only reliable constant was this perpetual uncertainty. I had gone from feeling like I was everywhere to only being in one place. From seeing so many new faces, to only my own, in the mirror, everyday and having to face that. Getting back to work on music allowed me to explore these feelings through the format I know best. And I wanted to make sure that when things were ready to resume, I'd be ready with something new for my audience too."

Tanika, who took part in the writing of most of the album, was also assisted by regular co-writer Robert Bolton ("Soul Run", "Remember to Remember") and accomplished solo performer Tafari Anthony (Priyanka, of RuPaul's Drag Race). Featured guests include the multi-disciplinary artist Khari McClelland and rising Toronto rapper, DijahSB. Both Dakarai Morris-James (Joanna Majoko, BeBe Zahara Benet) and Sean "D/SHON" Henderson ("Love Overdue", Serena Ryder) assisted with vocal arrangements across multiple songs.


"I think this album represents my best work to date. And yet, it also represents me coming to terms with who I am as an artist. For the first time I think I've actually accepted my own voice. I can hear beyond the imperfections, and I realized that when paired with the right music, it can sound pretty good. I still have my doubts and my dark places, but a little less of them."

Originally released by Victory Music in 1991, Tin Machine II is the second and final studio album by Tin Machine. After this album and the supporting tour, frontman David Bowie resumed his solo career.

Tin Machine II’s reputation has only increased over the years. Uncut magazine placed the album on their list of 50 Great Lost Albums (their list of great albums not currently available for purchase), calling the album “extraordinary”.

As with all Bowie albums, there are plenty of strong tracks here to make this a must have. Opening track “Baby Universal” is pure Bowie. He re-recorded this track in 1996 for his 1997 album Earthling, but the track was not released on the album. It was eventually released in 2020 on the Bowie EP Is it Any Wonder?. The first single “You Belong in Rock n’ Roll” was released ahead of the album and peaked at No. 33 in the UK. The second single “Baby Universal” achieved success on the Modern Rock chart in the USA, where it reached No. 21, and the third and last single “One Shot” became an even bigger hit, reaching No. 3.





RELEASE: 17-7-2020




• 180 GRAM AUDIOPHILE VINYL
• INSERT
• SPECIAL SPOT VARNISHED SLEEVE
• SECOND AND FINAL STUDIO ALBUM BY THE SUPERGROUP TIN MACHINE, ORIGINALLY
RELEASED IN 1991
• TIN MACHINE = DAVID BOWIE, REEVES GABRELS, TONY SALES & HUNT SALES
• LIMITED EDITION OF 5000 INDIVIDUALLY
NUMBERED COPIES ON SILVER COLOURED VINYL

SIDE A
1. Baby Universal
2. One Shot
3. You Belong In Rock N’ Roll
4. If There Is Something
5. Amlapura
6. Betty Wrong

The album’s cover (which was censored for its original USA release!) was created by Edward Bell, who had previously worked with Bowie in making artwork for Scary Monsters. The MOV cover features a spot varnish finish.

Music On Vinyl gives Tin Machine II its first vinyl re-release since the 1991 original, and it’s pressed on coloured vinyl for the very first time. The initial pressing is a limited edition of 5000 individually numbered copies on silver coloured vinyl.

By far the most unexpected hit record of 2011 was the 29th and final studio album from an 89 year-old Doris Day. My Heart hit the charts in the U.S. and went all the way up to #9 in the U.K., triumphantly capping a legendary singing and acting career. But this record and its chart success was, if you’ll excuse the pun, no mere sentimental journey. The heart of My Heart is a series of songs recorded by Doris in the mid-‘80s as background for scenes featuring her with various animals on the Doris Day’s Best Friends television show, many of
them written by her son, Terry Melcher, whose production credits, of course, include The Byrds and Beach Boys. Melcher also lends a bravura vocal turn to “Happy Endings” and is the subject of a heartfelt preamble by Doris on “My Buddy.” And without question Terry’s influence lay behind her superb, jaunty cover of the Lovin’ Spoonful’s “Daydream.” In short, My Heart was a touching, tuneful love letter from Doris to her deceased son; and now, in honor of her centennial, we’re bringing it to LP for the first time, remastered for vinyl by Mike
MIlchner at Sonic Vision, and pressed in green vinyl complete with an insert featuring liner notes. A beautiful record from a beautiful lady.

American R&B and soul singer and producer Al Johnson debuted as lead singer of The Unifics in the mid 60's and enjoyed a successful career as songwriter and producer after leaving the group. He is also well known as a producer of Terry Huff's classic album The Lonely One.

His first album Peaceful was released from a minor label called Marina Records in 1978 and was produced by Lloyd Price.

"Marvin Gaye's Trouble Man adapted and conducted by Low Res"

Marvin Gaye was extremely proud of his pioneering film score for the “blaxploitation” film “Trouble Man”. In 1982, he commented:
“The "Trouble Man" film score was one of my loveliest projects and one of the great sleepers of all our time. I'll probably be dead and gone before I get the probable acclaim from the "Trouble Man" album, musical track, that I feel I should get. And put to a symphony, if someone took my album and did a symphony on it, I think it would be quite interesting.”

American musician Daniel Zelonky (AKA “Low Res”) had been captivated by this record for decades. Given the opportunity to recreate and conduct the entire film score live with a 36 piece orchestra at Voohuit, a beautiful classical venue in Gent, Belgium he set about meeting this daunting challenge: to be faithful to the feeling of the original and yet to create something "new", to expand upon certain elementts in a formal way, no "jamming" on the themes.

After a very successful performance, the resulting recordings were augmented in studio with additional instrumentation, and with the vocals of Blackwolf, singer of the late, lamented "Kings Go Forth" (Luaka Bop Records).

We think that the crate-digging denizens of the original soundtrack, and the curious Marvin Gaye fans alike will find much to enjoy in this 50th Anniversary tribute to Marvin's Blaxploitation masterpiece!

Motown Collected brings together the biggest names in the rich history of this legendary label. From very early singles to the artists that made Motown a household name for decades to come and the cross-over pop success of the late 70's and 80's. Featuring legendary artists like Marvin Gaye, Stevie Wonder, The Supremes, Jackson Five, Smokey Robinson and The Commodores, as well as gems from the likes of Marv Johnson, Barrett Strong, The Marvelettes and Tom Clay and pop superstars Rick James, Michael Jackson, Diana Ross, Lionel Richie and Debarge: just a selection of the 33 incredible tracks featured on Motown Collected.

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

"Gregory Porter’s GRAMMY-nominated debut studio album Water was released in 2010, and is now re-issued on Blue Note.

The album was recorded in the summer of 2009. The tracks include love stories, such as Illusion and Pretty, or protest for African-American civil rights, such as 1960 What? which recounts the 1967 Detroit riots. Gregory Porter also covers saxophonist Wayne Shorter's Black Nile with added lyrics. He also did an a cappella rendition of Feeling Good, made famous by Nina Simone in particular. Water was hailed by fans and critics alike, elevating Gregory Porter to the status of the next great male jazz star and marking the beginning of his successful career:

“Porter aptly refers to Water as “an album of love and protest,” though love is the clear victor. From the starkly beautiful “Illusion”, a hushed ode to a lost paramour; and rapturous “Pretty”, reminiscent of “A Taste of Honey”; to the percolated joy of “Magic Cup”, Porter knows how to get to the heart of the matter."" - Christopher Loudon, JazzTimes."

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Stalactite is a collaborative recording project by renown Japanese artist and multi-instrumentalist Susumu Mukai AKA Zongamin and producer Drew Brown, whose discography ranges from his own group Off World to a variety of integral productions for artists such as Blonde Redhead and Beck. Their self-titled debut for the ESP Institute is a grand gesture, a broad stroke that illustrates both singular focus and vast complexity, which is no easy feat considering the almost oppressive immediacy and availability of tools at the disposal of contemporary artists. There’s a level of creative confidence and discipline needed to work so fundamentally, and whether or not the listener has an appetite refined enough to process the tasteful subtleties throughout this production, these same subtleties accumulate regardless and land that listener in a highly considered and developed space. The deceptively naive melodic approach consistent across these nine tracks can feel transparent, familiar to a point the listener can anticipate its path, but when listening with acute focus we find a variable range of texture, temperature, depth and negative space. As alumni of the Minimal, Cold Wave, Synth Pop era, Susumu and Drew successfully personify a motley crew of synthesizers to work in concert, reduced to their core personalities and presented as their most honest selves — austere, shy, cinematic, percolating, bulbous, glistening, cantankerous, rubberized, clumsy and animated. Each masterfully paired with complimentary counterparts, these players assemble into a sound-stage we typically find in live recordings, enveloping and inviting us to the center of an acoustic cavern to wade through sonic impressions of monolithic stalactites.

After the incredible success of Polygondwanaland in 2017, we want to give everyone a chance to get their lucky hands on these King Gizzard albums, so let’s make it real together one more time! MAKE IT VINYL!