Cerca:the double x

Famous present their first vinyl release, a double EP comprising their lauded 2021 EP The Valley on side A, and their equally acclaimed 2019 debut England on side B. The Valley is an intense, engrossing body of work from a band firmly stepping into their own space, foregoing the easy route, whilst interrogating themselves and everything around them. References to Soundcloud rap stand side-by-side with Greek Tragician Euripedes, along with the white noise of endless Simpson’s repeats colliding with daydreams of settling down and one day owning a gilet. It’s both complex and accessible, the sound of a silver-lining appearing from a dark cloud. England presents a distinctively hyperbolic, mythic re-imagination of urban life; using theatricality and the emotional authority of art to navigate the chaos of anxiety. The music is, nonetheless, thoughtful and surprising, as shown by the six self- contained yet interconnected tracks that make the whole. Opener ‘England 2’ is a rumbling call to arms that ushers in the haywire ‘Surf’s Up!’. The heart of the record is the two-punch of tainted-pop cut ‘Forever’ and the skittish paranoia of ‘Jack’s House’. All that remains is the expansive, circling ‘2004’ before the most tender moment ‘My Crumpet’ closes the show. Famous live shows are intense brash affairs. Alternating between the pathetic showmanship of Vegas-era Elvis and the controlled experimentations of post punk, the band has built a reputation as one of the best live acts on the London underground circuit. Playing shows with Black Midi, Sports Team, Jockstrap and supporting Black Country, New Road on their full UK tour, Famous has undeniably placed itself at the centre of that new generation of English bands. 2022 sees the band playing major festival dates and venues across Europe, alongside supporting Los Bitchos on tour in France, in April.

The masterful progressive sludge metal outfit Intronaut (USA) released their fifth album in 2015. This long sold out piece of underground art now makes a quick comeback in a limited-to-999 copies edition on double purple vinyl, wrapped in a gatefold jacket.

Intronaut from Los Angeles have for years been at the vanguard of progressive underground sludge metal. Their 2013 album Habitual Levitations has been sold out for years, and is now making a comeback as a limited-to-999 green double vinyl edition, wrapped in a gatefold jacket

Double gatefold album including Slift’s first 2 albums on Black vinyl!

Space Is The Key:

Recorded and mixed by Lo Spider at Swampland, Toulouse.
Art by Pierre Ferrero.

Jean F./ guitar, vox
Rémi F./ bassVI, vox
Canek F./ drum

Originally out on Howlin Banana Records and Exag Records / June 2017.

La Planete Inexploree:

Originally out September 2018 via Howlin Banana Rds / Stolen Body Rds / Exag' Rds/ Six Tonnes de Chairs Rds and Rockerill Rds.
Tape edition on Ya Ya Yeah.

SLIFT //
Jean Fossat - Guitar, Synth, Vox
Rémi Fossat - Bass, Vox
Canek Flores - Drums, Percussions and Farfisa

Additionnal musicians //
Ornella Mesple Somps - Vox
Lucie Lelaurain - Flûte
Yann Favier - Congas and Percussions
Lo Spider - RE 201 and Percussions

Recorded and mixed by Lo Spider at Swampland, Toulouse.
Mastered by Jim Diamond

Taking direction from both the cinematic song stylings of sardonic yet
unfettered troubadours like Randy Newman, Brian Wilson, and Harry
Nilsson and the "visual scoring" of indie pop song placement in 21stcentury films, Best Move's music suggests the sound of a decade of
winding, disparate avenues finally convening in a perfect center
The Sacramento-based trio is composed of Kris Anaya, Joseph Davancens, and
Fernando Olivia. Anaya, a talented songwriter with a penchant for wry, offbeat
guitar-based folk-pop songs, and Davancens, who holds higher education degrees
in avant- garde composition and jazz double bass, formed the electronic act
Doombird together in 2016, but in 2019 the pair gravitated back to what they
consider more natural inclinations: organic instruments, earnest songwriting, and
a more true-to-themselves direction. Adding Oliva, Best Move was born. Many of
Best Move's songs maintain an intentionally similar sonic feel. Guitars strum and
piano twinkles while a layer of manipulated or synthesized instruments spread a
hazy overtone on top of it all, and steady yet minimal drums keep things moving.
Lyrically, the standards prevail - love, loss, friendship, searching for purpose - but
the themes bubble under the surface of a sea of metaphor, leaving the listener to
decipher the message in their own way. Anaya calls the sound a "thank you to the
past," and while a warm, familiar tone echoes throughout the band's universe,
something unmistakably modern remains.

The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017's breakthrough double-album Patterns Of Consciousness. 2019's acclaimed Ecstatic Computation pushed even further with the lead single "Fantas", where a haunting melody hurtling towards its supernova climax felt like witnessing the life and death of a burning star. Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet - a journey through inner-space as vast as a universe and as intimate as a heartbeat. The Spirit Exit opens and we fall in.

TRANSMISSION REISSUE CLASSIC INSTRUMENTAL COMPILATION
FROM THE LEGENDARY PORCUPINE TREE

'Voyage 34', an instrumental composition from 1992/93, is a journey split into 4 phases that rocks for over an hour, this was P.T.'s entry into the ambient trance genre popularised by artists such as the Orb. Combining trance rhythms alongside more typical Porcupine Tree textures & guitar solos, 'Voyage 34' was a big hit in the ambient/ chill out club scene of the early 1990's (when it was originally issued across two 12" singles). Following the now sold-out first box set
of Porcupine Tree's 'Delerium Years' & the near sold-out second box set, Kscope are re-releasing the band's records from the era, including 'Voyage 34', as a series of LP's presented in gatefold packaging.

This double LP version features the tracks remastered by Steven Wilson in 2016 with more naturalistic dynamics & EQ - remasters previously only available in 'The Delerium Years 1991 – 1993' box set.

The artwork was completely redesigned for the original re-release & contains new images from long- term collaborator of Porcupine Tree frontman & founding member Steven Wilson, Lasse Hoile.

In Wilson's own words, "The whole point about 'Voyage 34' was an exercise in genre. In that sense it stands apart from the rest of the catalogue...back in the early Nineties, there was an explosion in ambient music, a fusion of electronic music & techno music with the philosophy of people like Brian Eno & Tangerine Dream. "

"The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“

Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

Repress incoming...

Far Out Recordings proudly presents Milton Nascimento's Maria Maria. Recorded in 1974 and unreleased until almost thirty years later, the album was written as the soundtrack to a ballet which dealt with the legacy of slavery in Brazil. Raw, atmospheric and emotionally charged, Maria Maria reveals one of Brazil's greatest ever songwriters at his creative peak. Featuring an all-star cast of fellow Brazilian legends including Nana Vasconcelos, Joao Donato, Paulinho Jobim, and members of Som Imaginario, Maria Maria holds what Milton considers to be the definitive versions of some of his classic songs, including 'Os Escravos De Jó' and 'Maria Maria'.

Originally released in 2003 as a double CD package, with Milton Nascimento's 1984 follow up ballet soundtrack Ultimo Trem, Maria Maria will be available on vinyl for the very first time from December 2019, with Ultimo Trem set for vinyl release early 2020.

Milton Nascimento possesses one of the most immediately recognizable voices in Brazilian music: high and sweet and as breathtakingly sublime as that of any soul singer. It was this voice that the legendary Brazilian singer Elis Regina fell in love with back in 1964, having heard Milton perform his song 'Canção do Sal (Sultry Song)' at a private party in Sao Paulo. Ellis went on to record the song in 1967 -giving Milton his first hit in Brazil and beginning a career that has spanned over 50 years.

Born in Rio on the 26th October 1942, Milton moved with his adoptive parents at the age of 18 months to Tres Pontas, a rural town in the state of Minas Gerais, 500 miles north of Rio. He began his musical career as a young teenager, singing in a crooner style he learnt from listening to Brazilian singers and US groups such as The Platters on the radio. Hungry for more opportunities to perform, Milton moved to Belo Horizonte, the capital of Minas Gerais, at the age of twenty. By the beginning of the 60s Milton had made a name for himself both as an accomplished singer and guitarist.

Milton became part of a local network of musicians, film makers, dancers, theatre directors and writers that included the journalist and song writer Fernando Brant as well as lyricist Marcio Borges and his younger brother Lo Borges. Together these four wrote and produced what would become Milton's milestone album, 'Clube da Esquina (Club on the Corner)'. The originality of 'Club da Esquina' shaped the local scene, and it reflects the essence of 'the Nascimento Sound'. Milton's religious upbringing as an Afro-Brazilian Catholic saw him exposed to church choral music from an early age. His love of this genre of music is apparent in both his celestial falsetto and vocal choral arrangements. This collection also displays his early fascination with evocative, non-verbal, scat-style singing, spare, harmonic guitar work and local folk music, jazz and rock.

In 1976, Milton and Fernando Brant teamed up with a new contemporary dance company called Grupo Corpo, whose Argentinian choreographer Oscar Araiz, would become a collaborator with the two musicians. Together, they conceived a show based on the composite life story of the daughter of a black slave called Maria. Nascimento wrote music to Brant's lyrics and "Maria Maria" was premiered in the main theatre of the Belo Horizonte Palacio das Artes that year. "Fernando wrote the lyrics for the ballet, but there were originally no lyrics for the theme song, "Maria Maria'". Milton and Fernando worked on the lyrics together, basing them on folk stories about black women of the countryside. Adds Milton "These memories are mostly things that we witnessed – Fernando and I – rather than what we experienced ourselves.

Milton's music is impressionistic, emotional and romantic. Relying on songs without lyrics as well as evocative vocalizing and choruses, Milton experimented heavily with Afro-Brazilian percussion and taped jungle sounds. His composing method for these recordings was highly unconventional: "I wrote the music for 'Maria Maria' in a tiny Rio apartment with friends and their kids running around and having fun! I love to be in noisy places, surrounded by people", he says.
The music on 'Maria Maria' was performed by an impressive group of young musicians who are today household names in Brazilian music, including Naná Vasconcelos (percussion and effects), Toninho Horta (guitars) and Paulo Moura (sax). Several vocalist including Naná Caymmi, Fafá de Belém, Beto Guedes, and Milton himself, had hits in years to come with reworkings of these songs.

Milton says his compositions follow his visions "like a movie", and he believes that reflects his long love affair with cinema. "I only began composing because of enjoying the movies so much," he says. "I wrote my first song "Peace for the Coming Love" after seeing 'Jules et Jim' (the cult 60s French film directed by François Truffaut), with my friend Marcio Borges. We went early in the morning and watched it four or five times in a row, then went to Márcio's home and wrote the song."

The songs also include solo spoken passages set to music, clearly influenced by this style of French art cinema. On the title track, Maria's story is narrated and translated to music through the use of African Percussion, drums and metal signifying the field slave tools of the day. 'Trabalhos (Works)' runs to work rhythms and whipcracks: no words, just pain. 'Lília' documents the beating of the slave woman. After 'A Chamada (The call)' and the triumphant 'Era Rei e Sou Escravo (I was a king now I am a slave' things begin to turn and Milton employs tropical jungle cries to symbolize freedom. 'Santos Catholicos x Candomble (Catholic Saints vs Candomble)' represents the battle between African and European religions through the music of both sides. Milton's heavenly falsetto pours into 'Francisco' and 'Pai Grande (Great Father)' and the outstanding 'Eu Sou Uma Preta Velha Aqui Sentada no Sol (I'm an old black lady, sitting under the sun)' conjures images of an old woman sitting deep in the forest, her memories painted in drums, piano and voices.

Black Vinyl Repress

For the third release on De:tuned we proudly present The Kosmik Kommando AKA Mike Dred. Mike hardly needs an introduction; considered as one of the masters of the Roland TB-303 Mike has been releasing records under various aliases since the early 90s. He has recorded for high profile labels such as R&S and Rephlex as well as his own Machine Codes label. Together, with Aphex Twin, Mike was behind the Universal Indicator releases which are among the most collectible and sought after records in techno history.

De:tuned has worked closely with Mike to develop an 8 track project that gives props to the American Psychologist Timothy Leary and his proposed theory of 'The Eight-Circuit Model of Consciousness'. This model describes 8 circuits of information that operate within the human nervous system. Each circuit refers to a different sphere of activity, enhanced by experimentation with a particular substance. Each circuit also represents a higher stage of evolution than the one before it and the higher the circuit, the fewer the people have activated it as the higher four circuits exist for those who migrate to outer space and live extraterrestrially.

The 8 Models are applied to the track titles that present a varied collection integrating acid house, techno, electro and rave culture.

3 of the tracks on offer here were written exclusively for Mike's live performance at the De:tuned 'Meeting of Minds' event in June 2012, which was Mike's first full live show in 3 years.

This 8 track project will be available on limited 180 gr white double vinyl with label and sleeve artwork by Mike himself. Stay Tuned!

2022 Silver Vinyl Repress

For the third release on De:tuned we proudly present The Kosmik Kommando AKA Mike Dred. Mike hardly needs an introduction; considered as one of the masters of the Roland TB-303 Mike has been releasing records under various aliases since the early 90s. He has recorded for high profile labels such as R&S and Rephlex as well as his own Machine Codes label. Together, with Aphex Twin, Mike was behind the Universal Indicator releases which are among the most collectible and sought after records in techno history.

De:tuned has worked closely with Mike to develop an 8 track project that gives props to the American Psychologist Timothy Leary and his proposed theory of 'The Eight-Circuit Model of Consciousness'. This model describes 8 circuits of information that operate within the human nervous system. Each circuit refers to a different sphere of activity, enhanced by experimentation with a particular substance. Each circuit also represents a higher stage of evolution than the one before it and the higher the circuit, the fewer the people have activated it as the higher four circuits exist for those who migrate to outer space and live extraterrestrially.

The 8 Models are applied to the track titles that present a varied collection integrating acid house, techno, electro and rave culture.

3 of the tracks on offer here were written exclusively for Mike's live performance at the De:tuned 'Meeting of Minds' event in June 2012, which was Mike's first full live show in 3 years.

This 8 track project will be available on limited 180 gr white double vinyl with label and sleeve artwork by Mike himself. Stay Tuned!

MY DYING BRIDE'S CLASSIC 1996 SHOW FROM KRAKOW, POLAND, FOR
A NIGHT OF DOOM METAL MAGIC
PRESENTED ON DOUBLE GATEFOLD VINYL, & ON THE VINYL FORMAT FOR THE
FIRST TIME.My Dying Bride has been the leading light of doom metal since the
debut album 'As The Flower Withers' was released on Peaceville Records back in
1992. Influenced by acts such as Celtic Frost & Candlemass, the British band's
heavy atmospherics have carved a huge worldwide following over the years to
stand as one of the true enduring & distinguishable pillars of the genre. 'For
Darkest Eyes' contains the band's iconic 1996 performance from Krakow, Poland,
featuring numerous classic doom anthems from the early career of the UK Metal
Gods. The show was recorded as the band was riding a wave of popularity due to
their recent breakthrough third album, 'The Angel & the Dark River' (plus their tour
with British metal legends Iron Maiden in the winter of 1995), showcasing several
tracks from that release such as 'The Cry of Mankind' & 'Your Shameful Heaven',
as well as renditions of other established numbers such as 'The Crown of
Sympathy' & 'The Forever People'.
This edition of 'For Darkest Eyes' is presented on double gatefold vinyl & first time
on the vinyl format & contains cover artwork adapted from the original video tape
release.

1998'S CLASSIC SECOND STUDIO ALBUM OF SYMPHONIC, OCCULT
BLACK METAL
PRESENTED ON DOUBLE GATEFOLD VINYL & ON THE VINYL FORMAT FOR THE
FIRST TIME.Opera IX are a symphonic black metal band formed in Italy by
guitarist Ossian & released their debut album 'The Call of the Wood' in 1995 &
over subsequent years have become regarded as one of the most revered &
important Italian bands of the genre. The band's sound is an eclectic concoction,
moving beyond straight-forward black metal, mixing elements of thrash, doom &
death metal with symphonic elements, even folk influences. Opera IX is known for
their strong occult themes blended with topics of paganism & are also known for
being one of the first examples of a black metal band with a female vocalist.
'Sacro Culto' was the band's second album, originally released in 1998. Lead
singer Cadaveria used more melodic vocal experimentation this time with almost
operatic passages sitting alongside the trademark black metal style whilst further
evolving the central themes of occultism & paganism.
This edition of 'Sacro Culto' is presented on double gatefold vinyl & on the vinyl
format for the first time.

MASTERED FROM THE ORIGINAL ANALOGUE MASTER TAPES AND PRESSED ON MOFI SUPERVINYL

· A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra’s Eldorado Marries

Rock and Symphonic Elements, Includes the Aptly Titled Hit “Can’t Get It Out of My Head”

· Mastered from the Original Analog Master Tapes for Audiophile Quality: Mobile Fidelity 180g Vinyl LP and

· Melodic, Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section: Arrangements and Lyrics

Transport the Listener to Faraway Horizons



Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic fashion.



Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, and housed in a tip-on jacket, Mobile Fidelity's numbered-edition 180g LP of Eldorado allows the long-time audiophile staple to resonate with previously unheard dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended.



Presenting the album with breath-taking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, this collectible reissue features reference-quality levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado LP also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.



Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool."



Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."



Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.



MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog 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.

An official reissue of the 2017 double album by Caligula’s Horse, originally issued on Inside/Out Records. Caligula’s Horse are among the vanguard of the new generation of progressive rock artists. The Australian band has been often compared to the likes of Opeth, Haken and Porcupine Tree, and original copies of In Bloom on vinyl have already reached high prices on the collector’s market. The Svart reissue comes with a gatefold jacket and the 1000 copy pressing is split into two color variants, the more serene clear vinyl option and the more expressive blue and green marble edition.

An official reissue of the 2017 double album by Caligula’s Horse, originally issued on Inside/Out Records. Caligula’s Horse are among the vanguard of the new generation of progressive rock artists. The Australian band has been often compared to the likes of Opeth, Haken and Porcupine Tree, and original copies of In Bloom on vinyl have already reached high prices on the collector’s market. The Svart reissue comes with a gatefold jacket and the 1000 copy pressing is split into two color variants, the more serene clear vinyl option and the more expressive blue and green marble edition.

Playing in Dixieland jazz bands during his teens and then passing through some Kansas City jazz acts, New York-born alto saxophonist Steve Lacy became associated with the avant-garde jazz movement from the mid-1950s, playing on free jazz pianist Cecil Taylor’s influential debut LP and early work by the Canadian pianist Gil Evans, before serving a long tenure with the idiosyncratic improv pianist Theolonius Monk, whose work he would continue to reference throughout his career. Visiting Europe from the md-1960s, starting with a trip to Copenhagen with pianist Kenny Drew (who made the Danish city his home thereafter), Lacy later travelled to Italy to form a quartet with Italian trumpeter Enrico Rava (who had earlier played in Argentinian sax player, Gato Barbieri’s group), plus South African exiles and former Blue Notes members Johnny Dyani on double bass and Louis Moholo on drums. Lacy subsequently moved to Paris, which became his permanent base from 1970, leading a sextet there whilst also exploring the limits of the alto saxophone as a solo instrument. The disparate and often discordant album Threads was recorded in Rome at Mama Dog studio in 1977 for filmmaker-turned-record producer Aldo Sinesio’s Horo Records label; comprised of six of Lacy’s own compositions, the album saw Lacy supported by Alvin Curran on piano and Frederic Rzewski on flugelhorn, synthesizer and percussion, the pair both longstanding members of the experimental group, Musica Elettronica Viva.GO

Green Vinyl Edition - PNFG is frustrated but delighted to bring you a half
of a double treat from The Bathers!In 2022 we aimed bring you the debut
album "Unusual Places To Die" on vinyl and cd - some 35 years after it's
initial release on Go Discs
Accompanying this remastered album we also intended to produce "More
Unusual Places To Die" an 8 track EP featuring early recordings, providing an
incredible insight into the mind and music of Chris Thomson.Both records and
CDs were to be remastered by fellow "Friend Again" Paul McGeechan.
Sadly due to insane problems obtaining licensing contracts from Island Records
via Universal Music, we have taken the decision to make some changes to the
project.The 8 track Mini LP is now a fully-fledged album featuring 12 tracks (14
on CD) Some new never before released tracks, fully remastered and some
alternative versions of previously available tracks. This album is now entitled -
Summer Lightning.

Winston 'Niney' Holmes AKA The Observer, must be one of Reggaes finest Roots Rebel producers. Capable of making some of the heaviest, innovative music, not only in sound but also in the Cultural/Political sense.
Born George Boswell, Montego Bay, Jamaica 1951, and name checked 'Niney' due to losing a thumb in a workshop accident. He began his career in music by organising bands to play at school dances. But his first steps learning the musical ropes came working under the tutelage of producer Bunny Lee around 1967, organising sessions for Bunny's stable of artists. He moved on to work alongside Lee Perry at Joe Gibb's 'Amalgamated' label setup, where on Lee Perry's leaving in 1969 to start his own 'Upsetter' label, Niney became chief engineer.
Inspired by Perry's success it wasn't long before his own 'Destroyer' label was under way. It was 1970, and his first production entitled 'Mr Brown' by DJ's Dennis Alcapone and Lizzy, proved to be a minor hit, but his own 'Blood and Fire' track released in December of that year would become a major hit. After initial problems with it's likeness to Bob Marley's track ' Duppy Conqueror' being ironed out, it's reissue on his now named 'Observer' label, saw it go on to become, Jamaican Record of the Year 1971. Far out selling Bob Marley's track to the tune of 30,000 copies in Jamaica alone. A roots classic...
Niney's reputation for building great roots tracks, was furthered with more success working with singer Max Romeo. Issuing cuts such as 'Beard Man Feast', the great 'Reggae Matic' and 'Aily Ailaloo' and renewing his friendship with Lee Perry on the track 'Rasta Band Wagon', who's production credit read Perry, Niney, Maxie. In 1973, Niney began working with Dennis Brown, who was already an established star from an early age, they found a chemistry that went on to produce some of Dennis' finest work. The 1973 hit 'Westbound Train' was followed in 1974 by 'Cassandra', 'I am the Conqueror' and the timeless 'No More Shall I rOam'. Another important connection around this time was the great King Tubby who Niney would take his tapes along to and even record some of his tracks at Tubby's house, 18 Drummlie Avenue, Kingston, which doubles as his Studio of Dub.
It's these tracks that we are concentrating on here. Tubby would strip the tracks back to the bone and rebuild then sometimes leaving off the hook line. Whether that be the horn line or keyboard line and adding effects over the top that could disguise the cut even more. Even Niney stating that when Tubby had finished with a cut, he found it hard to recognise the track himself. Its these tracks as dub plate specials that Tubby would play on his Hometown HI-FI Sound System and it's these such tracks that we have compiled for this release. Dub Plated that have not seen the light of day since tragically the great Osborne Ruddock AKA King Tubby was gunned won and murdered on the 06th December 1989. For a few dollars and a gold chain, reggae music has lost one of it's most creative, inventive forces.

Niney also cut tracks with many other Reggae giants such as Gregory Issacs, Michael Rose, Junior Delgado, Horace Andy and Delroy Wilson to name but a few. As in house producer at the legendry Channel Studios and supervising sessions at Dynamic and Randy's Studio 17, his magic touched many. DJ, Arranger, Producer, his Roots Rebel music still stands the test of time.
Hope you enjoy the set.....

CLEAR VINYL 2XLP SET IN GATEFOLD SLEEVE

First time on vinyl. Originally released as a CD only album on Riot Season back in 2008 and out of print ever since. Fourteen years later it's finally getting the double vinyl release it fully deserves.
Now expanded, and with new artwork 'Pink Lady Lemonade - You're From Outer Space' really could be Acid Mothers Temple’s first 'summer album'.
Here, Acid Mothers Temple's most representative song 'Pink Lady Lemonade' is dismantled and reconstructed as a blissful ecstatic psychedelic trip where chaos and silence intersect.
These were the first Acid Mothers Temple & The Cosmic Inferno studio recordings since the addition of Pikachu, drummer and vocalist with Osaka grenade-girl duo Afrirampo. The popular AMT standard "Pink Lady Lemonade" showcases a 21st century acid rock update on the 60s San Francisco psychedelic sound.
This one doesn't reach in the red status often - it’s a more out-there trippy ride. But when it does finally soar, Kawabata's guitar has never sounded more alive.
"Pink Lady Lemonade, You're soooooooooo sweeeeeeeeeeeeeeet!"
Acid Mothers Temple & The Cosmic Inferno :Pikacyu : drums, voice, cosmic shaman Tabata Mitsuru : bass, voice, malatab Higashi Hiroshi : synthesizer, dancin'king Shimura Koji : drums, latino cool Kawabata Makoto : guitar, voice, electronics, speed guru Audrey Ginestet : voice, cosmos

Beyond The Willow Tree is a hauntingly beautiful anthology of folk songs chronicling the experience of a young black man growing up in the segregated south. A balanced mix of covers and originals, Cleveland Francis’ body of work seamlessly blends deep, soulful vocals with the stripped-down acoustic instrumentation of folk. In the late 60’s Francis coined the term “soulfolk”, playing his genre bending music across college campuses and coffee shops while earning a medical degree at William & Mary.

These songs serve as a missing link between soul and folk music, suppressed by the harsh political landscape of a music industry heavily influenced by racial stereotypes. “If you were black, you played blues or soul music … I wanted to play folk music,” Cleveland professed.

Included in this double LP set is Cleveland Francis’ entire 1970 self-released album Follow Me, featuring the original artwork and liner notes printed inside the gatefold. The second LP takes you Beyond The Willow Tree with unreleased demos recorded in 1968 along with one 45 only single recorded in 1970.

“These recordings are a look into my soul through a long and lonely journey to understand feelings of my childhood, poverty, racial segregation, bigotry, war, love and hope. It represents my attempt to express and come to terms with all that I have seen and felt as a Black man growing up in America.” - Cleveland Francis

A sound that embraces different styles and different eras, but which has only one basic concept as a common denominator: spreading the “Black Power Sound”.

That’s the spirit of the double vinyl compilation of Soul Fingers, a legendary Black Music traveling party that has now become a cult in Italy, still religiously followed by dancers of all kinds and ages.

At Soul Fingers it is usual to listen and dance to a unique and tasty blend of soul, disco and funk, with rap and latin rhythms. There are no preconceptions other than that of putting songs to feel good and make people feel good.

The real deal is to share with the dancefloor a record that is magical, full of soul and that can elevate us from our state of human beings to become a single beating heart under the speakers of the sound system.

2 Vinyl Disc - Swirl Color - Live archive release
Chuck Berry, the songwriter and guitarist now known worldwide as the Father of
Rock & Roll, came from humble beginnings. The complete Concert. Mastered
from the Analog Tapes: There was no shortage of historic rock music festivals in
1969, from highs of Woodstock to the crashing lows of Altamont. Meanwhile,
interest was steadily building on another front. A full-fledged 1950s rock and roll
revival was brewing, and the idiom's pioneers were experiencing a Renaissance.
No longer viewed as over-the-hill relics, they stood as vital sources of real rock
and roll. Combining the two contrasting demographics at one event was a rare
sight to behold, but the Toronto Rock 'n' Roll Revival 1969, held that September 13
at the University of Toronto's Varsity Stadium, represented that unlikely hybrid.
That afternoon the Father of Rock & Roll returned to lead the apostles of rock into
the next decade. After decades of inferior releases, for the first time, this
historical concert is presented in its entirety. Includes, School Days, Carol,
Memphis, Nadine, Rock & Roll Music, Johnny B. Goode, I'm Your Hoochie Coochie
Man, Too Much Monkey Business, Sweet Little Sixteen, Goodnight Sweetheart
Goodnight and more. Double LP Pressed on Swirl Color Color Vinyl.

KU is paying tribute to one of the most acclaimed and iconic records in
the NMS catalogue, with a 2LP vinyl release, with brand new artwork & a
bonus remix
The re-release is an opportunity for new fans to be exposed to this masterpiece
LP, old fans to explore a NMS classic through fresh ears, and for the band to
reflect back on the record they made nearly 15 years ago.
Reissued on double vinyl.Featuring Dionne Charles.
New cover art.
Includes a bonus track.
Limited edition of 800 copies.

Animal Records – founded by Chris Stein of Blondie fame – only ever released one album in its brief early-80s history, but what an album that was. Wild Style remains the most seminal soundtrack in hip-hop history, a snapshot of the scene as it evolved from the streets to the recording studio. But it’s not just a vital document, it’s also a damn good listen.

The line-up is a who’s who of those who stood out from hip-hop’s nascent block party days. The Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself, Busy Bee, the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks. The music captures the free-form, roaming nature of the film – it’s rough at the edges, it’s occasionally amateurish, but it’s completely, utterly glorious.

The original Animal tracklisting, of which this is a reissue, is full of recurring sounds and motifs, all of them co-produced by Chris Stein and Fab Five Freddy, stepping away from breakbeats to produce a sound that reminds you of them, while being totally unique. The epic drums are courtesy of Lenny ‘Ferrari’ Ferraro, a Vietnam vet and punk drummer whose career spanned stints backing Aretha Franklin and Lou Reed.

Over time, those sounds – the Charlie Chase and Grand Wizard Theodore scratches, the indelible lyrics - have become hip-hop touchstones, endlessly sampled and referenced, the bedrock of so much music to follow. That’s because the soundtrack perfectly encapsulated the essence of the film, the scene and hip-hop’s emergence from The Bronx to the attention of the wider world. Presented in this reissue with the original artwork, it remains the blueprint.

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

Since slipping out a decade ago, Fürsattl’s sole 12” on Claremont 56 has become an in-demand item, thanks to a mixture of its’ undeniable quality and the patronage of several high-profile, well-regarded DJs. Because of this, the label has responded to demand for a reissue of those two tracks and announced the release of a double-album of the krautrock-inspired trio’s works for the label.

Presented in a gatefold sleeve sporting Mark Warrington’s original 2012 artwork and limited to 400 copies, the 2022 album edition of Rheinlust not only tells the tale of the band’s now decade-long association with Claremont 56, but also features a previously unreleased track from the archives, ‘Für Paul’. Tucked away at the end of the LP, the track is amongst the most atmospheric in their catalogue – a slowly building number in which celestial synthesizer chords, ambient textures, echo-laden electric piano chords and lilting synth strings rise above a rubbery bassline and Jaki Liebezeit style drums.

It provides a superb conclusion to a genuinely evocative album of music you can get lost in, but it’s by no means the only highlight. Fittingly, the album’s first slab of wax boasts both tracks from Fürsattl’s hard-to-find debut 12”: title track ‘Rheinlust’, a driving but deep and hypnotic krautrock masterpiece full of elongated chords, restless bass, twinkling motifs and cascading electronic melodies, and the wonderfully epic ‘Links Der Pegnitz’. Clocking in at just under 15 minutes, this sublime excursion features band members trading glistening guitar and colourful synthesizer solos over a funky but laidback groove that sits somewhere between krautrock and cosmic funk.

The album’s second slab of wax showcases Fürsattl’s lesser-known tracks for Claremont 56, alongside the previously mentioned unreleased cut. These two workouts were originally featured on the label’s Claremont Editions compilations and further expand on their now trademark krautrock sound. There’s ‘Leerlauf’, a breathlessly up-tempo, weighty and immersive chunk of low-slung dancefloor creepiness that you’ll want to get lost in time and again, and the twangy and buzzing ‘Haru’, a birdsong-splattered affair that sounds like their tribute to krautrock originals Neu! and Harmonium. Like the rest of the album, these are seriously seductive outings that slowly build towards impactful, emotive conclusions.

After her stunning collaboration with Jim O’Rourke (Le Piano Englouti, BT055), Brunhild Ferrari returns to Black Truffle with Stürmische Ruhe, her first duo with Christoph Heemann. A legendary figure in underground music, Heemann has quietly produced a unique body of work since his beginnings with the absurdist cutups of H.N.A.S. in the mid-1980, including collaborations with Merzbow, Organum and Nurse With Wound, the eerie psychedelia of Mirror (with Andrew Chalk), In Camera (with Timo van Lujik) and Plastic Palace People (with Jim O’Rourke), and the precise cinema pour l’oreille constructions of his solo works. Created together in Ferrari’s Parisian studio (once shared with Luc) between 2011 and 2014, Stürmische Ruhe is a single half-hour piece that folds rain and storm recordings into a intricately woven fabric of haunted electronics, unexpected edits and disorienting processing. Banging with the jarring thump of a slamming door (an element that will reappear periodically throughout the piece as a kind of punctuation mark), it is immediately obvious that concrete sound is used here in a free, poetic way outside of the strict confines of documentary field recording. The wind captured by Ferrari’s microphone roars and whistles, accompanied by thick clusters of wavering tones whose unpredictable rises and falls in volumes are synchronised with the bumping and thudding of windows and doors. At some points the microphone sound melts into a wavering low-bit digital smear before fanning out into broad, atmospheric depths. The cinema for the ear constructed here suggests not linear narrative or documentary, but an organic flow of cross-fades, double-exposures and abrupt cuts, a free-associative dream in which wind and water take on mythical characteristics. Throughout the piece's second half, layers of synthetic floating tones and pinging upward glissandi negotiate a constantly shifting balance with wind-borne whispers and rustles, at times dropping to silence, at others rising up with elemental force. As Ferrari explains in her liner notes, Stürmische Ruhe is a meeting of ‘completely opposite sound worlds’ in which ‘almost-violence’ is joined with a ‘reconciling harmony’. Reaffirming the infinite possibilities of the musique concrète tradition while avoiding its academic tropes, Stürmische Ruhe is accompanied by tri-lingual liner notes from Brunhild Ferrari and arrives in a sleeve graced with the beautiful art informel paintings of her father, Wolfgang Meyer Tomin. Cut at 45rpm for maximum fidelity.

Limited edition 400 copies double pack 7” single presented in a deluxe gatefold sleeve • Includes unique edit of the only song ever credited as co-written by Bowie & Ronson • Includes fully remastered contents of the promotional flexi disc issued in 1974 as well as 2 tracks recorded on Mick’s ‘Slaughter on 10th Ave’ tour at the Rainbow Theatre in London. Record 1 1/Hey Ma Get Papa (C'mon let's do it again) 2/Original 1974 Promotional Flexi Disc - Spoken word and extracts of Love Me Tender Record 2 1/Leave My Heart Alone (Live at The Rainbow) 2/Slaughter on 10th Ave (Live at The Rainbow)

Mr. K is back again with a double-sider that tackles the ups and downs of love and does it in fabulous style with two solid soul classics.

Yvonne Fair was a veteran of the soul music world when she finally got the chance to record her first full length album in 1975. She had recorded multiple singles under the guidance of James Brown (her “I Found You” was reworked by Brown into the chart-topper “I Got You (I Feel Good)”) and, after leaving the JB camp for the auspices of Motown, a clutch of 7-inches with Norman Whitfield. These were gathered together to form her first (and only) full-length, but before the album was completed a final song was added to fill things out. This last minute touch would turn out to be the crowning achievement of her career. “It Should’ve Been Me” didn’t seem to be a notable addition at first. The song was originally done by Kim Weston a decade earlier and then by Gladys Knight. But Fair’s version had something special. In addition to the novel addition of a percolating drum machine pulse, Fair imbued the lyrics with a heartfelt sincerity and gruff emotion that touched listeners in a way that other versions had missed. Released as a single in the UK in late ’75, the song rose to the top ten of the British charts by February of the following year, inspiring Motown to release it as a US single. The song never replicated its UK success in the States, but went on to have a long life as a staple of drag performances and gay club life. Gay club life being the heart of all great club life, it’s only natural that the impact of the song has continued to spread, from Adeva’s hit house version in 1991 to Miley Cyrus’s recent revival of the song. Danny Krivit pays tribute to this storied history with his own version, a simple yet effective edit that stays true to the original but gives DJs a little more room (and fans a little more time to sing along!) than the all-too-brief original.

Continuing on our theme of lovelorn loss and redemption, Mr. K turns his attention to the New Birth’s “Brand New Lover” for our B-side. While the original slowly moves from the tentative, immediate aftermath of breakup to the eventual positive path forward, Krivit’s edit jumps straight to the joyous resolution to find new love, riding a delicious call and response chorus punctuated by signature breakdowns from master producer Harvey Fuqua. Danny’s edit provides a natural uplifting opportunity that never stops building over the course of its extended five minutes. Until now, the track has only been available on the group’s debut 1970 full-length, and never on a 7-inch single.

As always, this release has been mastered to the highest standards and is certain to find a spot in the bags of discerning listeners and DJs alike.

Classic 2001 collection from Detroit's ADULT. 20th anniversary of the original release, 10th anniversary of the first vinyl pressing. Available for the first time in red & black marbled vinyl. "We've wanted to re-release this album for some time," says ADULT.'s Adam Lee Miller, "but we weren't ready until now. We have some new material in the pipeline, and we thought this would be a nice way to reintroduce ourselves." It is indeed a nice way for the hugely respected Detroit duo to herald their return to the world of music, especially for anyone who missed out on Resuscitation the first time around _ the album was never available digitally until the 2012 re-release and vinyl pressing on Ghostly International. The reissue thus presented the chance to own one of the more influential records of the early 2000s: either on double 12" LP or, for the first time, as a digital release. Now, in 2022, the vinyl is available for the first time in a new red and black marble colorway. When it first dropped in 2001, Resuscitation served as a de facto introduction to the duo, collecting a bunch of songs on CD that had only previously been available on hard-to-find singles and EPs. Eleven years later, it does the same thing, except this time around, we can see just how influential its creators' work has been _ and ADULT.'s music only sounds more remarkable with the benefit of hindsight. At the time, Resuscitation's combination of crisp beats, squelch-laden synths and Nicola Kuperus' detached monotone sounded like a broadcast from the future, steeped in the analog synth sounds of forebears like Kraftwerk but possessed of an ultramodern sheen all its own. The duo's visual aestheticwas just as important _ Kuperus' photography adorned all their album packaging (including this re-release), and their liveshows drew on a sense of what a reviewer once called "detached intrigue." Echoes of ADULT.'s aesthetic can be heard today in everythingfrom today's surfeit of analog synth-toting minimal wave bands to the highly stylized divas who dominate the pop charts. But really, in 2022 Resuscitation still sounds like no-one else.

Denver-based Seafoam (Brian Cavender) is by far the most prolific of the talented Cavender brothers, but he has remained elusive for his 2+ decades-long career in deep funk. After releasing a one-off 12-inch in 1999 on a small Denver label, Seafoam quickly found his way to the Guidance family by way of gatherings at Miami's Winter Music Conference. A string of three twelves on Guidance from 2000 to 2003 cemented his legacy early in his career, however, having never quite reached the same heights as some of the Guidance greats, Seafoam's output mysteriously declined around the time of the label's demise. New releases dried up until the formative reissue campaign of Paris-based Rue De Plaisance in 2017, which culminated in the essential Collected Works 1999-2005 double LP. The flood gates opened, and a whole new generation of diggers and labels turned to his sound. And Seafoam, seemingly untouched by the passage of time, hunkered down in the studio with a steady release schedule-a new lease on life for the occult deep house assassin.

Coming hot on the heels of dynArec's 'Murder is The Number' EP, Sync 24's Cultivated Electronics label presents this double-pack by Alonzo, aptly named 'They Come In Twos'. Originally from Miami and now based in New York, Alonzo has previously released on W.T. Records, Zement, RotterHague, Phormix, Kraftjerkz, and Lost Soul Enterprises. He's also known as Lithium Parasites alongside bandmate, Vidrio. Alonzo's uncompromising approach draws influence from bleak urban landscapes, old city ruins, kinematics and all things bass which he finely represents across these 8 new tracks. Pressed on Yellow and Black vinyl!!!

Choki Biki Records is proud to present: Coakley Collabs Vol.1! A new collaboration EP curated by DJ and Producer Josh Coakley; a Dublin based DJ & Producer. Coakley Collabs Vol.1 consists of six Techno orientated collaborations between Josh Coakley and other Irish talent including; blk., Sharpson, jxck, KIRK, Karl Seery and Black Traffic. Each track varies between a blend of Acid, Electro, Trance and Breakbeat, under the umbrella of Coakley’s signature Techno sound. Josh Coakley & Karl Seery – W.O.T.U You might be familiar with the introductory track: W.O.T.U by Coakley and Dublin producer Karl Seery, as it has already received serious airtime on BBC Introducing thanks to Jaguar. This techno banger features an array of rave stabs and classic hardcore breaks, which perfectly represents the collaboration between Coakley’s signature techno sound, and Choki Biki’s Nu-Rave aesthetic. Josh Coakley & blk. – Detroit Next up is Detroit featuring prolific techno producer blk..This dubby – techno track features the iconic acapella of Fedde Le Grande’s iconic ‘Put Your Hands Up For Detroit’. Its use of 808 programming gives an authentic replication of the early Detroit techno productions. Its contemporary hard-hitting nature is influenced by the likes of FJAAK, which blends nicely with its clear influence from Jeff Mills. Josh Coakley & Black Traffic – Fade To Grey Fade To Grey comes from Josh Coakley’s Collaboration with Scott Prendergast AKA Black Traffic. The pair have composed a track that tows the lines between Trance and Melodic Techno. Black Traffic’s signature use of rich textures and melodies contrast with Coakley’s ‘in your face’ techno drum programming. Fade To Grey is already making the rounds in Irish clubs as it was featured in Four Four Magazine as track of the week. Josh Coakley & KIRK – Illusionist Illusionist is an Acid Techno track from Coakley and Carlow based producer KIRK. Illusionist steers away from the direction of the ‘retro’ Detroit sounding Techno and moves towards the more atmospheric sounds of European Acid Techno producers such as A.S.Y.S. & T78. Its arpeggiated 303 programming and use of psychedelic vocal samples creates an atmosphere that would be right pounding throughout a club in Amsterdam. Josh Coakley & Jxck – MYB Next up is MYB, an Electro-Breaks collaboration between Coakley and Jxck. This syncopated belter is sure to make you do exactly what it says on the tin; Move Your Body! Featured by the one and only HOUZ, this Break track has already seen serious support from Techno and Electro DJs alike. With a return to a ‘4 to the Floor’ beat halfway through, this heavy hitter is sure to keep an audience on their toes. Josh Coakley & Sharpson – Who’s In The Garden (feat. Wax White) The Final Track of Coakley Collabs Vol.1 takes a total turn with Who’s In The Garden?. This track is a double collaboration between Coakley, Choki Biki label boss Sharpson, and Irish Hip-Hop group Wax White. This high tempo breakbeat track has a cheeky, lighthearted nature to it thanks to the use of happy hardcore sounding synths and Wax White’s hilarious Dublin Mannerisms thrownout throughout the track. The track comes to a screeching halt with an Electro Breaks breakdown supplied by Sharpson. Coakley’s intricate arrangement and production skills really shine through in this final track, as its numerous ideas fit tightly knit together.

Available on Double Vinyl LP, rammed with super funk smashers from the Queens of Funk

‘Mehldau can truly translate his thoughts and feelings into complex and lasting music. He is one of those people whose brain and fingers and musical ability is all one beautiful entity.’ – Jamie Cullum

Nonesuch Records releases Brad Mehldau’s Jacob’s Ladder on 2 x 140g black vinyl on June 17th . The album features new music that reflects on scripture and the search for God through music inspired by the prog rock Mehldau loved as a young adolescent, which was his gateway to the fusion that eventually led to his discovery of jazz. Featured musicians on the album include Mehldau’s label mates Chris Thile and Cécile McLorin Salvant, as well as Mark Guiliana, Becca Stevens, Joel Frahm, and others. The album’s first single, ‘maybe as his skies are wide’, builds off an interpolation of one portion of Rush’s classic ‘Tom Sawyer’.

Mehldau explains, “We are born close to God, and as we mature, we invariably move further and further away from Him on account of our ego. Jacob’s Ladder begins at that place closer to God with the voice of child, and then moves into the world of action. God is always there, but in our discovery and conquest, and all the joys and sorrows they bring, we may lose sight of him. He sets a ladder before us though, like in Jacob’s dream, and we climb towards him, to find reconciliation with ourselves, to stitch up all those worldly wounds and finally heal. The record ends with my vision of heaven – once again as a child, His child, in eternal grace, in ecstasy.

“The musical conduit on the record is prog,” Mehldau continues. “Prog – progressive rock – was the music of my childhood, before I discovered jazz. It matched the fantasy and science fiction books I read from C.S. Lewis, Madeleine L’Engle and others at that time, aged ten through twelve. It was my gateway to the fusion of Miles Davis, Weather Report, Mahavishnu Orchestra and other groups, which in turn was the gateway to more jazz. Jazz shared with prog a broader expressive scope and larger-scale ambitions than the rock music I had known already.

“The prog from Rush, Gentle Giant, and Emerson, Lake and Palmer here only hints at the genre’s conceptual, compositional and emotional range. These bands and others have continued to influence newer groups that bring prog impulses into the arena of hard rock and screaming math metal, like Periphery, whose music is included here, and also inspired the screaming vocals on ‘Herr und Knecht.’ I tried to avoid a direct tribute approach to all the songs, and opted in some cases for excerpts, or reworking of themes.”

Although Brad Mehldau is best known as a jazz composer and improviser, he has made several albums that fall outside of the mainstream jazz genre, including his 2001 Largo, produced by Jon Brion. Wide-ranging in texture and big in scale, it features woodwind or brass ensembles are on several tracks, as well as a heavy emphasis on powerful drums. In 2010, Nonesuch released his second collaboration with Brion, Highway Rider, which includes performances by Mehldau’s trio – drummer Jeff Ballard and bassist Larry Grenadier – as well as drummer Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. Mehldau also orchestrated and arranged the album’s fifteen pieces for the ensemble.

Mehldau’s 2014 collaboration with Mark Guiliana, Mehliana: Taming the Dragon featured Mehldau on Fender Rhodes and synthesizers and Guiliana on drums and effects, playing twelve original tunes – six by the duo and six by Mehldau. His 2019 album Finding Gabriel featured performances by him on piano, synthesizers, percussion, and Fender Rhodes, as well as vocals. Guest musicians included Ambrose Akinmusire, Sara Caswell, Kurt Elling, Joel Frahm, Mark Guiliana, Gabriel Kahane, and Becca Stevens, among others.

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Second Sub Pop album by acclaimed UK act TV Priest finds them building on the
post-punk of their early material and maturing into a powerhouse of tense, politically
caustic, and thoughtful rock music.
Without a brutal evaluation of their own becoming, TV Priest might have never made
their second album. Heralded as the next big thing in post-punk, they were
established as a bolshy, sharp-witted outfit, the kind that starts movements with their
political ire. There was of course truth in that, but it was a suit that quickly felt heavy
on its wearer’s shoulders, leaving little room for true vulnerability. “A lot of it did feel
like I was being really careful and a bit at arm's length,” says vocalist Charlie
Drinkwater. “I think maybe I was not fully aware of the role I was taking. I had to take
a step back and realize that what we were presenting was quite far away from the
opinion of myself that I had. Now, I just want to be honest.”
Having made music together since their teenage years, the London four-piece piqued
press attention in late 2019 with their first gig as a newly solidified group, a raucous
outing in the warehouse district of Hackney Wick. Debut single ‘House of York’
followed with a blistering critique of monarchist patriotism, and they were signed to
Sub Pop for their debut album. When ‘Uppers’ arrived in the height of a global
pandemic, it reaped praise from critics and fans alike for its “dystopian doublespeak,”
but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic
Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of
tea and marking time via government-sanctioned daily exercise. As such, the
personal and professional landmark of its release felt “both colossal and minuscule”
dampened by the inability to share it live. “It was a real gratification and really
cathartic, but on the other hand, it was really strange, and not great for my mental
health,” admits Drinkwater. “I wasn’t prepared, and I hadn’t necessarily expected it to
reach as many people as it did.”
As such, ‘My Other People’ maintains a strong sense of earth-rooted emotion, taking
advantage of the opportunity to physically connect. Using ‘Saintless’ (the closing
song from ‘Uppers’) as something of a starting point, Drinkwater set about crafting
lyrics that allowed him to articulate a deeper sense of personal truth, using music as
a vessel to communicate with his bandmates about his depleting mental health.
“Speaking very candidly, it was written at a time and a place where I was not, I would
say, particularly well,” he says. “There was a lot of things that had happened to
myself and my family that were quite troubling moments. Despite that I do think the
record has our most hopeful moments too; a lot of me trying to set myself reminders
for living, just everyday sentiments to try and get myself out of the space I was in.”
“It was a bit of a moment for all of us where we realised that we can make something
that, to us at least, feels truly beautiful,” agrees Bueth. “Brutality and frustration are
only a part of that puzzle, and despite a lot of us feeling quite disconnected at the
time, overwhelmingly beautiful things were also still happening.”
This tension between existential fear born from the constant uncertainties of life, and
an affirmative, cathartic urge to seize the moment, is central to ‘My Other People’, a
record that heals by providing space for recognition, a ground zero in which you’re
welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is
a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or
any audience pressure to commit solely to their original sound.