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Uneasy Laughter Loser Edition

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In ViNyL we trust
Even before the launch of the Concorde MkII, we have always studied the feedback of our customers and how they utilize our products.

Skilled DJs demand specialized tools that can help them push their creativity to the edge – consistently testing the boundaries in the realm of performance.

Understanding this and reflecting our extensive experience in industrial design and technological know-how, we present the new Ortofon VNL cartridge – a model tailored uniquely to the unrelenting demands of modern turntablists and portablists.

Contains 1x Stylus VNL II!

The new VNL features and improvements
• Extra resistance to hardcore scratching and back spinning
• High tracking performance for both DVS usage and real vinyl
• Optimal balance of output and of sound quality

Technological improvements have been applied for the benefits of all users:
- Ultrasonic welding of the components ensures high rigidity and freedom from resonances.
- Robotic assembly of stylus assembly offers high precision and uniformity of industrial production.

DJs can easily identify which stylus type best suits their individual DJ style and enables their absolute best performance capability.

VNL technical data

Stylus Type: Sperical
Tracking Force: 4,0 g
Output Voltage: 6mV
Frequency Range: 20-20.000 Hz

Output voltage at 1000Hz, 5cm/sec. - 6 mV
Channel separation at 1kHz - 20 dB
Frequency response 20 Hz - 20 kHz -2/+4 dB
Tracking ability at 315 Hz at recommmended tracking force:

VNL I 100 μm
VNL II 90 μm
VNL III 90 μm
Compliance, dynamic lateral:

VNL I 16 μm/m N
VNL II 15 μm/m N
VNL III 14 μm/m N

Tracking force range - 3 - 5 g
Tracking force recommended - 4 g
Antiskating - for best backcueing performance use “0”
Internal impedance, DC resistance - 750 Ohm
Internal inductance - 450 mH
Recommended load resistance - 47 kOhm
Recommended load capacitance - 200-600 pF
Cartridge weight - 6,5 g
Replacement stylus units: VNL I, VNL II, VNL III

Exclusive features
The VNL features a spherical stylus which is perfect for tough groove handling. Furthermore, it reduces record wear when scratching and back-cueing to an absolute minimum.

The broad stance of the VNL features solid and robust design elements characteristic to Ortofon, with colors meticulously selected to emphasize sturdiness and DJ aesthetics: the cartridge body has been designed to provide easy mounting and alignment on a variety of headshells.

The VNL provides excellent compatibility when used in an assortment of playback systems, ensuring it stays in the groove under the most demanding conditions.

VNL Userguide: https://www.ortofon.com/media/151234/5-800161-12_vnl_userguide_08_20_web.pdf

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Moaning

LP | 2020 | US | Original (Sub Pop)

26,99 €*

Release: 2020 / US – Original

Genre: Rock & Indie

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What happens when an abrasive rock trio trades guitars for synths, cranks up the beats and leans into the everyday anxieties of simply being a functioning human in the 21st century? The answer is Uneasy Laughter, the sensational second Sub Pop release from Los Angeles-based Moaning. Vocalist/guitarist Sean Solomon, bassist/keyboardist Pascal Stevenson and drummer Andrew MacKelvie have been friends and co-conspirators amid the fertile L.A. DIY scene for more than a decade. They are also immersed in other creative pursuits - Solomon is a noted illustrator, art director and animator, while Stevenson and MacKelvie have played or worked behind the boards with acts such as Cherry Glazerr, Sasami and Surf Curse. On Uneasy Laughter, they've tackled challenges both personal and universal the only way they know how: by talking about how they're feeling and channeling those emotions directly into their music. "We've known each other forever and we're really comfortable trying to express where we're at. A lot of bands aren't so close," says MacKelvie. Adds Solomon, who celebrated a year of sobriety during the Uneasy Laughter sessions, "Men are conditioned not to be vulnerable or admit they're wrong. But I wanted to talk openly about my feelings and mistakes I've made." Moaning's 2018's self-titled Sub Pop debut featured songs mostly written in practice or brought in already complete by individual band members. It garnered acclaim from Pitchfork, Stereogum and Los Angeles Times, who observed, "Moaning craft anxious music for an increasingly nervous local scene." But Uneasy Laughter is a collaborative breakthrough which significantly brightens Moaning's once claustrophobic sound, again abetted by producer/engineer Alex Newport (At The Drive-In, Bloc Party, Melvins). The trio points to first single "Ego," which features a costume-heavy video directed by Ambar Navarro, as an embodiment of this evolution. Solomon admits Uneasy Laughter could have gone in quite another direction had he not gotten sober and educated himself on such core subjects as gender and mental health. "I did a lot of reading in the tour van - authors like bell hooks, Mark Fisher, and Alain de Botton, all really inspired me. I don't want to be the person who influences young people to go get high and become cliche tragic artists," he says. "What I'd rather convey to people is that they're not alone in what they think and how they feel. 'Ego' specifically and the album overall is about those themes - letting go of your bullshit so you can help other people and be present." "We want to be part of a community," he adds. "I wrote online about being sober for a year, and I had kids from all over writing and asking for advice. One of them said, 'For the first time I can remember, I didn't drink last night.' I thought, for once, maybe we did something besides sell a record. That's a win. That's incredibly exciting."

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Audio-Technica

AT-XP5

89,00 €*

2LP | 2017 | US | Original (Dark Entries)

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AT-XP5
DUAL MOVING MAGNET STEREO CARTRIDGE

• Excellent Tracking ability
• Superior sound without compromise
• Designed for DJ venue application for their Hi-Fi audio performance
• Durable robust design for high-quality DJ playback
• Great visibility of stylus tip for instant positioning
• Carbon ABS cantilever

The AT-XP5 is specially designed for the needs of DJs. This cartridge features a highly-rigid polyphenylene sulfide (PPS)/glass fiber body and a tracking force of 2 to 4 grams. It also offers a powerful output level of 5.5 mV, and its 0.3 x 0.7 mil elliptical bonded stylus tracks the record groove with high accuracy for outstanding audio reproduction. Plus, the cartridge is specifically designed to provide maximum visibility of the stylus tip.

• Durable design for high-quality specialist DJ playback
• Cartridges designed for DJ venue applications for their Hi Fi audio Performance
• VM dual magnet cartridge with 0.3 x 0.7 mil elliptical bonded stylus
• Audiophile experience associated with DJ’ing environment with the signal output level and output impedance characteristics adapted to DJ professional mixing boards
• Carbon ABS cantilever
• Great visibility of stylus tip for DJ use
• High-rigidity and Low-resonance cartridge housing
• Durable design for high-quality DJ playback
• Replacement Stylus: ATN-XP5

Specifications:
• Type: VM Dual Magnet
• Frequency Response: 20 - 18,000 Hz
• Channel Separation: 20 dB at 1kHz
• Vertical Tracking Angle: 20°
• Vertical Tracking Force: 2.0 to 4.0 g (standard 3g)
• Recommended Load Impedance: 47,000 ohms
• Coil Inductance: 1.0 H (1 kHz)
• Output Voltage: 5.5 mV (mV at 1 kHz, 5 cm/sec)
• Output Channel Balance: 2.0 dB
• Stylus Shape: Elliptical
• Cantilever: Carbon Fibre Reinforced ABS
• Static Compliance: 20 x 10-6 cm/dyne
• Dynamic Compliance: 6.0x10-6cm/dyne (100Hz)
• Mounting: Half-inch
• Dimensions: H17.2×W17.8×D28.3mm
• Accessories Included: Cartridge installation slotted screws 11.0 mm (0.43”) x 2 and 8.0 mm (0.31”) x 2, Washer x 2, Round nut x 2, Non-magnetic screwdriver x 1
• Recommended Load Capacitance: 100-200 pF
• Replacement Stylus: ATN-XP5
• Stylus Size: 0.3 x 0.7 mil
• Weight: 6.2g

Manual: https://eu.audio-technica.com/resources/AT-XP5_UM_112301370_V1_11L_web_171018.pdf

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Hypnobeat

Prototech

2LP | 2016 | EU | Original (Touchin' Bass)

Release: 2017 / US – Original

Genre: Electronic & Dance

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Dark Entries and Serendip Lab have teamed up to release ‘Prototech’, the first vinyl retrospective by German electronic trio Hypnobeat, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, "the desired level of technical sophistication." In time, Tobias Freund also lent his talents (and equipment) to this loose-fit sonic scheme, where the protagonists sought a new, electronic manifestation of mankind’s tribal music roots. Two cassette releases surfaced – 1985’s "Huggables", and "Specials/Spatials" the following year. By this point the Frankfurt-based group had already explored fiercely mechanical creative expression through various configurations of hardware and personnel, revolving around core ingredients such as the TR-808, TB-303 and MC-202. The project lived on in spirit as Brown activated Narcotic Syntax in the 90s. While a more modern, digital concern, rooted in the Perlon label family, NS still channeled the Hypnobeat concept of a "new tribalism", not least on their "Provocative Percussion" double 12" released in 2006. For all the punky veneer, there are instances where these tracks reach staggering levels of sophistication, not least on "Slash! Buffalo Eats Brass" with its intricately programmed 303 lines and nimble beats that sound a far cry from most machine music made in 1986. Prescient "Can God Rewind?" is also dazzling in the complexity of its percussion and the richness of its synth lines in C as they throb out a bastardised version of acidic Disco straight out of the rhythm collider. Elsewhere, some tracks are more primal in their execution. Visceral opening track "The Arumbaya Fetish" was a cathartic venting of Brown’s least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature "Moon Jump" places limber 303 lead lines in a hail of thunderstruck patterns. "Kilian" has a stripped down quality that speaks more to the industrial era that Hypnobeat was conceived in, and "Mission In Congo" is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. "I am amazed that the release sounds like we really had a plan back then…" states Brown, but this accidental magic is in fact the raison d’etre of Hypnobeat. They weren’t the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren’t many artists stumbling across modes of expression that sound so relevant today.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring cave engravings by Pietro Insipido of an archer and animal printed in a wallpaper pattern style designed by Eloise Leigh. Each copy includes an transparent insert of an x-ray photograph from 1984 of Romulus Cœurque holding the circuit board of a BOSS DR-55 rhythm machine.

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Rook Vallade

Vestiges

20,69 €* 22,99 € -10%

Release: 2016 / EU – Original

Genre: Electronic & Dance

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Perhaps best known under his aliases Dalglish and O.S.T., Chris Douglas has been operating under the mainstream for the last 24 years, releasing on labels like Pan, Icasea, Phthalo, Highpoint Lowlife, Shitkatapult and many others.

Douglas has certainly had an interesting history and the places he’s lived unquestionably define his sound. From his early beginnings in San Francisco organising parties and DJing, he relocated to Detroit where, hanging out with the likes of Underground Resistance’s Mad Mike and the late James Stinson of Drexciya, he began to release his own work.

The competition in Detroit was fierce and the crowds were very particular so artists found themselves having to work a lot harder, which ultimately led to the consistent quality of the product at that time. His story then led him to Europe, after Autechre invited him to appear as their opening act during their Confield tour in 2002 and then at their curated All Tomorrow’s Parties in 2003, where he finally settled in Berlin.

This time we’re presenting the less familiar work of his moniker ‘Rook Vallade’ with a collection of his as yet unheard works from 1992-2000 – a very welcome addition to the Touchin’ Bass catalogue.

The 12 tracks featured on ‘Vestiges’ represent Douglas’ Detroit influences and early electro, techno and hiphop are all evident in these recordings. Each individual groove represents a warm and moving sound aesthetic, rich in texture and melody, providing an insight into the varying depths of machine and soul. Each track portrays a mood and feeling of its own, with the emphasis being firmly placed on the outcome and direction of each individual sound, reflecting a barrage of alternative feelings, thoughts and moods. The tracks are also documentative of Douglas’ first productions working predominantly with a hardware set up.

From the clear electro influence heard on ‘Aemldbr’, ‘Badlstmp’ brings captivating warm synths with fine metallic sounds surfacing above the layers, giving this track the feeling that it is much more current than the production date suggests. The blend of wavering strings, industrial ambience and chilling synthesiser pads demonstrated in the hauntingly dramatic short piece of ‘Scrintv’ leads to the punctuated percussion of ‘RI_25’ and the heightened tension, chaos and confusion of ‘RV7ScF’. ‘Endtb_’ is like going into the unknown, a bit like how Jacques Cousteau must have felt when first filming underwater.

Frustratingly, Douglas never seems to have gotten the recognition that he so richly deserves. His experimental attitude has always put him ahead of his time and this album still firmly places him at the forefront of electronic music. These are timeless relics from the past, coming from an era where the concept of atmospherics very much dominated the production. There may have been less to work with but Douglas has somehow captured more. Under ‘Rook Vallade’, his music stands the test of time.

As The Wire once wrote of him: “His music is one of the most striking evacuations of the life of the mind that you’re ever likely to hear.”. This still stands true to date.

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CD | 2024 | WW | Original (Mr Bongo)

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Entropy is Tuft's fourth monograph capturing the sublime and awe-inspiring beauty of nature as it is radically transformed under the unrelenting pressures of climate change.

A photographic exploration detailing the poetry and fragility of nature amidst the tragedy of climate change

Since 1998, mixed-media artist Diane Tuft has traveled the world recording the environmental factors shaping Earth’s landscape. Entropy is Tuft’s fourth monograph capturing the sublime and awe-inspiring beauty of nature as it is radically transformed under the unrelenting pressures of climate change.

The exquisite collection of photographs provide a captivating glimpse into the rapidly changing landscapes of our world. Tuft focuses specifically on water as its subject, contrasting global sea-level rise with water depletion in Utah’s Great Salt Lake. Compelling essays by prominent figures in art and science contributed by Bonnie K. Baxter, Ph.D., Professor of Biology and Director of Great Salt Lake Institute at Westminster University and twentieth-century art historian Stacey Epstein, Ph.D. add depth and insight to Tuft’s work and its significance in the context of climate change.

Weaving passages of haiku with her beguiling photographs, Tuft's newest monograph is packaged in a luxe-cloth-wrapped case screenprinted with her artwork Journey’s End featuring the Great Salt Lake. An extraordinary book, Entropy is a dramatic call to arms inspiring collective action for the critical preservation of nature.

About the author

Diane Tuft exhibits and lectures at institutions across the globe. Her work is included in such esteemed collections as the Whitney Museum of American Art; Nevada Museum of Art; International Center of Photography; and Parrish Art Museum, as well as many private collections. Tuft’s previous publications include UNSEEN: Beyond the Visible Spectrum (2009); Gondwana: Images of an Ancient Land (2014) and The Arctic Melt: Images of a Disappearing Landscape (2017). Tuft is also an award-winning producer of multiple short films, including Coastal Requiem (2019). She lives and works in New York City.

Bonnie K. Baxter, Ph.D. is Professor of Biology at Westminster College, and is founder and director of Great Salt Lake Institute, which serves to connect people to Great Salt Lake through research and education.

Stacey Epstein, Ph.D. is a specialist in twentieth-century American art and founder of Stacey Epstein Fine Art, where she advises auction houses, museums, corporate collections, artist foundations, and estates.

Reviews

‘A fascinating book.’ – Frames

‘This book offers a glimpse of the beauty we may be losing.’ – Blind Magazine

‘One of the most captivating books on the market linking fine art with climate change. The viewer can easily just enjoy it for its fantastic photography; it is literally one of the few books in the category where every image is a ten out of ten. For those interested in a more nuanced understanding of the work, the accompanying text manages to provide actual scientific analysis in an enjoyable, accessible format.’ – New York Journal of Books

Specifications:
Format: Hardback
Size: 350 × 260 mm (13 3/4 × 10 1/4 in)
Pages: 136 pp
Illustrations: 70 illustrations
ISBN: 9781580936705

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New Regency Orchestra

17,24 €* 22,99 € -25%

LP | 2024 | Original (Mr Bongo)

Release: 2024 / WW – Original

Genre: Organic Grooves

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Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

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New Regency Orchestra

This Is What I Was For A Moment

Release: 2024 / Original

Genre: Organic Grooves

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Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and co-founder of Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

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Adrian Roman

12" | 2024 | EU | Original (Microcastle)

15,99 €*

Release: 2024 / EU – Original

Genre: Electronic & Dance

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microCastleâ€™s first offering of 2024 welcomes Adrian Roman back to the label for his second artist showcase. Hailing from Spain, Adrian Roman first rose to prominence in 2021 with a string of superlative releases which redefined his sound, resulting in an aesthetic that was both cutting edge and effortlessly cool. F, nmully formed within the creative confines of his Castello studio, Adrianâ€™s first microCastle project, 2022â€™sâ€˜ Disturbing the Perceptionâ€™ succeeded in showcasing his inventive approach to composition, while remaining club-effective, and in turn earning play from Aera, Fideles and Jimi Jules, amongst others. Moving forward the next eighteen months have proved to be impactful for the young Spaniard, recording standout projects for Azzur and Sum Over Histories, releases which continued to build on his creative acumen, while remaining in the playlists of underground tastemakers Ame and Dixon. With 2024 beginning with Adrianâ€™s latest Sum Over Histories vehicle â€˜Oratorical Abilityâ€™, the Spaniard now makes a welcome return to microCastle with a six-track showcase entitled â€˜This Is What I Was For A Momentâ€™. From the opening monochromes of â€˜Le Sabbatâ€™ Adrianâ€™s craftsmanship reveals itself across this slow-burning piece, one where grating growls, granular flares and panoramic arps ultimately set the pace for the groove-centric â€˜Customized Realityâ€™. Itâ€™s here where Adrian puts a greater focus on the dancefloor, marrying hopeful vocal phrasing and silky chord stabs for a rejuvenating experience, while a drum-driven drop ultimately charts the course for a finale of deconstructed sonics and post-rave bliss. The haywire electricity of â€˜Faces of Belmezâ€™ finds the Spaniard once again flexing his creative muscles, as corrugated bleeps and cataclysmic rhythms provide a vast sense of space, creating the ultimate backdrop for distorted synths to propel choppy rhythms into dark underground passages, and perhaps onto some of the worldâ€™s most adventurous dancefloors. The collectionâ€™s midway point is marked by the hypno-architecture of â€˜Mind Designâ€™. Trickling reverberations and long sighs of tonal tension wade through its pulsating framework, with frayed effects and thumping rhythms submerged beneath a buzzing panoramic glow. Played by Ame and sitting as one of the project's most enigmatic tracks is â€˜TAGDIâ€™ (They Are Gonna Do It). Tinted with contemplative synths and guttural vocals, Adrianâ€™s unique emotionality peaks here, as he crafts a low-slung, slow-building dystopian romance, all while weaving in cerebral manipulations for an unforgettable ride. The mist breaks instantly on the collectionâ€™s final piece, as your thrusted into the muscular grooves of â€˜Fear Trackâ€™. Horrifying vocal stabs strike, leaving the gauzy purple skies of â€˜TAGDIâ€™ behind for a more robust romp, one where anabolic bassline, retro-arps and off kilter percussion bring the release to a feverish peak. A fitting conclusion to a diverse collection of music, one where Adrian creates a journey that speaks to the complexities of life against an immersive and challenging backdrop. Artwork: Maurcio Seidel

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Marshall

Emberton II

133,00 €*

LP | 2024 | EU | Original (Unday)

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Emberton II produces a sound much larger than its size. Two 2’’ full range drivers and two passive radiators bring you the heavy Marshall sound you know and love. Experience absolute 360° sound with True Stereophonic, a unique form of multi-directional sound from Marshall. Weighing in at only 0.7 kg (1.5 lbs), this speaker is tough and resilient.

EMBERTON II KEY FEATURES
• Marshall signature sound
• True Stereophonic (360° sound)
• Iconic & rugged design
• 30+ hours of portable playtime
• Dust & waterproof (IP67)
• Multi-directional control knob

MARSHALL SIGNATURE SOUND
Emberton II delivers sound that is rich, clear and loud, like the artist intended. Two 2’’ full-range drivers and two passive radiators bring you the heavy Marshall sound you know and love. Its custom-tuned audio components enhance the multi-directional sound by providing brilliantly powerful and clear sound throughout the entire frequency range.

TRUE STEREOPHONIC (360° SOUND)
Experience absolute 360° sound with True Stereophonic, a unique form of multi-directional sound from Marshall – where every spot is a sweet spot. By separating out the spatial content of stereo recordings, Emberton II produces a sound much larger than its size.

ICONIC & RUGGED DESIGN
Boasting an extremely durable and easy-to-use design, Emberton II is a must for any occasion. The textured silicone sleeve arcs back to the classic vinyl that encased the original amplifiers. The signature details, such as the solid metal grille and iconic Marshall script, echo the legacy of rock ’n’ roll.

30+ HOURS OF PORTABLE PLAYTIME
Emberton II offers 30+ hours of portable playtime on a single charge. Its compact size, rugged durability and reliable playtime, make it perfect to take with you. When you’re out of battery, Emberton II won’t keep you waiting long – plug in your speaker and return to full battery in 3 hours.

DUST & WATERPROOF (IP67)
Emberton II is tough and resilient. It has an IP67 dust and waterproof rating so you can submerge Emberton II in 1 m (3 ft) of water for a period of up to 30 minutes. This is a speaker that won’t let rain or dirt get in the way of your music.

MULTI-DIRECTIONAL CONTROL KNOB
Emberton II is simple and easy to use. Control it with the multi-directional control knob. You can play, pause, skip tracks and adjust the volume of your speaker, as well as turn it on or off.

APP COMPATIBLE
Download and connect to the Marshall Bluetooth app to access Over-the-Air (OTA) updates and additional controls. If you want to adjust your sound, you can choose between different equaliser settings. The dedicated app gives you control where you want it but won’t slow you down with a complicated set-up.

PRODUCT DETAILS
• PLAY TIME: 30+ HOURS
• WIRELESS CONNECTIVITY: BLUETOOTH 5.3 LE
• ACTIVE NOISE CANCELLATION: YES
• DIMENSIONS: 68 X 160 X 76 MM / 2.68 X 6.30 X 2.99 IN

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Porcelain ID

Bibi:1

18,19 €* 25,99 € -30%

Magical Metamorphosis Third Eye Yellow Vinyl Edition

Release: 2024 / EU – Original

Genre: Rock & Indie, Pop

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You just moved to the big city, you end up at a party where you don't know anyone and someone walks up to you and asks: "Hey, are you alone here?". That is exactly the feeling that Porcelain id describes on their debut album Bibi:1, short for the Arabic pet name Habibi. Porcelain id is the pseudonym under which Hubert Tuyishime (they/them/their) has been unleashing unique songs since 2020.

The album - inspired by their move from a quiet provincial town to Antwerp - is the soundtrack to walking into city traffic during rush hour and trusting to get out of the chaos in one piece. It is an ode to exciting encounters with complete strangers and to the friends you can come home to afterwards. A story about being a stranger in a city you've romanticized for so long, the rejection that comes with it, and the false nostalgia with which you look back on it all later on.

At first hearing, the completely English-language Bibi:1 may seem like a brusque farewell to the autobiographical intimacy and lo-fi singer-songwriter music on the previously released EPs Mango and Reprise, and especially on songs like Vlaanderen. But to Porcelain id it feels like an organic evolution. One towards more abstraction, experimentation and electronics, but never detached, and still building on the core of Porcelain id.

The new sound is the result of an intense collaboration with producer and partner in crime Youniss Ahamad, who, despite their different musical backgrounds, immediately felt challenged after Porcelain id's legendary elevator pitch: 'I want to make something that is situated between Nick Cave and the Bad Seeds and Yeezus by Kanye West'.

Together they drew the blueprint for Bibi:1 in Youniss' home studio. Track by track, without looking back. A sporadic, but rigid process that added to the intensity of the album. In the studio, the songs were taken to a higher level. The two invited a pack of talented friends and young musicians to the studio to add parts, a stark contrast to the solitary approach of previous EPs. Aram Abgaryan (recording engineer/synths/vocals), Nard Houdmeyers (guitar), Tim Caramin (drums), David Idrisov (bass), Alban Sarens (sax) and Emma Hessels (vocals) came by. Aram Santy was at the controls during the mixing sessions.

The result sounds like the ultimate symbiosis of Porcelain id and Youniss. Lofi, but ambitious. Fragile, but rough. Poppy, but disruptive. Sometimes challenging. Then welcoming again. Sometimes even danceable. Each song forms a small vignette that is part of a diverse, but coherent unity. Adam Coming Home and Low Poly are closest to the melancholy of Porcelain id's earlier work, while Lights! strikes a new path. First single Man Down, on the other hand, is inspired by the Antwerp students who drown every year and sounds like a wandering nightly stroll through the city. For Brilliant, David Idrisov was asked to 'play bass as if Chet Baker were not a trumpet player, but a bass player', a bizarre assignment that he accomplished with verve. And Cellophane flirts with emo trap and was sung with raspberries between the teeth, to simulate the effect of grills.

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Hibushibire

LP | 2023 | UK | Original (Riot Season)

30,99 €*

Souvenir Silver Vinyl Edition

Release: 2023 / UK – Original

Genre: Rock & Indie

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Osaka based psych-rock three piece Hibushibire return after a long break, with a new line up and a stunning third album. Produced by Acid Mothers Temple/Mainliner guru Makoto Kawabata who also guests on the album.

Following the successes of their debut album 'Freak Out Orgasm!' (2017), the follow up ‘Turn On, Tune In, Freak Out’ (2019) and two very well received UK tours. The band headed home to Osaka, Japan and then, the pandemic hit.

During this downtime, guitarist/vocalist Changchang decided to create a new power trio. Enter Tetsuji Toyoda (Bass/Vocals) & Aoi Hama (Drums/Vocals). The new trio have spent the last three years writing new music, playing live and honing their sound in Japan, and a short well received tour of Taiwan with Riot Season labelmates Dope Purple. And now finally, Hibushibire mark 2 is born properly.

“Hibushibire has returned after a change of members. A psychedelic, progressive work, suitable for a new beginning"

Entering the studio with Acid Mothers Temple/Mainliner guru Makoto Kawabata in the producer chair (and also as a guest musician) once again, the band recorded album number three, 'Magical Metamorphosis Third Eye’. Makoto also adds some of his own trademark guitar howls throughout the album, perfectly complimenting Changchang’s own growing prowess.

Here the band have taken their trademark psych-rock blasts and blended them perfectly with some more trippy, dare I say sweet progressive psychedelic sounds.

“The idea of this album is based on the theme of "occultism and mysticism". But it's not a serious thing, it's about the things we like (UFOs, pyramids, psychic phenomena, shamanism etc) and we all had fun

while making it. In terms of what makes it different from the previous Hibushibire albums, it’s where AOI HAMA's vocals are present. I had wanted to use a female vocalist for a long time, so it was a good feeling!”

Like the band's first two albums, 'Magical Metamorphosis Third Eye’ is very much an album of two halves. Side one again is full of killer shorter tracks, while side two is reserved for a blinding majestic 20 minute epic ‘Ayahuasca Witch Abduction’. Perhaps the biggest musical surprise here though is probably track two, the beautifully mellow tripped out ‘We Won't Go Back To The Past’, which sounds like it’s been beamed straight out of the late 60s/early 70s.

The band also tip a nod to the Beatles psychedelic classic ‘Tomorrow Never Ever Knows’, but with their own twist of course.

It’s clear with the line up changes, Changchang has decided to expand the band's musical pathway, and he’s achieved stunning results.

The band plan to return to the UK and Europe in 2024 to see friends old and new.

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Omni

LP | 2024 | EU | Original (Sub Pop)

26,99 €*

Release: 2024 / EU – Original

Genre: Rock & Indie

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The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic-the longest downtime in their history-they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies. Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That's why Omni called the album Souvenir: it's a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems. Take "Plastic Pyramid," the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it's a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener "Exacto," a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as "Exacto, de facto, concise, quite right"-a line that could well be an Omni mantra. The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos's vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. You might notice that Frobos' singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite-the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni's songs, and this time, it comes in shades of both dark and light. In "Granite Kiss," an "astronomical" love story concludes with the hope that "we can decay together," while in "PG," a romantic walk in the park includes a rose-colored mugging. Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake-a set of songs that you'll want to keep close, an aural memento you'll cherish for the rest of time.

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John & Yoko / Plastic Ono Band

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An elegant presentation of interiors for introverts, placing the memorable work of London architect William Smalley alongside buildings around the world that have inspired his practice.

Quiet Spaces places the work of architect William Smalley alongside spaces that have inspired him. Places of private contemplation – calm spaces to read a book or listen to music in, to walk through or simply be in – they are spaces that achieve a rare sense of repose and peace.

From his own Bloomsbury Apartment and projects in the UK, France and New York, the book expands to include the work of other architects: a sixteenth-century villa by Palladio, houses in Mexico and Sri Lanka and the Secular Retreat in Devon by Swiss master architect Peter Zumthor. There are also places of making and displaying art: simplicity in Barbara Hepworth’s garden and studio in Cornwall, and intimacy in Kettle’s Yard gallery in Cambridge.

Specially commissioned photography by Harry Crowder conveys the atmosphere of the spaces. A foreword by acclaimed potter and writer Edmund de Waal records the small, unspoken ways in which we relate to buildings and how they come to have meaning for us.

'An object of great beauty and joy and more importantly a testament to a lifetime of creativity and responsiveness to the best aspects of architecture' Alain de Botton

'Quiet Spaces is a huge treat and I know will bring hours of pleasure and inspiration' Nigel Slater

'Projects by architect William Smalley; an essay by artist Edmund de Waal; photographs by Harry Crowder and Hélène Binet; this new book by Thames & Hudson has lots to entice with. Smalley's work, known for its elegance, poise and peaceful interiors, is placed here next to well-known examples of globally acclaimed “quiet spaces” - inspiring the book's title' Wallpaper*

William Smalley established his studio in London in 2010 with the simple aim of making beautiful spaces and places. He has since worked around the UK and abroad. He has been described as an architect of rare sensibility, and his work as having the simplicity of a limewashed medieval building, filtered and made lucid through a completely modern sensibility. Edmund de Waal is an internationally renowned artist and writer, best known for his large-scale installations of porcelain vessels, often created in response to collections and archives. He published his bestselling family memoir, The Hare with Amber Eyes, in 2010. He lives and works in London. Harry Crowder is a British photographer, based in London and working nationally and internationally, focusing on interiors and architecture. His work seeks to capture the feeling of being in a space. He travelled extensively with William in the shooting of this book. Hélène Binet is an internationally acclaimed Swiss-French photographer based in London. She studied photography in Rome, and over more than thirty-five years has captured both contemporary and historic architecture. She is a fervent advocate of analogue photography, working exclusively on film.

Format:Hardback Size:32.0 x 24.0 cm Extent:256 pp Illustrations:185 Publication date:12 October 2023 ISBN:9780500343692

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John Lennon & Yoko Ono

Thames & Hudson

44,99 €*

Hochzeitskapelle + Japanese Friends

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The definitive exploration of John Lennon’s first major solo album after the break-up of the Beatles.

Described by Lennon as ‘the best thing I’ve ever done’, and widely regarded by critics as his best solo album, John Lennon/Plastic Ono Band was released alongside the remarkable Yoko Ono/Plastic Ono Band on 11 December 1970. With first-hand commentary by John & Yoko, members of the Plastic Ono Band and other key figures in their lives, and packed with evocative and revealing letters, artworks and photographs, this incisive volume offers new insights into the raw emotions and open mindset of Lennon after marriage to Ono and the break-up of the Beatles.

Following their wedding in March 1969, Lennon and Ono decided that their future musical endeavours should be credited to a conceptual vehicle, the Plastic Ono Band. The band featured an ever-changing line-up of musicians, including Eric Clapton, Klaus Voormann, Ringo Starr, Alan White, George Harrison, Billy Preston and Jim Keltner, all of whom played live with Lennon and Ono, and contributed to their recordings. The fearless honesty that John & Yoko inspired in one another in their search for truth, meaning and peace had a huge impact on Lennon’s song writing, resulting in the creation of tracks that are intensely personal and unlike anything previously heard in popular music, including ‘Mother’, ‘Working Class Hero’ and ‘God’. This book takes those lyrics as a starting point and explores Lennon’s life, relationships and world view during this transformative period.

'A comprehensive, fascinating, well-produced, and finely printed publication that captures a moment of contemporary culture with breadth and depth. It brings then into now – and shows how similar and different life is today' Will Gompertz

'A handsome tome… never less than fascinating… The album was a high point in an astonishing career and the book does it justice' The Sun

'A hardback compendium of first-hand accounts about the band drawn from interviews over the years… It contains photos, lyrics, drawings and letters, and will be as interesting to Lennon completists as The Beatles Anthology was to general fans 20 years ago' Daily Telegraph

'A fine tribute to this intensely creative time in the couple’s joined-at-the-hip lives… A sumptuous and lovingly created example of the bookmakers’ art, an encyclopaedic extravaganza of reminiscences and memorabilia' The Budapest Times

About the Author: John Lennon (1940–1980) was an English singer, songwriter and peace activist who co-founded the Beatles, the most commercially successful band in the history of popular music. Yoko Ono is a globally renowned multimedia artist, singer, songwriter and activist. She married John Lennon in 1969 and became his creative partner and muse. She continues to work to preserve his legacy, funding, among other projects, Strawberry Fields in Manhattan’s Central Park, the Imagine Peace Tower in Iceland and the ‘Imagine There’s No Hunger’ campaign.

Format:PLC Size:30.8 x 24.0 cm Extent:288 pp Publication date:29 October 2020 ISBN:9780500023433

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The Orchestra In The Sky

2CD | 2023 | EU | Original (Alien Transistor)

Hochzeitskapelle + Japanese Friends

Release: 2023 / EU – Original

Genre: Rock & Indie

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There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters. You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari. In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings. But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya. All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

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The Orchestra In The Sky [Kobe Recordings]

2LP | 2023 | EU | Original (Alien Transistor)

34,99 €*

Hochzeitskapelle + Japanese Friends

Release: 2023 / EU – Original

Genre: Rock & Indie

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There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

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The Orchestra In The Sky [Tokyo Recordings]

LP | 2023 | EU | Original (Alien Transistor)

24,99 €*

Tape Leaders: A Compendium Of Early British Electronic Music Composers

Release: 2023 / EU – Original

Genre: Rock & Indie

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Ian Helliwell

Velocity Press

LP | 2023 | EU | Original (Sounds Familiar)

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Tape Leaders is a richly illustrated A-Z compendium featuring over 100 composers active with tape and electronics in the analogue era. Containing information never previously uncovered, it shines a fresh light on many sound experimenters unacknowledged in the history of British electronic music. First published by Sound On Sound Magazine in 2016, this is the first time it’s been available outside their shop.

Tape Leaders is available as a hardback and the 224 pages are printed and bound on heavyweight 130gsm paper. The specially compiled 15 track CD of mainly unreleased early British tape and synthesizer works is exclusive to the Velocity Press shop.

In the form of a richly illustrated compendium, Tape Leaders: A Compendium Of Early British Electronic Music Composers is an indispensable reference guide for anyone interested in electronic sound and its origins in the UK. For the first time, a book sets out information on practically everyone active with experimental electronics and tape recording across the country to reveal the untold stories and hidden history of early British electronic music.

With an individual entry for each composer, it covers everyone from famous names like William Burroughs, Brian Eno and Joe Meek to the ultra-obscure such as Roy Cooper, Donald Henshilwood and Edgar Vetter. There are sections for EMS and the BBC Radiophonic Workshop and amateurs, groups and ensembles that experimented with electronics, including The Beatles, Hawkwind and White Noise. Author Ian Helliwell draws on his experience and extensive research into electronic music. After six years and dozens of interviews, he has amassed information never before brought to light on this fascinating subject.

Included with the book is a specially compiled 15 track CD of mainly unreleased early British tape and synthesizer works (exclusively available to the Velocity Press shop), making this an essential book for anyone interested in electronic music history during the 1950s and 60s.

This hardback book is 22.7cm x 17.7cm, and the 224 pages are printed and bound on heavyweight 130gsm paper.

Quotes:
“Until now, the Radiophonic Workshop has somewhat eclipsed other players in British early electronic music history. The extent of this is laid bare in the revelatory book Tape Leaders – a landmark survey by the composer, film-maker, instrument-builder and researcher Ian Helliwell, who has uncovered hitherto unacknowledged independent electronic music composers.” Fortean Times

“For anyone with an interest in the early years of electronic music, Ian Helliwell’s book takes the reader on an enthralling tour of the pioneering British contributors to this genre.” Sound On Sound

“The work of computer music pioneer Peter Zinovieff, home-build guru FC Judd, UFO-believer and Spitfire pilot Desmond Leslie, and Tristram Cary – have all been reissued. Ian Helliwell’s new book, Tape Leaders, A Compendium of Early British Electronic Music Composers, goes further. It reveals that these figures collectively represent the tip of a hitherto unimaginably vast iceberg submerged for decades. Profiling dozens of composers, amateur and professional, and augmented by a 15 track CD of electronic music… it truly is a portal into a lost world.” Shindig

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V.A.

Familiar Sounds Volume 2

21,84 €* 22,99 € -5%

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Sounds Familiar is celebrating a decade in dance music by releasing 3 LP’s throughout 2023. Titled “Familiar Sounds”, after vol 1 released in April 23 which featured the likes of Dego Kamma & Masalo, Aleqs Notal Feat Anu, Kai Alcé, Retromigration and Hu go LX, the second volume of the trilogy will be out on September 1st. Collecting six new tracks that join the dots between elastic acid house and candle - lit piano jazz, Familiar Sounds Volume 2 , features Kaidi Tatham, Carista, Gigi Testa, Zopelar, Alex F rom Tokyo and K15, on a 12” that reaches into all corners of the roster’s electronic jazz - influenced sound. The album begins with Kaidi Tatham’s upstart summer anthem ‘Misguided Youts’. Built on a piano vamp and an infectious horn line, the track eases in to a consummate piece of future fusion, stirring the melting pot of London’s jazz and broken beat heritage into the kind of soulful jam that has rightly earned him his legendary reputation. Things take a deep dive on track two with Carista tweaking the di als to deliver a slice of rubbery four - to - the - floor dancefloor business. Rattling snap - back snares give her track ‘Love Me Right’ a kind of early hours dynamism, the dream - like vocal sample drifting across a room of loose and swaying bodies. Gigi Testa ro unds out the A - side with shuffling outernational house track ‘Summer Snow’. Integrating his passion for global rhythms, the Rush Hour affiliate and Organica record shop owner channels the shimmering opulence of the Amalfi coast on what is an indulgent boat party of lush pads and sun - dappled melodies. Opening the B - side, Zopelar delivers the jazzy, disco - infused house of ‘Arapuca’. There’s a skittish energy to Zopelar’s latest offering, which wriggles and jives between muted trumpet improvisations, George D uke’s ‘A Brazilian Love Affair’ and the kind of in - the pocket synth work he is known to have among his arsenal of musical skills. Up next, Alex From Tokyo weaves in the striped back influence of his former Berlin home into the techno - pop landscape of his Japanese upbringing, heading in to go out on the cosmic club cut ‘Wa Galaxy’. Closing out the LP is DJ, producer and man of many monikers, K15. Putting on his jazz hat perhaps most associated with his work as Culross Close, ‘Autumn’ is a solo piano balla d that brings the exuberance of high summer to a reflective end, demonstrating just how varied and open - minded the world of Sounds Familiar is. Familiar Sounds Vol. 2 follows the release of Vol. 1 earlier this year and ahead of the final instalment in Dec ember 2023. Keeping it in the family, all three volumes will feature spot - varnished artwork and creative direction by Sounds Familiar logo creator and long - time collaborator Tyler Askew, and will be pressed and distributed by Mother Tongue.

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12" | 2023 | EU | Original (Black Truffle)

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160 Pages Book (Boodk/Auduio Combination sold as "Merch Item"), containing 13 QR codes to download 13 songs.

Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more

Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more

Paris based composer Aho Ssan, the artist moniker of Niamké Désiré, presents his new full-length 'Rhizomes' on the Other People label following his debut LP 'Simulacrum' (2020) and collaborative record 'Limen' (2022) with fellow musician Kmru.

'Rhizomes' draws inspiration from a concept coined and developed between Gilles Deleuze and Felix Guatarri. The idea of an ever evolving structural model, constantly in motion and spreading out in all directions at once. It has no beginning and no end, but always remains in a middle, through which it grows and overflows.

"The root thought is the one that kills everything around itself while the rhizome is the root that stretches out to meet other roots," Désiré explains considering the works of French writer Édouard Glissant who addresses questions of identity, crossbreeding of cultures and its evolution.

Much like the name it borrows, Aho Ssan's 'Rhizomes' is a multimedia project that embarks on a myriad of disparate, unique musical and artistic partnerships. This piece adapts this concept to explore the influence of sound materials on creation, the appropriation of a sound object, and the collaborative nature of a composition that responds to modernity.

"Rhizome represents an underground stem system that fosters connections between various organisms and allows them to flourish collectively. It's an album that celebrates collaboration and brings together a diverse group of talented artists," Désiré continues.

Aho Ssan collaborated with a comprehensive cast of artists to create a musical rhizome including Nyokabi Kariuki, Josefa Ntjam, Blackhaine, Nicolás Jaar, Resina, R?n C?p ?uôi, Richie Culver, clipping., Lafawndah, 9T Antiope, James Ginzburg, Exzald S, Valentina Magaletti, Moor Mother, Angel Bat Dawid and Mondkopf. Cooperation and community are at the root of this project and the lens through which all the compositions can be understood through.

Aho Ssan will present 'Rhizomes' AV show together with visual artist Sevi Iko Dømochevsky at Berlin Atonal 2023. 'Rhizomes' received a Honorary Mention at Prix Ars Electronica 2023 Digital Music

In conjunction with the album, 'Rhizomes' comes complete with a set of illustrations by Kim Grano in a book release. The drawings become a hybrid language, each an emotional response to the musical half. The book contains an extended version of the album with 3 additional songs and 2 longer versions of the album songs. It also includes a sample pack by Aho Ssan and a collection of solo tracks by Elliot Blaise, Kmru, Lamin Fofana, Brodinski & Se?bastien Forrester, Valence Drake, 9T Antiope, Exzald S and Valentina Magaletti. The extended version package is only accessible through the QR codes in the book.

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Otto Willberg

The Leisure Principle

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Black Truffle is pleased to announce The Leisure Principle, a new solo LP from London-based bassist and sound artist Otto Willberg. A key player in the London underground, Willberg is often heard on acoustic and electric bass in free improv settings and bands with Laurie Tompkins (Yes Indeed) and Charles Hayward (Abstract Concrete), as well as the fractured No Wave unit Historically Fucked. His previous solo releases have ranged from extended technique double bass to explorations of the acoustics of a 19th century artillery fort. But nothing Willberg has committed to wax so far prepares a listener for The Leisure Principle, six unashamedly melodic improvisational workouts created almost entirely with heavily filtered bass harmonica and electric bass. On the opening ‘Reap What Thou Sow’, a single-note bass harmonica loop pulses along underneath a roaming bass solo, the side-chained envelope filtering (where the dynamic behaviour of the bass determines the filter for both bass and harmonica) fusing the two instruments into a single stream of burbling shifts in resonance. After several minutes of patient exploration of this low-end landscape, the music suddenly opens up in widescreen with the entrance of Sam Andreae’s graceful melodica chords, spreading out across the stereo field. From this epic opener, each of the remaining pieces goes on to explore a slightly different aspect of the terrain. On ‘Shadow Came into the Eyes as Earth Turned on its Axis’, a similarly buoyant harmonica bass line provides the foundation, but this time playing a soulful descending riff, its almost R&B feel abstracted and half-obscured by the filtering. On ‘Mollusk’, echoed bass arpeggios skitter between elegiac chords somewhat reminiscent of the opening of John Abercrombie’s ‘Timeless’, before settling into a hypnotic groove. On the record’s second half, Willberg pushes further into the possibilities of his idiosyncratic instrumentation. On ‘Wetter’, bass and harmonica come together into a monstrous, growling jaw harp; on ‘Had we but world enough and more time’, the subtly shifting pulsating patterns start to feel almost like a kind of evaporated, drum-less dub techno until an eruption of wheezing bass harmonica gives the piece a comically folkish turn. Willberg’s melodically inventive and virtuosic bass performance calls to mind any number of fusion touchstones, from Jaco Pastorius to Mark Egan’s singing tone in the early Pat Metheny Group—even Anthony Jackson’s work with Steve Kahn. But with its radically reduced instrumentation, The Leisure Principle is also an exercise in minimalism, and the absence of percussion gives even its funkiest moments a strangely abstracted quality. At times, its uncanny blend of the abstruse and the immediate suggests the fried pop experiments of David Rosenboom or the skewed but deeply musical DIY of 80s underground groups like De Fabriek. Both easy on the ear and profoundly strange, The Leisure Principle proudly takes its place among the most eccentric offerings on the Black Truffle menu.

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Ortofon

MC Quintet Red

349,00 €*

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Enter the Exclusive world of Ortofon’s famous moving coil sound!
The Quintet Red is a perfect introduction to the world of Ortofon moving coils.
It features an Elliptical diamond which is cut and polished to Ortofon’s standards.

This entry-level MC cartridge has very high price-to-performance ratio and is a perfect all-rounder for the newcomers to the world of Moving Coil cartridges.

MC Quintet Red is an all-purpose cartridge that delivers open, dynamic sound with a slight touch of warmth.

The ST-7 transformer is a perfect match for the MC Quintet Red cartridge.

LH-4000 headshell is specially recommended for MC Quintet cartridges series.

MC Quintet Red Technical data:
• Output voltage at 1 kHz 5 cm/sec - 0.5 mV
• Channel balance - < 1.5 dB
• Channel separation at 1 kHz - > 21 dB
• Channel separation at 15 kHz - > 14 dB
• Frequency response 20-20.000 Hz - +/-2.5 dB
• Tracking ability at 315 Hz at recommended tracking force *) - 65 μm
• Compliance, dynamic, lateral - 15 μm/mN
• Stylus type - Elliptical
• Stylus tip radius - r/R 8/18 μm
• Tracking force range - 2.1-2.5 g (21-25 mN)
• Tracking force recommended - 2.3 g (23 mN)
• Tracking angle - 20º
• Internal impedance, DC resistance - 7 Ohm
• Recommended load impedance - >20 Ohm
• Cartridge body material - ABS/Aluminium
• Coil wire material - Copper
• Cartridge colour - Red
• Cartridge weight - 9 g
*) Typical value

Compatibility with Rega brand TT/TA:
REGA brand cartridges’ height from stylus tip to the top cartridge mounting surface is lower than standard. Therefore you would need spacers to ensure the correct set-up of the Ortofon cartridge.
Adjusting the height of your Rega tonearm is easy with Acoustic Signature's Spacer Set. It allows you to adjust the height from 0.5 mm to 3.5 mm in precise steps of 0.5 mm - without removing the tone arm. Simply loosen the screws, insert the AS-spacer, then lock the screws back down, and you're tonearm is ready to play.
3.2 - 4 mm spacers should be enough for Quintet cartridge.

Ease of use
Top-mounting of the Quintet cartridges is easy and secure using the screws supplied. The aluminuim frame has threaded mounting holes and is fitted easily with the 5mm or 7mm screws depending on the thickness of the headshell.

The Quintet series’ right angles, straight lines, stylus visibility and ample distance between the record surface and the cartridge’s bottom will make it easy to mount and align the cartridge and tonearm correctly. The Quintet Series gives excellent results with most common tonearms.

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Ortofon

2M 78

149,00 €*

2LP | 2023 | UK | Original (Crosstown Rebels)

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The 2M 78 features an improved engine, which provides a high level of sonic accuracy. The stylus' tip is a Spherical diamond that is perfect for playback of 78 rpm shellac records, which require a larger stylus profile. The cartridge body is manufactured from Hopelex, which ensures high rigidity while eliminating unwanted resonances.

2M 78 uses a strapped output to deliver the same output signal from both sets of pole pins. This effectively eliminates the need for mono-specific equipment, making it possible to enjoy true mono reproduction on any stereo playback system.

The 2M Series provides excellent compatibility when used in an assortment of playback systems and with a wide variety of phono preamps.

2M 78 Technical data:
• Output voltage at 1000 Hz, 5cm/sec. - 4 mV
• Frequency response - 20-20.000 Hz + 3 / - 1 dB
• Tracking ability at 315Hz at recommended tracking force - 70 µm
• Compliance, dynamic, lateral - 18 µm/mN
• Stylus type - Spherical
• Stylus tip radius - R 65 µm
• Tracking force range - 1.6-2.0g (16-20 mN)
• Tracking force, recommended - 1.8 g (18 mN)
• Internal impedance, DC resistance - 700 Ohm
• Internal inductance - 350 mH
• Recommended load resistance - 47 kOhm
• Recommended load capacitance - 150-300 pF
• Tracking angle - 20°
• Cartridge colour, body/stylus - Black/Grey
• Cartridge weight without screws - 7.2 g
• Premounted cartridge weight - 16.7 g
• Replacement stylus unit - 2M 78 (interchangeable with 2M Mono)

Stylus lifetime: with proper care we find that up to 1000 hours is possible without degradation of performance.

2M Series styli interchangeability:
The 2M Series' engines, coils and magnets configurations are not identical: Red and Blue are identical, so are the Bronze and Black and so are the true mono variants 2M Mono and 2M 78. Likewise, 2M series styli are interchangeable within the below combinations:
- 2M Red, 2M Blue and 2M Silver
- 2M Bronze and 2M Black
- 2M Mono and 2M 78

Compatibility with Rega brand TT/TA:
REGA brand cartridges’ height from stylus tip to the top cartridge mounting surface is lower than standard. Therefore you would need spacers to ensure the correct set-up of the Ortofon cartridge.
Adjusting the height of your Rega tonearm is easy with Acoustic Signature's Spacer Set. It allows you to adjust the height from 0.5 mm to 3.5 mm in precise steps of 0.5 mm - without removing the tone arm. Simply loosen the screws, insert the AS-spacer, then lock the screws back down, and you're tonearm is ready to play.
3.2 - 4 mm spacers should be enough for 2M cartridge.

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Pale Blue

Maria

OST Malum Colored Vinyl Edition

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Electronic duo Pale Blue returns to Crosstown Rebels with their long-awaited sophomore album ‘Maria’, revealing a spellbinding eight-track trip across electronic spheres.

After forming their critically acclaimed Pale Blue project with their debut album ‘The Past We Leave Behind’ in 2015, Mike Simonetti (Italians Do It Better) and Elizabeth Wight (Silver Hands) have only furthered intrigue and interest in the years since, uniting for a series of expansive EPs on Simonetti’s own 2MR imprint exploring dancefloor-focused acid through to gripping electronica. Having already oﬀered a first look and preview into their long-awaited album return via three singles on the label, with remixes provided by DJ Tennis, Kölsch, Fort Romeau and Perel, mid-May sees Simonetti, and Wight finally reveal their sophomore album ‘Maria’ on Damian Lazarus’ Crosstown Rebels - oﬀering a uniquely raw yet seamlessly polished trip into their idiosyncratic world.

“‘Maria’ is an album of love songs - the good, the bad, and the ugly… The album is written entirely in Elizabeth’s voice. These are all her words - her thoughts, based on her personal experience. When writing this record I took inspiration from classic rock LP sequencing, and tried to dial in on a coherent concept, a natural flow. Although these are clearly techno tracks, one would argue they have more in common with rock music than dance music. I wanted to try make something a little diﬀerent, verse/chorus/verse tracks but still heavy enough for the club, full of melody and emotion… poppy but not That kind of poppy. Pale Blue has been known to take on political subject matter in the past, but the politics of love is something we can all relate to.” - Mike Simonetti.

Opening with the slow-blooming and beautifully crafted dreamlike melodies of the aptly titled ‘Spells’, the eight-track long-player navigates and traverses the broader realms of electronica through to lighter pop-influenced touches and sonics for an absorbing and compelling dive. ‘Dive’, the first single from the project, provides a hazy but resonant web of polyrhythms and textures guided by Wight’s captivating vocals, while ‘Laura’ reaches for sparkling leads synths amongst sweeping tones and moments of bliss. Oﬀering up change to the aesthetic ‘Ice Is Falling’ is a stripped-back and haunting production as Wight’s vocals carry eerie tones and pockets of space for a hair-raising eﬀort.

The second half of the project welcomes second and third singles ‘No Words’ and ‘Together Alone’, with the playful tones of the former complementing the wistful and floaty soundscapes of the latter for two tracks to keep listeners in a trance. Closing out the package, ‘The New Year’ is a delightfully worked pop-leaning gem built on electronic foundations with a slinking acid-tinged bassline snaking through the mix, before shaping things up with the anthemic and rosy glow of final track ‘The Last Song’.

Further emphasising Simonetti and Wight’s innate connection and bond when creating and crafting music, ‘Maria’ is an exemplary display of the two at their best across a collection of eight productions straddling the electronic-pop border with poise and aplomb.

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Samuel Laflamme

2LP | 2014 | US | Reissue (Waxwork)

42,74 €* 44,99 € -5%

Fat Pop Standard Black Vinyl Edition

Release: 2014 / US – Reissue

Genre: Soundtracks

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Waxwork Records is proud to present MALUM Original Motion Picture Soundtrack by Samuel Laflamme. MALUM is a bold and expanded reimagining of the 2014 horror cult classic, LAST SHIFT. On a search to uncover the mysterious circumstances surrounding her father’s death, a newly appointed police officer, Jessica Loren (Jessica Sula) is assigned to the last shift in a decommissioned police station where a notoriously vicious cult saw their demise years prior. The lone officer at the station, she soon finds herself barraged by terrifying paranormal events, and in the process, is taken on a journey during which she learns the shocking truth behind her family’s entanglement with a demented cult leader. MALUM takes the premise of the 2014 festival hit and flips it on its head, thrusting viewers into an unrelenting, adrenaline-fueled, bloody cult nightmare.

About the Composer

Samuel Laflamme is a composer who has strengthened projects across the film, television and video game worlds. Samuel Laflamme began his composing career scoring numerous television shows, documentaries, and ad spots across a multitude of genres. He has collaborated with many of the top video game companies in the industry, including Ubisoft, Activision, and Red Barrels where he worked on the critically acclaimed survival horror-game Outlast. Samuel’s other credits include French Canadian dramatic comedy series Le Chalet, along with the 2016 Canadian-American co-production, fantasy film Wait Till Helen Comes, based on Mary Downing Hahn’s best-selling novel from the 1980’s.

About the Director

Protégé of filmmaker/novelist Clive Barker, Anthony DiBlasi partnered in Barker’s production company Seraphim Films for nearly ten years, serving as a key executive & producer on films such as MIDNIGHT MEAT TRAIN starring Bradley Cooper and BOOK OF BLOOD. DiBlasi adapted and directed DREAD from the Barker short story, starring Laura Donnelly (HBO’s The Nevers) which won "Best Independent Feature" at the Spike Scream Awards. DiBlasi has adapted several Barker novels for the screen including THE DAMNATION GAME (Warner Bros) and THE THIEF OF ALWAYS (Fox).

DiBlasi directed, co-wrote and edited “Last Shift” a critically acclaimed supernatural horror film released by Magnolia Pictures in 2015. Last Shift was named among the top 5 horror films of 2015 and won both a Golden Skull award and an iHorror award. DiBlasi has directed 8 features including the critically acclaimed thriller MISSIONARY and MOST LIKELY TO DIE for Netflix. DiBlasi recently wrapped production on MALUM, an expanded reimagining of “Last Shift,” and is currently in development on the thriller THE STEP COUNTER with his writing partner and wife Natalie Victoria and Malcolm Spellman’s The 51 (The Winter Soldier).

The debut vinyl release of MALUM features the complete soundtrack by composer Samuel Laflamme pressed to 180 gram colored vinyl.

MALUM Original Motion Picture Soundtrack Features:

The Complete Soundtrack by Samuel Laflamme
180 Gram Colored Vinyl
Original artwork by Jérémy Pailler
Deluxe gatefold packaging

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Paul Weller

LP | 2021 | EU | Original (Polydor)

28,99 €*

Fat Pop Limited Standard CD

Release: 2021 / EU – Original

Genre: Rock & Indie

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We may be cursed to be in the midst a global pandemic, buffeted by all of its stresses and pain. But everyone knows that art provides succour, that music is the most reliable balm. And for many there is further significant comfort to be drawn from the knowledge that Paul Weller is in the midst of an unbelievably prolific purple patch. Paul Weller will not let us down when we need him most.

On May 14th, Paul Weller releases his 16th solo album since his self-titled debut in 1992, his fourth in as many years and his second in just under twelve months following June 2020’s magnificent, chart-topping On Sunset. It’s not hyperbole to state that this new album, titled Fat Pop (Volume 1), is among his most compelling collections, bar none, including all of his era-defining work in the 1970s and ‘80s with The Jam and The Style Council. It’s an absolute scorcher.

When lockdown was declared in March 2020, Paul Weller decided immediately that he wanted something to focus on, since it seemed unlikely he’d be able to tour On Sunset as planned that summer.

“I had lots of ideas stored up on my phone,” he explains down that same handset, speaking from outside his London home, “and at least this gave me an opportunity to develop them.” So he started to record songs on his own, doing just vocals, piano and guitar, then sending those sound files to his core band members such as drummer Ben Gordelier, Steve Cradock on guitar and various other instruments, and bassist Andy Crofts for them to add their parts. “It was a bit weird not being together, but at least it kept the wheels rolling. I’d have gone potty otherwise.”

The band reconvened at Weller’s Black Barn studio in Surrey during the summer when restrictions were lifted to finish the work, with several of the songs being cut live. By this stage, the shape of the album was clear to all. Weller wanted to deliver an album of singles, twelve short, distinct blasts, each strong enough that they could stand alone if so desired.

“That was a conscious decision,” he confirms. “I even thought about putting every song out as a single first then gathering them all on an album, but that wasn’t practical at the moment. They all have that strength and immediacy, I think, and they’re all short, three minutes or so maximum.”

Producer Jan ‘Stan’ Kybert was so taken with the concept that he half-jokingly suggested that the album be called Greatest Hits. “I quite liked the idea and every song does stand up as a single, I think,” chuckles Weller, “but no, we couldn’t do that really.”

Instead, he plumped for Fat Pop (Volume 1). “I thought we’d add Volume 1 to it just to keep my options open in the future for a second volume!” The title track, a tight, heavy blast of ultra-modern funk, is itself the conceptual key to the whole album. “It’s a celebration of music and what it’s given us all. No matter what situation you are in, and we’re in one now, music doesn’t let you down, does it?”

As ever, Weller’s sonic masterplan was to avoid whatever had recently preceded it. “After [2018’s] True Meanings I thought I wouldn’t have any acoustic guitars for a little while, so I’ve largely avoided those with On Sunset and with Fat Pop,” he says. “But more than anything I wanted something vibey, something we could play live.” He laughs ruefully at the irony of that. “God knows when that will be, bearing in mind where we are with the virus. But in the imaginary gig in my mind I can see us playing all of the songs on Fat Pop live, along with the songs from On Sunset, blending them with some of the old favourites too. What a great set that would be.”

Live is where he imagines On Sunset and Fat Pop (Volume 1) working in tandem, because they don’t act as companion piece albums otherwise. “On Sunset was quite lavish in places, whereas with this one I wanted to limit it in some ways, make the production less expansive.”

Beyond that desire to keep it frill-free and tight, sonically Fat Pop (Volume 1) is a diverse selection of sounds. No one style dominates. There’s the synth-heavy, future-wave strut of Cosmic Fringes, the stately balladeering of Still Glides The Stream, Testify’s moving-on-up soul, and the kind of dramatic three minute pop symphonies on Failed, True and Shades of Blue with which Paul Weller has hooked in generation after generation of devotee.

More than sonic plans, though, Weller set himself the same task as he does before any recording. “Whenever I make an album I’m always just trying to at least match what’s gone before because each time I think the bar’s been raised. If all goes to plan, sometimes I manage to go over that bar too.”

Sometimes he does, sometimes he really does.

Fat Pop (Volume 1), the story behind each song:

Cosmic Fringes

A dramatic entrance to Fat Pop (Volume 1). Cosmic Fringes pairs a minimal, pumping electro swing with a deadpan vocal that detonates an unspecified poseur and blowhard. “I’m a sleeping giant, waiting to awake/I stumble to the fridge/then back to bed”.

“It’s not about anyone in particular,” suggests Weller, “but I suppose it could be about a keyboard warrior, someone who is constantly brainstorming ideas but never gets around to doing them. Someone talking the talk, but never doing anything.”

“When I first did the demo it was quite punky, a bit like The Stooges. It doesn’t sound anything like that now because then I had the idea of stripping it all back to just the drums and bass, putting those synths on it. It’s got a bit of motoric feel to it and a little bit glam rock too, I think.”

True

A song with all the attributes of the greatest Paul Weller numbers: fire in its belly, questing lyrics, boss horns, flashes of guitar fury and a yearning melody you awake humming daily. It’s also a tremendous vocal, shared between Paul and Lia Metcalfe, the young Liverpudlian singer with The Mysterines.

“I really like her band and I really like her singing,” he says. “It makes a massive difference that we sang it live, in the same room. She’s got a really powerful voice and I wanted to write something for us to sing together, so I did. Then I just sent the phone demo to Lia and two weeks later we cut it. That was one of the last things we did for the album, in around September”.

Fat Pop

That brilliant, heavy bassline? “I did that. When we recorded it I was actually thinking about Cypress Hill, doing something that sounds like a DJ Muggs production. It’s got a bit of that. It’s my favourite song on the album, I think, about all the times music’s been there for me.”

Shades of Blue

A classic three-minute English pop kitchen sink drama, written by Paul Weller and his daughter Leah, who joins him on vocals. “Leah wrote the chorus for it and helped me finish it up. I wrote the verses. Reminds me of a suburban drama, a play.”

Glad Times

Sweeping, wistful, sparkling in shades of blue, Glad Times’ winning melancholia has been in the back of Weller’s mind for a while. “I wrote this with Tom (Doyle) and Ant (Brown). They usually send me a backing track and we work on it from there. It’s been around for a while, nearly made it onto On Sunset but didn’t quite fit. I really liked it, though, so I’m really glad it made it on to this album instead.”

Cobweb / Connections

Pastoral introspections, featuring a lovely acoustic solo by PW and a string score by Hannah Peel. “I think the song is saying that the more you can be yourself and be happy with yourself, the more you change into something better. It’s not just good for you, it’s good for everyone else as well. ‘Save yourself and save everyone around you too.’ It’s from observation but I suppose it’s about me too.”

Testify

Superfly strutting, cut live in the studio with Andy Fairweather Low adding distinctive vocals and Jacko Peake on fine flute and saxophone. When allowed out of the house, it’ll be a future live favourite.

“We had actually done it live two or three years ago,” says Weller, “but while I loved the groove I never really got a grip on the song. Then I did this charity gig in Guildford, one of the last things I’ve done probably, some Stax songs with Andy Fairweather Low. Our voices sound so good together and he’s such a lovely fellow, so I sent him the backing track. As soon as lockdown was lifted he came down to the studio for the afternoon. We cut it live and that was it.”

That Pleasure

In amongst those soulful strings there is some barely contained rage in Weller’s voice as he sings ‘Lose your hypocrisy.’ “I suppose it’s my reaction to the whole Black Lives Matter movement,” he explains. “You’re always on tender ground writing about that, but, regardless of my colour, any human being should be disturbed. You should be appalled and disgusted and shocked by those images of George Floyd being killed in the street. It has to stop. It’s a question for everyone.”

Failed

‘All the things I never get/and all the things I never meant/and all the things that make no fucking sense…I’ve failed.’

“Yes, I’m asking myself the question,” admits Weller, a man who has never been afraid of self-reflection in his songwriting. “It’s an angry song because I wrote it right after a massive row with my wife. But I like it. It’s honest. It’s not how I feel all the time, but it is how I feel some of the time. I’m just talking about me as a man. We all measure success in different ways.”

It’s also one of his favourite songs on the album, a stand-out.

Moving Canvas

A chunky, percussive groove, with the feel of Traffic but updated for the here-and-now.

“It’s going to be great live that one. I wrote it about Iggy Pop. I hope he likes it if he ever gets to hear it. It’s my tribute to him, even though it doesn’t sound anything like him. Aside from all the great records he’s made, as a performer he’s high art. It’s all about the Igster.”

In Better Times

A plaintive plea with some beautiful sax and guitar breaks. “Cold in your eyes, don’t you know you break my heart in two”.

“It’s me talking to a young person who is going through something, addiction or mental health pressure, or whatever, and just saying it’ll be alright. Just get through this bit and there’ll be better times to come, you’ll look back and you’ll see it differently.”

Still Glides The Stream

A stately collaboration between Weller and long-time guitar foil Steve Cradock.

“I had the chords and possibly the melody, which I sent to Cradock. And he sent me back a poem and I edited that, then we sent it back and forth by phone. Lockdown songwriting. I just liked the poem. In my mind, I was thinking about our road sweeper who’s a lovely fellow. I started thinking that there’s so many people in this country who form the infrastructure of it and without whom we’d be fucked. But they’re looked down upon, not really noticed. So I was imagining their story. I did find out that there’s a book of the same name (by Flora Thompson) and Cradock said he had seen it in a shop, so that’s where the title comes from. I just liked the poetry of it. Steve’s a very soulful fella.”

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Paul Weller

CD | 2021 | EU | Original (Polydor)

12,09 €* 21,99 € -45%

Release: 2021 / EU – Original

Genre: Rock & Indie

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Audio-Technica

AT-LP70XBT

249,00 €*

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Fully Automatic Wireless Belt-Drive Turntable

The AT-LP70XBT Automatic Wireless Turntable is the perfect beginner turntable for those beginning their audiophile journey. Combining the experience of warm, analog audio with the convenience of Bluetooth® technology, you can listen to your vinyl over Bluetooth-enabled speakers, headphones, or other devices, including those that support the high-quality Qualcomm® aptX™ Adaptive audio codec. This user-friendly turntable plays both 33-1/3 and 45 RPM records and, in addition to its Bluetooth wireless technology, has a built-in switchable phono preamp that allows the turntable to connect to a home stereo, powered speakers, or another component, with or without a dedicated phono input.

At the heart of the AT-LP70XBT is a top-notch phono cartridge for unmatched, high-fidelity audio. Built with Audio-Technica’s industry-leading phono cartridge expertise, the AT-VM95C is a versatile, superior-performance cartridge that other turntables in this class simply can’t match. Integrated into the J-shaped tonearm, the AT-VM95C cartridge with a 0.6 mil conical stylus offers excellent channel separation and low distortion for outstanding tonal quality. To further personalise vinyl listening, the stylus can also be easily upgraded with any other styli (elliptical, micro linear, or Shibata) in our VM95 Series, offering unprecedented customisation for a turntable in this category.

To ensure peak sound performance, the AT-LP70XBT includes a three-piece, anti-resonance chassis that provides a solid foundation to dampen unwanted noise for improved sound quality. The included AC adapter further reduces noise as the AC/DC conversion is moved to the outside of the chassis to limit any unfavorable noise.

Easy to Use
Equipped with Bluetooth wireless technology for simple connection to powered speakers and headphones, the AT-LP70XBT plays 33⅓ and 45 RPM records automatically at the press of a button. And since the J-shaped tonearm features an integrated AT-VM95C cartridge there’s no installation, balancing or other tonearm setup required.

Refine Your Sound
The turntable’s unique AT-VM95C Integral Dual Moving Magnet™ phono cartridge is compatible with any VM95 Series replacement stylus (see list below on page), making it easy not only to replace the stylus when needed but also upgrade to a higher-quality stylus to enjoy more refined sound.

Replaceable / Upgradable AT-VM95 Series Styli
The turntable’s unique AT-VM95C Integral Dual Moving Magnet™ phono cartridge is compatible with any AT-VM95 Series replacement stylus, making it easy not only to replace the stylus when needed but also upgrade to a higher-quality stylus to enjoy more refined sound.

Features:
• Fully automatic belt-drive turntable operation with two speeds: 33-1/3, 45 RPM
• High-fidelity audio with Bluetooth wireless technology
• Connects wirelessly to speakers and other devices equipped with Bluetooth wireless technology or to wired audio systems and powered speakers via included dual RCA output cable
• Compatible with the high-quality Qualcomm® aptX™ Adaptive audio codec
• A fixed-body AT-VM95C Integral Dual Moving Magnet™ phono cartridge is compatible with any VM95 Series replacement stylus, offering a wide choice of options for every budget and application
• Stylish three-piece chassis construction dampens resonance for improved sound quality*
• J-shaped tonearm is engineered to minimize tracking errors
• Tonearm lock reduces risk of stylus damage
• Built-in switchable phono/line pre-amplifier
• Anti-resonance, die-cast aluminium platter with felt mat
• AC adapter handles AC/DC conversion outside of the chassis, reducing noise in the signal chain
• Includes detachable RCA output cable (dual RCA male to dual RCA male with ground), 45 RPM adapter, and removable hinged dust cover
*Compared to AT-LP60X.

Specifications:
Turntable
• Motor DC motor
• Drive Method Belt-drive
• Speeds 33-1/3 RPM, 45 RPM
• Turntable Platter Die-cast aluminium
• Wow and Flutter < 0.25% (WTD)
• Signal-to-Noise Ratio > 55 dB
• Cartridge Type This product is equipped with an AT-VM95C Dual Moving Magnet Stereo Cartridge. The cartridge cannot be removed.
• Output Level PHONO: 4.0 mV nominal at 1 kHz, 5 cm/sec
• LINE: 252 mV nominal at 1 kHz, 5 cm/sec
• Phono Pre-Amp Gain 36 dB nominal, RIAA equalized
• Power Consumption 1.6 W
• Dimensions 400 mm (16") × 330 mm (13") × 110 mm (4.3") (W × D × H)
• Weight Approx. 2.9 kg (6.4 lbs)
• AC Adapter *Type: FJ-SW1261200500DN / Rated Input Voltage: 100 to 240 V AC / Rated Input Current: 0.4 A max. / Rated Frequency: 50 Hz / 60 Hz / Rated Output Voltage: 12 V DC / Rated Secondary Current: 0.5 A / Cable Length: Approx. 1.5m (4.9')
• Effective Arm Length 220 mm (8.7")
• Overhang 18 mm (0.71")
• Tracking Error Angle Less than 2.0°
• Replacement Stylus AT-VMN95C (sold separately)
• Replacement Belt AT-LP70X exclusive belt (sold separately)
• Communication System Bluetooth version 5.2
• Frequency Band 2.402 GHz to 2.480 GHz
• Maximum RF Output 2.5 mW EIRP
• Maximum Communication Range Line of sight - approx. 10 m (33')
• Modulation Method GFSK, Pi/4DQPSK, 8DPSK
• Compatible Bluetooth Profile A2DP
• Support Codec Qualcomm® aptX™ Adaptive audio, Qualcomm® aptX™ audio, SBC

Accessories Included
• Dust cover
• Felt mat
• Platter (with drive belt)
• Dust cover hinges
• 45 RPM adapter
• RCA audio cable (Approx. 1.0 m (3.3'))
• AC adapter (Approx. 1.5 m (4.9'))

Notes *The included AC adapter may differ depending on the country of sale. Check the rating label on the AC adapter. For details, contact your local Audio-Technica dealer.

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Audio-Technica

AT-LP70XBT

249,00 €*

Dinner Party (Terrace Martin, Robert Glasper, 9th Wonder, Kamasi Washington)

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Enigmatic Society Marbled w/ Splatter HHV Exclusive Vinyl Edition

LP | 2023 | US | Original (Empire)

25,99 €*

Release: 2023 / US – Original

Genre: Organic Grooves

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HHV exclusive vinyl edition on clear / blue marbled vinyl with red splatters, limited to 500 copies.

Enigmatic Society is the next offering from the multi-faceted, Grammy-nominated supergroup Dinner Party. Full of opulently intricate instrumentation and a range of sleek R&B to smooth neo-soul vocals, Enigmatic Society is mesmerizing in its entirety. The album features brilliant performances from the debut Dinner Party crew: Terrace Martin, Robert Glasper, Kamasi Washington and 9th Wonder, with additional help vocalists Phoelix, Arin Ray, Ant Clemons, Tank and producers Sounwave, Hi-Tek and Trevor Lawrence Jr. Enigmatic Society serves as a follow-up to the group’s 2020 debut self-titled album and continues as a celebration of Black joy, life, art, and culture, as it pays tribute to the duality that manifests in both the beauty and adversity in Black America. This deep sense of community and family flows throughout the project, with the album’s artwork designed by Kamasi Washington’s sister, artist Amani Washington.

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...And You Will Know Us By The Trail Of Dead White Vinyl Edition

LP | 2024 | EU | Original (Arising Empire)

Release: 2024 / EU – Original

Genre: Rock & Indie

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Dinner Party (Terrace Martin, Robert Glasper, 9th Wonder, Kamasi Washington)

Dinner Party EP Black Vinyl Edition

LP | 2020 | US | Reissue (Sounds Of Crenshaw / Empire)

18,99 €*

Big Jim H & His Boobs Of Rhythm / The Boob People

Release: 2020 / US – Reissue

Genre: Hip Hop, Organic Grooves

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Dinner Party is the super-group of Terrace Martin, Robert Glasper, 9th Wonder, & Kamasi Washington, a collection of some of Hip-Hop’s finest current producers and contributors. With 14 GRAMMY Nominations between the group, Dinner Party utilizes the strengths of each musician seamlessly, blending their styles to create something soulful for these trying times. At just over 20 minutes, the album leaves the listener with just enough to satisfy them but yearn for more.

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Jungle Fever / Hippy Skippy Moon Strut

7" | 2022 | AR | Original (Bou-Ga-Louw)

18,99 €*

Release: 2022 / AR – Original

Genre: Organic Grooves

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The Sun Ra Arkestra Featuring Pharoah Sanders Featuring Black Harold

Sun Ra And His Arkestra Featuring Pharoah Sanders / Featuring Black Harold

LP | 2024 | US | Reissue (Superior Viaduct)

26,99 €*

Luis Cobos Dirige Wiener Symphoniker Y The Royal Philharmonic Orchestra

Release: 2024 / US – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Green vinyl. Still in shrink, but opened, with hype sticker

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Vienna Concerto

LP | 1988 | NL | Original (CBS)

3,99 €*

Release: 1988 / NL – Original

Genre: Classical Music

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Used Vinyl

Medium: VG+, Cover: VG+

2LP+CD | 2022 | EU | Reissue (Insideoutmusic)

XI: Bleed Here Now

Release: 2022 / EU – Reissue

Genre: Rock & Indie

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XI: Bleed Here Nowblack Vinyl Edition

LP | 2022 | US | Original (Dine Alone)

30,99 €*

Release: 2022 / US – Original

Genre: Rock & Indie

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Hank Jacobs And Don Malone / Hank Jacobs And The Tko's

The World Needs Changin' / Gettin' On Down

7" | 1970 | UK | Reissue (BGP)

11,99 €*

Release: 1970 / UK – Reissue

Genre: Organic Grooves

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A straight reissue of this super-rare funk single from 1970 on the Call Me label.

Original copies of this political soul anthem change hands for a lot of money.

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LP+CD+All Media | 2014 | DE | Original (Superball Music)

49,99 €*

Release: 2014 / DE – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

Ras Hassen Ti, Mad Professor / Peter Youthman, My Providub Bass

My Provider, Mad Providub / Jah Jah Mi Provider, My Providub Bass

12" (Spear Hit Music)

8,24 €* 10,99 € -25%

Genre: Reggae & Dancehall

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X: The Godless Void And Other Stories

2LP | 2020 | EU | Original (Inside Out Music)

21,99 €*

Release: 2020 / EU – Original

Genre: Rock & Indie

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Theo Parrish / Lori / Silentjay / Simon Marvin / Perrin Moss / Paul Bender

What You Wanna Ask For

12" | 2019 | US | Original (Sound Signature)

13,99 €*

Houston Person Featuring Atlanta Philharmonic Chorale And The Ogletree Brothers

Release: 2019 / US – Original

Genre: Electronic & Dance

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Our newest release is the single WHAT YOU GONNA ASK FOR by Theo Parrish, Lori, SilentJay, Simon Marvin, Perrin Moss, Paul Bender.

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The Gospel Soul Of Houston Person

LP | 1978 | US | Original (Savoy)

10,99 €*

Release: 1978 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

Cover with saw cut

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LP+LP+All Media | 2011 | EU | Original (Superball Music)

Tao Of The Dead

39,99 €*

Release: 2011 / EU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

Dobie Featuring Rodney P / DON-E / Ola The Soul Controller

The Dobie E.P.

12" | 1996 | UK | Original (Pussyfoot)

Y-Bayani & Baby Naa & The Band Of Enlightenment, Reason & Love

Release: 1996 / UK – Original

Genre: Hip Hop, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

sticker on cover

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Asembi Ara Amba

7" | 2019 | EU | Original (Philophon)

11,99 €*

Charlie Shoemake / Bill Holman With The Voice Of Sandi Shoemake

Release: 2019 / EU – Original

Genre: Electronic & Dance

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With his third single release, Y-Bayani (pronounced like Why-Bayani) shows clearly that he is the most intriguing roots-reggae sensation coming out of Ghana. He is backed again by the lushly grooving Band of Enlightenment, Reason and Love.
Asembi Ara Amba, sung in Fanti language, is an old Fanti story about having bad luck if you see a vulture up in the sky. As Y-Bayani sees one suddenly and for no reason he gets in trouble with the police. Being hold back in the police station he finally takes his chance to escape into freedom while the police men taking a nap.
On We Are The Band of Enlightenment, Reason And Love the group presents their personal anthem. The song is a cinematic journey starting with a mighty horn theme, followed up by a mantric chant and enters finally into a wall of sound in double time. It's a small symphony for sure.

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Collaboration

LP | 1985 | US | Original (Pausa)

6,59 €* 10,99 € -40%

Release: 1985 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

Tha God Fahim X Il Torsolo / Kung Fuu X Vizio

Pornofunk Double Split No. 2 (Dump Gawd Edition)

7" | 2018 | EU | Original (Pornofunk Oscuro)

31,99 €*

Pat Metheny, Charlie Haden, Jack DeJohnette, Dewey Redman, Michael Brecker

Release: 2018 / EU – Original

Genre: Hip Hop

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Strictly limited edition of 300 copies only!
Only one copy per customer!
Pornofunk Oscuro is back again with the second release of the "Double Split Serie". Dump Gawd himself aka Tha God Fahim, the prolific lyrical genius that earn the title of "50 tapes legend" spitting his trademark bars on a spooky Arabic loop made by il Torsolo on the first side.
Turning the 7" we find another heavy member of the Dump Gawdz Crew, Fahim's partner in rhyme Kungg Fuu, spreading his dangerous knowledge on a shogun assassin type beat made by Vizio.
This is another double dosage of uncut raw hip-hop that can't be missed! TIP!!

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80/81

2LP | 1980 | DE | Original (ECM)

16,99 €*

Release: 1980 / DE – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Pat Metheny, Charlie Haden, Jack DeJohnette, Dewey Redman, Michael Brecker

80/81

2LP | 1980 | US | Original (ECM)

16,99 €*

Jon Hendricks With The Ike Isaacs Trio And Ben Webster

Release: 1980 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Vinyl close to VG+

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Evolution Of The Blues Song

LP | 1961 | US | Original (Columbia)

9,99 €*

The Hanna-Fontana Band Featuring Jake Hanna And Carl Fontana

Release: 1961 / US – Original

Genre: Organic Grooves, Rock & Indie

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Used Vinyl

Medium: VG, Cover: G+

US original.
Sleeve has heavy wear.

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Live At Concord

LP | US | Reissue (Concord Jazz)

Release: US – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Ensemble Of Grips Theater Berlin Und Die Band No Ticket

Linie 1 · Das Musical

LP | 1986 | DE | Original (Polydor)

The Ted Brown Sextet Featuring Warne Marsh And Art Pepper

Release: 1986 / DE – Original

Genre: Soundtracks

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Used Vinyl

Medium: VG+, Cover: VG+

Vinyl close to NM. Cover with light wear

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Free Wheeling

LP | 1975 | JP | Reissue (Vanguard)

11,99 €*

Pat Metheny, Charlie Haden, Jack DeJohnette, Dewey Redman, Michael Brecker

Release: 1975 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

No obi.

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80/81

2LP | 1980 | DE | Original (ECM)

20,99 €*

Release: 1980 / DE – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

Joseph Haydn - Arturo Benedetti Michelangeli, Zürcher Kammerorchester, Edmond De Stoutz

Klavierkonzerte D-Dur & G-Dur

LP | 1975 | DE | Reissue (His Master's Voice)

7,99 €*

Release: 1975 / DE – Reissue

Genre: Classical Music

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Used Vinyl

Medium: Near Mint, Cover: VG+

Antonín Dvořák, Mstislav Rostropovich, The Czech Philharmonic Orchestra, Václav Talich

Konzert Für Violoncello Und Orchester In H-moll Op. 104 / Die Mittagshexe - Sinfonische Dichtung, Op. 108

2LP | 1953 | GDR | Original (ETERNA)

Release: 1953 / GDR – Original

Genre: Classical Music

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Used Vinyl

Medium: VG+, Cover: G

Sister Rosetta Tharpe And The Gospel Tabernacle Choir And Players

Negro Gospel

LP | 1967 | UK | Reissue (Saga FDY)

Paul Jabara Featuring The Weather Girls, Leata Galloway & Whitney Houston

Release: 1967 / UK – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: G+

Cover has seam split and small tears along the opening edge.

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LP | 1983 | JP | Original (CBS/Sony)

Paul Jabara Featuring The Weather Girls, Leata Galloway & Whitney Houston

Release: 1983 / JP – Original

Genre: Organic Grooves, Pop

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Used Vinyl

Medium: VG+, Cover: VG

Includes original insert. OBI not included. Cover with slight sticker residue close to VG+!

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LP | 1983 | JP | Original (CBS/Sony)

Giovanni Di Domenico, Pak Yan Lau, And John Also Bennett

Release: 1983 / JP – Original

Genre: Organic Grooves, Pop

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Used Vinyl

Medium: VG, Cover: VG

Includes original insert. OBI not included. Cover with slight yellowing and wear!

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Tidal Perspectives

LP | 2024 | EU | Original (Editions Basilic)

31,99 €*

Release: 2024 / EU – Original

Genre: Electronic & Dance

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This album’s four parts are a rippling alchemy of processed Rhodes piano, sizzling ceramics, and liquified bass flute, a rare meeting of three unique voices from the contemporary music landscape that manages to flow with the effortless inevitability of the oceanic tides. The album’s title track and climax, the eighteen minute »Tidal Perspectives«, drifts in with some kind of clarity, Lau’s glinting tonal waves edging in just beyond the horizon lines drawn by Di Domenico’s Rhodes and Bennett’s bass flute

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X: The Godless Void And Other Stories

LP+CD+All Media | 2020 | EU | Original (Inside Out Music)

39,99 €*

Release: 2020 / EU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

Chet Atkins, Bobby Bare, Jim Reeves, The Anita Kerr Singers

Nashville Stars On Tour - Live Recordings Der Grossen Country & Western Show

LP | DE | Original (RCA Victor)

7,99 €*

Release: DE – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG

Howdy Doody And Bob Smith With The Howdy Doody Cast

It's Howdy Doody Time!

LP | 1971 | US | Original (RCA)

3,99 €*

Release: 1971 / US – Original

Genre: Soundtracks

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Used Vinyl

Medium: VG, Cover: VG

Paul Jabara Featuring The Weather Girls / Leata Galloway / Whitney Houston

LP | 1983 | CA | Original (Columbia)

Release: 1983 / CA – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Vinyl close to VG+

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Homage / Relative Ways Seque

5" | 2002 | UK | Original (Interscope)

15,99 €*

John Monaghan With The North Texas State University Lab Band

Release: 2002 / UK – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

Limited edition promo 5" vinyl in numbered cardboard sleeve.

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Early Tracks By John Monaghan

LP | 1972 | US | Original (NTSU Lab Jazz)

14,99 €*

Release: 1972 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

US original.

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Worlds Apart Clear Vinyl Edition

2LP | 2023 | Original (Silverdoor Music)

51,99 €*

Release: 2023 / Original

Genre: Rock & Indie

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Julius Patzak - Erich Kunz - Orchester Hans Totzauer - Die Grinzinger Schrammeln

Altwiener Lieder

LP | 1964 | HU | Original (Qualiton)

3,99 €*

Release: 1964 / HU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG, Cover: VG

Bohuslav Martinů, Saša Večtomov, The Prague Symphony Orchestra, Zdeněk Košler

Cello Concerto No. 2

LP | 1968 | CS | Reissue (Supraphon)

8,99 €*

Release: 1968 / CS – Reissue

Genre: Classical Music

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Used Vinyl

Medium: VG+, Cover: VG

Paul Jabara Featuring The Weather Girls, Leata Galloway & Whitney Houston

LP | 1983 | JP | Original (CBS/Sony)

9,99 €*

Rosemary Clooney / Woody Herman And The Woody Herman Big Band

Release: 1983 / JP – Original

Genre: Organic Grooves, Pop

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Used Vinyl

Medium: VG+, Cover: VG+

Includes original insert.
OBI not included.

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My Buddy

LP | 1984 | JP | Original (Concord Jazz)

18,99 €* 19,99 € -5%

Release: 1984 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG

X: The Godless Void And Other Stories

2LP | 2020 | EU | Original (Inside Out)

38,24 €* 44,99 € -15%

Release: 2020 / EU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

Olive green & bone vinyl!

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CD | 2002 | EU | Original (Interscope)

Source Tags & Codes

5,09 €* 5,99 € -15%

Release: 2002 / EU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

Dinner Party (Terrace Martin, Robert Glasper, 9th Wonder, Kamasi Washington)

Enigmatic Society

Tape | 2023 | US | Original (Empire)

12,99 €*

Dinner Party (Terrace Martin, Robert Glasper, 9th Wonder, Kamasi Washington)

Release: 2023 / US – Original

Genre: Organic Grooves

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Enigmatic Society is the next offering from the multi-faceted, Grammy-nominated supergroup Dinner Party. Full of opulently intricate instrumentation and a range of sleek R&B to smooth neo-soul vocals, Enigmatic Society is mesmerizing in its entirety. The album features brilliant performances from the debut Dinner Party crew: Terrace Martin, Robert Glasper, Kamasi Washington and 9th Wonder, with additional help vocalists Phoelix, Arin Ray, Ant Clemons, Tank and producers Sounwave, Hi-Tek and Trevor Lawrence Jr. Enigmatic Society serves as a follow up to the group’s 2020 debut self-titled album and continues as a celebration of Black joy, life, art, and culture, as it pays tribute to the duality that manifests in both the beauty and adversity in Black America. This deep sense of community and family flows throughout the project with the album’s artwork designed by Kamasi Washington’s sister, artist Amani Washington.

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Enigmatic Society

CD | 2023 | US | Original (Empire)

13,99 €*

Earl Cunningham, Michael Palmer, Tasha T / Mikey General, Jojo Mac

Release: 2023 / US – Original

Genre: Organic Grooves

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Frenemy, Where Did I Go Wrong, Feeling The Pain (Sufferer) / Ghetto Votes, Wahala Problem, Dub Version

10" | 2023 | UK | Original (Medina)

19,99 €*

Release: 2023 / UK – Original

Genre: Reggae & Dancehall

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33rpm

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Technics

EAH-AZ60M2

229,00 €*

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True Wireless Noise Cancelling Earphones with Multipoint Bluetooth®

From Work to Life, and Everything in Between.

Thanks to 8mm drivers, a special acoustic structure and category-leading noise cancellation, AZ60M2 give you a clear sound advantage – wherever your busy day takes you. With a comfortable design, seamless device switching and crystal-clear sound quality – you won't miss a beat.

Multipoint Connection to 3 Devices
Seamless switching for up to 3 devices* (e.g. PC, smartphone & tablet).
*LDAC playback not possible with 3 devices.

Signature Technics Clear Sound
Feel detailed rich, expansive sound from the uniquely designed acoustic chamber, harmoniser and 8mm drivers. Compatible with LDAC™ high-res wireless audio* for step-up sound.
*Delivered in 96 kHz/24-bit LDAC, when connected by Bluetooth® to a compatible device.

Pure Listening with Noise Cancelling
Dual Hybrid Active Noise Cancelling tech using feedforward and feedback mics, plus analogue and digital processing – for uninterrupted category-leading hi-fi sound performance.
*Technics research using JEITA guidelines for true wireless noise cancelling headphones as of March 2023.

Comfortable and Secure Fit
Low-profile ergonomic design, for a comfortable and secure fit. Ideal for long journeys.

Never miss a beat.

Superior Uninterrupted Sound & Smart Features

JustMyVoice™ Technology
8 separate mics plus advanced wind noise reduction, to isolate and amplify speech while minimising background noise.
*Performance may be affected by external factors.

Long Battery Life
Up to 7 hours* playback with ANC on, 24 hours back-up with the case. Quick charge for 15 minutes will give you 70 minutes of playback.
*After a full charge, subject to playback volume and other factors.

Control the Sound Around You
Natural Ambient Mode lets you select how much background sound to hear, while Attention Mode focusses on speech.

Convenient Single Earphone Use
Keep one ear open, or charge one earphone while using the other. Customise touch sensors through the Technics app.

Quality Materials
Built to last, with a pleasing and reassuring tactile quality for both earphones and charging case.

100% Plastic-Free Packaging
Supplied in new compact packaging that dispenses with plastic and other hard-to-recycle finishes.

Easy Qi Wireless Charging
Simple fast wireless charging by placing the earphone case on a compatible charger.

Technics Audio Connect App
Easy set-up, battery level check, select EQ sound modes, adjust noise cancelling levels and customise touch-sensors with this intuitive app*.
*Requires Android™ 6.0 or higher with Google Play,™ iOS12 or higher.

IPX4 Water Resistance
With IPX4* water resistance for the real-world – with no worries about rain or intensive workouts in the gym.
*IPX4 compatibility for earphones, not charging case.

Choose the best earphones for you
For high-quality listening, you need earphones that can keep up with your pace. Designed with your comfort in mind, Technics True Wireless earphones give you superior sound wherever you are, whatever you’re doing. Use smart features to switch seamlessly from listening to music to taking a call.

Specs:
• Feel ultra-rich, expansive sound delivered from the unique design of the acoustic chamber, harmoniser and 8mm drivers.
• Dual Hybrid Noise Cancelling with feedforward & feedback mics, plus analogue & digital processing – a hi-fi experience.
• Seamless switching for up to 3 devices (e.g. PC, smartphone & tablet).
• JustMyVoice™ Technology with 8 mics & advanced wind suppression, to isolate speech from background noise for clearer calls.

Technical Data:
GENERAL
• Driver Unit (mm): 8 mm (5/16 in)
• Frequency Response: 20 Hz - 40 kHz (LDAC 96 kHz/990 kbps)
• Mic: Monaural, MEMS Mic

• Playback Time with Battery (LDAC)
Earphones:
- Approx. 4.5 hours (NC ON)
- Approx. 5.0 hours (NC OFF)
Earphones with Charging case:
- Approx. 16 hours (NC ON)
- Approx. 17 hours (NC OFF)

• Playback Time with Battery (AAC)
Earphones:
- Approx. 7.0 hours (NC ON)
- Approx. 7.5 hours (NC OFF)
Earphones with Charging case:
- Approx. 24 hours (NC ON)
- Approx. 25 hours (NC OFF)

• Charging Time (25°C/ 77°F)
- Earphones: Approx. 2.0 hours
- Charging case / USB: Approx. 2.5 hours
- Charging case / Qi *With certified Qi charger: Approx. 3.5 hours
- Earphones with Charging case: Approx. 3.0 hours
- Earphones with Charging case / Qi *With certified Qi charger: Approx. 3.5 hours

• Quick Charge (15 minutes, AAC)
Earphones
- Approx. 70 minutes (NC ON)

• Standby Time
Earphones:
- Approx. 9 hours (NC ON),
- Approx. 15 hours (NC OFF, Auto power off does not work)

• Dimensions (W x H x D)
Earphones *with Earpiece M size:
- Approx. 23 mm x 26 mm x 28 mm
- Approx. 7/8 inch x 1 inch x 1-1/8 inch
Charging case:
- Approx. 73 mm x 38 mm x 28 mm
- Approx. 2-7/8 inch x 1-1/2 inch x 1-1/8 inch

• Weight
- Earphones (one side only: L and R are the same): Approx. 7 g (0.25 oz)
- Charging case: Approx. 45 g (1.6 oz)

• Supplied Accessory
- USB charging cord: Approx. 0.2 m (0.66 ft) (Input Plug : USB Type-C Shape, Output Plug : USB Type-C Shape)
- Earpieces set : XS1, XS2, S1, S2, M, L, XL (M attached)

Advanced Function:
• Bluetooth® Wireless Technology
- Version: 5.3
- Supported Profiles: A2DP, AVRCP, HSP, HFP
- Codec: SBC, AAC, LDAC
- Operating Distance: Up to 10 m (33 ft)
- Multi-point: Yes(Connect up to 3 devices at a time.)
- Multi-pairing: Yes(Connect up to 10 devices.)
• Water Resistance: IPX4 Equivalent (Earphones only)
• Dual Hybrid Noise Cancelling: Yes

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Technics

EAH-AZ60M2

229,00 €*

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Go to Item

Technics

EAH-AZ60M2

229,00 €*

CD | 2024 | EU | Original (Rrc Music)

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Rakim

G.O.Ds Network - Reb7rth

19,99 €*

Ensatina HHV Exclusive Marsh Green Smoke Colored Vinyl Edition

Release: 2024 / EU – Original

Genre: Hip Hop

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Hip-hop legend Rakim is breaking new ground with his upcoming studio album, G.O.D.'S Network (reb7rth), by fl exing his skills both on the mic and behind the boards. Widely lauded as the best lyricist of all time, The God MC himself is blessing the culture with the next step in his historic career. “I feel like the battery in my back has been reenergized,” Rakim said about his new album, which arrives nearly four decades after the release of his classic debut with Eric B., Paid In Full. Since then, he’s continued to shape the landscape and culture of hip-hop as we know it, inspiring rising artists with his hype live shows and incredible studio albums. And while he’s produced some of his previous work—notably “Don’t Sweat the Technique,” “Juice (Know The Ledge),” and “Paid In Full”—this feels like new territory for the 18th Letter, whose production and scratching talents are nothing short of remarkable. G.O.D.'S Network (reb7rth) is proof that Rakim is truly one of the most special artists we’ve known not just in hip-hop, but all of music. You can tell he feels that level of praise when speaking about the genesis of the album. “Having the ability to showcase my talents behind the boards coupled with the elite lyricism the world already knows and gives me in fi nite praise for alongside some of the best talents to ever do it is truly a blessing and for that I am humbled,” he said. Rakim is more than an of fi cial triple-threat as an artist, because he’s also showing off skills as a curator. On this album’s seven tracks, he enlists a who’s-who of top hip-hop talent, including the dearly departed Nipsey Hussle, Fred the Godson, DMX, and Prodigy (of Mobb Deep). Rakim also linked with many of his contemporaries, such as Snoop Dogg, Method Man, Kxng Crooked, B.G., and Kool G. Rap, among others. The album’s fi rst single, “Be Ill,” is the perfect introduction, as it pairs Rakim’s raw rhymes and head-nodding production with slick guest features from Kurupt and Masta Killa. Elsewhere, Rakim slows it down for the soulful “Love Is The Message,” which features Nipsey Hussle, Planet Asia, Louis King, Snoop Dogg, Sally Green, Kobe Honeycutt, and the LA Grand Choir. And then there’s the chest-thumping “International,” a straight-up slapper with hard-hitting rhymes from Kool G. Rap, Tristate, and Joell Ortiz. RRC-066.pdf For fans of hip-hop, and especially of Rakim’s storied discography, there is so much to love on this record. You can hear his hunger as an emcee and producer on every track, as well as his desire to collaborate with so many respected artists. Despite having decades in the game and many classics to his name, it feels like Rakim is just getting started. While the world awaits the July 26th release date, fans can catch Rakim performing live throughout the US from now until the end of year in support of G.O.D.S Network (reb7rth). In addition to debuting new material, he’ll be performing all the classics from his beloved catalog.

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Homer

LP | 2024 | US | Original (Big Crown)

Ensatina Orange Vinyl Edition

Release: 2024 / US – Original

Genre: Organic Grooves

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Limited to 150 copies, only available at HHV!

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signicant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and inuences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this rst solo offering is just the beginning of his next chapter.

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Homer

LP | 2024 | US | Original (Big Crown)

24,99 €*

There Is Always A Solution

Release: 2024 / US – Original

Genre: Organic Grooves

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Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signicant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and inuences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this rst solo offering is just the beginning of his next chapter.

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Vel

2LP | 2024 | EU | Original (Mama Told Ya)

31,99 €*

In Search Of... White Vinyl Edition

Release: 2024 / EU – Original

Genre: Electronic & Dance

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On October 4, 2024, Vel will make a splash with the release of her debut LP, MTY-011 «There is Always a Solution», through Anetha’s label, Mama Told Ya. After 3 exciting EPs and the recent rise of her Live performance, Vel made waves last year with the track «Velds1» on MTY-AIR «Mille Attaques, Les Vents Contrèrent» in collaboration with LDS. She is now ready to unveil her first full-length album.
«There is Always a Solution» flows with two slippery vinyl records and 10 immersive tracks. Nine tracks are produced solely by Vel, while one is co-produced by Vel and Anetha. Once again, Mama Told Ya returns with a valuable lesson: no matter the challenge, you will flow a way.

Vel is back with a mesmerizing new album featuring 10 tracks that draw you in with her captivating energy. Are you ready to heed the call? The High Priestess of Drums plunges us into a world of vibrant Techno and brisk Tribal rhythms, while her Ambient passages offer a calming retreat and her Mental influences are bound to stir your emotions. Rest assured, “there is always a solution.” Renowned for her expertise in rhythmic innovation and spatial soundscapes, Vel presents a revitalizing and dynamic release. MTY-011 promises to cleanse and rejuvenate—let yourself be immersed.
With a hint of irony, The Babe (A1) playfully teases, “Do you love me? Do you love my music?” But Vel’s real question is more reflective: you’re in deep water. Dive into the sound bath of Humans in Cafe (A2), close your eyes, and let the drums, the kicks, the bangs, and the buzz wash over you. One Xanax Introspection (A3) later, Vel is inviting us to explore the full spectrum of frequencies—a galloping race of deep bass and high treble in this ambient choreography.
« Don’t let the relentless BPM Anxiety (B1) drown you. Its tortured synth may try to hold you back, but you’re free. You’re in your Pop Tribe (B2), and nothing can stop you—DRUM BIG. »
Darling it's better down where it's wetter: joining Vel for a jam session « under the sea », it’s Anetha! Driving percussions are combining with a pulsating psytrance bassline, pure magic: « Ain’t We Mermaids (C1), dear? » Vel, ever the master of the salty beats, slows it down just enough to say, «I Don’t Care (C2),» as she deconstructs. A few moments later… She’s at it again—just when the BPMs are peaking, she draws us into a state of floating lethargy. That’s the absorbing power of Ambient Core (C3).
The current is strong with this one—prepare for a challenge. Deep Tracks Don’t Sell (D1) will drift you away in a swirl of intertwining undulations and dripping drums. It’s time to return to the surface: with a bubbly twist of whimsy, Oh La La (D2) pops in, full of new-wave energy. Vel gently swims us back to shore.
For this new LP, the artwork was crafted in-house under Vel’s artistic direction. The design was skillfully executed by Diplomatie Studio, while mastering was entrusted to In Aeternam Vale, Vel’s close friend and mentor.

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N.E.R.D

2LP | 2002 | US | Reissue (Virgin)

47,99 €*

Vogel Colored Vinyl Edition

Release: 2002 / US – Reissue

Genre: Hip Hop

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N.E.R.D’s "In Search Of..." is the debut studio album by the American band, originally released in 2001, and reissued in 2002 with a significant change in sound. The band, consisting of Pharrell Williams, Chad Hugo (both also known as the production duo The Neptunes), and Shay Haley, crafted a genre-blending project that marked a shift in the way hip-hop, funk, and rock could come together in mainstream music.

"In Search Of..." fuses hip-hop, rock, funk, and R&B into an eclectic sound that was highly innovative at the time.

The album was released in two versions:
2001 Version: Heavily electronic, incorporating synthetic beats and drum machines, typical of The Neptunes' production style.
2002 Version: Re-recorded with live instruments, featuring the band Spymob. This second version has a rawer, more organic rock feel, giving the album a different energy and appeal.

The lyrics on "In Search Of..." are a mix of youthful rebellion, self-reflection, and social commentary. Some recurring themes include:

Personal freedom and identity: The album often explores the idea of breaking free from societal norms and expectations.
Power and politics: Tracks like "Lapdance" offer a cynical take on politicians and authority figures.
Relationships and desire: The album also delves into personal relationships, touching on lust, romance, and heartache.

Notable Tracks:
"Lapdance": A standout track known for its aggressive beat and politically charged lyrics, criticizing corruption and manipulation in politics.
"Rock Star": A high-energy anthem that channels frustration with societal pressures and celebrates nonconformity.
"Provider": One of the more introspective songs on the album, telling the story of a man struggling to provide for his family while making difficult choices.
"Truth or Dare": Featuring Kelis, this track mixes funky beats with provocative lyrics, offering a lighter, playful side to the album.
4. The Concept Behind the Album Title:
The album's title, "In Search Of...", reflects the band's desire to explore new musical and thematic territories. It’s also a nod to the 1970s American TV show In Search Of..., which investigated mysterious phenomena, paralleling N.E.R.D.'s exploration of uncharted musical landscapes and personal identity.

"In Search Of..." was groundbreaking in its approach to combining genres, breaking the mold of what was expected from a hip-hop project. Pharrell, Chad, and Shay’s ability to blend live instrumentation with hip-hop production created a blueprint for future artists to mix rock and urban sounds. The album became a touchstone for genre-bending artists and a precursor to Pharrell’s later solo work.

Although "In Search Of..." did not achieve massive commercial success upon its initial release, it was critically acclaimed and has since gained a cult following. The innovative sound and unique blend of genres helped establish N.E.R.D. as pioneers in the music world, influencing a wide range of artists across various genres.

N.E.R.D.'s "In Search Of..." remains a seminal album that pushed the boundaries of genre and sound. Its blend of live instrumentation with hip-hop, rock, and funk created a distinctive sonic identity that resonated with listeners seeking something outside the norm. The album not only showcased the diverse musical talents of Pharrell Williams, Chad Hugo, and Shay Haley but also laid the groundwork for the genre-fusion movement that would follow in the years to come.

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Ottla

LP | 2024 | EU | Original (Unday)

28,99 €*

Ensatina Black Vinyl Edition

Release: 2024 / EU – Original

Genre: Organic Grooves

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Limited edition LP on Colored Vinyl. The band around Bert Dockx (Dans Dans, Flying Horseman) transformed once again and is now a quartet.They developped new compositions with an even richer language fluttering and wailing in jazz, impro, electronics and krautrock.

Ottla is a bird that not only sings beautifully but also vigorously flaps and squawks. Also known as a band that Bert Dockx formed to play together once to celebrate the 25th anniversary of the Jazz Lab concert series. Fortunately, Dockx and the musicians he gathered for that anniversary sextet quickly found much enthusiasm and more opportunities to play together. In 2019, what initially seemed like a fleeting experiment transformed into composing, rehearsing, recording an album, and playing more. Ottla's fluttering spirit appeared to have cooled down, at least for a while. However, when Josse De Pauw asked Dockx to improvise during a monologue he was working on in 2021, an alternative version of Ottla quickly appeared by Dockx's side. The mystery and madness of Eduardo Galeano's "Chronicle of Fire" (1986), the monologue in question, found a musical counterpart. In addition to the requested improvisation, Dockx developed several new compositions, expanded by Ottla with lyrical guitar passages, improvised clarinet solos, rustling effects, and a sometimes cool, then warm, dark rhythm section. The result was a powerful performance (and live EP) and the clear insight that this new Ottla is no mockingbird.

A new repertoire was in the works, but performing it was temporarily out of the question. Bert's acute back problems in the fall of 2021 dampened the enthusiasm. All music was set aside but fortunately only for a while. Music has always been the language through which Dockx found meaning and order in the world, so this heavy physical and emotional setback would also find its response in music. From that dark period emerged the album "Ghosts," released under the new name Bert Dockx Band in October of this year. That album seems much more like a cage in search of a bird, to speak with a Kafkaesque aphorism (Ottla is also Kafka's sister's first name).

Ottla's latest album, "Vogel" (Bird), is the full awakening after "Ghosts." The window flies open, the sun burns. Fluttering and wailing in jazz-improv-electro-noise-prog-afro-blues-groove-punk-krautrock, Ottla, true to its Kafkaesque nature, transformed once again, and the quartet began further developing the compositions with an even richer language. The album showcases significant contrasts in strength and color between songs, often even within one song. There exists no rivalry between Thomas Jillings and Bert Dockx, but rather a playful dialogue. Jillings, the multi-instrumentalist, expanded his setup and plays saxophone, clarinet, and various synthesizers. The bass and drum parts of Gerben Brijs and Louis Evrard provide tension and thunder, with effects resonating from their amplifiers like mist in an enchanted forest.

To further explore the new music, the quartet performed a series of café concerts in 2022 and some try-outs in 2023. Finally, last summer, they entered the studio to capture "Vogel." In Studio Ledeberg, Peter Desmedt's cage, the spontaneity and dynamics of the performances were preserved, with room for overdubs to enrich the songs just a bit more. The result is an album full of exciting twists: a series of new songs that will undoubtedly continue to transform live. The bird is free.

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Homer

LP | 2024 | US | Original (Big Crown)

Spaces And Places Transparent Green Vinyl Edition

Release: 2024 / US – Original

Genre: Organic Grooves

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Kerri Chandler

3LP | 2023 | UK | Original (Kaoz Theory)

43,99 €*

Branislave Zivkovic / Andre Tschaskowski

Release: 2023 / UK – Original

Genre: Electronic & Dance

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House music icon Kerri Chandler unveils his first album in 14 years, Spaces and Places, a global celebration of club and sound system culture, meticulously created by the New Jersey producer/DJ over several years on location at twenty-two of the world’s most distinguished nightclubs. Each track built on the spaces individual relationship with Kerri, often through decades of live shows or appearances, and in the process capturing unique rhythmic and emotional nuances. Written and performed with a temporary studio on the centre of each dance floor, this jaw dropping 3 x LP pressed on transparent green vinyl in a stunningly designed tri-fold picture sleeve complete with A2 poster insert, showcases Kerri at his finest. Taking in never before heard tracks, versions and mixes separate to the four samplers that preceded it, this incredible body of work and concept has seen the album submitted for two Grammy awards. As one of dance music’s most respected and authentic figures, Kerri Chandler is a true originator of his genre, with an impeccable discography and signature sound to match. He has unquestionably helped to shape house music’s positive outlook over the last 30 years. Not only from the DJ booth and studio, but also as an A&R via his Kaoz Theory label which has worked with contemporary talents like Jamie Jones, Seth Troxler and The Martinez Brothers. Now, Kerri Chandler is set to release a carefully rendered and truly unique body of work. Spaces and Places will undoubtedly be seen as a timeless tribute that underscores the originality that has kept him as one of the most in-demand artists for so many years. “The first time I stepped into a nightclub was with my father as a child. I saw the magic of what a club space could sound and feel like as my Dad set up the DJ equipment at The Rallye Racquet Club. Hearing the power of those huge Altec Lansing "Voice of the Theater" Speakers and Horn-loaded JBL subwoofers fascinated me! In the late 80s, I was spoiled sonically by playing on several Richard Long Sound Systems around New York and New Jersey. This is why ever since I first ventured away from home, I have been infamous with my soundchecks at any space I have performed in. I make sure, with the help of the engineers in these “Spaces and Places”, many I have known most of my career, to get the best from each system. Each sound system is unique to each venue, even if it's the same type of gear, because of the physical space. And when you add the right audience to that specific nightclub, it comes to life! The club owners and engineers were gracious enough to let me take over each club and turn each venue, into a recording studio. I wanted to express the love of what could be possible in capturing my productions in the venue, from the heart of each space, right on the dance floor and I translate it onto this album, which I created over the course of 4 years and 24 venues later. I hope you enjoy this journey as I have. I present to you: "Spaces and Places". With Love, Respect and Admiration.” – Kerri Chandler

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Emotionally (Coloursound)

LP | 1986 | EU | Reissue (Be With)

27,99 €*

LP | 2023 | EU | Original (Blue Note)

Release: 1986 / EU – Reissue

Genre: Electronic & Dance

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Emotionally, crafted by Brainislave Zivkovic and Andre Tschaskowski in 1986 for Coloursound, is arguably the most beautiful library album ever produced. A start-to-finish masterpiece of powerfully melodic music for reflection and introspection. It is, indeed, deeply emotional.

Branislave Zivkovic handles the majority of Side A. Opener "Morning Light" evokes exactly that feeling, with a gorgeous and plaintive acoustic guitar solo combining with alto flute to stunning effect. Its immediate counterpoint, "Sundown", in no less arresting but brings with it an after-dark drama of almost Lynchian proportions, again drawing upon guitar and flute but with a slightly more melancholic, even sinister edge, also calling to mind Ry Cooder's score for Paris, Texas. It truly captivates when the strings arrive. Remarkable.

The reflective cello solo with swelling strings at the heart of "Pastoral Walk 1" ensure this track is aptly titled, with parts 2 and 3 adding more agitation - via keys and percussive elements - to great effect. "In The Garden 1" presents an elegiac cello solo whilst its second part elevates the romance. The four-part "Soft Thoughts" suite invites further introspection via reflective alto flute and guitar. Fans of The Durutti Column will need to seek this.

Andre Tschaskowski enters proceedings with three tracks at the end of the Side A. All of them aces in the pack. "Grief", whilst sorrowful, uplifts in its second half through beautiful keys. Equally hopeful are the two-part "Personal Mood" sketches, both dreamy exercises in optimistic ambience.

Tschaskowski controls the entirety of Side B. "Woodland Mood", with its pastoral flute and cor anglais and "Reminiscence", with its classical, emotional strings, both beguile. The piano and strings-heavy "Sentimental View" suite is one of the most beautiful, atmospheric things you will ever hear, particularly its second part. "Moonset 1" with it's wonderful Joe Pass-esque guitar is tense yet easy, the beauty elevated further with the introduction of strings and horns. The more restrained "Moonset 2" is pared back to its divine, sweeping essence and should surely have been sampled by now. To close out an album of almost impossible refinement, the brief 2-part "Emotional Tension" salvo brings both increased stress before resolving itself and the LP with a piano motif and atmosphere of serenity. Blessed relief.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Emotionally comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

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Cautious Clay

Karpeh

22,99 €*

An Ever-Growing Meridional Entertainment Transgression At The Edge Of The Multiverse

Release: 2023 / EU – Original

Genre: Organic Grooves

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Since 2017, Cautious Clay has been steadily building a devoted fanbase with his heartfelt songwriting and a unique sound that moves fluidly between pop, alternative R&B, and indie rock. On his deeply personal Blue Note debut Karpeh, the New York based singer, songwriter, multi-instrumentalist, and producer also known as Joshua Karpeh takes a giant artistic leap forward with an ambitious yet introspective album about growth, conceptions of intimacy, and lineage that reveals a new side of his artistry by delving deeper than ever into his jazz influences.

Cautious sequenced the album thematically in three sections with interludes throughout containing audio recordings of his family members recounting bits of family history.

Part 1. THE Past Explained

Part 2. THE Honeymoon OF Exploration

Part 3. A Bitter & Sweet Solitude

Part 1. THE Past Explained

My early life going up in Ohio + my family's past experiences being the cornerstone of what shaped me for better + worse. Themes of unwavering self-reliance, the "tides" of family/work life balance, race, + cultural identity are throughout this section.

1. 102 Years of Comedy (Intro) 0:33

2. Fishtown 2:57

3. Ohio 2:51

4. Karpehs Don't Flinch 2:09

5. The Tide Is My Witness 3:39

6. Take a Half (a Feeling We Chase 0:42

7. Another Half feat. Julian Lage 2:29

Part 2. THE Honeymoon OF Exploration

Branching out from my past/family members before me embracing vices, personal gratification, and deep self-reflection - different forms of intimacy, psychedelic drugs, + togetherness are a crucial part of this section.

8. Repeat Myself 2:08

9. Glass Face feat. Kai Eckhardt and Arooj Aftab 3:17

10. Walls & a Roof (Interlude) 0:27

11. Unfinished House feat. Julian Lage 2:33

Part 3. A Bitter & Sweet Solitude

Learning how to be alone with my "thoughts" in order to be the healthiest version of myself when I am around friends, family, etc. No matter where I go in life, being alone is a beautiful + eternal truth. There are themes of greed, death, + speaking for myself/my own needs. While this section lacks alot of lyrical content, sonically it is oscillating between heavier/aggressive and more soft/mellow sonic components.

12. Blue Lips feat. Julian Lage 4:07

13. Tears of Fate 4:33

14. Yesterday's Price feat. Immanuel Wilkins 5:16

15. Moments Stolen 3:57

Cautious Clay (artistic conception, vocals)

Joshua Karpeh (saxophone, flute, guitar, synthesizer, bass, bass clarinet)

Additional Musicians: Alwyn Robinson (drums), Joshua Crumbly (bass), Julius Rodriguez (piano), Julian Lage (guitar), Sean Rickman (drums), Daniel Pappalardo (bass), Kai Eckhardt (bass), Arooj Aftab (vocals), Joel Ross (vibraphone), Immanuel Wilkins (alto saxophone), Ambrose Akinmusire (trumpet), Meryl Cooper, Titee Marion Karpeh, Olivia Howell, William Dingus and Caitlyn Harris (spoken word), Georgia Heers, Sarah K. Pedinotti, William Dingus (additional vocals)

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Icarus

LP | 2024 | UK | Original (Not Applicable)

25,99 €*

No Sound In Space Black Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-15

Icarus, comprising Ollie Bown and Sam Britton, have been described as a pair of young tearaways let loose in the sound labs, like delinquent chemistry students using test tubes, liquids and bunsen burners in the hope of creating explosions.There is a wonderful air of creative mischief about the duo.They channel the spirit of electronica denizens like Paradox, European outliers like the late Pita (Peter Rehberg), Aphex Twin in all his facetious, windowlicking glory and The Orb, like them at once beautifully grandiose and wittily self- deprecating. The title of their ninth and latest album, An Ever-Growing Meridional Entertainment Transgression At The Edge Of The Multiverse, recorded between London and Sydney, is an unabashed homage to The Orb’s epic “A Huge Evergrowing Pulsating Brain That Rules From The Centre Of The Ultraworld”, from their debut album. Icarus don’t merely imitate The Orb but use them as a jumping off point for quantum leaps and wormholes of their own, from infinity into the beyond. Take “Mazda Bogo Friendee”, with its fast cut, gamelan electronica, grasshopper disco, with cirrus shafts of reverberant electronics flooding its skies. From there a random skip to “I’m Like The Nutty Professor”, whose sampled voices are like holographic fantasies of the faintly familiar,TV broadcasts that are well on their way to Saturn. The field of activity of the pieces an An Ever-Growing . . . is positively Breugelian (any coincidence given their moniker, and Breugel’s own vast depiction of The Fall Of Icarus, the mythological figure’s descent a mere detail in the background?).Tracks like “Collectable Woodland Animals Armed With Heavy Weaponry” with its impossibly rapidfire windchime percussion, are simultaneist, accelerationist,Tex Avery cartoon-like in their manic mayhem, an ever-shifting tableau of wildlife activity, free jazz extremism rendered in electronics. Here, as elsewhere, light, metallic percussion,

triggers a dance of tiny, granular details, pixels, skipping about like popcorn on a hotplate, mingling, colliding, sparkling, rebounding. Massive synth barrages bull into the china chop of Icarus’s delicate arrangements of rhythms – perfectly organised chaos, an ordered illusion of total rhythmical disorder as balletic combat ensues. An Ever Growing... marks a significant milestone for Icarus and the artists’ collaborative process, as they reflect: "We’ve been making music together since we were 15 – now into a fourth decade. It’s natural we do so with bigger breaks in between, and this has been a particularly big break, but it’s essential to our being that we continue our music production dialogue. The album was made by remote collaboration between London and Sydney, although most of the arrangement work was done with us sitting together in the same place. It was started a very long time ago. Other projects took precedence while the tracks rested as loosely arranged sketches. As with many of our projects, there’s a moment with a track where you can either double down and get deep in to working it into shape, or you can step back and say “there’s beauty in these rough edges”. The tracks of this album went both ways. 'Canaletto Soup' settles around one singular progression of a drum solo, against a minimalist break backdrop. 'Mazda Bongo Friendee' is shaped in a million hyper edits, endlessly unsettled. 'Lemsip Max Relief' is a docile pause. 'Gandalf Speedway' is a stoppy starty orchestration of breaks and bass stabs. Many traditional Icarus tropes revisited."(Ollie Bown)

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Blake Lee

LP | 2024 | EU | Original (Ofnot)

28,99 €*

We've Been Going About This All Wrong Deluxe Edition

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Blake Lee has always been fascinated by the unknown, and space, in its isolating, mysterious vastness, embodies this theme immaculately. The open void, captured so memorably by Stanley Kubrick in '2001: A Space Odyssey', is Blake's far-reaching canvas on 'No Sound In Space', a cinematic meditation on the cosmos that's painted in nuanced, emotionally sincere colors. The Los Angeles-based composer has been contemplating his full-length debut since 2021, using his guitar as a sonic paintbrush rather than find himself snared in its traditional aesthetic constraints. Transforming its characteristics with effects and subtle processes, he layers sustained tones and intimate improvisations, creating richly visual polychromatic utopias teeming with unknown life.

Since 2011, Blake has been most known for being the guitarist and a music director for Lana Del Rey, notching up three songwriting credits on her acclaimed ‘Ultraviolence’ full length. He sees his solo work is a form of escapism, a place where he can experiment and find comfort and catharsis outside of expectations and formal structure. The album was written instinctively, and Blake made sure he didn't force anything, letting go and getting out of his own way, listening intently as sounds and textures materialized organically. "I didn't want to ruin it by being a perfectionist," he laughs. And his collaboration with Kenyan sound artist Kmru, who runs the Ofnot label and contributes to two of the tracks on the album, occurred similarly organically.

Blake was moved to reach out to Kmru when he caught a performance of 'Natur' at Los Angeles' Zebulon in 2022, leading to a prolonged back-and-forth. They didn't meet in person until earlier this year, by which time they'd become firm friends, continuously sharing music and conversation. Kmru had lent a valuable ear to Blake, who sent early playlists of 'nsis' that, over the months, slowly evolved into the finished album. It's the first release on Ofnot that's not by Kmru himself; the label emerged last year with the release of Kmru's own 'Dissolution Grip', and Blake's debut immediately expands its sonic universe. Alongside the playlists, Blake also provided Kmru with the tracks' raw stems, which Kmru began to edit and expand in his Berlin studio. 'Miura' and 'Waiting' are the result of this process, two sublime abstractions that augment Blake's dreamlike, euphoric tones with Kmru's pebbly distortions and booming low-end rumbles. And this same playful sense of freeness seeps into Blake's other compositions.

On the misty 'In A Cloud', he surrounds cascading string tones with soft-focus pads that swell until they're like crashing waves, and on the two 'Echoplexx' pieces, he uses delay and reverb to smudge his sounds until they're viscous residue, the harmonies obscured by whooshes of white noise and distant chimes. The mood is quieted somewhat on 'Moving Air', as Blake's swirling tones form half-heard lullabies, coalescing into a dense, melancholy crescendo, and he fills out the sound with reverberant airport recordings on 'Pan Am', letting pitchy My Bloody Valentine-esque drones warble beneath the transitory chatter. Each track melts into the next, forming a billowing, cryptic narrative that leaves more questions than answers. Blake is constantly searching, and fills his unoccupied space with warmth, perception and sensitivity.

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Sharon Van Etten

2LP | 2022 | US | Original (Jagjaguwar)

35,99 €*

Earth Trip Yellow Vinyl Edition

Release: 2022 / US – Original

Genre: Rock & Indie

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Sharon Van Etten has always been the kind of artist who helps people make sense of the world around them, and her sixth album, We've Been Going About This All Wrong, concerns itself with how we feel, mourn, and reclaim our agency when we think the world - or at least, our world - might be falling apart. How do we protect the things most precious to us from destructive forces beyond our control? How do we salvage something worthwhile when it seems all is lost? And if we can't, or we don't, have we loved as well as we could in the meantime? Did we try hard enough? In considering these questions and her own vulnerability in the face of them, Van Etten creates a stunning meditation on how life's changes can be both terrifying and transformative. We've Been Going About This All Wrong articulates the beauty and power that can be rescued from our wreckages. We've Been Going About This All Wrong is as much a reflection on how we manage the ending of metaphorical worlds as we do the ending of actual ones: the twin flames of terror and unrelenting love that light up with motherhood; navigating the demands of partnership when your responsibilities have changed; the loss of center and safety that can come with leaving home; how the ghosts of our past can appear without warning in our present; feeling helpless with the violence and racism in the world; and yes, what it means when a global viral outbreak forces us to relinquish control of the things that have always made us feel so human, and seek new forms of connection to replace them. We've Been Going About This All Wrong is intensely personal, exploring themes like motherhood, love, fear, what we can and can't control, and what it means to be human in a world that is wracked by so much trauma. The track "Home To Me," written about Van Etten's son, uses the trademark "dark drums" of her previous work to invoke the sonic impression of a heartbeat. Synths grow in intensity, evoking the passing of time and the terror of what it means to have your child move inevitably toward independence, wanting to hold on to them tightly enough to protect them forever. In contrast, "Come Back" reflects on the desire to reconnect with a partner. Recalling all the optimism of love felt in its infancy, Van Etten begins with the plain beauty of just her voice and a guitar, building the arrangement alongside the call to "come back" to anyone who has lost their way, be it from another person or from themselves. Hovering between darkness and light, "Born" is an exploration of the self that exists when all other labels - mother, partner, friend - are stripped back. Unlike Van Etten's previous albums, there will be no songs off the album released prior to the record coming out. The ten tracks on We've Been Going About This All Wrong are designed to be listened to in order, all at once, so that a much larger story of hope, loss, longing and resilience can be told. This is, in itself, a subtle act of control, but in sharing these songs it remains an optimistic and generous one. There is darkness here but there is light too, and all of it is held together by Van Etten's uncanny ability to both pierce the hearts of her listeners and make them whole again. Things are not dark, she reminds us, only darkish.

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Rose City Band

LP | 2021 | US | Reissue (Thrill Jockey)

34,99 €*