2010s 215 Items

The 12 track collection features previously unreleased tracks, alternate versions of existing classics as well as a couple of brand new Amy compositions, and has been compiled by long-time musical partners Salaam Remi and Mark Ronson in close association with Amy’s family, management and record label Island Records.

Still in shrink but opened. Cover has tiny wear. Original inner sleeve. Vinyl is close to NM.

Colored Vinyl Edition

Created with assistance from Beyoncé ­collaborator Boots, the music is spacious, paranoid and sultry; the lyrics are ­suggestive and knotted. The songs lack centers, or even hooks, and aren't easily assimilated, but unmistakable themes emerge: Through a feverish haze of sounds and sights, M3LL155X asks big questions about femininity, sex and power.

“Talk That Talk” is the sixth studio album by Barbadian singer Rihanna, released on November 2011, by Def Jam Recordings and SRP Records. It was recorded while traveling for the “Loud” Tour between February and November 2011, and was originally planned to be a reissue of her previous studio album “Loud” (2010). As executive producer, Rihanna enlisted a wide range of producers including Alex da Kid, Mr. Bangladesh, Calvin Harris, Chase & Status, Cirkut, Da Internz, Dr. Luke, Ester Dean, Gareth McGrillen, Hit-Boy, No I.D., Priscilla Renea, Rob Swire, StarGate, The-Dream. Following in the same vein as “Loud”, “Talk That Talk” is a dance-oriented pop/R&B crossover album that incorporates elements of hip hop, dubstep, electronic and house music. The album also continues to have subtle dancehall genres, whilst its lyrical content and themes revolve around a nihilist, romantic and lascivious lover.

“Talk That Talk” received generally positive reviews from music critics, and debuted at number three on the US Billboard 200. As of June 2015, the album has sold 1.15 million copies in the United States.

Ibeyi's eponymous debut combines a love of two very different worlds – the Yoruba chants of their ancestors and the electronic, hip hop and jazz influences of growing up in the city.

Part of a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M, Paris. “Mica is someone I have been following growing since 2008, like a proud aunt, I might even have been at her first concert? Sooo exciting to witness her grow into a full on composer and carry the weight of such things as ‘Under The Skin’... And I still adore her upbeat stuff withTirzah too !!!” - Björk. “I did a karaoke version more than a remix, because I love her string arrangements
and thought it would be an opportunity to draw attention to them. I hope Björk isn’t
offended that I took her voice out, [but] you can hear it in your head - or sing
along.” - Mica Levi

Part of a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M, Paris. “Krampfhaft is someone I have been listening to for few years adoring his hyperbeauty, orchid techno I nickname it in the
vein of plaid and others: brave enough to take joy on in the often rather apocalyptic
environment of electronic music” - Björk. “I was very honoured to be part of this, although it was a pretty daunting task to
rework a song with such an intimate topic! As the original is very stripped down, all
I could think of doing was adding in [even more] tension and drama. So I layered the
whole track on to a bed of heavily compressed cloth movement and gradually built up
the tension from there.” - Kramphaft

Dark Entries celebrates its 15th anniversary with legendary synth-punk deviants Crash Course in Science. Dale Feliciello, Mallory Yago, and Michael Zodorozny formed Ccis in 1979 after meeting at art school in Philadelphia. As a gesture born of equal parts punk irreverence and brute necessity, the band incorporated toy instruments and kitchen appliances into their aggressive, angular sound. Their anthems “Cardboard Lamb” and “Flying Turns” from 1981’s Signals From Pier Thirteen EP have been staples in adventurous DJ sets for over 40 years - yet some of their finest work is to be found on Near Marineland, a full-length LP recorded in 1981 but remained unreleased in its time. Near Marineland shows the band moving into more diverse and polished territory (although it’s still as abrasive as sandpaper). Tracks like “No More Hollow Doors” and “Jump Over Barrels” highlight Ccis’s singular knack for embedding infectiously monotone hooks in their stiff-yet-funky grooves. Elsewhere we see Ccis going fully unhinged, like on the searing “Someone Reads” or the demented “Pompeii Spared”, where a spray of honks is barely glued together by a frantic synthetic pulse. While this masterwork of malfunctioning analog electronics has surfaced on a few occasions - this first time stand alone remaster includes four never-before-released bonus tracks and includes a lyric sheet. Near Marineland is crucial listening for all devotees of synth-punk and minimal electronics.

The work of Illinois-born, Toronto-based artist Meg Remy, U.S. Girls has evolved in recent years from the coarse 4-track fidelity found on her early recordings to more luscious and unabashed works, packed with fiery pop sensibilities. Half Free is the next step in this impressive progression, an honest and lyrically jarring exploration of emotions, drenched in a bath of raw beats and loops that have become the hallmark of her work with producer and frequent collaborator Onakabazien. Other album guests include Slim Twig (DFA), Ben Cook (Fucked Up, Young Guv), Amanda Crist (Ice Cream) and Tony Price.

Part of a series of single-sided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M, Paris.“Lotic is the one of the first musicians Alejandro introduced me to in Autumn 2013 with piles of enthusiasm: I got immediately obsessed enjoying how always total nature he was!! The most clublike flamboyant anthems of his always seem like shrieks of beasts, dark insects and pagan birds displaying their feathers in a territorial way: a colourful celebration!! The reason why I asked him to do ‘Notget’ was there are certain suspension-like elastic gravitydefying beat structures that him and Alejandro share (each in their total idiosyncratic way though) that Notget has and I had a gut feeling he would take further. Which he did.” - Björk. “When Björk sent over the original track to review late last year, I couldn't believe how well she had intuited that ‘Notget’ was the perfect selection for me. Perhaps it was a bit of coincidence, but I was very much still tending to the scars left from my previous relationship while at the same time nurturing my current one. ‘Notget’ is both the mourning and the eulogy; I knew this meant remixing the song would be difficult, both technically and emotionally. In the end, I felt I had to attempt to amplify both the desperation the song expresses as well as the inspired, reminiscent joy.” – Lotic