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Red Brut’s third album, "On Bare Ground", is a sonic tapestry woven from the final threads of her Rotterdam existence. Entirely composed of soundscapes captured during her last two years in the city, the album evolves into a poignant farewell as its creation mirrors the passage of time, culminating in a profound departure from her life there.

A Coherent States, Dead Mind Records and Econore co-release. 200 copies on white vinyl, comes with obi-strip.

“On Bare Ground” is a sculptural work blending its lo-fi with haunting melodies, field recordings, and ethereal soundscapes. Uncompromising in its approach, the album evokes the echoes of experimental music from a spectrum that ranges from dark bedroom pop to rhythmic noise, crafting a cloudy and dreamlike atmosphere. With meticulous attention, it unfolds as a strong hypnotic journey, where intricate sounds emerge from a hidden center, while, in a parallel narrative, they gradually expose On Bare Ground’s underlying deep melancholic core.

Red Brut is the artistic alias of Dutch artist Marijn Verbiesen, who recently moved to Groningen and has been a vital force in Rotterdam's art scene. Her work reveals a particular sensitivity to everyday sounds, the soundscapes of cassette music, musique concrète, and spontaneous sound collage, combining these elements into a unique and truly personal avant-garde expression. This expression is present in various forms, in a wave of releases that began with limited-edition underground cassette releases in the mid-2010s and culminated in her two full-length albums, "Red Brut" (2018) on the Belgian label (K-RAA-K)³ and "Cloaked Travels" (2020) on the Finnish labels Lal Lal Lal and Ikuisuus. She has appeared at many important European festivals such as Rewire, KRAAK festival, Inversia, Colour Out Of Space and in numerous smaller venues worldwide. In addition to her career as Red Brut, Marijn is a member of the free improv/weirdo electronic pop duo Goldblum and before in the experimental no wave/noise trio Sweat Tongue.

“On bare Ground works as like an homage to self discovery amid urban malaise” The Wire

Over the course of her trailblazing career, Charli XCX has earned critical acclaim for her forward-thinking musical output and refreshing entrepreneurial spirit that has seen her carve her own lane on the global pop circuit. A singer, songwriter, video director, documentary maker, radio host and record label boss, Charli’s story is one of an artist continuing to succeed without compromise.

Now in 2020, Charli is already breaking boundaries - this year has seen her first BRIT nomination for British Female Solo Artist, marking a huge moment of validation from a mainstream audience that Charli has built on her own terms. In reaction to the global COVID-19 pandemic of 2020, Charli has proven herself to be one of the most adaptable artists working today; initially providing programs of Instagram live sessions that invited various guests to spark conversation, share insight, or simply entertain fans across the world who are currently practicing social distancing. Charli’s vision then expanded further, leading her to announce ‘how i’m feeling now’ - a new album to be written, recorded and released in 39 days, completely in self-isolation. The creative process was also to push her collaborative stream in a unique way; opening up the recording, writing, artwork, music videos and more to fans for feedback and contribution - she also further inspired her fans’ creativity, allowing them access to song stems to create remixes and greenscreen footage to be edited using their own imagination.

‘how i’m feeling now’ has given further spotlight to Charli’s status as one of the most adaptable, exciting pop artists working today, and through it’s uniquely collaborative approach, provided a shared space for those who listen to feel safe enough to express themselves however they wish at a time when they need it most.

2024 Repress

“Live at Sound City” is an instrumental collaboration between bassist Pino Palladino, guitarist/multi-instrumentalist/producer Blake Mills, and LA-based saxophonist Sam Gendel. Recorded in one day at the legendary Sound City Studios in Van Nuys, the EP presents new versions of compositions from Palladino & Mills’ Grammy-nominated 2021 album “Notes with Attachments” in an intimate chamber trio setting. Across four tracks, the accomplished trio explores common musical vocabularies, then goes about the work of defamiliarizing them in search of something new, blending the sounds of West African and Cuban music, jazz, R&B, English folk, pop, and beyond.

Pino Palladino is a Grammy Award winning songwriter, producer and bassist who helped create the rhythm-section sound of D’Angelo’s Voodoo and Black Messiah, and over a four-decade career has worked with artists including Keith Richards, Erykah Badu, Eric Clapton, Nine Inch Nails, Questlove, John Mayer, Paul Simon, Jeff Beck, Herbie Hancock and Adele.

Blake Mills is a two-time Grammy Awards Producer of the Year nominee. He has released four solo albums and produced and recorded with artists such as Alabama Shakes, Fiona Apple, Bob Dylan, John Legend, Perfume Genius, Jim James, Moses Sumney, Laura Marling, Phoebe Bridgers, Cass McCombs, The Killers, Sara Bareilles, Weyes Blood and Randy Newman. His most recent album Mutable Set, released last year, was praised by Pitchfork as “a hushed collection that floats through the subconscious like a tender dream,” and earned their Best New Music title.

Sam Gendel is a musician living in Los Angeles, CA. He is most known for his work with the saxophone, though he is proficient on multiple instruments. His work is diverse and includes collaborations with a wide range of artists including Ry Cooder, Laurie Anderson, Mach-Hommy, Sam Amidon, Perfume Genius, Moses Sumney, Knower, Vampire Weekend, and inc. no world.

This is one of Ray Pérez’s most highly sought-after albums, not only for its strong salsa dura anthems and funky boogaloo numbers but also for its brave, quirky eclecticism and youthful, rebellious spirit, all of which are reflections of “El Loco” Ray’s unique genius, making him a beloved figure in rare record collector circles everywhere.

The original is not that easy to find today and carries a hefty price. Thankfully, it has been remastered from the original tapes, fully licensed, with the original artwork, preserving and presenting the legacy of this great Venezuelan music for today’s generation.


DESCRIPTION
The late 1960s was a very busy time when Pérez was juggling several different studio bands: Los Dementes, Los Calvos and Los Kenya.

The daring experiment Pérez created with Los Calvos laid the basis for Los Kenya, an actual working band that released six albums between 1968 and 1972. Despite being titled “Los Kenya, Vol. 2” because it was the second released by Discomoda, the record actually represents Los Kenya’s third album, and is perhaps the most mature, well-rounded venture in the lot.

In February 1969, on Discomoda, came “Los Kenya, Vol. 2” focused on the upcoming carnival season and was calculated to compete with rival bands Federico Y Su Combo Latino and Sexteto Juventud for the plethora of gigs offered at that time of year.

The album, like all Ray Pérez releases of the time, is short and powerful, with five tracks per side, showcasing a variety of singers, genres, rhythms, influences and arrangements, making this one of his more eccentric and interesting efforts. 1960s California “sunshine pop” rock (often referred to as ‘surf’ on Los Kenya records), guajiras, boogaloos, descargas and even Mexican mariachi corridos are all added to the pot of salsa cooked up by “El Loco Ray” and his band.

The album has been rescued from obscurity and lovingly restored, remastered from the original tapes, fully licensed, with its original artwork intact, preserving and presenting the legacy of this great Venezuelan music for today’s generation of global salsa dura fans.

In den späten 1960er Jahren erlebte Kanadas größte Stadt einen musikalischen Aufschwung, als karibische Einwanderer Toronto zu ihrer neuen Heimat machten. Die besten Ska-, Rocksteady- und Reggae-Aufnahmekünstler jener Zeit - die Gründer von Studio One, Treasure Isle und Trojan Records - taten einfach das, was ihnen in den Sinn kam. Einer nach dem anderen gingen sie ins Studio und nahmen einige der härtesten Songs diesseits von Kingston auf. Gemeinsam überwanden sie die rassischen und kulturellen Barrieren und bildeten eine beispiellose und wenig bekannte kanadische Soul & Reggae-Community. "Jamaika to Toronto: Soul, Funk & Reggae 1967-1974" beschreibt diese entscheidende klangliche Migration im Detail. // Mit Jackie Mittoo, Johnnie Osbourne, Wayne McGhie, Lloyd Delpratt, The Mighty Pope, Jo-Jo Bennett, Eddie Spencer, Noel Ellis und mehr_ // 2024 erweiterte Ausgabe mit 20-seitigem Deluxe-Booklet mit Archivbildern, Künstlerbiografien und Essays // 2xLP-Set, läuft mit 45 rpm, in einem luxuriösen Klappcover // Zusammengestellt, und kommentiert von dem GRAMMY-nominierten Produzenten, DJ und Journalisten Kevin Howes (alias Sipreano, Voluntary In Nature) in Zusammenarbeit mit Light in the Attic // Yellow & Green ReVinyl, eine nachhaltige Alternative aus 100% recycelten Materialien //

Repress of this Christmas classic, 300 copies on snowy WHITE vinyl! "At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? ...you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we'd guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the overinflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it's for LIFE!" - Ian Damaged, National Elf

Hello Everybody,

In recent years, the introductory texts for the Pop Ambient compilation series, which is released every year on Kompakt as the last release before the Christmas break, often began with the sentence "Every year again...".

“Every year again”, a quiet, almost unnoticed maxim of self-evidentness. Because this is already the 25th issue to be published this year.

25 years in increasingly fast-moving times in the even faster-moving music business is an eternity that doesn't just feel like it. It is all the more remarkable how I, as someone who is always restless and often driven by this fast pace himself, pleasantly almost haven’t realised how - in pop-ambient contexts - time does not pass (or passes differently) in the best sense.

When compiling the 25th edition I was asked, among other things, what it was like that I was still doing this and whether I had a favorite track. In the spirit of bringing all the tracks together I don't have a favorite track, or all of them. But I have a favorite part (moment) that I played. In this case it was a broad chord in a change of key at minute 2:55 in the piece Circles by Max Würden. A moment of majesty and familiarity that, at that moment, contains the entire Pop Ambient cosmos, that just works and doesn't explain anything - and I said: “...that's the reason why I'm still doing this.. .”

Pop Ambient is a statement without demands. Is promise without expectation. Is a path without a destination. Every year again.

Wolfgang Voigt, October 2024

And so to the facts:

01. Leandro Fresco / Thore Pfeiffer – Goldwasserfluss

The intercontinental collaboration between the two long-standing Pop Ambient artists Leandro Fresco from Argentina and Thore Pfeiffer from Mainz is a regular part of the series. They open this year's anniversary edition with the usual filigree.

02. Pass Into Silence – Mirage

The Japanese artist Tetsuo Sakae aka Pass into Silence returns to Kompakt 20 years after his legendary album “Calm Like A Millpond”. A master of tones that are as fine as they are stoic and crystal clear.

03. Tamarma & Sebastian Mullaert – Follow Me

For the first time, the well-known Swedish producer and DJ Sebastian Mullaert will be performing on Pop Ambient in cooperation with the Georgian sound artist Tamara Davitashvili. Their piece “Follow Me” fits confidently into the intimate, familiar sound cosmos.

04. Sono Kollektiv feat. Nathalie Brum – Periadriatische Naht

Sono Kollektiv is now a fixture on Pop Ambient, this time with Nathalie Brum. In particular, Luis Reich's characteristic flugelhorn always gives their sound that special jazzy touch.

05. Thore Pfeiffer – Phase Locked Loop 1

Thore Pfeiffer is a master of shimmering surfaces and hypnotically meandering loops.

06. Andrew Thomas feat. Julia Parr – Sunshine Night

An old friend from New Zealand is back with spherical sounds. Andrew Thomas, in collaboration with Julia Parr, sprinkles finely placed piano tones into distant soundscapes and even more distant voices.

07. Segensklang – Artifacts of Synthesis

We are pleased that Segensklang will be there again this year after his brilliant Pop Ambient debut last year. Deep and beautiful.

08. Ümit Han – Im Delirium

The Cologne producer Ümit Han is back for the third time. While he has so far explored the more emotional, soundscape aspects of the Pop Ambient universe, this year's piece "Im Delirium" rises to a pulsating mountain of sound with pearly, clear, effervescent sound crystals.

09. Würden & Schäfer – Analysis Of Variance II

In their track Analysis Of Variance II, Max Würden and Lukas Schäfer embed a finely placed beat impulse in a soft bed of modulating soundscapes and pleasant psychedelic spaceyness.

10. Max Würden– Circles

Max Würden once again shows his special feeling for one of the core statements of the Pop Ambient style spectrum. The abstract chord and soundscape movement between formal construction and emotional touchability, which seems like “pop music” under the microscope.

11. Blank Gloss – Jennifer’s Convertible

The Californian guitar-ambient duo takes us into their sublimely beautiful sound cosmos with their usual aplomb. Maximum condensed transparency. Lightness - heavy as gold.

12. Hendrik Meyer – Grün War Die Klamm

Another new addition is Hendrik Meyer. The versatile musician, also known for his MYR project distributed by Kompakt, leads us with a glistening, beautiful “wall of sound” determination into the eternity of a sunset that is only ended by the following track. Filmy Music.

13. Triola – Zum Renngraben

Jörg Burger aka Triola combines his typical “handmade” impulses and accents with a multi-dimensional, digital sound scenario in a pleasantly smoky, blurred stonewashed aesthetic.

As always, the indispensable final mastering by Jörg Burger ensures that everything is brought together and the sound is fine-tuned.

And like every year, the 25th edition is of course wrapped in an abstract, floral magic creation by Veronika Unland. Over the years, the grace of her imagery has increasingly merged with the musical aura to form an unmistakable magical symbiosis.

Hallo Leute,

In den vergangenen Jahren begannen die Anmoderationstexte zur Pop Ambient Kompilation-Reihe, die jedes Jahr als letzte Veröffentlichung vor der Weihnachtspause auf Kompakt erscheint, sinnigerweise immer mal wieder mit dem Satz “Alle Jahre wieder...".

„Alle Jahre wieder”, eine leise, fast unbemerkt zur Formel gewordene Maxime der Selbstverständlichkeit. Denn in diesem Jahr erscheint bereits die 25ste Ausgabe.

25 Jahre in zunehmend schnelllebigen Zeiten im noch schnelllebigeren Musikgeschäft, sind gerne mal eine nicht nur gefühlte Ewigkeit. Umso bemerkenswerter wie mir, als ewig Rastlosem und oft selbst von dieser Schnelllebigkeit Getriebenem, auf angenehme Weise fast entgangen ist wie sehr, in pop ambienten Zusammenhängen (gedacht), die Zeit im besten Sinne nicht (oder anders) vergeht.

Beim Kompilieren der 25sten Ausgabe wurde ich u.a. gefragt, wie es ist, dass ich das immer noch mache und ob ich ein Lieblingsstück hätte. Im Sinne des Zusammenbringens von allen Stücken habe ich kein Lieblingsstück, oder alle. Aber ich habe eine Lieblingsstelle, die ich dann gespielt habe. In dem Fall war es ein breit gesetzter Akkord in einen Tonartwechsel bei Minute 2:55 im Stück Circles von Max Würden. Ein Moment der Erhabenheit und Vertrautheit, der in diesem Moment den gesamten Pop Ambient Kosmos in sich trägt, der einfach nur wirkt und nichts erklärt - und ich habe gesagt: „...das ist der Grund, warum ich das immer noch mache...“

Pop Ambient ist Statement ohne Forderung. Ist Verheißung ohne Erwartung. Ist Weg ohne Ziel. Alle Jahre wieder.

Wolfgang Voigt, Oktober 2024

Und damit zu den Fakten:

01. Leandro Fresco / Thore Pfeiffer – Goldwasserfluss

Die interkontinentale Kollaboration der beiden langjährigen Pop Ambient Stamm-Künstler Leandro Fresco aus Argentinien und Thore Pfeiffer aus Mainz, ist regelmäßiger Bestandteil der Serie. Gewohnt filigran eröffnen sie die diesjährige Jubiläumsausgabe.

02. Pass Into Silence – Mirage

Der japanische Künstler Tetsuo Sakae aka Pass into Silence meldet sich 20 Jahre nach seinem sagenhaften Album „Calm Like A Millpond“ auf Kompakt zurück. Ein Meister der ebenso feinen wie stoisch-glasklaren Töne.

03. Tamarma & Sebastian Mullaert – Follow Me

Zum ersten Mal gibt sich der bekannte, schwedische Produzent und DJ Sebastian Mullaert in Kooperation mit der georgischen Klangkünstlerin Tamara Davitashvili auf Pop Ambient die Ehre. Ihr Stück „Follow Me“ fügt sich souverän in den intim-vertrauten Klangkosmos ein.

04. Sono Kollektiv feat. Nathalie Brum – Periadriatische Naht

Mittlerweile eine feste Größe auf Pop Ambient ist das Sono Kollektiv, diesmal mit Nathalie Brum. Insbesondere das charakteristische Flügelhorn von Luis Reich gibt ihrem Sound immer wieder diesen besonderen jazzigen Touch.

05. Thore Pfeiffer – Phase Locked Loop 1 Thore Pfeiffer ist ein Meister der flirrenden Flächen und hypnotisch mäandernden Loops.

06. Andrew Thomas feat. Julia Parr – Sunshine Night

Ein alter Bekannter aus Neuseeland meldet sich mit sphärischen Klängen zurück. Andrew Thomas, in Kooperation mit Julia Parr, sprenkelt fein gesetzte Klaviertöne in weit entfernte Flächen und noch entferntere Stimmen.

07. Segensklang – Artifacts of Synthese

Wir freuen uns, dass auch Segensklang nach seinem fulminanten Pop Ambient Debut im letzten Jahr auch dieses Jahr wieder mit dabei ist. Deep and beautiful.

08. Ümit Han – Im Delirium

Zum dritten Mal dabei ist der Kölner Produzent Ümit Han. Hat er bisher eher die emotional-flächigen Aspekte des Pop Ambienten Universums ausgelotet, schwingt sich sein diesjähriges Stück „Im Delirium“ mit perlend-klaren, sprudelnden Soundkristallen zu einem pulsierenden Klanggebirge auf.

09. Würden & Schäfer – Analysis Of Variance II

Max Würden und Lukas Schäfer betten in ihrem Stück Analysis Of Variance II einen fein gesetzten Beat-Impuls in ein weiches Bett aus modulierenden Flächen und angenehmer psychedelischer Spaceyness.

10. Max Würden – Circles

Max Würden zeigt einmal mehr sein besonderes Gefühl für eine der Kernaussagen des Pop Ambient Stilspektrums. Die wie „Popmusik“ unter dem Mikroskop anmutende, abstrakte Akkord- und Flächenbewegung zwischen formaler Konstruktion und emotionaler Berührbarkeit.

11. Blank Gloss – Jennifer’s Convertible

Das kalifornische Gitarren-Ambient Duo entführt uns mit gewohnter Souveränität in ihren erhaben-schönen Soundkosmos. Maximal verdichtete Transparenz. Leichtigkeit - schwer wie Gold.

12. Hendrik Meyer – Grün War Die Klamm

Ein weiterer Neuzugang ist Hendrik Meyer. Der vielseitige Musiker, u.a. auch bekannt durch sein über Kompakt vertriebenes MYR Projekt, führt uns mit gleißend-schöner „wall of sound“ Entschlossenheit in die Ewigkeit eines nur vom nachfolgenden Stück beendeten Sonnenuntergang. Film(Musik)reif.

13. Triola – Zum Renngraben

Jörg Burger aka Triola kombiniert die für ihn typischen „handmade“ Impulse und Akzente mit mehrdimensionalem, digitalen Soundszenario in angenehm rauchig-verwischter Stonewashed Ästhetik.

Für den alles zusammenführenden, klanglichen Feinschliff sorgt, wie immer, das unverzichtbare, finale Mastering von Jörg Burger.

Und wie in jedem Jahr ist auch die 25ste Ausgabe natürlich in ein abstrakt-florales Zaubergebilde von Veronika Unland gehüllt. Die Anmut ihrer Bildsprache ist über die Jahre immer mehr mit der musikalischen Aura zu einer unverkennbaren magischen Symbiose verschmolzen.

Zwölftes Volumen dieser grossartigen Erfolgs-Serie (und Stag-O-Lee Bestseller) mit entschleunigten R&B/Soul/Exotica Songs, so wie sie einmal im Monat in einem Club in Melbourne/Australia auf den Plattenteller kommen. Um Mitternacht am letzten Samstag jeden Monats versammeln sich jede Menge finstere Gestalten und vintage music lover in einem schlecht beleuchteten, mit Zigarettenqualm gefüllten Raum in Melbourne, um zu diesen slow grinding Tunes zu tanzen. Compiliert von SGF-Chef Ritchie1250, der auch für die Linernotes verantwortlich ist.

Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This compilation collects together, for the first time, many of the band’s rare tracks from the late 1990s and early 2000s, some of which have been unavailable for over 20 years. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This remastered compilation is supported by the band and has been overseen by the recordings’ original producer, Mike Paxman, who has also written liner notes for the release. Mike Paxman said of the release: “Status Quo recorded many of these songs for soundtracks or non-album singles, so it’s fitting that this album is called Driving To Glory, because it’s the band striving for success. All of these songs were recorded as lead tracks and released in various different places. This collection brings them together and deserves to be thought of as an album.”

NEWLY REMASTERED SOUNDTRACKS FROM MORRICONE’S INCREDIBLE BACK CATALOGUE! DEDICATED TO CULT SOUNDTRACKS COLLECTORS.

The first eponymous album by Biglietto per l’Inferno, released in 1974, represents one of the most significant and influential peaks in the Italian progressive rock scene, a constant presence in any Italian rock records of all time “best of” list.

Anything related to this masterpiece has become iconic and timeless, from the cover image made by visionary photographer Cesare Monti to the album’s unique sound for that era, from the challenging and refined lyrics by the histrionic singer Claudio Canali, who later retired to a convent until his death in 2018, to the record company bankruptcy that caused the end of the band’s career after only two years, to a second album, “Tempo della Semina”, that remained unreleased until many years later.

Celebrating 50 years since the release of “Biglietto per l’Inferno” is therefore more than necessary.

This commemorative white vinyl edition, with a special 350gsm cover and a 60x30cm insert with lyrics, a presentation of the album written by music collector and connoisseur Mox Cristadoro, as well as a collection of photographs from those unforgettable years. A must-have release for any music collection!

Udo Lindenberg ist unumstritten einer der wichtigsten und bekanntesten deutschen Musiker unserer Zeit.
Als Hommage an den Panikrocker entschieden sich 1994 insgesamt 16 verschiedene Künstler seine bekanntesten Songs neu zu interpretieren, der Anlass hierzu war damals das 25.-jährige Bühnenjubiläum Lindenbergs.

Zu den Interpreten zählen deutsche Musikgrößen, wie Inga & Annette Humpe, Element Of Crime, Rio
Reiser oder die Prinzen, die Udos Hits zu ihrem eigenen kleinen Werk machen und ihnen einen neuen, ganz
persönlichen Anstrich verleihen. Auf dem Album treffen also Welten aufeinander: Die unverkennbaren und
deutschlandweit bekannten Werke Udo Lindenbergs, wie „Horizont“ oder „Cello“, kreuzen sich z.B. mit der
„Godmother of Punk“ Nina Hagen, der Kölschrockband BAP und Deutschpop-/Schlager-Sänger Matthias
Reim. Ein bunter Strauß an Musik und eine perfekte Hommage an den deutschen Panikrocker!
Bislang gab es das Album nur auf CD und Kassette. 30 Jahre später erscheint jetzt „Hut ab! Hommage an
Udo Lindenberg“ erstmals auf Vinyl. Die neue, farbige Doppelvinylauflage ist streng auf 1000 Exemplare
limitiert und von Hand durchnummeriert. Dazu gibt es ein exklusives Booklet, das optisch die beiden
Platten und das Cover des Albums aufgreift. Es beinhaltet unter anderem handschriftliche Grüße und
Widmungen der Künstler. Ein absolutes Sammlerstück für alle Fans der beteiligten Artisten.

The medium is the message! Vinyl has always been our preferredmedium for releasing music and without this tactile form ofpresentation, Samurai Music would not continue in its current form.Vinyl is the ultimate personification of what the label wishes torepresent. Music always comes first, but the vinyl artefact is king forus.

Hyaku is the 100th Vinyl release on the Samurai Music label.Through the many twists and turns of the industry in our almost 17years of existence, the Samurai Music vinyl releases havemaintained their aspiration for quality, unique design that stands thetest of time. Praise and thanks always to our long time designerRyan Quinlivan and the many pressing plants we have worked withover the course of our labels lifespan.

To celebrate this milestone we have assembled a gang of producersthat best represent the Samurai Music sound of now to contributetracks that they feel best encapsulates their take on our sound. Hyaku is a mutable mix of vibrations that navigates from the searingambient drift of Ancestral Voices all the way through to the headsdown assault of Dom and Roland. Singular takes that capture theartistry of this impressive crew of creators at their glistening best.

Finally we'd like to thank everyone who has ever and continues tosupport our vinyl releases. We are forever grateful!

The Gates of Slumber return with a new album out in November on Svart Records “I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024 Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon. After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic. Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet. The Gates of Slumber is available on vinyl, CD, and digital platforms on November 29th, 2024.

The Gates of Slumber return with a new album out in November on Svart Records “I never intended to pick up with The Gates of Slumber ever again in 2014. While I did start the band and wrote most of the first album it was never intended to be a one man show.” -Karl Simon, 2024 Indiana’s True Doom Metal legends The Gates of Slumber return with their sixth album out in November via Svart Records. The self-titled album is the band’s first full length offering since The Wretch from 2011. The Gates of Slumber was formed by Karl Simon in 1998. Various people were in and out of the group between 1998 and 2001, when the Blood Encrusted Deth Axe demo was recorded with Jamie Walters aka Dr. Phibes/Athenar (Boulder, Midnight) on drums and bass. In 2003 Jason McCash took over the bass duties and was a long-time member of the band until his untimely demise in 2014, after which Simon decided it was time to call it quits. That was until 2019 when the renowned metal festival Hell Over Hammaburg wanted to bring the band back on stage to perform at the festival’s 2020 edition. Simon reformed the band with its original member Chuck Brown on drums and Steve Janiak on bass and got back to work. “We’d been asked several times to play Hell Over Hammaburg. But there was no “we” to play. The germ of the idea started. We started re-learning songs from the first LP. It wasn’t too long into the rehearsals that we started coming up with new songs.”, states Simon. After a reunion tour was finished, Covid kicked in to slow down the process. Half of the album was already written but the remaining half took its time, and the songs were left to stew in their juices. With bastard heavy songs honoring the Doom Metal greats Saint Vitus and Penance, straight forward bangers, lyrics inspired by the Black Death and John Carpenter’s The Fog, The Gates of Slumber is a truly crushing album and a must listen to any Doom Metal fanatic. Having toured with Pentagram, Reverend Bizarre, Cathedral, Slough Feg, Earthride, and Weedeater in addition to getting praised by Decibel Magazine such as “The Gates of Slumber have quietly gone about the business of becoming one of the best heavy metal bands in the world.”, it’s safe to say The Gates of Slumber play some of the heaviest metal on this planet. The Gates of Slumber is available on vinyl, CD, and digital platforms on November 29th, 2024.

Rare and obscure dub roots reggae compilation, produced by Clement Bushay in 1975 and released on Chalwa Records in 1978. Arranged by Alton Ellis and mixed by King Tubby. Recorded at King Tubby Studio, Kingston, JA & Chalk Farm, TMC, SWM Studios, UK...Featuring King Tubby, The Cimarons, Dennis Alcapone, Dave Barker, I. Pablo.

The experimental project Pissoff was founded in the late 60s by multimedia-artist Eberhard Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The chaotic, loud and soundwise undisciplined band took part in various events at this location and other places. Due to the intense fluctuation of band-members the performances by Pissoff were characterized by continously changing participants and variations of the involved equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass guitar, organ and drums. In 1968 Pissoff performed together with Joseph Beuys who was professor of sculpture at the Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged his Hndaktion: in concentrated manner he moved his hands in front of his head while listening and visually reacting to the very loud and abstract staccato-rhythms by Pissoff. The event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains the only existing audio-material by Pissoff until today. On that night Eberhard played cello, clarinet and tenor saxophone while the other members added sounds by electric guitar, electric bass and drums. Earliest musical experimentations that can be defined as the origins of the band Kraftwerk already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes Kranemann invited Florian Schneider-Esleben to join Pissoff.

First Word Records areproud to present a new double-AA sided collaboration from K S R and Konny Kon (Children of Zeus) - 'Part of the Plan / Faded from the Jump', available on 7" vinyl and digital.

Two of Manchester's finest r&b ambassadors, the duo team up for two tracks displaying very different styles of soul music.

'Part of the Plan' has a timeless classic feel, nodding back to the likes of Stax and Atlantic, akin to the contemporary sound of Daptone artists like Jalen Ngonda or Thee Sacred Souls. Waves crash on the dock of the bay, with [ K S R ]'s soulful tones and Konny's laidback production (accompanied by Son of Zeus, Tyler Daley on the backing vox).

'Faded from the Jump' is another three and a half minutes of bliss, taking on a sound that's more signature to the duo's previous work, individually and collectively, sitting somewhere between future r&b, neo-soul and classic Manny street soul. [ K S R ] again takes the lead on this smoothed-out cut, with Konny behind the boards on production.

[ K S R ] hails from Moss Side and has been steadily building a strong rep for himself over the past few years with a slew of releases, including an EP and several singles via First Word. He was named "R&B act to watch" by Complex, and hand-picked by Mahalia to perform an event she curated personally at London's Jazz Cafe. He's toured with artists including Pip Millet, Etta Bond, Mica Miller & The Mouse Outfit, and also collaborated with various d&b artists, such as Zero T, Lenzman, Searchlight and Makoto. Music aside, [ K S R ] has also been creative ambassador for New Balance, Foot Locker, Nike, Size? and Manchester United.

Konny Kon is best known for being one half of hip hop soul duo, Children of Zeus. With performances for Colors and Soulection, and support from peers Jazzy Jeff, Jazzie B, Loose Ends & countless others, Children of Zeus have released two highly-acclaimed albums and two EPs on Worldwide Award winning-label, First Word. Additionally to writing, performing and producing, Konny is a formidable DJ, hosting a popular monthly show on NTS Radio, and performing at numerous events; most recently supporting Mercury Award-winner's Ezra Collective at every date on their European tour, culminating in a show with Children of Zeus at Wembley Arena, London.

Both artists have had wide support across the board from numerous tastemakers, including 1Xtra, BBC Radio 1, BBC 6 Music, Rinse, Represent, Unity, Mixmag, Notion, Hypebeast and tons more. The duo have previously collaborated on 'All on You' (from the CoZ album 'Travel Light') and single 'CGWY' (from [ K S R ]'s EP 'Peace + Harmony').

This single showcases the vocals of [ K S R ] and the production of Konny Kon to a degree that exudes pure quality and class, exemplifying the power of modern British soul music.

'Part of the Plan / Faded from the Jump' is released on 7" vinyl and digital, 22nd November 2024.

First Word Records is proud to present 'Nothing Leaves The House - The Anthology'. A vinyl-only album of 16 hip hop instrumentals from Mr Thing, kidkanevil, Tall Black Guy & Eric Lau. This is a collection of a long-out-of print series of beats from four of the most revered beat-makers in the underground scene.

This double-vinyl collection features four brand new tracks specially created for this 10 year anniversary release. The concept behind this project was originally birthed on Record Store Day 2012. First Word label founder Gilla explains "as we dipped in and out of London's Soho record shops, kidkanevil mentioned to me that he wanted to mine Mr Thing's vast record collection for samples. An idea formed to invite a couple of other beatmakers to join him and to press the resulting beats onto vinyl.

Mr Thing enthusiastically agreed to the idea with one stipulation: they could sample what they wanted, but the records had to stay within the walls of his flat. We quickly enlisted Eric Lauand Tall Black Guy to complete the quartet and 'Nothing Leaves The House' was born." The release came to fruition and was released a decade ago, for Record Store Day in April 2014. The quartet met up once again shortly after in another London record shop, to work on a follow up project.

For this one, Mr Thing brought one record for each producer from his collection for them to sample. They reciprocated by picking a record from the racks in the shop for him to use. 'Thing Leaves The House' was then released in 2015. Completing the trilogy of releases, the crew were invited to the legendary John Peel Archive to dig for samples there. After trawling the legendary Peel Acres collection, the producers individually selected sound snippets to create new beats from; this time under the stipulation that 'Nothing Leaves The Archive'. This double 7" release again landed on Record Store Day, 2016. Gilla says "10 years on from the release of the first record, and almost 9 years to the day since we were at Peel Acres, we are now releasing the 4th and final volume.

Whilst Mr Thing is still in England, the other three have travelled far and wide. Eric Lau is now in China, Tall Black Guy has returned to the US and kidkanevil has moved to Berlin. Our indie label budget didn't extend to uniting everyone from the different continents, so instead Mr Thing uploaded a folder of tracks for the trio to work from. With the previous volumes now long sold out, we've added the original beats to this anthology and have moved up from a double 7" to a double 12" LP. One side for each producer; four tracks made across 10 years." 'Nothing Leaves The House - The Anthology' is released on double vinyl, on Black Friday, November 29th 2024.

Composer and performer Stina Stjern have for over 25 years been a steady presence in the Norwegian music scene – starting out as a vocalist in the rock band Supervixen while studying jazz in Trondheim, Stjern’s road has been anything but predictable, and has over the years shown a will to experiment and explore new areas in her music making. Her new album ”Vivid Peace Restored” is perhaps her most radical musical statement yet, as the entire album is made using cassette tape. The sound sources vary from found sounds, various instruments and Stjern’s own voice, but there is no hierarchy, the different elements are given equal importance, and through considerate looping, layering, cut-ups, re-arranging the bits and pieces it forms a rich tapestry of sound. This blurring is intentional, Stjern wants us to get lost in her sound world, a place where nothing is forced or overstated. Tape hiss, subtle melody lines, distant location recordings, gentle waves of noise, and voices melt together creating lush soundscapes

Upon its release, Big Band Bossa Nova by the renowned American music producer, conductor, arranger, and composer Quincy Jones, released in 1962 received favorable reviews from critics, who praised its innovative arrangements and the seamless integration of bossa nova into big band jazz

It was noted for its lively and fresh sound, appealing to both jazz enthusiasts and fans of Latin music. Over the years, the album has been recognized as a classic in the realms of both jazz and Latin music. It continues to influence musicians who seek to explore the fusion of different genres. The album played a crucial role in popularizing bossa nova in the United States, introducing many listeners to Brazilian music. It paved the way for future collaborations and crossover projects between jazz and Latin music. It is often cited by contemporary artists and arrangers who are inspired by its innovative blend of styles. Its influence can be seen in various genres, including jazz, pop, and world music and is a testament to Jones's ability to adapt and innovate throughout his career. It solidified his status as a pioneer in the music industry, influencing countless artists across genres and generations. Big Band Bossa Nova not only captures the essence of its time but also continues to resonate with audiences today, highlighting the enduring appeal of both big band features contributions from several talented musicians.

Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This compilation collects together, for the first time, many of the band’s rare tracks from the late 1990s and early 2000s, some of which have been unavailable for over 20 years. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This remastered compilation is supported by the band and has been overseen by the recordings’ original producer, Mike Paxman, who has also written liner notes for the release. Mike Paxman said of the release: “Status Quo recorded many of these songs for soundtracks or non-album singles, so it’s fitting that this album is called Driving To Glory, because it’s the band striving for success. All of these songs were recorded as lead tracks and released in various different places. This collection brings them together and deserves to be thought of as an album.”

The Invisible Road: Original Recordings, 1985–1990 compiles an unheard, previously unreleased body of recordings by Sussan Deyhim and Richard Horowitz, dissidents from diametric backgrounds who met during the heady days of Downtown New York in the 1980s. This collection reveals the creative and life partners’ radical shared vision of avant-garde pop in all of its boundary pushing freedom, combining Deyhim’s singular approach to vocalization, Horowitz’s invention of new musical languages, and touchstones of traditional music from around the world, creating a new music that ultimately retains a voice entirely its own. Despite their difference in backgrounds and respective journeys, at the time of their meeting in the early 1980s in New York City, Sussan Deyhim and Richard Horowitz were both products of the search for freedom and understanding (and resultant awakenings) that swept the globe and helped culturally define the late 1960s and 70s. Deyhim, born and raised in Tehran, spent her teens dancing with Iran’s Pars National Ballet company, performing weekly on Iranian national television, and travelling her home country studying with master folk musicians and dancers, before relocating to Belgium and joining Maurice Béjart’s prestigious Béjart Ballet of the 20th Century. Horowitz, born and raised in Buffalo, New York, had spent much of the decade before abroad, first departing for Paris under the shadows of the Vietnam War, where he studied piano, Eastern philosophy, and became entrenched the city’s free jazz scene, playing with the likes of Steve Lacy, Anthony Braxton, and Alan Silva, before embarking south to Morocco where his friendship with Paul Bowles helped cultivate a deep passion for the country’s musical traditions and a shift in his musical practice.



The pair met by chance sometime in 1981 at Noise New York, a small studio on West 34th Street founded by the musician and recording engineer, Frank Eaton, as a utopian creative laboratory that beckoned artists and bands like Arthur Russell, Christian Marclay, Liquid Liquid and Butthole Surfers into its orbit. Both artists had recently relocated to the city, Horowitz having recently released his debut album, Oblique Sequences (Solo Nai Improvisations), on the legendary Paris based imprint Shandar, and fallen in with members of New York avant-garde like La Monte Young, Jon Hassell, David Byrne, and Brian Eno, and Deyhim having begun to more actively incorporate singing into her practice, notably recording a vocal score for choreography she was doing at La MaMa Experimental Theatre.



Initially bonding over a cassette tape of field recordings made by Paul Bowles that had been given to mutual friend and writer Brian Cullman (seeking answers for Ornette Coleman’s question “what is the sound of sound”), their earliest collaboration was documented on Horowitz’s 1981 album, Eros In Arabia, with Deyhim contributing vocals to the track “Queen Of Saba.” Over the coming years, their deep connection would routinely gravitate them into the studio, culminating in the body of recordings that would appear on their 1986 album for Crammed Discs, Desert Equations: Azax Attra. Unknown to nearly all but the artists, laying in wait over the decades on numerous multi-track and stereo reels, DAT tapes, and reference cassettes, were a vast array of recordings made by Deyhim and Horowitz bookending Desert Equations. The 13 pieces represented on The Invisible Road: Original Recordings, 1985–1990 were recorded largely between Noise New York and Daylight Studio in Brussels, during a period that Deyhim describes the partnership between herself and Horowitz’s as seeking a music “free of any specific cultural reference, with a personal musical signature,” blossoming into a body of sonority that embraced the energy of contemporary boundary pushing pop and the avant garde, filtered through their mutual love and study of various musical traditions from across the globe and deep engagement with the ideas and tactics of experimental music.



Undeniably rooted in Horowitz’s study of the North Africa ney and the music of the Berber and Gnawa cultures during his time in Morocco, Deyhim’s deep engagement with the folk traditions of Iran, and the couple’s immersion in the interconnected Downtown underground music scenes, each piece on The Invisible Road offers its own vision creative and cultural hybridity. Deyhim sings in both English and Farsi, as well as a composite tongue that she developed by drawing upon numerous indigenous vocal techniques from around the world, intuitively responding to Horowitz’s simultaneous sound syntax forming and combining a wide range synthetic and acoustic instrumentation, and experimental tape techniques, within a visionary series of free-standing expressions.

Two-Piers präsentiert die nächste Killer-Compilation: "Weird Scenes From The Hangout (Psychedelic & Freakbeat Dancefloor Anthems 1967-1982)", kuratiert von Richard Norris (The Grid, Beyond The Wizard's Sleeve, The Time And Space Machine) und zentriert um seine Liverpooler Clubnacht "The Hangout" in den 1980ern. Dort brachten er und weitere DJs bewusstseinsverändernden Wahnsinn aus Psychedelia und Freakbeat auf die Tanzfläche. Herausragende Songs wie "The Left Banke - I've Got Something On My Mind", "The Turtles - Buzzsaw" oder "Can - Outside Your Door" wurden zu echten Hangout-Hymnen. Man widmete der eher trendy Ausbeute der Spät-Sechziger ebenso viel Zeit wie angesagten Acts, solange der Groove auf dem Dancefloor funktionierte. Das Hangout kam und ging im Nu, aber sein Erbe, psychedelische Fußstampfer auf die Fläche zu bringen, lebt weiter, gemeinsam mit der Liebe zu allem, was mit Beat und Freak zu tun hat.
** Exclusive tracks to Vinyl Format

"The Original Motion Picture Soundtrack for the romantic drama, THE FAULT IN OUR STARS, features music from Ed Sheeran, Birdy, Charli XCX, Grouplove, Lykke Li and more! NO Sales Notes

In the film, Hazel (Shailene Woodley) and Gus (Ansel Elgort) are two extraordinary teenagers who share an acerbic wit, a disdain for the conventional, and a love that sweeps them -- and us – on an unforgettable journey. Their relationship is all the more miraculous, given that they met and fell in love at a cancer support group. THE FAULT IN OUR STARS, based upon the number-one bestselling novel by John Green, explores the funny, thrilling and tragic business of being alive and in love."

Erupt returns with another explosive release in the "Unrest Hazard" series, bringing together a diverse lineup of artists to showcase the best of hardcore, jungle, and drum n bass. Wild Swan, formerly Ugly Duckling, teams up with Mr Dan Master for the frenzied track "*int," while Kool FM regulars Subbreak, D-Region, and Code deliver a pounding remix of "Industry Plant." DJ Terrace and Jon Tetly contribute hardcore jungle tracks "Doing Battle" and "I Get Stu Pid," adding to the record's intensity.

Schoco also makes a return with "Love Is The Answer," a track previously championed by Dead Man's Chest on SWU.FM, now finally getting its vinyl debut. For collectors, the vinyl release includes the exclusive track "Doing Battle." Survive the eruption and make your way to Amsterdam to secure a copy of this must-have release.

The album Archiv 1 by Michael Oswald is a collection of various works from the years 2017 to 2023. It shows roughly all the directions that influence Michael Oswald and are processed in his studio works

J. Written has been preparing for this moment almost his entire life. From early on he has been writing. You might even say he was obsessed with writing. It did not matter what he was writing, he just felt compelled to write. Hence the name Written.
Born on January 18, 1994 (yes, he will gladly accept birthday greetings!) in the Payne Land neighborhood of Kingston, Jamaica, J. Written entered this world as Jason Rasheed Wright. Due to certain financial instability in his family they had moved around a bit to various locations within the Kingston area. His parents, wanting him to be safe, encouraged him to be at home with his two sisters and to occupy his time at home he began to write. And write and write. And write some more.
He would write daily journals and even create newspaper articles written on the walls of their home. This creative outlet gave way to writing poems, speeches and essays while a student in high school. At 16 he started a dance trope known as the ACEZ dancers who were quite popular around Kingston.
He was then drawn to music around age 18 and began to create beats at a studio in Trench Town. He became part of the Trench Town community and is still very connected with the people there. His drive to write songs became his new medium for expressing himself. And this has led to him being recorded for various producers and included in the song “Fear To Understand” with Albarosie. Other songs and music videos followed and J. Written was brought to the attention of reggae producer Doctor Dread.
“When I first saw a video with J. Written and began to listen to more of his songs I knew this was a unique artist with a special vibe and a knack for writing interesting songs” says Doctor Dread. So he came to Jamaica and produced a first album “Kaleidoscope” for J. Written which is due for release in late 2024.

“My mission is to be active and positive. Not to confirm with the norm. To sometimes make people feel uncomfortable with issues impacting our community and society at large. To give thought to what is happening in the world and presently around us”. J. Written has made his intentions clear and it is revealed through his music.
And of special note is that J. Written has a role in the Bob Marley movie “One Love” as Junior Braithwaite, a member of the early Wailers in the scene when the young Wailers first come to audition for Coxsone Dodd of Studio One.
The future is bright for J. Written. He is creating music and lyrics as a constant in his life. And now the world will be able to share in his vision of creative expression.

At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? …you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we’d guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the over-inflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it’s for LIFE! Ian Damaged, National Elf

Ghostbusters: Afterlife is available as a limited edition of 2500 copies on “Muncher” coloured vinyl (crystal clear & transparent green). The heavyweight gatefold sleeve has a special UV Spot varnish + embossing finish. The package contains a printed innersleeve and 4-page booklet (featuring several of your favorite mini-pufts!) and a special litho of the gatefold artwork.
Ghostbusters: Afterlife is co-written and directed by Jason Reitman and stars Carrie Coon, Finn Wolfhar, Mckenna Grace, Annie Potts, and Paul Rudd. The film follows a single mom and her two kids who arrive in a small town, where they begin to discover their connection to the original ghostbusters and the secret legacy their grandfather left behind.

Rob Simonsen rejoins director Jason Reitman with his score for Ghostbusters: Afterlife, having scored The Front Runner & Tully for the director. Other recent film scores include The Friend, The Way Back, and Love, Simon. Based in Los Angeles and ever with his finger on the pulse of contemporary music, he co-founded the influential collective The Echo Society with the mission ‘to inspire, challenge, enrich and connect the community through the creation and performance of new sonic and visual art’. Simonsen’s debut artist album Rêveries was released in 2019 on Sony Masterworks.

Volume 4 of the Make Up series is another doozy and this one brings together accomplished house heads Camille, Chez Damier, and Nico Lahs in a celebration of underground disco classic "through the lens of 60's and 70's underground comix." Similar to these rebellious reads, the tracks on this release carved their niche with purists seeking distinct and thrilling sounds. Across the double album, Camille's contributions include Mystic Pleasure's 'Back Door (Getting Down)' and Cold Fire's 'Badder Than Bad' which both bring soulful melodies and infectious rhythms, Chez Damier adds Fascination's 'Shine My Love' and Bileo's 'You Can Win' with shimmering vocals and funky basslines and together, they make for an exhilarating mix of disco brilliance.

Colpo Grosso third volume is a powerful and sensual edits wax that you need it!

With a career spanning over 50 years, U Brown is one of the last legends of Jamaican reggae. Singer, toaster and producer on the famous Hits Sound label, he has spanned the decades, leaving an indelible mark on roots reggae with hits like “Weather baloon”, “Superstar” and “Tu Shung Peng”.

His discretion and humility, despite being one of the world's greatest toasters like U Roy or Big Youth, make him a cornerstone of this music.

After many years of collaboration on stage and in the studio, U Brown and French label Irie Ites Records have teamed up to produce this new album entitled 'Still Chanting Rub A Dub'.
Comprising 12 tracks, this opus showcases U Brown's inimitable voice.

U Brown's inimitable voice and flow, recognizable from the very first notes. The themes addressed revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. Lyrics that will speak to a wide audience!

Musicians on the album include the cream of reggae songwriters such as Roots Radics, Naram & Art, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser. Mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70s albums. A host of roots reggae greats feature on various tracks, including Eek A Mouse, Cornell Campbell, Frankie Paul, Sugar Minott, Linval Thompson, Glen Washington, Al Campbell, Naggo Morris and Trinity.

Still Chanting Rub A Dub is an album that will undoubtedly mark U Brown's long career as one of his landmark albums. A must-have for all fans of Reggae Roots and Rub-A-Dub!”

In Zusammenarbeit mit WaterTower Records ist Waxwork Records begeistert, den lang erwarteten BEETLEJUICE BEETLEJUICE Original Motion Picture Soundtrack zu veröffentlichen! Beetlejuice ist zurück! Der Oscar-nominierte, einzigartige kreative Visionär Tim Burton und der Oscar-Nominierte und Hauptdarsteller Michael Keaton treffen sich für Beetlejuice Beetlejuice, die lang erwartete Fortsetzung von Burtons preisgekröntem Beetlejuice, wieder. Keaton kehrt in seine ikonische Rolle zurück, an der Seite der Oscar-Nominierten Winona Ryder als Lydia Deetz und der zweifachen Emmy-Gewinnerin Catherine O'Hara als Delia Deetz, mit den neuen Darstellern Justin Theroux, Monica Bellucci, Arthur Conti in seinem Spielfilmdebüt, der Emmy-Nominierten Jenna Ortega als Lydias Tochter Astrid und dem Oscar-Nominierten Willem Dafoe. Nach einer unerwarteten Familientragödie kehren drei Generationen der Familie Deetz nach Winter River zurück. Das Leben von Lydia, die immer noch von Beetlejuice heimgesucht wird, wird auf den Kopf gestellt, als ihre rebellische Teenager-Tochter Astrid das mysteriöse Modell der Stadt auf dem Dachboden entdeckt und das Portal zum Jenseits... -Exklusive Vinyl-Variante von Light In The Attic -Doppel LP gepresst auf violettem mit weißem Smoke Vinyl und fluoreszierendem grünen Vinyl -Etching/Gravur auf D-Seite -Gatefold-Jacket -Kommt mit limitiertem 11x11 Kunstdruck -Artwork von Jiro Fujita -Mit Songs von Donna Summer, Bee Gees, Richard Marx und vielen mehr!

»Nuts of Ay«, the thirteenth album by the Berlin-based electronic pop duo Tarwater (Ronald Lippok and Bernd Jestram), is their first in a decade, since 2014’s »Adrift«. Beautifully poised and smartly dressed, it's an album that draws Tarwater’s various pasts into a high-definition present, while bringing the duo, yet again, into productive dialogue with all kinds of fellow travellers.

Tarwater’s music has always been marked by a hypnotic pop-ness, but that’s particularly evident on »Nuts of Ay«, where a song like »Hideous Kiss« weaves together jangling guitar, pastoral flute, and flittering electronics into a gem-like construction. While the lyrics of »Hideous Kiss« are written by the duo, »Nuts of Ay« also continues a longstanding Tarwater tradition of recasting the words of others in their own mould. This time, their remit is broad: poetry from Derek Jarman (»All Nuns«) and Millner Place (»Trapdoor Spider«); lyrics from Jean Kenbrovin (»I’m Forever Blowing Bubbles«), the late Shane MacGowan (»USA«) and, again, John Lennon (»Everybody Had a Hard Year«).

This cast of found and borrowed lyricists also finds collaborative echo in the guest musicians dotted throughout »Nuts of Ay«. Schneider TM turns up on the lovely, Felt-like »Spirit of Flux«, where guitars channel the tangled reveries of Vini Reilly and Maurice Deebank into lush pop. Carsten Nicolai joins, as Alva Noto, dappling »On Waves and Years« with intimate glitching textures; he also provides the album cover art. Elsewhere, Masha Qrella appears on »Down Comes the Goose«, and actor Lars Rudolph pitches in for »USA«.

It may have been ten years since the album's predecessor, but Lippok and Jestram have kept active with other projects. They’ve collaborated with Masha Qrella, Immersion, and Iggy Pop; worked on radio plays with Kai Grehn, some based on the writing of Nick Cave (»The Sick Bag Song«, featuring Tilda Swinton, Paula Beer and Alexander Fehling) and William S. Burroughs (»The Cat Inside«); and made music for several radio-tatorts (radio plays based on »Tatort«, a long-running German police TV series) by playwright Tom Peuckert.

Both voracious and committed in their creative energies, Jestram and Lippok report back from these experiments with »Nuts of Ay«, one of their most compelling, deeply lustrous, dreamlike albums yet. They say there was no concept for the album, which is surprising, perhaps, given its holistic mood, explaining it »grew together like a coral reef in the studio over a period of several years«. There’s something to be said for letting an album gather and mutate naturally, without an overarching framework in place, and »Nuts of Ay« certainly feels like an unforced collection of material that nonetheless inhabits a similar space, one where guitars twist like driftwood next to amorphous, aqueous electronics, Lippok’s droll yet completely convincing vocal delivery riding songs that pulse and plume with curious, unpredictable rhythms.

But you can also hear elements – submerged but still present – of other music that’s inspired the duo: they’ve drawn some connections for us with psychedelic folk, Bowie in Berlin, Burial, and the film music of Popol Vuh and Krzysztof Komeda. This music shares a strong sense of place – whether in the world, or the mind – and the twelve songs on »Nuts of Ay« have such similar presence; a shared mood, a shared world, a shared sense of the possibilities of what electronic pop music could, and should, be. A bold and brave pop experiment.

Artwork by Carsten Nicolai
Mastering by Bo Kondren, Calyx Berlin

»Trapdoor Spider«, »On Waves and Years« & »Breaking Day«: lyrics by Milner Place
»All Nuns«: lyrics by Derek Jarman
»USA«: lyrics by Shane MacGowan
»Down Comes the Goose«: lyrics from a traditional song
»Forever Blowing Bubbles«: lyrics by Jaan Kenbrovin
»Everybody Had a Hard Year«: lyrics by John Lennon