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Releasing as a vinyl 45, Bad Night is the lead offering from The Cromagnon Band's new album Mode. This is the band's second LP and the first of theirs to be released on BBE Music. Mode itself is an album of cinematic and psychedelic dark Funk tinged and tinted with Nordic psych/jazz, classical, boom-bap Hip-Hop breaks and riff heavy rock. Bad Night is backed with Quadrant, a stand alone track that won't be on the album, thus making the vinyl single release a unique addition to the music lover's record collection. That said, these are are two tracks which give both a genuine flavour of the forthcoming album as well as the band's own musical influences and heritage as instrumentalists and producers. The Cromagnon Band's recording technique of taking breaks, riffs and melodies from favourite tracks and then improvising from there with completely live jam sessions in the studio allows them to record in their distinct and trademark 'reverse engineering' style. The trio of Drummer Tom Watt, Bassist Lenny Walker and multi-instrumentalist Bert Page work by making music as a team, playing for hours and united by a love of Hip-Hop breaks and psychedelic Jazz/Rock/Funk and classical music. They choose to record only instrumentals which allows space for Bert to weave intricate soundscape with Fender Rhodes, Moog, Sax and Clarinet over the beats and breaks they have written from their improvised jams. Bad Night b/w Quadrant are the lead releases from The Cromagnon Band's new album Mode. They will be released as a 7" vinyl and digitally.

Marking its first decade of activity, Blume returns with the first ever vinyl reissue of the seminal “New Music for Electronic and Recorded Media”, from 1977, the third and final instalment in a suite of releases that includes James Tenney’s “Postal Pieces” and Ben Vida’s “Vocal Trio”. Unquestionably among the most important collections of experimental music to emerge during the 20th Century, “New Music for Electronic and Recorded Media” is the original feminist presentation in its context, releasing the work of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, and Laurie Anderson under its collective banner. Includes newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the efforts of efforts of Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and others, Blume delivers their third release in their first suite of releases for 2024, the fist ever vinyl reissue of the seminal “New Music for Electronic and Recorded Media” compilation, originally issued by Thomas Buckner's 1750 Arch Records in 1977. Out of print for decades on vinyl and arguably the most important feminist statement in the history of experimental music, illuminating the work of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Robert, Ruth Anderson, and Laurie Anderson - in a number of cases representing their recording debuts - during a crucial moment in the history of experimental music. Blume’s brand new edition - complete with newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey, as well as reproducing Charles Amirkhanian’s original accompanying text - radically shifts perceptions of the past and present day with its truly revolutionary sounds.

Issued by Thomas Buckner's 1750 Arch Records in 1977, and out of print nearly the entire time since, “New Music for Electronic and Recorded Media” can be understood within two simple frameworks. On one hand, it is an astounding document of the landscape of experimental music toward the end of the 1970s. On the other, it is a historically significant feminist statement, being the first collection of experimental music entirely dedicated to female composers, a number of whom were grossly under-celebrated at the time, but have since gone on to be regarded as among the most important composers of their generation.

The eight pieces gathered by “New Music for Electronic and Recorded Media” - Johanna M. Beyer’s “Music of the Spheres”, Annea Lockwood’s “World Rhythms”, Pauline Oliveros’ “Bye Bye Butterfly”, Laurie Spiegel’s “Appalachian Grove I”, Megan Roberts’ “I Could Sit Here All Day”, Ruth Anderson’s “Points”, and Laurie Anderson’s “New York Social Life” and “Time To Go (For Diego)” - might be regarded as the first cohesive vision of alternate proximity or expression of experimental music to what has always been a frustratingly male dominated environment, and to the tropes, temperaments, and sensibilities that have been historically perceived to define it. It is an expanded vision of truth. While the presence of feminine sensibilities and temperaments in experimental music, however they may present themselves, were anything but new in 1977, “New Music for Electronic and Recorded Media” was the first opportunity, beyond the temporal limitations of live performance, to view them collectively, rather than as individualised expressions within a larger body of similar gestures (as was the case of Oliveros’ inclusion in Odyssey’s 1967 “New Sounds In Electronic Music” and “Extended Voices” compilations) where they might be confused for something else; to regard and celebrate a radical notion of feminine sonority for its unique characteristics and through its interrelations.

While its historical significance and groundbreaking nature can not be debated in its totality, nearly half a century on “New Music for Electronic and Recorded Media” remains compelling in both its musicality and the palpable sense of its lasting influence. Every composition across the album’s two sides is not only engrossing and deeply compelling - feeling as fresh and relevant as the day it was laid to tape - but clearly tangible in their lasting influence. Viewed in context, the album’s eight works feel like breath of fresh air when compared to much of what came before, and laid the groundwork for much of what was to come, introducing a new, often more holistic temperament and more sensitive and inclusive sensibility into the landscape of experimental music.

Particularly in the case of Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Ruth Anderson, and Laurie Anderson, it's hard to throw ourselves back in time and imagine a moment when these composers rested in a fairly marginalised corner of the creative landscape. Blume’s brand new edition of “New Music for Electronic and Recorded Media” - complete with newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey, as well as reproducing Charles Amirkhanian’s original accompanying text - brings us back to this confounding moment and points us toward a crucial moment of change set forth by these incredible composers and their sounds. Absolutely seminal and not to be missed.

Nur wenige Künstler sind so umstritten und einflussreich. New York-Legende R.A. The Rugged Man wird dieser Einordnung durch seine Kombination aus Authentizität, seines unbestreitbar wilden Lebens mit seinen unverkennbar außergewöhnlichen Fähigkeiten am Mikrophon gerecht. Schon in den Neunzigern, als er mit Notorious BIG, Sadat X und Company Flow aufnahm und zwischenzeitlich bei Jive gesigned war, wo sein Album jedoch nie veröffentlicht wurde, glaubte niemand mehr an eine erfolgreiche Karriere. Aufgrund seiner vielen Eskapaden war er aus sämtlichen Studios, Konzerthallen und Plattenfirmenbüros verbannt worden. Doch R.A. The Rugged Man blieb sich treu, veröffentlichte mehrere Underground-Singles und ein Album auf Rawkus, Eastern Conference und Nature Sounds und erhielt sich einen harten Kern an treuen Fans. Nun legt er mit "Legends Never Die" den Nachfolger zu "Die Rugged Man Die" vor. Mit dabei sind MCs wie Tech N9ne, Talib Kweli, Brother Ali, Masta Ace, Vinnie Paz (Jedi Mind Tricks), Sadat X, Bumpy Knuckles u.v.a. Für die Beats haben unter anderem Marco Polo, Buckwild, Apathy, Ayatollah und Mr. Green gesorgt.

Das Debütalbum der britischen Pop-Punk-Band stieg direkt in die Top50 der deutschen Charts ein (in UK sogar auf #2). Nach über 20 Jahren ist das Album nun als limitierte rote Vinyl wieder erhältlich!

- Ltd. Col. LP: (Red Vinyl)

Nach über 20 Jahren ist das zweite Album 'A Present For Everyone' der britischen Pop-Punk-Band Busted nun als limitierte blaue Vinyl wieder erhältlich!

- Ltd. Col. LP: (Blue Vinyl)

Introducing the inaugural vinyl release, envisioned by Ekaterina Arshanitsa, designer and founder of the progressive streetwear label, DESU Clothing titled "Fashion Show".

This exclusive LP marks the genesis of our limited vinyl collection, comprising of only 10 meticulously curated records, each edition being limited to 300 copies.

Articulating a fusion of progressive clothing design and intelligent music, "Fashion Show" will grace the shelves of our flagship fashion house in Bali, as well as select partner stores in global fashion capitals such as Paris, New York City, Los Angeles, Dubai, Tokyo, Moscow.

Renowned artists, who share a passion for DESU's innovative style, have composed exclusive tracks that embody our vision. Aquarius Heaven, eclectic singer, and stylish performer Monoplay, remarkable duo Kurt & DJ Nils, and Silas Hoppe, side project of techno producer Roman Shultz, all contribute to the first of ten collectible EPs. Each composition reflects a seamless blend of intellectual music and cutting-edge fashion, showcasing the subtle and profound synergy between sound and style.

We now present our first DESU "Fashion Show" - avant-garde electronic music with modern street fashion. Ready-to-Play!

Lee Morgan’s 1968 album Taru found the trumpeter at a crossroads exploring a variety of styles from modal jazz and post-bop to beautiful balladry and funky boogaloos. The band here is notable for the elevating presence of guitarist George Benson and the addition of tenor saxophonist Bennie Maupin. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Lead, Sails, Paper, Anchor is the fourth studio album by American metalcore band Atreyu. It debuted at number 8 in the Billboard 200 chart and peaked at number 1 in both the alternative, rock as hard rock charts. Three singles, ""Becoming the Bull"", ""Falling Down"" and ""Slow Burn"", made it to the US Mainstream Rock Tracks chart.
Lead, Sails, Paper, Anchor is available on black vinyl. It is housed in a gatefold sleeve and includes an insert.

Chet Baker was an American jazz trumpeter, actor and vocalist and a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. The 1989 album Cool Cat contains six tracks, split into 3 instrumentals; ""Swift Swifting "", ""'Round Midnight"", ""Caravelle"" and the 3 vocal tunes ""For All We Know"", ""Blue Moon"" and ""My Foolish Heart"". The songs are written by top jazz composers, including Thelonious Monk, Rodgers & Hart. For the recordings of Cool Cat, Chet is accompanied by pianist Harold Danko, bassist Jon Burr and drummer Ben Riley. Cool Cat is available on black vinyl.

A limited vinyl pressing of the sixth album from the classic L.A. punk ska band! On purple blast vinyl!

Right from the start when you hear Feldmann’s voice sing "Everyday is just the same" before the guitars, bass, and drums kick in on opening track "One More Time," you instantly know that Goldfinger are back as good as ever. The elements of desire, passion, and punk in those 5 words instantly tell you that Hello Destiny is going to be different to Disconnection Notice. The songs on the album go from strength to strength. From the slightly heavier song of "Handjobs For Jesus," to the upbeat Ska of "Get Up," to the sweet heartfelt acoustics of the bonus track "Julian," this is an album that will be up there with the best of the Goldfinger records. Like having sex for the first time, it will be remembered.

Inhaler is the third studio album by American rock band TAD, originally released on October 19, 1993. It was the band's major label debut after two albums and an EP released by Sub Pop, and it was also their first album with drummer Josh Sinder, formerly of The Accüsed. Producer J. Mascis (Dinosaur Jr.) gave TAD a more focused and driven sound on this record. He can be heard playing the piano on ""Luminol"". The song ""Grease Box"" was played during the end credits of the 1994 movie Brainscan. Inhaler is easily their best and most consistent album to date and obtained positive critical reception upon release. Fortunately, the group has lost none of the grit that marked them as the grungiest of the Seattle scene. In promotion of Inhaler, TAD toured with Soundgarden. Inhaler is available as a limited edition of 1000 individually numbered copies on magenta coloured vinyl and includes an insert.

After releasing their first EP Fuse, Cranes expanded to a four-piece band and recorded their debut full-length album Self-Non-Self in 1989. Their sound has been described as “gothic minimalism” and “dreampop”, and also became part of the shoegazing movement in the early Nineties. This 1989 album showed their progression with the increased textures in sound and drum slams. The album contains a darker sound and is a mixture of industrial and post-punk music. Originally only six tracks, the band’s label Dedicated Records added a further two tracks upon its re-release in 1992: “Reach (Live)” and “Nothing In The Middle, Nothing At The End”. In that same year, Cranes went on a world tour with The Cure, which increased their popularity. Self-Non-Self is available as a 35th anniversary edition of 1000 individually numbered copies on black & white marbled vinyl.

To this day, jazz pianists are influenced by Bill Evans by his use of impressionist harmony, interpretation of traditional jazz repertoire, and his trademark rhythmically independent, “singing” melodic lines. Evans gained his first spotlight when joining Miles Davis’ sextet during the time Kind of Blue was recorded. After leaving the sextet, Evans began his career as bandleader, which he finished in his last trio with Marc Johnson on bass and Joe LaBarbera on drums. This trio recorded The Brilliant in 1980 live at the Keystone Jazzclub, San Francisco, just before Evans’ passing. The Brilliant is available on black vinyl.

"Nordvisor” is the inaugural chapter in a series of vinyl releases chronicling the musical essence of Nordvis and the artists whose passions fuel its fires. It focuses on analogue, folkish expressions – distilling the melancholy and beauty inherent in the wilderness, transforming them into music that resonates with the primal force of nature itself.

Born from a vision of collaborative creation, “Nordvisor” steps beyond the conventional compilation format that assembles rare and unreleased tracks. Each song is a bespoke creation, tailored specifically for this project, reflecting the communal ethos and artistic integrity of the participants.

“Nordvisor – Ett samlingsverk från Nordvis” will be released as a double LP, featuring a premium gatefold sleeve with Pantone elements, an 8page, 12-inch booklet, and multi-coloured vinyl.

This release is not merely a label sampler but a celebration of Nordvis’ heart and soul, forming a mosaic of connections between music, landscape, and the human experience. It features exclusive material from Örnatorpet, Bhleg, Blood and Sun, Hagathorn, Grift, Over the Voids, Fields of Mildew, JoDöden, Undantagsfolk, Prag 83, Sons of Crom, Draugurinn, Varde, Saiva, and Forndom.

It’s hard to overstate the importance of Fanny’s 1970 self-titled debut album. For the first time, a group of women (sisters June and Jean Millington, Alice De Buhr and Nickey Barclay) wrote and sang their own songs, played their own instruments and, perhaps most importantly, rocked just as hard as any male band out there. And, as the first all-female band signed to a major label (Reprise) and with superstar producer Richard Perry at the board, these four women became perhaps L.A.’s biggest “buzz band,” landing repeated bookings at the Whisky-a-Go-Go with a who’s who of rock’s glitterati in attendance. Fanny became the reference point for generations of female rockers to come after them, from Joan Jett to Girlschool to Courtney Love and beyond. They were truly the Godmothers of Chick Rock. The self-titled debut by Fanny is available as a limited edition of 750 individually numbered copies on silver coloured vinyl, housed in a gatefold sleeve.

Sonne
Das Album besticht durch eine Klarheit, die das Licht auf so wundervolle Weise einfängt. Auf Schillers Sonnenreise lassen sich wieder besondere Klang-Horizonte entdecken. Überraschende Gastkünstler, bewegende Kompositionen. „Jedes Album ist wie eine neue Reise. Ich lasse mich gerne überraschen – von der Anmut
dieser Welt und von den Menschen, die ich unterwegs treffe“, sagt der Musiker und Komponist Christopher von Deylen, der sich hinter dem Künstler Pseudonym Schiller verbirgt. Fast 12 Jahre später erscheint dieses große Album endlich als auf 1000 Stück limitierte Vinyl-Neuauflage im farbigen 2LP Format, welche nicht nur Musikfans, sondern auch Plattenliebhaber begeistert, die mehr wollen als eine rein digitale Version. So kommt das Album auf zwei transparent-roten Vinylscheiben und rundet somit das Gesamtkunstwerk auf ansehnliche Weise ab!


Sonne (Chill Out Edition) Schon das Vorgänger-Album Sonne galt als absoluter Fan-Liebling, nach Erscheinen der Sonne (Chillout
Edition) lässt sich feststellen, dass diese Variante dem Original Sonne Album in eigentlich nichts nachsteht. Schiller ist wie immer für eine Überraschung gut und hat mit dieser Sonderedition seine ruhige
und träumerische Seite gezeigt. Nun erscheint diese einzigartige Zusammenstellung als Vinyl Neuauflage!
Die Sonne (Chillout Edition) 2LP Version ist auf 1000 Stück limitiert und ist nicht nur klanglich etwas
Besonderes, sondern macht als transparent-türkisfarbene Doppelvinyl auch optisch so einiges her!

"MOTOMAMI+" ist das Deluxe-Album der mit dem Grammy Award ausgezeichneten Künstlerin, Produzentin und Songwriterin ROSALIA. Das Originalalbum "MOTOMAMI" wurde mit dem GRAMMY Award für das beste Latin-Rock- oder Alternative-Album sowie mit vier Latin-GRAMMYs, darunter Album des Jahres, ausgezeichnet. Die Deluxe-Edition von "MOTOMAMI+" enthält das Originalalbum, darunter die Hits "LA FAMA" mit The Weeknd, "SAOKO" und "BIZCOCHITO", sowie 8 zusätzliche Tracks, die zum ersten Mal auf Vinyl erscheinen, darunter die Hitsingle "DESPECHÁ".

Two certified club bangers finally available on wax, super lmtd. Edition!
Finally Ttwo highly acclaimed Session Victim Remixes for high profile artists Bellaire and Sweatson Klank are being released on vinyl for the first and only time.

Heaven Born and Ever Bright is the third studio album by British rock band Cardiacs. It was produced by Tim Smith, engineered by David Murder and mixed by both Available on CD Digifile and Single Sleeve Violet coloured vinyl (pressed from the 1991 master) Cardiacs are an English rock band formed in Kingston upon Thames by Tim Smith (guitar and lead vocals) and his brother Jim (bass, backing vocals) in 1977 under the name Cardiac Arrest. One of Britain's leading cult rock bands, Cardiacs' sound folded in genres including art rock, progressive rock, art punk, post-punk, jazz, psychedelia and heavy metal (as well as elements of circus, baroque pop, medieval music, nursery rhymes and sea shanties), all of which was topped by Smith's anarchic vocals and impressionistic lyrics. Their bizarre sound and image made them unpopular with the press, but they amassed a devoted following Tim Smith was the primary lyricist, noted for his complex and innovative compositional style. He and his brother were the only constant members in the band's regularly changing lineup. The band created their own indie label, the Alphabet Business Concern, in 1984 and found mainstream exposure with the single "Is This the Life?" from their debut album A Little Man and a House and the Whole World Window (1988). Their second album, On Land and in the Sea (1989), was followed by Heaven Born and Ever Bright (1992), which displayed a harder edged, metal-leaning sound retained in the subsequent albums Sing to God (1996) and Guns (1999). Tim Smith was hospitalised with dystonia resulting from a cardiac arrest in 2008, which brought increased and belated critical recognition to Cardiacs, with several music outlets calling Sing to God a masterpiece. His death in 2020 saw a raft of tributes on social media

Reissue des zweiten Albums "Look Now Look Again" (1999) der US-Emo-Band Rainer Maria. Mit Hilfe von Mark Haines (Poster Children, Son Volt) und Elliot Dicks (Joan Of Arc) in den Smart Studios aufgenommen, ist LNLA das definitive Rainer Maria-Album, ein Standard, an dem die Band immer gemessen werden wird. Die Gitarre ist offen gestimmt und singt durch einen aufgedrehten alten Fender-Verstärker, der melodische Bass rollt, das Schlagzeug dröhnt und der lyrische Kompromiss zwischen Kaia und Caithlin ist in der Lage, ein grapefruitgrosses Loch ins Herz zu stechen. Die Neuauflage erscheint auf Pink Stripe mit Brown Splatter-Vinyl, passend zum ikonischen Cover.

Limited Clear w/Black & Clear w/Red Vinyl. Recorded in 2023 Merzbow continues his newer ventures of extreme sonic dynamics. Deluxe spot gloss varnish on textured sleeve with booklet.

Continuing our exploration of Sao Tomé and Príncipe with DJ Tom B., Les Disques Bongo Joe proudly announces the release of Africa Negra Anthology Vol. 2. We"ve carefully selected and remastered 13 standout tracks for this volume, digitized from studio tapes by their tour manager. The album includes a booklet with updated liner notes and vintage photos of the group.

Tooflie is back with a new exploration of regional sound from all over theglobe by the anonymous crew of edits lovers. The five different, but equallyimpressive, cuts on the fourth installment are deep dives into the soniccarnival of Brazilian favelas through the skillful reinterpretations by hiddentalents. The A2 track 'CBACA' bolsters the signature baile funk raw energywith hard house rhythms and acidic melodic patterns. Stepping between thefunkier side of electro and polyrhythmic panache, MWR - 'man withrefrigerator' is tailored to take the dancefloor to a new level. The openingtrack starts with a minimalistic yet paunchy breakbeat groove on 'PDNCA' and continues the deepness through the heavy and raw low-endextravaganza on 'RTK'. Bringing the vinyl to a close, 'LAPA' goes full-throttleon haunting arpeggios and leaves things on a blissful note.

Waxwork Records is proud to release TAROT Original Motion Picture Soundtrack by Joseph Bishara. TAROT is a 2024 American supernatural horror film written and directed by Spenser Cohen and Anna Halberg. The story follows a group of college students who, after using a strange Tarot card deck, begin to gruesomely die one by one and must uncover the deck's mystery.

The soundtrack to TAROT was composed and conducted by Joseph Bishara (Malignant, The Conjuring, Insidious, Annabelle). The soundtrack features Bishara's signature dark and haunting composition style that expertly blends heavy usage of synthesizers and electronics with evocative orchestral cues.

Waxwork Records is proud to release TAROT Original Motion Picture Soundtrack by Joseph Bishara as a deluxe double LP featuring three-color hand poured vinyl, new artwork by illustrator and TAROT creature designer Trevor Henderson, heavyweight gatefold packaging with matte satin coating, an 11"x11" insert, and one of five collectable character Tarot cards.

Following up releases on Tokyo-based record label Mule Musiq, Constellation Tatsu and Good Morning Tapes, Saphileaum delivers six tracks on Intervision - unconstrained reverie encompassing a patchwork of tribal-tinged downtempo, mellow house and neo-Amazonian ambient soundscapes.

Pressed on blue marbled vinyl. Printed sleeve.

"Metal Health" ist das dritte Studioalbum von Quiet Riot und das erste Heavy-Metal-Album, das Platz eins der Billboard 200 erreichte. Es beinhaltet ihre energiegeladene Coverversion von Slades "Cum On Feel the Noize" sowie den Hit "Metal Health". Die unvergesslichen Gitarrenriffs und der kraftvolle Gesang, die dieses millionenfach verkaufte Album prägen, sind ein wahrer Adrenalinschub. Jetzt auf schwarzem Standard-Vinyl verfügbar.

New Orleans Voodoo Psych Fuzz Boogie Blues aus einer finnischen Irrenanstalt in Helsinki, drei Jungs flogen über das Kuckucksnest und machten dieses erstaunlich schräge Album... früher spielten sie in Black Magic Six und Cosmo Jones Beat Machine, für Fans von Captain Beefheart und Chuck E. Weiss oder Dr. John GOBLIN SHARK ist ein Hybrid aus einem finnischen Irrenhaus, einer transsexuellen Göttin und einer verkommenen, dunklen After-Hour-Blues-Rock'n'Roll-Fuzz-Psych-Voodoo-bar in New Orleans. Sie alle treffen sich in Helsinki, Finnland, um ihre Musik zu machen, Taskinen spielt in Bands wie Black Magic Six, Heavy Breathers oder Disgrace, der zweite, noch verrücktere Gitarrist und Meister selbstgebauter Mini-Gefängnisgitarren Pharaoh Pirttikangas veröffentlichte zahlreiche Soloalben und war mit Cosmo Jones Beat Machine unterwegs, Nubialaiset und Astro Can Caravan unterwegs, dann kommt Neuvonen, er ist ein Black-Metal-Schlagzeuger aus Tempere, Jeder liebt den Blues und die verwirrende Seite des Lebens aus finnischer Sicht, wenn Sie wissen, was ich meine. Kann man ihre Musik in Richtung Captain Beefheart und Chuck E. Weiss mit der rohen Kraft der Stooges oder Dr. John einordnen. Ich weiß es nicht. Aber ich habe sie 2023 auf meiner Tour in Helsinki getroffen und war von ihrer Performance, ihrer Musik und dem anschließenden Bier in einem Helsinkier Bierclub so begeistert, dass wir beschlossen, GOBLIN SHARK auf Voodoo Rhythm zu veröffentlichen. Taskinen hatte bereits einen Trip in die Schweiz von Black Magic Six gemacht und Robert Butler (der von den Miracle Workers) getroffen und sind seitdem befreundet, so dass es Sinn machte, dass Robert 'Mr. Butler' das Artwork des Covers für die Band entwarf und es wurde so, wie es sein musste... ein komplette Hirnschmelze , und so sind auch die 10 Songs, die dich wegblasen werden wie nichts anderes - dies ist verwirrter dreckiger Blues Rock'n'Roll der außerirdischten dritten Art. Tiefschwarzes Vinyl, bedruckte Innenhülle, gratis Download Code oder Digisleeve-CD mit Booklet.

Released via Sony CMG - This is a reissue of HiM's album, "Deep Shadow & Brilliant Highlights". HIM's third album, remains a standout in their discography. Opening with 'Salt In Our Wounds,' the album showcases a perfect blend of slow build-ups and heavier choruses, featuring a cool solo. 'Heartache Every Moment,' a single, grows on you with its poignant lyrics. 'Lose You Tonight' offers a unique intro with a bass line and intriguing background sounds, while 'In Joy And Sorrow' captivates with soothing guitar riffs and beautiful vocals. 'Pretending' stands out with memorable lyrics and an impressive solo. Although 'Close To The Flame' and 'Beautiful' are slower tracks, they add depth to the album. 'Don't Close Your Heart' and 'Love You Like I Do' close the album on a high note that create a lasting impact on the listeners. Single Black LP Vinyl.

“I personally feel this is a great record and recommend it to everyone. It’s positive and hot and simply
excellent.” – Gary Burton, in the liner notes.
Pat Metheny hatte sein Debüt bei ECM als Mitglied von Gary Burtons Band auf dem Album Ring im
Jahr 1974 gegeben, aber Bright Size Life, seine erste Studioaufnahme als Leader überhaupt, war das
Album, das ihn schlussendlich als neue kreative Kraft mit einem frischen Ansatz im Kontext des zeitgenössischen Jazz profilierte. Das im Dezember 1975 in Ludwigsburg aufgenommene und von Manfred Eicher
produzierte Album wurde von Methenys damaliger Stammband mit Bob Moses am Schlagzeug und dem
virtuosen, aber damals weitgehend unbekannten Jaco Pastorius am Bass eingespielt.
”Ich könnte die gesamte Musik von Bright Size Life auch jetzt noch spielen”, sagte Pat Metheny in
einem Interview für die Library of Congress im Jahr 2021. ”Es fühlt sich immer noch relevant an; die
Argumente darin erscheinen mir immer noch gültig und sie sind es wert, darüber zu reflektieren.... Damals
hatte ich das Gefühl, dass ich eine Platte machen wollte, die vielleicht die einzige sein würde, die ich je
machen würde. Ich hoffte, ein Statement zu Dingen abzugeben, die mir in Bezug auf Melodie, Harmonie,
Triospiel und sogar das Leben im Allgemeinen wichtig waren.”
Diese Luminessence Vinyl Edition des Albums erscheint in einem Tip-on Klappcover und enthält Fotos
aus dem Archiv.

I Don’t Know Who I Should Belong To:
“I Don’t Know Who I Should Belong To” erschien erstmals 1987 auf Vinyl als englisches Pendant zum Longplayer “Phönix” aus dem Jahr 1986. Lindenberg lebte damals im Berliner Hotel Intercontinental. Das
Leben an und mit der Mauer hat ihn beschäftigt und das veranlasst ihn, sich auf dem Album weiterhin mit politischen Themen auseinander zu setzen. Sie waren für die Gesellschaft zu dieser Zeit einfach von großer Bedeutung. Nicht allein für sein mutiges politisches Engagement in der damals noch geteilten Republik
gilt er bis heute als einer der wichtigsten deutschen Musiker. Die Re-Edition des Albums erscheint am 02.08.2024 in Form einer stark aufgewerteten, roten LP mit einem doppelseitigen Poster, welche streng limitiert und von Hand nummeriert in einer Auflage von nur 1.000 Stück erhältlich sein wird. Zusätzlich erscheint das Album erstmals als Standalone CD im Mintpack.

Kyrck Productions & Armour is now presenting two early works of AMESTIGON for the first time on vinyl.
"Mysterious Realms" features material from the 1996 split with ANGIZIA and the ltd. EP "Remembering
Ancient Origins". The latter was released in 2000 and featured ABIGOR and SUMMONING vocalist
Silenius

"Ahead of a colossal US stadium Summer 2024 tour, Def Leppard announce a brand new, one-off single ‘Just Like 73’ featuring Rock guitarist Legend Tom Morello. Inspired by the Glam Rock Stompers of the 1970s, the single is available to own on limited edition 7” black vinyl, the B side to which showcases an alternative Def Leppard only version of the single.

Stashboxxx is DJ Harrison's #1 most streamed album of all time with top performing tracks such as "Erykah's Gun", "Dilla's Eclair", "Carnaval '74", "Block Party 4 Yall" and even more hits with streaming numbers in the millions. This is the second pressing of this album, the first was in 2014. Two bonus double-single products will follow the album re-release with new artwork to promote vinyl sales and streaming of Stashboxxx. These unreleased singles bring a similar soulful, jazzy, blissful nostalgia, giving fans a fresh listen.

Recorded as part of the same daydreaming puzzle as Unwishing Well, Still Clouds at Noon brings out the slowcore/sadcore elements that drift through The Reds, Pinks & Purples’ melancholy catalog. Donaldson names '90s hometown San Francisco acts such as American Music Club and the more obscure Timco as pivotal to his guitar playing and development as a songwriter, both of which shine bright here. The slower tempo ballads on Still Clouds… often culminate in heavy fuzz drenched codas and showcase the more abstract poetic side of Donaldson’s lyricism. There’s an inherent pop-sensibility always at work though, with ear-worm melodies appearing over intoxicating circular riffs. Formerly a Bandcamp only digital release, this white vinyl version is remastered and adds two unreleased tracks, one featuring Mark Monnone from Australian pop-legends The Lucksmiths on bass

First official vinyl reissue under Sonor music production license - numbered to 500 copies.

Outstanding Italian Library session from the desirable Nike private label owned by Bruno Battisti D'Amario and featuring the great Silvano Chimenti on guitars and Edda Dell'Orso scats. Amazing, refined Score music released for TV and documentaries music production with superb loungy and soft sounds inspired by Western landscapes and natural panorama. Moody and bluesy jam with a mixture of various guitar tones, trippy atmospheres and themed descriptive music with addiction of soft Psychedelic moods, Easy Listening and allegro vibes alternated by sweet melodies. The cult maestro and Morricone's collaborator D'Amario here provides one of his highest masterwork in composition with its classical guitar added by Chimenti's Psychedelic notes and some mindmelting Edda Dell'Orso's scat numbers. Several exquisite Spaghetti Western inspired themes, maybe used as original score for obscure movie in the '70s / ethereal LSD Psychedelic vibes with isolated distorted Wah Wah / Lounge moods throughout with nature inspired themes / Folk & Blues influences / trippy Scat vocals / 70s Easy Listening and panoramic descriptive music for a very complete Library session. Great album!

Limitierte Smoke Marble Vinyl Reissue Edition von Timber Timbre Albums aus dem Jahr 2009.

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


Repress.

The re-release series of original Ethiopian classic vinyl continues -- the finest Ethio jazz by Mahmoud Ahmed and his band from 1975 plus two tracks from 1978.The liner notes: 'Melancholy blues, piercingly minimalist country airs, brassy, danceable urban jazz, heart-wrenching, off-key crooners: a rich and stirring patchwork of sounds, crossing Afro-beat, Latino-swing moves and Eastern arabesques (Ana�s Prosa�c).' Such were the first -- informed and enthusiastic -- opinions of the music press when the first strains of modern Ethiopian music sounded on our shores. This was in 1984-1985. Such a positive note, struck about such a country at such a time, created plenty of reverb. The country had been so thoroughly trashed by the media's feeding-frenzy, which spewed out a mix of horror and pious pity, bitter denunciation and humanitarian appeals, wallet-tickling clich�s and refusal of identity. In one brutal swoop, TV-reality transformed Ethiopia into a cursed nation, forsaken by God and by man. In contrast to these tragedies, but in the same hackneyed tones, Mahmoud Ahmed's life resembles an edifying fairy-tale where destiny, talent and achievement combine to triumph over poverty, fate and the evil eye. Biography, history and legend, with the help of God, infallibly weave the lesson of merit rewarded. But who can argue, in spite of the mockery that celebrities invariably draw, when faced with one of the greatest voices in all of Africa? Once upon a time, there was a street urchin in Addis Ababa, who started off as a shoe-shine boy and went on to become one of his country's biggest stars, opening the door to Ethiopian music to Western audiences. --Francis Falceto

180g vinyl + Deluxe hard-cardboard sleeve + OBI + resealable outer sleeve

This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.



The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

2024 repress.

The 2019 Stroom〰 split EP with Hessel Veldman marked the long-awaited vinyl debut of Enno Velthuys and served as a teaser for a reissue campaign of his work, shared between different labels. Finally!

In 1984 Velthuys released his classic tape ‘A Glimpse of Light’ on EXART, the label of Veldman, who stayed in close contact with Enno after hearing one of his private tapes being played on the radio by Willem de Ridder in 1980. During a live-broadcast event random tapes were played. “From Enno Velthuys, The Hague”, was written on the package. Willem introduced the tape, played it and a serene silence filled the studio. Present was a friend of De Ridder, Rob Smit, who visited Enno and his mother a few weeks later. This eventually resulted in Enno’s first release ‘Ontmoeting’ on KUBUS Kassettes in 1982. In those years, Enno was living a solitary life and rarely left his mother’s apartment. He managed to release 6 tapes of introvert, melancholic music from another dimension. Atmospheric melodies backed with sparse percussion, showing an excellent handling of the synthesizer.

The gifted musician with two souls silently passed away in 2009. Now we present, with involvement of the few once close to him, the first reissue of probably his most beloved work. Using the original master tape from the EXART vaults, carefully transferred, edited and remastered. Just Enno with his stripped-down compositions and fragile ambient sounds. An intimate experience celebrating bedroom-music and the glory days of do-it-yourself counterculture.