quête:til

THE all-time classic '86 debut album from the Beastie Boys, with classics including 'Rhymin' and Stealin' and 'The New Style', 'Girls', 'Fight for your Right', 'Brass Monkey' and 'No Sleep Till Brooklyn', a must-have album, reissued here to mark the 50th Anniversary of Hip-Hop.

Label head and founder of Kvalia Records, Linny Hex, invites dub techno legend Andreas Tilliander for his first appearance on the label. Kronotop delivers two snappy, playful originals by Tilliander as well as remixes by mighty Luigi Tozzi and Svreca.

Mit ausladenden Studioalben und fesselnden Live-Shows haben Spurv in den letzten zehn Jahren einen unauslöschlichen Eindruck in der internationalen Post-Rock-Szene hinterlassen. Das norwegische Sextett hat bisher drei herausragende Alben veröffentlicht, aber ihr neues Album Brefjære eröffnet eine völlig neue Dimension in Bezug auf Komposition, Musikalität, Umfang und Produktion. Brefjære verbindet die orchestrale Erhabenheit von MONO mit den wehmütigen Texturen von This Will Destroy You und der skandinavischen Mystik von Sigur Ro's. Ein Oratorium für eine verzweifelte Welt, mit dem Spurv die Grenzen von Symphonic Rock und Post-Rock neu definieren und Schönheit und Trost in der Schnittmenge von Zeit, Natur, Geschichte und Menschlichkeit finden.Als Sammlung von vier Monologen ist Brefjære weniger eine Konversation im Sinne eines Satzaustauschs als vielmehr eine Konversation im akademischen Sinne, bei der das Gespräch im Austausch von Ideen stattfindet. In acht Liedern halten die vier Figuren, die von Chören oder Solisten dargestellt werden, jeweils einen eigenen Monolog in norwegischer Sprache, in dem sie in reicher Poesie sowohl ihre eigene Realität als auch ihre wechselseitigen Beziehungen kommentieren. Von der Zerbrechlichkeit der Motte, die mit dem Wind tanzt, bis zur Birke, die ihren Durst in den Tiefen des Berges löscht, wird ein dynamisches Gefühl für sich verändernde Zeitskalen und Beziehungen vermittelt, das sich in der Musik widerspiegelt.Von seiner makellosen Konzeption während eines ahnungslosen Blicks aus dem Fenster bis hin zum umfassenden Entstehungsprozess ist Brefjære ein Kunstwerk, das das Zeitliche und das Ewige sowohl in der Musik als auch in der Poesie zusammenbringt und die universelle Wahrheit offenbart, dass wir alle gleichermaßen ewig und ebenso vergänglich sind. Von den bescheidenen Solo-Gesangsdarbietungen gegen die riesigen dröhnenden Noten von "Under himmelhelvingen" und "A° vente er a° endre" bis zu den herrlichen himmlischen Melodien von "Som skyer" und "Til en ny va°r" berührt Brefjære flüchtig und ewig jene unvergängliche Qualität, die Spurv mit ihrer Musik unbedingt erreichen wollen. Eine klangliche Saga für die Ewigkeit. Ltd Single Gold Colour (XXI Edition), Gatefold sleeve printed on mat all black-died special fibrous paper with a gold foil embossing.

Soul Jazz Records’ Holy Church of the Ecstatic Soul: Gospel, Funk and Soul at the Crossroads 1971-83 draws upon the extensive links between black American gospel music and soul music, showing how the sensibilities of gospel artists such as Shirley Caeser, Dorothy Norwood, Andrae Crouch and others crossed over into secular soul music during this period.

The album was first available as a (sold out) ltd.edn. coloured vinyl for RSD23 and is now available as a black double vinyl + download edition and also for the first time on CD.

Many of the most successful soul artists - from Aretha Franklin to Al Green, The Staple Singers to Sam Cooke - all drew upon their upbringing in the church for their musical inspiration. This album discusses how important the links between the black church and soul music were in creating soul music and spotlights some of the many important (and also little-known) gospel artists who walked this line between sacred music and soul, funk and disco in the 1970s and early 1980s.

Holy Church of the Ecstatic Soul shows how sacred gospel music was at home with Stevie Wonder, Blaxploitation-style funk and produced music celebrated both in New York’s underground discos (The Paradise Garage, Studio 54, etc) and later sampled by the likes of Jay-Z, Snoop Dogg and Mary J Bilge.

SEVENDUST is an American rock band from Atlanta, Georgia, formed in 1994 consisting of members Lajon Witherspoon (lead vocals), Clint Lowrey (lead guitarist), Vince Hornsby (bassist), Morgan Rose (drummer), and John Connolly (rhythm guitar). Since formation, SEVENDUST have attained success with three consecutive RIAA gold-certified albums, a Grammy nomination, and have sold millions of records worldwide. The group has released a total of thirteen studio albums, and this compilation features 7 incredible records from their catalog

Hans Hulbækmo, a driving force in the groups Moskus, Skadedyr, Flukten and Reolo, and a prominent member of bands like Atomic, Hanna Paulsberg Concept, Broen and Hulbækmo & Jacobsen Familieorkester, is now ready with his first solo album - "Tilfeldig Næpe".Hulbækmo was born into a musical family, where both his mother Tone Hulbækmo, and father Hans Fredrik Jacobsen, were active musicians within Norwegian Folk Music. Hans and his brother Alf were taken on tours around the world from an early age. His upbringing has shaped his identity as a musician and has made music a natural part of everyday life. His versatile musicality makes it as natural for him to express himself through the drum set as through other instruments. On "Tilfeldig Næpe" he explores a variety of instruments that form an "expanded drum kit".Throughout the album, the listener is introduced to Hulbækmo's passion for Dadaism and European improvisational music, while also finding inspiration in the everyday and in Norwegian traditional and functional music. Each track is improvised and showcases his unique musicality, strongly characteristic playing style, and ability for spontaneous composition. The love for interaction, communal improvisation, and the social aspect of music has always been essential to Hulbækmo. On his first solo album, he has found ways to play with or against himself, both in the spontaneous creation and in the process of putting the album together as a whole. At times, he plays several different instruments simultaneously. This framework creates both opportunities and limitations. "Tilfeldig Næpe" draws the listener into Hans Hulbækmo's creative world, a world full of coincidences and exciting compositions

Braake - eine fünfköpfige Gestalt, die mit sicheren Schritten eine dunkle Nebenstraße des deutschen Pop heruntergelaufen kommt. Im Oktober 2023 werden sie uns mit ihrem Debütalbum "Kann ja alles sein" erreichen - im Herzen wie im Hirn. Benno Bings, Till Schomburg und Gregor Zenns lernten sich in ihrer Berliner Stadtrandjugend kennen. Schließlich stießen Camillo Kießig und Julian Colin dazu. Letzterer fungiert ebenfalls als Produzent und arbeitete bereits mit Künstlern wie Tristan Brusch oder Trille zusammen und betreibt heute ein analoges Tonstudio in Neukölln. "Kann ja alles sein" kommt im warmen Klanggewand vom Folk und Rock der 70er daher, aber die Songs sind individuelle Maßanfertigungen in modernem Schnitt. Accessoires von Surf-, Desert-, Krautrock und New Wave schlenkern über einem unbeirrten, aber unzuverlässigen Takt.

Da ist er... der Beat der grossen Stadt - und ich dachte schon, dass die Gäng alle schon im Ruhestand wären und dann flattert die Mail ins Haus: Peeps von Surf Nazis Must Die, Herpes, Heat... wilde Nummer, hau drauf und ungestüm... Jetzt, ein paar Monate später, sind Leute weg und neue da und die Sache läuft. Am Sound hat sich nichts geändert, liefert das energetische Quartett weiterhin extrem treibenden Upbeat-Postpunk oder No Future-Sound. Man hört etwas Parquet Courts, etwas Uranium Club, etwas Dischord-Sound und 70s Punk - schneidende Gitarren, wummernder Bass und ein von 16tel getriebenes Schlagzeug - hektisch, rhythmisch, schiebend, manchmal hypnotisch repetitiv. Und über alldem schnarzt der aufgekratze Gesang von Florian Pühs, der über all jene Großstadt/Kleinstadt/Jugend/Durchdreh-Sachen singt, die einem manchmal sehr bekannt und manchmal sehr unbekannt vorkommen. Es werden auf jeden Fall Antworten auf einige der wichtigen Fragen des Lebens gegeben - oder wisst Ihr was Hüsker Dü tun würde? Oder was mit Dennis Rodman los ist, warum der Fahrstuhl dich nicht runterziehen soll oder was die Höhe-und Tiefpunkte im Leben eines Liftboys sind?

2023 Repress

2001, the first year of the 21st century, but especially for many born in the 60's, 70's and 80's, the year that was surrounded with an aura of "the Future" and which became symbol of the new and unknown things that life has in store, the starting year of a new transgression period in both scientific, cultural and spiritual evolution. In that year Transllusion recorded music in the Dimensional Waves Productions studio of which till date two known productions saw a release: "The opening of the Cerebral Gate" and shortly after that the mysterious "L.I.F.E." album on Rephlex. More than 15 years later, an unknown wave resurfaced, washing up an incomparable emotional state of electronic depth. Music from the Future rooted in an underwater Afro-futurist realm and the grandiose cosmological truths. This time rushing over us in a much more personal, reflective and more introspective way, yet leaving behind sonic confusion. We now know who was responsible for all these futuristic recordings perfectly reflecting what the year 2001 stood for, James Stinson can be seen as one of the last few techno musicians from his generation that lived up to the high expectations of moving forward, finding the unknown and embracing the future without reliving the past. This recently discovered DAT-tape, using his Transllusion alias, is the 3rd outing of the project and, surrounded with an even brighter aureole than the previous recordings, confirms the status of its producers mastermind. No further details are known, except for the project name written on the tape, but these intimate moments in the studio tell us what the future sounds like according to James Stinson!

Gottwax is back with its seventh instalment, and this time, the reins are in the hands of the Beeyou co-founder and FUSE regular, Laidlaw. Laidlaw showcases his unparalleled talent and versatility as a producer in the 'Prophecy' EP, solidifying his status as one of the rising stars in the scene. This four-track EP takes listeners on a journey through deep house, stripped-back grooves, and breakbeat, making it an absolute essential for every discerning DJ's collection.

The EP kicks off with 'Wait Till The End,' a deep house gem with a playful bass line, moody chords, and sparkling top notes. Each element is thoughtfully crafted, blending harmoniously to create an atmosphere that subtly builds throughout the track. 'Wait Till The End' is a flawlessly realised tune, serving as an incredibly strong start to this EP.

Next up is 'Planet 727,’ is a minimal groover with deep, subby bass and hints of tribal drums, infusing the rhythm with captivating movement. This track is one for late-night, ensuring the dance floor keeps moving till the early hours.

As the title track of the EP, 'Prophecy' does not disappoint. This groove-laden breakbeat track is brimming with deep sub bass and intricate textures, leading into an infectious melody. A must-have in every DJ's bag, 'Prophecy' will undoubtedly be the soundtrack for countless future parties.

Closing out the EP is 'That Was Well Quick,' a high-energy composition adorned with mesmerising melodic textures. With its hypnotising baseline groove and captivating top lines, this track creates an infectious atmosphere, injecting an electrifying energy into the dance floor. 'That Was Well Quick' is an absolute essential for all devoted electronic music lovers.

We are beyond excited to welcome Laidlaw to the Gottwax family and share this incredible release you. Prepare to be taken on an unforgettable sonic journey with the ‘Prophecy EP’.

The inaugural release on KMRU's own fledgling OFNOT imprint, 'Dissolution Grip' is an ambitious project that emerged from his studies at Berlin's prestigious UDK. The Kenyan composer and sound artist is best known for his field recording work, and as he traveled across Europe and the wider world for regular live performances, he made a point to snapshot each city. But the more he studied and the more he examined his practice, the more KMRU began to wonder what the purpose of these recordings were, and what bearing they might actually have on his self-expression. Simultaneously, he'd begun to dive more wholeheartedly into the world of synthesis. In a way, synthesis is the most basic form of sound, and KMRU started to wonder not just how he could harness these sounds but how he might be able to more dynamically combine them with field recordings.

Guided by Jasmine Guffond at Berlin's Universität der Künste (better known as UDK), KMRU looked at waveforms - the visual representation of sound itself - and embarked on a process where he would write scores from the shapes, gradually turning the scores into raw synth sounds. Considering the spaces he was inspired by and shuttled through, KMRU decided that instead of using environmental recordings as an aesthetic marker, he would use these captured moments to guide the waveforms. So each sound is birthed from a field recording, but none of those recordings are audible in their original form. For example, on the digital bonus track 'Along A Wall', KMRU recorded in an old shack on his family's compound in Nairobi, where wind was shaking the building to its foundations. Listening to the finished piece, we can hear subtle electronic tones that rub and vibrate against each other, slowly saturating and mimicking the erratic motion of the wind. The original recording has been removed, but the feeling remains.

The album's opening side 'Till Hurricane Bisect' is a 15-minute epic that evolves at its own glacial pace, carefully transforming blustering wind sounds into gasping drones, glassy oscillations and choked distortion. Cosmic and meditative, it's a testament to KMRU's skill as a sound engineer and patience as a composer, combining the gentle world building of his acclaimed Editions Mego album 'Peel' with the rumbling energy of 'Limen', last year's collaboration with Aho Ssan. On the title track, KMRU takes the opportunity to flex his orchestral muscle, conducting a cast of warbling synth tones into a durational symphony. Starting as quietly as a whisper, 'Dissolution Grip' expands at its own pace until it's a dense wall of harmony, powerful but never completely overwhelming. It's music embedded with a rich sense of place that informs us of KMRU's past and present, and signals where his musical philosophy might take us in the future.

Lukid's first solo album in 9 years, following several releases as one half of Rezzett and 3 EPs as Refreshers.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Die..//180gr/Printed Innersleeve/1000 Cps On Pink Vinyl
1-LP Holland


Fake It Till We Die is the eleventh studio album by Dutch singer Anouk. It was released only seven months after its predecessor Queen for a Day. Although Anouk is primarily known for her rock songs, this album features mostly soul and funk oriented tracks. The preceding singles “Down Daddy Down” and “Burn” are a great example of Anouk’s expansion to these genres. Other strong tracks on the album are “I Just Met a Man”, “Blue Motel”, “Waste Your Water” and much more. Fake It Till We Die is quite a cohesive and very well done soul record, perfectly showcasing Anouk’s incredible voice.

The album is available on coloured vinyl for the first time. This edition includes a printed innersleeve with song lyrics and is available as a limited edition of 1000 individually numbered copies on pink vinyl.

: Written and recorded in a series of bedroom studiosin England and France, London-based Gareth Donkin’s extraordinary debut, Welcome Home, showcases the 23-year-old’s stunning mix of instrumental virtuosity and emotional intuition, blending highly sophisticated melodic and harmonic craftsmanship with deeply moving lyrical explorations of longing, desire, and determination. The songs here draw on soul, funk, pop, yacht rock,hip-hop, jazz, and even bossa nova, hinting at times to everything from Michael Jackson and Bill Evans to George Benson and Jamiroquai, and Donkin’s performances are nothing short of mesmerizing, layering up instrument after instrument in the best one-man-band tradition of Prince or Stevie Wonder. The result is a moving work that’s equal parts brain and brawn, a masterful coming-of-age self-portrait from a young artist discovering himself—and his sound—one song at a time. Born with perfect pitch, Donkin was already fanatically obsessed with both jazz piano and drums before he turned twelve. In high school, he began DJing and teaching himself to record and sample, and by the time he headed to the Leeds College of Music to pursue a degree in production, he was already writing and recording his own material at home. His first single, “Catharsis,” would go on to rack up more than a million streams on Spotify, and a series of subsequent tracks would find similarly organic success and help land him a deal with the burgeoning drink sum wtr label.

During the 60s, Glenda Collins and The Riot Squad both found a home at Joe Meek’s legendary 304 Holloway Road studio. Ms Collins was briefly paired with the Riots by Meek for a planned collaborative album of cover versions, primarily featuring soul and R&B tracks which had been hits for other artists.

Recorded in late 66/early 67, titled ‘It’s A Riot!’, and, according to the tape boxes, possibly to be released under the name Glenda, Nero and The Riots, the album itself was never completed, and unknown until the Tea Chest Tapes’ recent restoration and transfer. The album’s six tracks are less heavily processed and more laid back than much of Meek’s work, and with Glenda’s now mature, soulful voice to the fore, these live, single take recordings hint at a new approach the production maestro may have been exploring, eschewing his usual reverb-laden, heavily overdubbed sound for something more rootsy. If so, he was once again a year or more before the curve, foreshadowing the back-to-basics approach which would be adopted by so many artists in the wake of psychedelia’s over-saturation.

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von den Originalbändern gemastert, QPR Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing), wattierte Innenhülle.

Für das Album “Pre-Bird”, das später auch eine Zeit lang unter dem Titel “Mingus Revisited” zirkulierte, hatte Charles Mingus ausschließlich Musik aufgenommen, die komponiert worden war, bevor er das erste Mal Charlie Parker gehört hatte. Die Aufnahmen entstanden im Mai 1960 bei Sessions mit zwei Ensembles, die mit Stars gespickt waren: einem bunt schillernden 25-köpfigen Orchester und einem wendigeren Tentett.

Neben sechs älteren Kompositionen von Mingus standen zwei kontrapunktische Arrangements von Stücken aus der Swing-Ära auf dem Programm.

In 2015, pop royalty Kylie Minogue released her first Christmas album Kylie Christmas.

The album is a perfect accompaniment to Christmas celebrations with immaculate production and vocal performances, as well as including a few Christmas surprises in the form of duets with Frank Sinatra, Iggy Pop and James Corden.

It also features her hugely popular rendition of Eartha Kitt’s Santa Baby originally released in 2000.

Dreams are made and displaced on Mark Fell & Rian Treanor’s oneiric electro-acoustic inception 'Last Exit', borne from long days in the family garden, and assembled into a mesmerising masterpiece of minimalist modal rhythm and atmospheric exploration, into rapt smallsound detailing in breathtaking form. It’s a bit like listening to Virginia Astley’s ‘From Gardens Where We Feel Secure’, with washes of Autechre seeping into the mix from outside.

‘Last Exit…’ originally appeared in a different form as a cassette release for our Documenting Sound series in 2021, and was edited this year by Mark and Rian for this new expanded and altered edition, mastered by Rashad Becker. It renders a painterly,psychedelic, and diaristic depiction of sublime atmospheric tension, occasionally ruptured by their typical, asymmetric rhythm impulses in a form that rudely transcends their respective aesthetics. Across four parts, they kern, juxtapose and diffract synthesised percussion and field recordings into polymetric arrangements riddled with timbral nuance of a highly unpredictable nature.

While patently inflected with nods to Indonesian gamelan, Ugandan folk, Indian Carnatic classical, Morton Feldman-esque minimalism, free jazz improvisation and a sort of rhythmic cubism that speaks to their mutual, voracious listening habits and tastes, the results are arguably without direct compare. Attentive listeners will recognise, however, that ‘Last Exit’ effortlessly transcends their respective styles, achieving a new high watermark of imaginary future-hyperfolk expressed in a sort of personalised but highly relatable meta-musical language.

Seriously, they’re working beyond known conventions here; opening to a sublime frisson of Feldman-esque keys, birdsong and distant car engines, and closing to a combo of just-intoned drone and wafts of distant ballroom music. The 80 minutes in between feel like returning to a dream, with flashes of FM strings dabbed to sloshing rhythms and domestic detritus, tilting into a nervously tentative tension ruptured with abstract dance dynamism and angular free jazz ballistics.

The rejigged recordings also reflect the fidelity of memory recall, expressing an altered perspective on their time spent in the multigenerational family’s Rotherham garden during spring/summer 2020, replete with their mum/grandmother on piano and overheard singing and in convo, but now fraught with a more melancholic, distempered quality that makes for a genuinely unforgettable listening experience. A long-form isolationist fantasy, consider it crucial listening if yr into Robert Ashley's 'Automatic Writing', Graham Lambkin, Autechre or Nuno Canavarro.

For her new album - aptly entitled Veronica Swift - the versatile artist stretches her wings and opens up her wide range of influences to share who she truly is: a once-in-a-generation vocalist with unabashed confidence.

Das Debütalbum der Punk-Superstars RISE AGAINST von 2001. THE UNRAVELING in der Neuauflage (Remix, Remaster, Bonustracks) von 2018. Die aus Chicago stammende Band thematisiert Ungerechtigkeit und Ungleichheit, bricht weiterhin Rekorde, füllt Arenen und macht ihr riesiges globales Publikum auf wichtige progressive Themen aufmerksam. Alles begann im Jahr 2001, als ein Demo von zwei ehemaligen Mitgliedern von 88 Fingers Louie zu Fat Wreck gelangte. Es war ihre neue Band, Rise Against. FAT nahm sie sofort unter Vertrag, holten sie ins Studio und veröffentlichten ihr Debütalbum "The Unraveling". Nach der eiligen Veröffentlichung ging die Band auf Tour. Jahr für Jahr, Tour für Tour baute Rise Against langsam eine treue Fangemeinde in den USA und Europa auf. Rückblickend waren sowohl die Band als auch FAT der Meinung, dass die Produktion von "The Unraveling" aufgrund der Eile, mit der das Album veröffentlicht wurde, zu wünschen übrigließ. Nun, da die Band gewachsen ist und ihren spezifischen Sound besser gefunden hat, wurde beschlossen, das Album neu abzumischen, zu remastern und erneut zu veröffentlichen. FAT hat es dabei nicht belassen: Das Album enthält außerdem zwei Bonustracks aus derselben Zeit. "The Unraveling" ist ein Muss für die immer noch ständig wachsende Fangemeinde von Rise Against! "Rise Against sind melodischer Hardcore. Die Band zeigt, dass sie ihren Wurzeln bei 88 Fingers Louie nicht allzu fern ist, denn die Punk-Energie ist hier pur und unverfälscht. Wenn es jemals ein Album gab, dass dazu beitragen könnte, das Fingerzeigen und die Circle Pits zurückzubringen, dann wäre "The Unraveling" eine gute Wahl."

Das Debütalbum der Punk-Superstars RISE AGAINST von 2001. THE UNRAVELING in der Neuauflage (Remix, Remaster, Bonustracks) von 2018. Die aus Chicago stammende Band thematisiert Ungerechtigkeit und Ungleichheit, bricht weiterhin Rekorde, füllt Arenen und macht ihr riesiges globales Publikum auf wichtige progressive Themen aufmerksam. Alles begann im Jahr 2001, als ein Demo von zwei ehemaligen Mitgliedern von 88 Fingers Louie zu Fat Wreck gelangte. Es war ihre neue Band, Rise Against. FAT nahm sie sofort unter Vertrag, holten sie ins Studio und veröffentlichten ihr Debütalbum "The Unraveling". Nach der eiligen Veröffentlichung ging die Band auf Tour. Jahr für Jahr, Tour für Tour baute Rise Against langsam eine treue Fangemeinde in den USA und Europa auf. Rückblickend waren sowohl die Band als auch FAT der Meinung, dass die Produktion von "The Unraveling" aufgrund der Eile, mit der das Album veröffentlicht wurde, zu wünschen übrigließ. Nun, da die Band gewachsen ist und ihren spezifischen Sound besser gefunden hat, wurde beschlossen, das Album neu abzumischen, zu remastern und erneut zu veröffentlichen. FAT hat es dabei nicht belassen: Das Album enthält außerdem zwei Bonustracks aus derselben Zeit. "The Unraveling" ist ein Muss für die immer noch ständig wachsende Fangemeinde von Rise Against! "Rise Against sind melodischer Hardcore. Die Band zeigt, dass sie ihren Wurzeln bei 88 Fingers Louie nicht allzu fern ist, denn die Punk-Energie ist hier pur und unverfälscht. Wenn es jemals ein Album gab, dass dazu beitragen könnte, das Fingerzeigen und die Circle Pits zurückzubringen, dann wäre "The Unraveling" eine gute Wahl."

Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the new Iliads series is to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This second in the series pays homage to the unique sound of the Mirage releases. The influence of these releases on the SD sound that followed has often been overlooked, principally because it was assumed that the ‘Mirage’ moniker was simply another pseudonym for Source Direct, when in actual fact it was a lethal combination of the powerful engineering and arrangement skills of Jim Baker (Source Direct) and the sound selection and co-production of Odysee’s founder, Tilla Kemal (T-Mirage).

Face In The Shadows immediately opens with that slightly darker feel, with tracks like Feel My Dreams and Stonekiller in mind. The trademark SD style of break switches (aptly named ‘call & response) are immediately evident, although the Funky Mule gives the track its primary momentum. The sound selection is eerie, focusing on the 70’s Film-Noire, and deep Electro in line with Tilla’s particular preferences. The spoken word quotes are also unmistakably ‘Mirage-esque.’

Regenesis is a classic Odysee B-side track; lighter, more experimental and Jazzy in it’s feel. It showcases intricate and crisp rolling break work, and a beautifully refined selection of real stand- out musical quotes; from the sweet R&B-esque vocal ad-libs to the lush 70’s style sleaze of the Rhodes rolls. The interaction of these elements is the glue that holds this tune together.

The Darkness Within is the final track of the E.P. and it is the arrangement of samples that really emulates the ‘Mirage’ sound. Tilla & Jim were very particular about grouping sounds to work with & answer each other in each section of a tune. Samples were often sourced from obscure Film OST’s or rare electro albums which had sample diggers scratching their heads for many years! This track is dubbed out deeper, with a punching & rolling Soulpride features as the hero break and a repetitive deep chord stab forming the foundation of the tune.

Look out for the final instalment Volume III, where we will be focusing on the dystopian Jazz sound of the Hokusai releases!

Miles Davis is regarded to be one of the most influential and acclaimed figures in the history of jazz and 20th-century music. Quiet Nights is the fourth and last studio album that Davis collaborated on with Gil Evans. The 1963 release took inspiration from the bossa nova genre that rose to popularity during the time.

Quiet Nights is a mix of situations and sources: Brazilian folk (“Prenda Minha”, titled “Song #2” on the album), Spanish classical (“Adelita” by guitar pioneer Francisco Tárrega, here called “Song #1”), and a few ballads, including one that stands out from the rest of the big band album: “Summer Night,” a quintet take featuring Miles playing muted then open trumpet and the start of a new band: tenor saxophonist George Coleman, pianist Victor Feldman, bassist Ron Carter, and drummer Frank Butler.

The album was produced by Teo Macero. Some of the additional performers on this album include Paul Chambers, Bill Barber, Steve Lacy, Jimmy Cobb, Willie Bobo, and George Coleman amongst others.

Tilman teaches us how to fly. His Atmospheric Mix of Marc Brauners „The Feeling“ is a 90s shaker and takes you straight to the stars - What a feeling, what a rocket!

The A-Side ends with a solid groover. Soela teams up with her partner in crime Module One. They deliver a classy interpretation of Max Taelers „Running“. You like it deep? - this one is for you!?
On the flip side waits for you Eddie C. He maximized the Funkyness of „Heads Up High“ without losing sight of its origins. King Eddie does royal things!

Last but not least Denyl Brooks interpretation of Shakas „Overminded“ is a peak time dance floor shaper. This belter goes in the ears, stays in the legs - for sure!

Multi-instrumentalist Sally Anne Morgan, known for her work as part of The Black Twig Pickers, and half of House and Land (with Sarah Louise), cultivates seeds sown by folk musics and psychedelia. Carrying tills the rich soil of Appalachian traditions and her rural North Carolina surroundings into warm, reflective songs about the weight people carry with them, as well as Morgan"s own pregnancy and the birth of her first child. Bridging the more freeform, expansive leanings of 2021"s Cups and the lucid beauty of her acclaimed 2020 debut Thread, Carrying finds Morgan imbuing her masterfully crafted songs with more subtle and intricate arrangements. The album"s exploratory nature is anchored by a full band comprised of some of the most thoughtful players in the psychedelic folk and "cosmic country" spheres, including a guest appearance by Ripley Johnson (Rose City Band, Wooden Shjips, Moon Duo), and the foundational rhythm section of fellow The Black Twig Pickers collaborators: drummer Nathan Bowles (Steve Gunn Band, Pelt), guitarist Andrew Zinn, and bassist/engineer Joe Dejarnette. Morgan finds unity in the burdens and joys, tensions, and releases of modern living as a common thread that people bear in their day-to-day lives. "So much of what we accumulate and carry around with us burdens us, but we also can"t or don"t know how to let go," says Morgan. The profoundness and mundanity of that weight ran parallel for Morgan as she literally carried her child to term: the utter commonality of enduring what billions of parents before her had, and the awesome power of the human body and spirit, the complicated and unpredictable wash of emotions that come with nurturing and nourishing another life.

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

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

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

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

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

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

When one of South Africa's most sought after trumpet players steps forward after a career alongside the very best in the International jazz scene, you know it's going to be a special record.

Dennis Mpale was one of South Africa's heavyweights. You'll find his name springing up on every important South African jazz record and billing since the 1960's. Chris McGregor's iconic Jazz/The African Sound LP, Abdullah Ibrahim's Dollar Brand, Barney Rachabane in the highly influential ensemble Roots, and early work in house bands appearing alongside Nick Moyake in The Soul jazz Men to name just a few. His trumpet playing had character, an extension of the body and amplifier of that great South African sound.

Leaving South Africa during Apartheid as a strong supporter and member of the ANC, Dennis made London his home, joining the newly established SA Jazz scene and standing in solidarity against the oppressions back in Africa.

Moving between London and South Africa during the 70's and 80's It wasn't till the early 1990's when Dennis finally settled again to make his biggest transition to solo artist, redefining his Jazz past and putting a heavy kwaito infused house slammer on the agenda. 1994s 'Paying My Bills' (a title maybe more appropriate now than it ever has been) is a mighty jazz kwaito house effort: From the heavy synth beat and gorgeous floating solo opener of 'Paying My Bills', to the highly infectious vocal phrasing on thumping house anthem 'Take My Time'. Paying My Bills takes the sensibilities of a jazz maestro and pairs it with one of South Africa's biggest producers Peter 'Hitman' Moticoe, creating the perfect recipe for a certified summer slammer.

Having previously only ever been released on CD, this is the first ever vinyl pressing of the album (hazy early test pressings lurk on a small number of lucky shelves). Vinyl mastering is handled by The Carvery's very own Frank Merritt here in London, with the resulting tracks generously split over 2 discs to fully appreciate the swampy heavy dub bass drolls for full dancefloor effect. It's loud and punchy and makes space for those glorious trumpet improvisations while keeping the synth refrains and heavy bass thumping.

Early plays include resident NTS DJ's and a feature on Palms Trax Radio 1 residency with surely more support to follow.

Dubquake Records dig deep in the vaults to reissue five more iconic Iration Steppas tracks from the 90’s!

Still buzzing from the hype around Part 1 of the ‘90’s Classic Cutz’, this new drop includes their very first release ‘Scud Missile’, the legendary ‘Hard Time Pressure In A Babylon’, ‘Locks’ featuring Tena Stelin, ‘Kitachi In Dubwize’ and their spiced up remix of Vibronics’ ‘One Drop’.

These tracks were produced and mixed by Iration Steppas’ founding members Mark Iration and Dennis Rootical at the High Rise Studio in Chapeltown, Leeds. At the time, the dub-making-duo were heavily experimenting with new sounds, blending dub with acid soundscapes in a way that had never been done before. At the frontier of reggae and electronic music, their ‘Dub Inna Year 3000 Style’ re-defined UK Dub in the 90’s and continues to inspire the new generation.

All tracks have been remastered and put onto five separate 12” slabs of wax. And to add to the excitement, each release features original mixes + previously unreleased ‘dubplate cutz’ that could only be heard live up till now!

Dubquake Records dig deep in the vaults to reissue five more iconic Iration Steppas tracks from the 90’s!

Still buzzing from the hype around Part 1 of the ‘90’s Classic Cutz’, this new drop includes their very first release ‘Scud Missile’, the legendary ‘Hard Time Pressure In A Babylon’, ‘Locks’ featuring Tena Stelin, ‘Kitachi In Dubwize’ and their spiced up remix of Vibronics’ ‘One Drop’.

These tracks were produced and mixed by Iration Steppas’ founding members Mark Iration and Dennis Rootical at the High Rise Studio in Chapeltown, Leeds. At the time, the dub-making-duo were heavily experimenting with new sounds, blending dub with acid soundscapes in a way that had never been done before. At the frontier of reggae and electronic music, their ‘Dub Inna Year 3000 Style’ re-defined UK Dub in the 90’s and continues to inspire the new generation.

All tracks have been remastered and put onto five separate 12” slabs of wax. And to add to the excitement, each release features original mixes + previously unreleased ‘dubplate cutz’ that could only be heard live up till now!

Dubquake Records dig deep in the vaults to reissue five more iconic Iration Steppas tracks from the 90’s!

Still buzzing from the hype around Part 1 of the ‘90’s Classic Cutz’, this new drop includes their very first release ‘Scud Missile’, the legendary ‘Hard Time Pressure In A Babylon’, ‘Locks’ featuring Tena Stelin, ‘Kitachi In Dubwize’ and their spiced up remix of Vibronics’ ‘One Drop’.

These tracks were produced and mixed by Iration Steppas’ founding members Mark Iration and Dennis Rootical at the High Rise Studio in Chapeltown, Leeds. At the time, the dub-making-duo were heavily experimenting with new sounds, blending dub with acid soundscapes in a way that had never been done before. At the frontier of reggae and electronic music, their ‘Dub Inna Year 3000 Style’ re-defined UK Dub in the 90’s and continues to inspire the new generation.

All tracks have been remastered and put onto five separate 12” slabs of wax. And to add to the excitement, each release features original mixes + previously unreleased ‘dubplate cutz’ that could only be heard live up till now!

Dubquake Records dig deep in the vaults to reissue five more iconic Iration Steppas tracks from the 90’s!

Still buzzing from the hype around Part 1 of the ‘90’s Classic Cutz’, this new drop includes their very first release ‘Scud Missile’, the legendary ‘Hard Time Pressure In A Babylon’, ‘Locks’ featuring Tena Stelin, ‘Kitachi In Dubwize’ and their spiced up remix of Vibronics’ ‘One Drop’.

These tracks were produced and mixed by Iration Steppas’ founding members Mark Iration and Dennis Rootical at the High Rise Studio in Chapeltown, Leeds. At the time, the dub-making-duo were heavily experimenting with new sounds, blending dub with acid soundscapes in a way that had never been done before. At the frontier of reggae and electronic music, their ‘Dub Inna Year 3000 Style’ re-defined UK Dub in the 90’s and continues to inspire the new generation.

All tracks have been remastered and put onto five separate 12” slabs of wax. And to add to the excitment, each release features original mixes + previously unreleased ‘dubplate cutz’ that could only be heard live up till now!

Rina Sawayama commemorates the one year anniversary of her critically acclaimed album 'Hold The Girl' with a physical repressing of the album featuring new artwork.

'Hold The Girl' sees Rina juxtapose intimate storytelling with arena-sized songs for an ambitious and original album that successfully excited fans and critics alike. Reflecting on all that the year has brought her, the physical re-issue and her redesigned tour for Hold The Girl: Reloaded demonstrates Rina's intent to provide a more intimate understanding of her creative process and unique point of view during the creation of the album.

DJ Python’s Worldwide Unlimited return with a trio of giddy-up garage screwballs by BFTT of the Mutualism cohort.

’THP’ hails BFTT’s transition from one party city, Leeds, to another, Manchester, in the post-lockdown euphoria when everyone was dusting off their dancing clogs. He hadn’t made club music during the pandemic, but got right back on it that summer, chiselling signature production details into a trio of restive swingers and buoyant steppers explicitly built for the party.

‘THP’ trains his energies into an itchy switch of Yorkshire garage-techno-donk aerated with feathered dub chords and percolated percussion. ‘Keeplies’ more loosely dances on the offbeat complete with unstable, grinding subs whisked into a dipping UKG lather like Pangaea meets early Aya, and ‘Seems’ picks up your trotters on a ruggedly warped speed garage tilt, all melting Moschino logos and acid-spiked fizz bound for peak times.

Following nearly 20 years of working together as a trio, and numerous cross-collaborations in different configuration between them, Ideologic Organ presents Placelessness, the debut full-length by Chris Abrahams, Oren Ambarchi, and Robbie Avenaim, comprising two long-form works at juncture of ambient music, minimalism, rigorous experimentalism and improvisation, and machine music. Having carved distinct pathways across a diverse number of musical idioms for decades, Chris Abrahams, Oren Ambarchi, and Robbie Avenaim are each, respectively, among the most noteworthy and groundbreaking figures to have emerged from Australia's thriving experimental music scene. Ambarchi and Avenaim first encountered Abrahams when seeing the Necks - the project that has served as the primary vehicle for his singular approach to the piano since its founding in 1987 - together during the late 1980s, not long after having met in Sydney's underground music community. The pair's collaborations date back more than 35 years, criss-crossing Ambarchi's pioneering solo and ensemble work for guitar and Avenaim's visionary efforts for SARPS (Semi Automated Robotic Percussion System), robotic and kinetic extensions to his drum kit. In 2004, fate brought the three together in a trio performance at the What Is Music? Festival, the annual touring showcase of experimental music founded and run by Ambarchi and Avenaim between 1994-2012. For the nearly two decades since, Abrahams, Ambarchi, and Avenaim have intermittently reformed in exclusively live contexts, in Australia and abroad, cultivating and refining the fertile ground first tilled in that early meeting. Placelessness is the first album to present this remarkable trio's efforts in recorded form. Placelessness is the joining of three highly individualised streams, working in perfect harmony; the point at which friendship, mutual respect, and decades of creative exploration produce a singular spectrum of sound. Featuring Abrahams on piano, Ambarchi on guitar, and Avenaim on drums, the album's two sides draw on each artist's enduring dedication to long-form composition. Its two pieces, Placelessness I and Placelessness II, initially began as a single, 40 minute work, before being divided and reworked into distinct, complimentary gestures for the corresponding sides of the LP. Beginning with restrained clusters of reverberant piano tones, Placelessness I progresses at an almost glacial pace, with Abrahams' interventions increasing met by sparse responses, darting within vast ambiences, on guitar and percussion by Ambarchi and Avenaim. Remarkably conversational within its convergences of tonal, rhythmic, and textural abstraction, over the work's duration a progressive sense of tension unfurls and contracts, refusing release, as each of the ensemble's members contribute to an increasingly tangled sense of density at its resolve. While an entirely autonomous work, Placelessness II rapidly realises a distillation of the energy hinted at across the length of its predecessor. Following a luring passage of harmonious calm, Abrahams' launches into shimmering lines of repeating arpeggios, complimented at each escalation of tempo by Avenaim's machine gun fire percussion work and Ambarchi's masterful delivery of tonality and texture, as the trio collectively generate dense sheets of pointillistic ambience within which individual identity is almost lost, before slowly unspooling into unexpected abstractions and dissonances that deftly intervene with the work's inner logic and calm. What could easily be termed a maximalist take on Minimalism, Placelessness is a masterstroke of contemporary, real time composition, that blurs the boundaries between ambient music, experimentalism, free improvisation, and machine music. Drawing on Chris Abrahams, Oren Ambarchi, and Robbie Avenaim's decades of respective solo and collaborative practice, and the culmination of nearly twenty years of working together as a trio, it's two durational pieces - Placelessness I and Placelessness II - take form with a startling sense of effortlessness and grace, neither shying away from explicit beauty or rigorously tension within their forms.

Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it. Stunning.

Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Rythmiques has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

• “Hearts For Sale” is the fifth and latest in our series of 12-inch vinyl albums spotlighting the US girl group sound of the 1960s. The collection opens with ‘Street Dance’ by Bonnie Jean, a little-known must-have for collectors of the genre, with Darlene Love and the Blossoms clearly audible on background vocals. Issued on Lew Bedell’s Doré label, this exciting faux-live deck in the style of Shirley Ellis’ ‘The Nitty Gritty’ was written by Guy Hemric and Jerry Styner, a hip team known for supplying songs for the soundtracks of B movies such as Muscle Beach Party and Thunder Alley.

• The Hollywood-based Doré imprint is also the source of ‘You Really Never Know Till It’s Over’ by the Vel-Vetts (which shares a backing track with the Superbs’ ‘I Was Born When You Kissed Me’), ‘One Way Street’ by the Swans, a soulful update of the Teddy Bears’ ‘To Know Him Is To Love Him’ by the Darlings and – featuring lead vocals by Sheilah Page, a former member of groups such as the Bermudas, Becky & the Lollipops, the Majorettes, Joanne & the Triangles and Beverly & the Motor Scooters – ‘He’s Groovy’ by the Front Page & Her.

• Other highlights include the Sweethearts’ Supremes-influenced ‘No More Tears’, the sophisticated slowie ‘Lonely Girl’ by the Lovettes (that’s them on the front sleeve), ‘My Heart Tells Me So’ by the Del-Phis (an early incarnation of Martha & the Vandellas) and the Fran-Cettes’ terrific recording of ‘Heart For Sale’. As with the earlier volumes in the series, the album comes with a fully-illustrated inner bag featuring a 2,500-word track commentary by compiler Mick Patrick.

Die schwedischen Rocker Velvet Insane melden sich mit ihrem neuen Longplayer 'High Heeled Monster' zurück! Die Band spielt eine frische Mischung aus klassischem Rock, Pop, Folk und dem britischen Glam-Rock der frühen 70er Jahre. Auf dem Album sind viele prominente Gäste wie Dregen (Backyard Babies, The Hellacopters), Chips Kiesbye (Sator) & Bonni Pontén (Asta Kask) zu hören. Für Fans von Slade, KISS, David Bowie, New York Dolls oder The Ark.