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'Solar Nights' is the long awaited second album from German nu-disco star Tim Bernhardt, aka Satin Jackets. Released on Eskimo Recordings this April, 'Solar Nights' follows on from Bernhardt's critically acclaimed, and Gold certified, debut LP 'Panorama Pacifico' and features 14 tracks of smooth disco and leftfield pop sounds with guest appearances from the likes of Future Classic's Panama, David Harks, Niya Wells, Emma Brammer and Anduze.

The global success of 'Panorama Pacifico' has seen Bernhardt coaxed out from his remote studio in one of Germany's ancient forests to play to fans across the world, from South Korea to Mexico and beyond, experiences that inspired both the album itself and its title, 'Solar Nights'.

"In recent years the world's become smaller, a more inter-connected place. It can be dark and cold here, with snow all around, and the next day I can be playing to people on a beach. Somewhere on the planet it's always daytime or summer, but beyond that day and night just blend into each other these days," Tim explains. "We have daytime discos so you can go and party while the sun is still high in the sky, and you can go and hit the gym at night. Beit day or night, Satin Jackets is your soundtrack."

And what a soundtrack it is, from the first chords of opening 'Welcome Back' it's clear we're in safe hands here, the warm pads, delicate guitars and pianos providing the perfect introduction to the album. Whether it's the slow burning seductive pop of tracks like 'Just Like You', piano led house tracks like 'String It Again', the Balearic haze of 'All For You' or bonafide hits like the Nordic inspired 'Northern Lights' and 'Mirage' that between them have already scored well over 10 million streams across streaming platforms, 'Solar Nights' takes everything we loved from 'Panorama Pacifico' and polishes it to an ultra high sheen.

And in an age when rough and raw production is seen as an easy shorthand for authenticity, Tim's love of über-smooth production has made him an unlikely iconoclast, "I had always been fascinated by how glossy people like Nile Rodgers made their music," he reveals. "It always sounded like the musical equivalent of a fashion magazine's cover. I'd been making more underground music for a while but really wanted to go in totally the other direction and instead create a really smooth, polished sound."

That obsession with sonic fidelity shines through across every track on 'Solar Nights', and the years since his debut was released have been well spent perfecting his craft. "Even in just the last couple of years I've made some big changes in how I produce music. Compared to my debut, everything under the hood has changed here," he explains. "Every day, with every production, I'm learning new things and when I listen to these new tracks, the depth in the mixes, the clarity, I like to think of 'Solar Nights' as Satin Jackets but in 3D."

From wanting to recreate the sound of magazine covers to appearing on them, the past few years has been quite some journey for the still enigmatic producer. The man behind the golden mask may prefer to stay out of sight but 'Solar Nights' reveals him to be fully in control, producing music that reflects the glamour and glitz of 70s Manhattan, artfully updated for the 21st century.

This album is like a private and historical dive into Laurence Vanay’ work. The tracks had been selected by her own daughter, Marine Thibault (SEYES, Lia Moon, Wax Taylor), in order to (re)discover the sensitive and unique repertoire of an unknown artist but yet part of her time’s avant-garde.

This musical collection title, Ghost Notes from the Stone Vessel, directly refers to Mon Vaisseau de Pierre (My Stone Vessel) a goodbye song written by Laurence Vanay when she had to leave the Château d’Hérouville, a so called recording studio she headed with her husband Laurent Thibault. Moreover, all tracks had been written, composed and recorded at the Château between 1974 and 1985.

Multi-platinum singer-songwriterVanceJoyhas announced his highly anticipated third studio album, In Our Own Sweet Time. Created mostly in the pandemic, the album is Joy's most personal project yet. Realizing what truly matters and growing in new ways personally and creatively, In Our Own Sweet Timeis fueled by old friends, new memories and finding love in a not-so-hopeless place. The eagerly awaited new album includes collaborations with hitmakers such asJoel Little (Lorde, Taylor Swift), Dan Wilson (Adele, Leon Bridges), Take a Day Trip (Miley Cyrus, Lil Nas X) and more.

A portion of the proceeds from each shipment will go towards the Red Door Community (formerly Gilda's Club Nyc). The list of participating titles is below.

The nonprofit's mission is to create a welcoming community of Free cancer support to bring knowledge, hope, and empowerment to anyone and everyone impacted by cancer and their families. They are committed to expanding their program and broadening their reach to meet the growing needs of individuals living with cancer, in more places, and in more ways than ever before.

The Radio 2 Top 2000 is the largest annual radio event in The Netherlands. The audience of Radio 2 gets to vote for their favourite all-time songs. Literally millions of votes come together in the Top 2000. All these 2000 songs are broadcasted back to back from Christmas until a few minutes before New Year’s Eve, when they air the No.1 of the chart. The Top 2000 bridges the gaps between all musical generation from the Sixties to the present, making it the most eclectic chart out there, and keeping more than half of the country glued to their radio day and night for the whole week it’s broadcasted. And with a daily tv spin-off during its broadcast, it has reached an even bigger audience. Top 2000 - The 10’s contains the best hits from the century in which the style of vocals popular in indie pop became immensely widespread among pop instrumentalists as they were commonly used by younger artists. Traditional instruments, such as the mandolin, dulcimer, ukulele, bongos and accordion, have been used more often and teen pop, electronic and rock music became more popular. This compilation of hits dated from the 10’s feature furthermore Pharrel Williams, Billie Eilish, John Mayer, Lorde, Lana Del Rey, First Aid Kit, Elbow, Florence + The Machine and Nothing But Thieves. Top 2000 - The 10’s is a 2LP and available on black vinyl.

For the first time on vinyl, her 2014 album.

Record Store Day 2020 Release.
Limitation: 1200 copies.

The 2020 vinyl debut of the classic live 2002 recording Live at The Clubhouse. The new LP features 7 tracks from that performance along with a bonus re-mix from Money Mark on the timeless smash hit ''Genius of Love''. Pressed on yellow colored vinyl with new artwork created by Chris and Tina. Album cover features vintage street shot of Tina with hip-hop pioneer Grandmaster Flash. The set is released exclusively for Record Store Day 2020 in conjunction with the autobiography of band leader Chris Frantz's book ''Remain in Love'' on May 12 from St. Martin's Press. Sales and Marketing Points * Vinyl debut of these live recordings * Limited edition pressed on yellow colored vinyl * Features 7 remastered live tracks with bonus remix from Money Mark of the classic ''Genius of Love'' * Features new artwork and photos compiled by band leaders Chris Frantz and Tina Weymouth * Chris Frantz autobiography ''Remain in Love'' released through St. Martin's Press on May 12 * Album to be co-promoted with St. Martin's Press in conjunction of both releases

Side A: 1. Genuis Of Love 2. Wordy Rappinghood 3. As Above So Below 4. Punk Lolita Side B: 1. Time To Bounce 2. Who Feelin' It 3. Suboceana 4. Genius Of Love (Money Mark Remix)

In 2014 Dan Snaith aka Caribou released Our Love to overwhelming critical acclaim and massive fan support. Now Caribou returns with his seventh studio album Suddenly, an album about family and the changes we go though as those relationships evolve.
Suddenly is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolour, this album is littered with swerves and left turns, and amazes with it’s yet unheard nuances, samples and hooks.
As Snaith puts it, “these albums are like photo albums for me – when I look back at the old ones, they’re a snapshot of my life at that time, full of people who are close to you”. This is the drive to continue to make Caribou albums. Full bodies of work where Snaith is able to evaluate things, look at those around him and celebrate them. As his passion and joy in music making remains as fresh as ever, Suddenly is the purest example of this yet.

Joseph Carvell returns to Karaoke Kalk with his sophomore album under the Pink Shabab moniker. »Never Stopped Loving You« was for the most part written between Spring and late Summer 2020 in his Camberwell home and like his 2019 debut »Ema by the Sea« recorded in the South of France together with Emmanuel Mario, better known as Astrobal. It’s a record informed by feelings of nostalgia, love, longing, romance and loss and, much like his previous album, displays Carvell's knack for making introversion sound extroverted. As a bassist, his approach to songwriting is both rhythmic and melodic, making the resulting music just as visceral as it is emotive. Much like the record’s title can be understood as both a lament or an expression of joyful dedication, the music on »Never Stopped Loving You« is profoundly ambiguous.

»I was lucky with the timing for this record,« says Carvell and at first that may sound counterintuitive: managing to play only one show in Zurich in early 2020, he had to cancel his planned European tour and go back to the United Kingdom, which soon went into lockdown. He made the best out of the situation, recording electric and upright bass for Nick Krgovich, Daniel O’Sullivan and Zooey’s new records while also working on tracks and demos by himself. »The world seemed to have stopped and I had more time to think about the past and find the best grooves, the suitable keyboard touches and the right words,« says Carvell. Everything came together slowly before he boarded a train to France with his keyboard: »The pace of life completely dropped and between takes Ema and I were going swimming and taking walks,« he says of the sessions.

»Never Stopped Loving You« is notably more electronic than its predecessor, but also full of the small melodic and harmonic details that made »Ema by the Sea« such an outstanding record. »I was listening to more 1990s dance and house music and 1980s pop and also a healthy amount of ambient music,« explains Carvell. These influences are clearly audible on songs like the Chicago House-esque beats of »Show Your Love« or »Why Did I Leave You that Morning«, the skittish rhythms on »Let Go« and the near-Balearic »San Junipero«. Especially the latter makes it clear that Carvell spent much time devoting himself to movies and TV shows, but also incorporated more piano sounds in his songs—he learnt the instrument by playing along to classic Beatles and Beach Boys songs.

Despite being more upbeat on a rhythmic level than before, Carvell’s use of texture and his peculiar voice add another note to the music. Even an anthemic song like »Run Away«, his first composition to follow a classic verse/chorus structure, is profoundly ambivalent, both overjoyed and deeply melancholic. By the same token however, even a torch song like »You Stepped Out of My Life« is enormously consoling. This, after all, has always been Carvell’s strength: creating music that will cheer you up when you’re down while also injecting a sense of futility into every moment of euphoria. It never shone more brightly than on »Never Stopped Loving You.«

Alex Cameron's newest and most musically expansive LP, the glistening Miami Memory, takes a surprising turn. Cameron's flair for narrative and character are still on full display; yet Miami Memory's most frequent narrator is, for the first time, Cameron himself - singing with stunning candor of his three-year relationship with visual artist and actor Jemima Kirke. ''When you listen to these songs, and you're waiting for the twist, or the joke, or any kind of discomfort, I can assure you none of those things were there when I wrote them,'' says Cameron. ''These are true stories, of actual events. Specific but never esoteric. And graphic but never offensive. Miami Memory is the story of a couple balancing sex positivity with contemporary family values...It's my gift to Jemima, a symbol to hoist on the totem of love.'' Though remnants of his synth-driven earlier work sneak in to unsettle the tone, the bulk of Miami Memory, produced by Jonathan Rado (Weyes Blood, Father John Misty) and recorded and mixed by Marta Salogni (Bjork, Kelela), revels in the emotional overdrive of classic dad rock, its warm, anthemic songs driven by bass, guitar, sax, and layers of Vegas wedding chapel-ish organ. Cameron's dad rock funhouse of an album ultimately twists and subverts the genre: it recalls classics the white male ego has historically visited for its regular adrenaline injection, and morphs them into a singular ''stepdad'' rock that largely turns its lens away from the dads, celebrating the demise of old norms of gender and power. In his depiction of his relationship with Kirke, Cameron reveals a striking honesty about love and sex in a time where a palpable fleetingness hangs over everything from relationships to human life on this planet - but also where constricting mores have deteriorated enough to let ''family life,'' in all its morphing forms, exist outside of social obligation. With arresting straightforwardness, Cameron now sings as himself, paying tribute to sex positivity, female empowerment, family and responsibility, and, to his love, Jemima.
1. Stepdad 2. Miami Memory 3. Far From Born Again 4. Gaslight 5. Bad For The Boys 6. End is Nigh 7. PC With Me 8. Divorce 9. Other Ladies 10. Too Far

Fast Freight is the new album from Deniz Tek with Art and Steve Godoy. Art and Steve are internationally known skateboard stars, tattooists and punk rockers. They have been in Deniz' solo band for more than 20 years. The first album they appeared on with Deniz was Glass Eye World, billed as Deniz Tek and the Golden Breed . Deniz, originally from Ann Arbor, Michigan, is known as a founding member of the Australian based band Radio Birdman. He has maintained a prolific career in both live performance and recording. His work spans multiple decades. He has toured extensively in Australia, North America, Europe, and Asia. He is an inductee in the Australian Music Hall of Fame and was voted number 7 of the top 100 Australian guitarists of all time by Australian Guitar Magazine. Fast Freight is basic, no-frills electric guitar rock and roll with a punk edge, recorded and mixed entirely on vintage analog equipment. Following the recent all-instrumental Lost For Words, and the rock album Mean Old Twister, replete with keyboard and horn arrangements, Fast Freight is a return to basic roots.

Her second full-length album, Look Up Sharp , on her own Kallista records. Look Up Sharp is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, You Know What It's Like (2016) and The Garden EP (2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London's sprawling mess. The small-town dreams and inertia that preoccupied dal Forno's first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. Look Up Sharp is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. Dal Forno connects with kindred spirits and finds refuge in darkened alleys, secret gardens and wherever else she dares to look. In her own territory between plaintive pop, folk and post-punk dal Forno conjures the ghosts of AC Marias, Virginia Astley and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. The first half of the record is filled with dubbed-out humid bass lines, which tether stoned hazes of psychedelic synth work as on 'Took A Long Time' and 'No Trace.' These contrast with songs like 'I'm Conscious and 'So Much better' that channel the lilting power of YMG and are clear sequels-in-waiting to dead-eyed classics like 'Fast Moving Cars.' The B-side begins with the feverish bass and meandering melody of 'Don't Follow Me,' which takes The Cure's 'A Forest' as its conceptual springboard. It's the clearest lyrical example since 'The Garden' of dal Forno's unmatched ability to unpick the masculine void of post-punk and new wave nostalgia to reflect contemporary nuance. Look Up Sharp reaches its satisfying conclusion with 'Push On' - dal Forno's most explicit foray into an undiscovered trip hop universe between Massive Attack and Tracey Thorn. The album's last gasp finds personal validation in fragility: 'I push on / I'm the Place I'm Going,' a self discovery lifted by reverberant broken beats and glass-blown...

About the album, G says: "I thought about releasing my own album a lot growing up. I would sit in the lounge room holding Dad's record collection in my hands in awe. I was intrigued, I wanted my own. It's a big moment, I'm super stoked to drop my debut. Some of these songs I've had for years and it's time to get them out. I'm excited for this step to be accomplished and to tick it off the list. I'm pretty excited for what's to come next too..."

Jatinder Singh Durhailay and David Edren released Tea Notes as a cassette back in April of 2018. London-based Jatinder Singh Durhailay is a painter and student of Indian Classical music. He has trained in both the sitar and the Hindi singing technique, Dhrupad. He also plays two traditional Sikh instruments; the bowed, stringed Dilruba and Taus. Poetic Pastel Press issued his solo debut, The Last Ballad Of Mardana, in 2017. David Edren`s expertise lies with machines and modular synthesis. His Kosmische and New Age-Inspired electronics have featured on numerous cassettes, and compilations, produced for imprints from the current Belgian underground, such as Jj Funhouse, Social Harmony, and Ultra Eczema. These recordings appearing, since the turn of the millennium, either under his own name, or the moniker DSR Lines. Jatinder and David’s collaboration, Tea Notes, is a celebration, a meditation, on both the beverage, and the communal time shared imbibing. The coming together to partake in its ritual. Each of the six tracks represents a different infusion. The opening piece is a tribute to semi-oxidised Oolong, from China`s Wuyi Mountains, with hammered dulcimer-like glissando. Gongs shimmering, gently crashing, as if signaling a change in the weather. A calm of thin, stretched synths and Ai angels introduces Tulsi from India. The Holy Basil of Hinduism, used in the worship of Vishnu, Krishna, and Rama. A traditional herb of Ayurveda and Siddha medicine. Automated arpeggiated sequences raising a vibrating wall of hallucinatory sound. Pairing swooning strings with a racing robot heart. Ceylon is a modern twist on the classical raga. Serving to tell the story of a tea smuggled into Sri Lanka in the 19th century. Plants stolen from South West China, where the brew had been enjoyed since the days of the Shang Dynasty (1766 to 1122 BC). The contraband founding fresh industry in its new home when the indigenous coffee crops failed. Muted organ and sleepy, treated sine wave microtones describe Kava, the Polynesian fireweed root, whose extract serves as both sedative and euphoriant.Shincha are the first young leaves of the season. Picked in Southern Japan and steamed to prevent oxidization, retain their flavour and green / gold colour. Their musical counterpart finds Edren establishing an ecclesiastical drone, while Durhailay`s strings chart an ancient romantic ache. Sonic stars shine. Singing out to the infinite, the universe, before dissolving into knots of Radiophonic Workshop noise.Melodies treated with subtle sustain and delay denote Pu-Ehr, from the Yunnan province. The only truly fermented black tea - made distinctive by the action of bacteria, moulds, and yeasts. Its musical themes hovering in the vapour trails, the atmospheres, they themselves create. Spiraling, soaring, reaching for the heavens, while pretty music box glitches - tiny chimes turned in on themselves. Catching, reflecting, like light at play on fresh running water. (words: Robert Harris)

Recorded january to march 2018 in Antwerpen and London. Mixed and edited by David Edren at ll150.
Mastered & cut by Anne Taegert at Dubplates & Mastering Berlin. Artwork by Victor Robyn.

With two much loved 7”’s, as well as countless riotous live shows already to their name, it was only a matter of time before Brighton punks, Gender Roles unleashed their debut album on the world, and now PRANG is finally here.

Capturing the frenetic energy of their live shows, the new record sees their grunge/punk sound evolving into something a little more complex. The new songs blend in a lyrical honesty and nuance but retain the angst and charm of their earlier material, to make it sound unmistakably Gender Roles and their most complete work to date.

This is the regular LP version with 14 tracks. Please be aware of the limited double LP edition with 20 tracks that we offer.

An album title with not one, but two exclamation marks, meaning something akin to “what a palaver”as it primes the listener for songs like “Cinemascope”. Themes such as personal injuries (“Ich bin cool”), betrayal (“Mes copines”), personality deficiencies brought on by drug abuse (“Methedrine”), rage (“Hass-Satellit”), inflated opinions of oneself (“Brezel says”), suicide (“Le Spleen”), grief (“Dancing with a memory") and souls in torment ("Elektroschocktherapie") are presented in widescreen format in and often in the most entertaining fashion.

Françoise Cactus apparently once said of herself: "I am a linguistic artist who can live with the laughs". Which says it all really, although Stereo Total’s penchant for wordplay is not in evidence in all of the lyrics on this record. Many tracks here echo the rather more sombre, desperate songs she wrote for her first band "Les Lolitas". Nevertheless, the anarchic humour which we have come to associate with Stereo Total resurfaces on compositions like "Keine Musik" and "Einfach".

Musically, this Stereo Total disc, their twelfth, cannot be readily aligned with anything at all. If earlier albums resonated with influences from chanson, trash or disco to punk, rock’n’roll and NDW (German New Wave), Stereo Total have now arrived in their very own musical universe which pays no heed to stylistic devices, reminiscent of “rien de tout”. What we can say: Françoise Cactus excels in the art of 8-track cassette recording, thus creating an extraordinary sonic experience. Brezel Göring draws on his favoured array of instruments more likely to be found in the hands of children in households where a musical education is not on the agenda: plastic baby organ and dreadful mouse piano, accompanied by home-made guitars glued together by less than gifted artisans.

1. Stereo Total continue to make electronic music with flea market Casio sounds which fly in the face of what is generally accepted to be electronic music. Each musical instrument could probably be translated into social coordinates and in this sense, the tools of Stereo Total’s trade speak an unequivocal language.

2. Stereo Total continue to play LoFi garage rock music which makes a mockery of all the masculine clichés associated with guitars. When Françoise Cactus plays the drums, the rhythms of feminism, anti-professionalism and subversive dilettantism come to the fore.

Any attempts to pigeonhole Stereo Total are destined to fail. In the words of Flann O'Brien: "When shall we ever see their like again?"

A word to our younger readers: Stereo Total began making music before the internet existed, before the Euro, before Germany reunited and before there were even bands or music. They will probably still be playing when all that has been consigned to the dustbin of history. The group comprises Françoise Cactus, who spends her time as a radio presenter, author and artist between band sessions, and Brezel Göring, a man whose very choice of stage name was motivated by a desire not to be taken seriously by music and art scribes.

When they began making music together, they made it their mission to disrupt rules, to destabilize ideas. They may not have thrown European harmonic structure or 4/4 time out of the window, but they have certainly asked questions of every other aspect of musical and lyrical techniques. Lines like "you look good from the back", "love as a threesome", "I am naked", "I’m the young gigolo with a smoker’s lung " and "sex complex" are designed to repel serious music lovers whilst shocking them with sound engineering which falls well below the standards of mainstream listeners.

“It’s taken a long time for me to feel good about myself,” says Andreya Triana of the journey
to her third album. “As a musician, as a woman, it’s difficult getting to that space. It’s really
wonderful where you reach that time of having more good days than bad.”
That sense of celebration is what drives ‘Life In Colour’, Andreya’s most confident, instinctive
and heartfelt work to date; a record that celebrates love, freedom, independence and
womanhood.
“‘Life In Colour’ is about stepping into my womanhood and being like ‘OK, I know this space.
Let me try some s**t. I know it’s going to be hard but I know it’s going to be OK’. I just
wanted to put some good energy out there.”
The first taster of that sweet release was teased with lead single ‘Woman’ - a soulful pop
anthem of self-love, tracking Andreya’s life from awkward teen to mighty queen, from
memories of heartache and trauma to triumph.
“You know when you’re feeling so uncomfortable in yourself and you just want to be
swallowed up into a hole in the ground?,” Andreya recalls of her youth. “This is about moving
on from being a victim to a place of strength, to feeling like a superhero.
“Anyone who has gone through difficult times like I have, should know that it’s absolutely
possible to get to a good place. It doesn’t define who you are or your future. You have to
fight like hell every day to move forward but anything is possible. We’re all full of so much
goodness. Don’t lose sight of that.”
The lyric video is a tribute to Andreya’s mother, grandmother, the strong females of her life
and the many sacrifices that women make day-to-day, generation after generation.

"Britain wasn’t on its own in having a thoroughly miserable 1973: O Lucky Man! and Badlands both found a great year to premiere, while Watergate brought America to a new low. But America didn’t still have back-to-backs and outside bogs. Tens of thousands of Britons remained housed in wartime pre-fabs and sub-standard dwellings. The bright new colours of the post-war Festival of Britain and Harold Wilson’s talk in the 60s of the “white heat of technology” now seemed very distant as strikes, inflation, and food and oil shortages laid Britain low. What had gone wrong? And what did pop music have to say about it?

With perfect timing this album soundtracks Britain on the brink of chaos. It includes lost masterpieces (Phil Cordell’s ‘Londonderry’), gritty singles by the new names of the early 70s (Mungo Jerry’s ‘Open Up’, David Essex’s ‘Stardust’) and forgotten gems by some of the biggest names of the previous decade, now struggling to make themselves heard (the Kinks’ ‘When Work Is Over’, the Troggs’ ‘I’m On Fire’).

Sometimes the approach was tongue-in-cheek (the Strawbs’ ‘Part Of The Union’), other times it was the sound of sheer frustration (Mike McGear’s ‘Kill’), and occasionally it was angry enough to incur the wrath of special branch (Hawkwind’s banned ‘Urban Guerilla’). Mostly the sound of these records evokes the feeling of nights in with only candles to light the house and TV closing down at 10pm: the empty spaces of Adam Faith’s ‘In Your Life’; the fuzz guitar minimalism of Ricky Wilde’s ‘Hertfordshire Rock’; Climax Chicago’s alternative lifestyle-musing ‘Mole On The Dole’.

Compiled by Bob Stanley and Pete Wiggs, “Three Day Week” follows on from their highly acclaimed “English Weather”, “Paris In The Spring” and “State Of The Union” compilations. It amplifies the noise of a country which was still unable to forget the war, even as it watched the progressive post-war consensus disintegrating. We hear shrugs and cynicism, laughter through gritted teeth, melancholy, and a real anger that would rise to the surface with punk a few years later.

This 180g clear vinyl LP with deluxe gatefold sleeve features two extra tracks."

Still in shrink but opened with hype sticker. Vinyl is close to NM. With insert.

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

Red vinyl. Original inner sleeve. 3CDs. with booklet. Tiny wear.

Two years after ".... and The Casiotone Orchestra", Odessey & Oracle continue their speculative and colorful explorations through an adventurous sonic quest, mixing acoustic sonorities and classical instruments, using a pallet of analog specimens dating back to the 60s and 70s.

Retro-futuristic music with sophisticated arrangements underlines unbridled songwriting with heterogenous influences (Brian Wilson, Caetano Veloso, White Noise, JS Bach, Moondog, Robert Wyatt...).
The lyrics, in French, both surreal and utopian, serve as witness to the contradictions of our times and invite the listener to imagine a revolutionary love.

This special edition contains the CD with a 56-page A4 harback book.

November sees the release of Merrie Land, the second album from The Good, The Bad & The Queen, a band comprising of Damon Albarn, Paul Simonon, Tony Allen and Simon Tong. The Good, The Bad & The Queen began life as the acclaimed 2007 album of the same name, a heartfelt tribute to London described by The Observer in a 5 star review as –“One of the most surprising and magical records for which Damon Albarn has ever been responsible”.

The record traced a journey from the English music hall tradition to West Africa and Afrobeat, zigzagging through the West Indies and its reggae and dub, back to England and London's punk scene, all the while taking in a strand of British beat music from the '50s right through to Britpop. The result was a record specific to a place and mood but with a background that was geographically wide-ranging.
Now the four musical storytellers are back with a new studio album titled ‘Merrie Land’.

Produced by Tony Visconti and The Good, The Bad & The Queen was completed in London and Wales this year, during the current ongoing period in which the UK is preparing to leave the European Union, ‘Merrie Land ’is a questioning good-bye letter, a series of observations and reflections on Britishness in 2018. Even though it has been over 10 years since the band last released a record, the timing could not be more apt – there could not be a more perfect band to untangle the optimism, disorientation and confusion in the atmosphere today.
With ‘Merrie Land’, the band taps into a creative symbiosis of past and future, drawing inspiration from their shared glittering musical histories and wrapping the hybrid results in a brilliantly postmodern yet thoroughly British package.

The album sees the band’s focus move beyond London with a beautiful and hopeful paean to the Britain of today - an inclusive Britain - and the possibilities of the future. In the band’s own words, Merrie Land is a ten song lament of Anglo-Saxosentialism marking the reluctant end of a relationship, and about picking up the pieces and seeing what can be salvaged. The band set a beautifully muted palette and lustrous finish to bring out a mood that is bruised yet unapologetically defiant and optimistic, and carries the underlying message: we will survive.
In times of metaphysical trauma, the people need to forge ahead and wear armour. Here it is, set to the mood music of a nation about to be broken yet undefeated.

Compilation of so far digital only/unreleased or japan only tracks by the canadian producer Mocky, who most recently co-produced/co-wrote Feist's „Pleasure“; Joey Dosik's „Inside Voice“ and Kelela's „Take Me Apart“. Featuring guests Jamie Lidell, Chilly Gonzales, Joey Dosik, Pegasus Warning, Moses Sumney.

For the first time on vinyl at album length this is Mocky’s collection of the best of Japan-only/unreleased gems and favorites from his so far digital only mixtape-series "The Moxtapes" Vol. I-IV. The A-Side delves deep into his songwriting/lyrical side and features some of his most intense and touching songs thus far like "The Fortress" (featuring Chilly Gonzales on piano), "Problematic" (which casts Mocky's crooning in a glitched-out new light) and "Exception To The Rule", a radiant track that features breakout artists Joey Dosik on keyboards and Moses Sumney on background vocals. The B-Side showcases Mocky's off the grid soulful groove compositions like "You Can't Rush The Funk", „How It Goes“ or "Keep Feelin This (feat. Jamie Lidell), bringing back memories of their classic work together on Lidell’s “Multiply”.

Soul Sugar drop their own reggae version of Marvin Gaye’s "I Want You". French outfit Soul Sugar – the brainchild of Guillaume “Gee” Metenier – deliver yet another soulful reggae 12”, this time a cover version of Marvin Gaye’s 1976 classic "I Want You". Jamaicain native Leonardo Carmichael sings lead vocals and legendary drums and bass duo Sly & Robbie add their flavor to the mix, with two versions on side B. Marvin Gaye’s single "I Want You" was a big step forward for his sound & vision and marked a change in direction – from hip Motown Soul to a more sultry, Disco sound. Marvin's vocals are notably intimate and the lyrics are more explicit, more personal. An original soul classic, "I Want You" is memorable for its unique combination of lush harmonies, a mesmerizing groove and the apparent sexiness of the theme itself. Soul Sugar's Discomix version combines a smooth mixture of reggae, soul and funk over beefy bass lines, designed for heavyweight sound systems. Sly & Robbie, rhythm duo known for their studio work on countless reggae classics since the 1960s deliver their version, taking us back to the golden age of Reggae, the days when it was typical for Jamaican musicians to record their own versions of American soul tunes ... Ace producer Jahno dubs the mix live and direct to tape, from his very own ' N.O.F Studio'.

Two years after ".... and The Casiotone Orchestra", Odessey & Oracle continue their speculative and colorful explorations through an adventurous sonic quest, mixing acoustic sonorities and classical instruments, using a pallet of analog specimens dating back to the 60s and 70s.

Retro-futuristic music with sophisticated arrangements underlines unbridled songwriting with heterogenous influences (Brian Wilson, Caetano Veloso, White Noise, JS Bach, Moondog, Robert Wyatt...).
The lyrics, in French, both surreal and utopian, serve as witness to the contradictions of our times and invite the listener to imagine a revolutionary love.

Honey Child is a Chamber Pop Choir from Los Angeles, led by Opera singer Claire McKeown and featuring Claire Boutelle, Aimee Jacobs, Danielle Mandell, Dayna Richards, Jacquelyn Sky, and Cynthia Zitter. Originally formed as a cathartic place to let go of the pains of a slaughtered heart, Honey Child became a transformative creative endeavor filled with beauty and harmony. The debut album was recorded at EastWest Studios in the famed Studio 3 (Pet sounds). According to McKeown, The goal of the album was to celebrate musicians sharing time and space. We set up for three days and tried to capture as much magic as possible honoring the authenticity of our sound and ability to record live performances. For me, the orchestrations and vocal arrangements of The Beach Boys and The Beatles were huge inspirations for the album along with the vocal delivery of Harry Nilsson, Dusty Springfield, and the dramatic honesty of opera singer Maria Callas."

Since Nika Roza Danilova has been recording music as Zola Jesus she's been on Sacred Bones Records for most of that time, and Okovi marked her reunion with the label. Fittingly, the 11 electronics-driven songs on Okovi share musical DNA with her early work on Sacred Bones. The music was written in pure catharsis, and as a result, the sonics are heavy, dark, and exploratory. With Okovi, Zola Jesus has crafted a profound meditation on loss and reconciliation that stands tall alongside the major works of its genre. The album peaks of tragedy with great wisdom and clarity. Its songs plumb dark depths, but they reflect light as well.

It was winter break at university in Madison, Wisconsin. There was a snowstorm that covered the city with a still white haze. Not a single person in the streets. I was sitting on my bed with a cheap keyboard and a computer, screaming into the void. I barely remember writing the songs. It was a chaotic point in my life. I had no time to think about process or intent. It was a purge. I do remember taking a break from recording, bundling up, and walking through the barren streets while listening to the demos I'd made. The world, at once, felt clear. These songs were a huge leap of faith back then. It was my first time singing without layers of distortion, echo, and reverb. It was the first time I peeled back the layers to find out what was at the core. I'm still on that path today, seeing how far I can push myself into unknown places, whether through clarification or destruction. It's like Stridulum's still here with me, underneath it all." -Nika Roza Danilova

After a series of cassettes and one self released CD Così e Così has honed the dense and gritty textures of his deconstructed pop forays and sound experiments into a collection of poetry awash in subdued synths, bending tones, and sometimes frantic rhythms. Its efforts to dissect the constructs of time to overcome fleeting ideals in life and love make 'Impermanence In The Time Of Heavens' at once far-reaching and overwhelming, yet cathartic; a romanticism for an era of fragmented identities.

Music and extended poems throughout IITTOH sample from Vincent’s personal audio and lyrical collections dating back to 2004. Reworking the same loop in nearly every song until it's unrecognizable, and referencing other passages within, creates a work cut and scattered, yet bound by repeated motifs and moods of memory, loss, and rebirth. Recorded primarily in a log cabin in Manitoba, Canada, IITTOH was also recorded on a deserted beach town in Montenegro and a lakeside apartment in Macedonia, and completed in Montreal, Canada.

“After 7 years of touring & recording, I found myself becoming self conscious about my position in life as a “famous” person, or at least my version of whatever that is. My dreams had become my reality, yet I was somehow unable to accept this new environment. I couldn’t help but fall into what might be described as an identity crisis. During this time of personal turmoil, I turned to music as a form of therapy. I’d listen to the same ambient song over & over again, trying to insulate myself from reality. I fell in love with space again."

Their 5th album titled, "The Fifth State Of Consciousness", is a double LP produced in Peaking Lights Dreamfuzz studio over the last two years. It's both a departure from the new and a return to the old with a whole new twist on the psychedelic dub-pop they've become know for. Self released...from the heart! Gatefold Sleeve. BIG TIP!
Sonically the double album shifts through many states from beginning to end, resonating deep, like a drive thru foreign landscapes where you're glued to the window as everything slowly changes around you. The flow and pacing of songs has a sense of
wonderment and each time you play it there's a whole new batch of lovely sounds and eccentricities within each of the players. While bringing together their love of Psychedelic music, House, Electronic and Reggae each song manages to live it's own life and yet still there is some magical thread that binds them together

Sóley is back with her third solo album, Endless Summer. Written over the period of one year together with her long-time friend and collaborator Albert Finnbogason, the new full-length sees the acclaimed musician from Iceland explore the more optimistic, sun-drenched corners of her songwriting.

For the first time on vinyl.

Mike & The Mechanics are Mike Rutherford, Andrew Roachford, Tim Howar, Gary Wallis, Luke Juby and Anthony Drennan. 'Let Me Fly' is the 8th studio album from the band and returns to the early Mechanics sound.

Goldfrapp follow up 2013’s Top 5 album ‘Tales of Us’ with the deep, dark and electronic musical palette of ‘Silver Eye’, their brand new studio album, made, for the first time, with an eclectic collection of collaborators. John Congleton, Grammy-winning producer of St. Vincent, John Grant and Wild Beasts, electronic composer Bobby Krlic, aka The Haxan Cloak and mix engineer David Wrench (The XX, Caribou, fka Twigs) have helped create an album of stomping underground electronica, sensual ethereal melodies and metal machine pop, that is undeniably Goldfrapp. A passionate and increasingly in-demand photographer, Alison art directed and shot all the images for the album cover and the publicity campaign.

The single Human is already being compared to Hozier’s Take Me To Church for its instant impact, honest lyrics and throwback to ‘real’ music in a time of corporate pop.

Thus his soulful voice leads to further expectations.

Starboy is the follow up to last year’s Grammy-Award winning, 3X-platinum Beauty Behind The Madness. Title track “Starboy” ft. Daft Punk was named “Most Added Record of All-Time in North America” at radio.

From the human condition to global politics, Here offers a keen glimpse of everything that matters most to Keys. Here is Keys' first album in four years, following Girl on Fire (2012). Keys said that she was not planning a hiatus, but after she finished recording material for the album, she found out she was pregnant which "put a different time spin on things."

The crossover between electronic music and classical composition has never been in more vibrant and dynamic health. Multifarious musician Emika explores this fertile ground on her ambitious new opus 'Melanfonie': her first orchestral composition, some four years in the making.
Funded by a hugely successful Kickstarter campaign that exceeded its target by an impressive €25,000.
While many rebel from their classical training never to return to it explicitly, Emika has always been attracted to the potential and freedoms offered by the symphony form. As well as taking inspiration from her electronic music background in composing the music itself, Emika also applied some of production and playback principles from that realm to create a piece whose every element has been carefully considered.
Emika is on a quest to try and change what we mean when we talk about ‘classical music’. For her, the magic of the ‘genre’ is about the instruments themselves and more importantly the people who play them; not the restricting traditions and conventions of the classical world itself. I want to change the face of classical music and give it a more honest and real image. It is time we had something other than pomp and circumstance and avant-garde squeaks and pops.”

A pummeling, voluntary thrust into the heart of darkness at the speed of light; a face-first bungee jump off the mortal coil into the gaping canyon of forever; a fistful of snow hurled at death's grin from high on a ski-lift doomed to eternally climb the summit-less mountain; a motorcycle falls from a tear in Hell; a tesseract constructed out of a half pipe slows down time as life flashes before your eyes in vivid colors; a pastless, futureless Xtreme Now unwinds before you, interrupted only by the consumption of a mysterious glowing green liquid oozing from a shiny aluminum can marked "Energy".

Limited Edition.
Orange Vinyl.
Record is close to NM.

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

Since the release of Solo Piano II, Chilly Gonzales composed the best-selling
book of easy piano pieces Re-Introduction Etudes, produced and released Octave
Minds, the piano-meets-electronica album with Boys Noize and, most
importantly, devoted himself to finding a modern take on chamber music.
The result is "Chambers", an album for piano and string quartet (and a few
surprises along the way). Inspired by the deepening relationship with Hamburg's
Kaiser Quartett, the album re-imagines Romantic-era chamber music as today's
addictive pop. Gestures from rap, ambient, easy listening and the avant-garde co- exist as always in Chilly Gonzales’ musical universe - this time with strings
attached.
Known equally for his intimate piano touch as for his showmanship, "Gonzo"
aims to be a man of his time, approaching the piano with classical and jazz
training but with the attitude of a rapper.
Chilly Gonzales holds the Guinness world record for the longest solo concert at
over 27 hours. He performs and writes songs with Jarvis Cocker, Feist and Drake,
among others. In 2014 he won a Grammy for his collaboration on Daft Punk’s
Best Album of the Year. With "Never Stop", Chilly Gonzales composed a global
hit for the inaugural Apple iPad campaign.

Void Vision is a Philadelphia-based electronic project helmed by Shari Wallin. It began around 2009 at a time when a wave of synth-revivalists were materializing, but the quality of the songwriting and intense vocals set the band apart from the pack. In a rare instance, Void Vision has managed to combine vintage dance elements with melodic structures, haunting melancholy, and lyrics that have a palpable soul. The songs themselves are dynamic, referencing a cross-section of the last 30 years of electronic music, while simultaneously retaining a uniqueness all their own.

Wierd Records weekly club night in New York, which showcased a variety of talented electronic and coldwave artists, served as an incubator for Void Vision in it’s early stages. After a standout debut performance at the club, they immediately caught the attention of Blind Prophet Records, who consequently released their first 7″ single, ‘In 20 Years’, which received excellent reviews.

Vari has continued performing and recording steadily over the last few years, releasing songs on compilations for various labels, including Rough Trade, and in 2012 the song ‘Everything is Fine’ was selected for Artforum magazine’s ‘Best of 2012′ issue. In 2013, Void Vision toured the West Coast and later that year released a split 12″ with Portland-based band, Vice Device. The first official full-length album, entitled ‘Sub Rosa’ is set to debut on Berlin-based Mannequin Records, followed by a European tour in 2015.

Over the last year, Vienna-based producer SOHN has collaborated with the likes of Disclosure, Angel Haze, Rhye, and Banks.

Now it's time for his debut Tremors on UK's 4AD.

80g vinyl including download code.

This one is featured in 9.5 of 10 best of 2012 lists, so it's time for a proper repress!

Highly anticipated follow-up to the debut album "Innerspeaker". Recommended!

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

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

“Loud” is the fifth studio album by Barbadian singer Rihanna. It was released on November 2010, by Def Jam Recordings and SRP Records. It was recorded between February and August 2010, during the singer's “Last Girl on Earth” Tour and the filming of her first feature film “Battleship”. Rihanna was the executive producer of “Loud” and worked with various record producers, including StarGate, Sandy Vee, The Runners, Tricky Stewart and Alex da Kid. The album features several guest vocalists, including rappers Drake, Nicki Minaj and Eminem, who is featured on the sequel to "Love the Way You Lie", titled "Love the Way You Lie (Part II)".

The album differs from Rihanna's 2009 album, “Rated R”, which incorporates a prominently foreboding and angry tone and dark themes. “Loud” features up-tempo and pop genres, ranging from R&B and dance-pop to electro music, and marks the return to dancehall; a genre prominent on Rihanna's first two albums “Music of the Sun” (2005) and “A Girl like Me” (2006). It also incorporates rock in "California King Bed" and reggae in the Caribbean inspired "Man Down".

The album was a commercial success internationally; it debuted at number three on the US Billboard 200 chart, with first week sales of 207,000 copies, the highest first week sales of her career at the time. Since its release, it had sold over 8 million copies worldwide.

ROB ZOMBIE PRESENTS CARNIVAL OF SOULS Original Motion Picture Soundtrack Features:

The Original Soundtrack Officially Available For The First Time
"Carnival Ghoul" Blue Pinwheel Colored Vinyl
Old Style Tip-On Gatefold Jackets with Matte Satin Coating
New Art by Graham Humphreys
12"x12" Insert