Search "It\s A Musical" 49894 Items

LP | 2021 | US | Original (Awesome Tapes From Africa)

Release: 2021 / US – Original

Genre: Pop

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Definitive compilation spans solo recordings, rarities and duets with Lee Hazlewood
Newly remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin
New interviews with the legendary singer, actress, and activist, Nancy Sinatra
Extensive essay by Amanda Petrusich
Q&A interview with Nancy & GRAMMY®–nominated reissue co-producer, Hunter Lea
Never–before–seen photos from Nancy Sinatra’s personal archive
Beautifully packaged Double LP (pressed at RTI) featuring a 24–pg book
Images are mock-ups and subject to change

Light In The Attic Records is proud to present Nancy Sinatra: Start Walkin’ 1965–1976. The definitive new collection surveys Sinatra’s most prolific period over 1965–1976, including her revered collaborations with Lee Hazlewood, over 23 tracks.

Remastered from the original analog tapes by GRAMMY®–nominated engineer John Baldwin, the collection is complemented by liner notes penned by Amanda Petrusich (author and music critic at The New Yorker), featuring insightful new interviews with Sinatra, as well as a Q&A with archivist and GRAMMY®–nominated reissue co-producer, Hunter Lea. The CD edition comes housed in a 7”x7” hardcover book (featuring 64–pages) and the two-disc vinyl set is presented in a gatefold jacket (featuring a 24–page booklet).

Nancy’s performance of the Lee Hazlewood–penned song “These Boots Are Made for Walkin’” was a huge hit in 1966 and became her signature tune. The pair began a three year run of successful albums, duets, and singles including “Sugar Town,” “Some Velvet Morning,” “Summer Wine,” “Sand,” “Jackson,” and the title track to the 1967 James Bond film “You Only Live Twice.”

Start Walkin’ explores Nancy’s recordings with Lee, her inspired collaborations with songwriter Mac Davis (“Hello L.A., Bye Bye Birmingham”), producer Lenny Waronker (“Hook and Ladder”), and the “should’ve been hit” song with arranger/producer Billy Strange (“How Are Things In California.”)

Over the years, she has been cited as an influence by countless artists, including Sonic Youth, Morrissey, Calexico, U2, and Lana Del Rey. Her haunting song “Bang, Bang” gained a new legion of fans when it appeared in the opening credits of Quentin Tarantino’s 2003 film, Kill Bill Volume 1.

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Nahawa Doumbia

Kanawa

23,99 €*

LP | 2020 | EU | Original (Ikuisuus)

Release: 2021 / US – Original

Genre: Organic Grooves

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Nahawa Doumbia's new album Kanawa concisely captures this current moment in Malian history. The singer, whose storied career spans more than four decades, reflects on the immigration crisis from the Malian perspective in the title of her new album Kanawa. Across eight songs recorded in Bamako with a band including traditional and modern instruments, Doumbia merges her early work that relied on a spare expression of her trademark didadi rhythm with the bombastic range of contemporary Malian pop. The beautifully complex musical accompaniment that results is courtesy of the large ensemble she pulled together with producer and arranger (and day one collaborator) N'gou Bagayoko. The band features two highly expressive Malian string instruments, the ngoni and the slightly smaller kamalé ngoni, as well as a variety of percussion, drum programming, karignan (a metal scraper) and acoustic and electric guitars. Doumbia's daughter, a celebrated singer with her own group and busy concert schedule, Doussou Bagayoko sings on "Adjorobena," a song about patience, tolerance and living in peace. Doumbia weaves together a roadmap of her psyche when it comes to the good and bad life has to offer. She talks about marriage and women leaving home to join another through the metaphor of a tree in the garden; she includes gunshot samples in the song "Foliwilen" to honor the bravery of hunters, soldiers and other courageous people; she uses a bird in "Djougoh" to talk about lazy people; and, in "Ndiagneko" she advises people to ignore critics, just do you. Mali has gone through an intense period of regional strife and terrorist incidents over the last ten years and Doumbia roots the album in tragic local concerns with deep global implications. "The meaning of Kanawa is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them die while crossing the Sahara. But I ask them why do they leave their country? They said that they leave because of the family situation or problems like poverty and unemployment. I ask them to stay and work in their country. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. That's why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. So that some will hear the message and stay home and grow the land. Leaving is not the only solution. My message is to help the youth find jobs."

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Red Brut

Cloaked Travels

Hard Times + Crawl / Covers

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Following her debut LP (kraak, 2018) and a string of tapes and 7-inches, Red Brut drops her second album, Cloaked Travels. It is a joined release by the Finnish labels Ikuisuus and Lal Lal Lal. In many aspects, Cloaked Travels is an amazing realisation of what Red Brut does best: molding the absurd, the amateurish, and the crude into beautiful and elegant sound pieces. These eight “songs”, organised in two suites, dwell between abstract avant-garde and pop sensibility. Working with cassette tapes, Red Brut enhances the ambiguous qualities of her sounds with the warm distortion and background hiss typical of the medium. The music leaves the listener to him- or herself, happily lost in small universes that contain many layers of beauty, discomfort, and intimacy. Susan Sontag once claimed that diaries, despite secretly kept by the author, are meant to be read by others. Red Brut’s intimate and highly personal take on musique concrète is characterised by a homely feeling: sounds of doors, kids outside her house, a synth that sounds like a house pet, muffled whispers of her voice. Her compositions sound like you are secretly reading her diary. You are in the uncomfortable position of watching someone chasing her own tail, unaware of the fact that she is being the object of our gaze. Unaware? Cloaked Travels displays on a certain point the sound of a squeaking door. Over and over until it starts sounding like a wild free jazz solo. Is Verbiesen playing tricks on our minds? Is she actually the Unconsciously Watched? Or is she cloaked as that character, and in fact very well aware that we are peeping into her inner emotional universe; maybe she is even projecting a fake version of what sounds like here day-to-day, intimate environment — making us conscious of our own gaze? Again Sontag comes to mind: she deliberately projected a well-constructed character in both her diaries as in public life. Cloaked Travels contains distinct and carefully composed pieces that play upon the tension between the concrete and the abstract. Every song acts like a Cave of Plato: we are unable to see what is actually happening, we only see the shadows of a door moving or the sounds of someone gurgling. The album suggests some fundamental questions: is what we conceive as reality nothing but a derivative of the Ideal? Is there really something behind the shadow, or is the shadow the actual reality?

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Laughing Hyenas

2LP | 2018 | US | Original (Third Man)

28,99 €*

LP | 2018 | UK | Original (Kent Soul)

Release: 2018 / US – Original

Genre: Rock & Indie

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Crawl disc:

By the time the Hyenas went back into the studio, Kevin Strickland and Jim Kimball had left to form Mule and had left John and Larissa without a rhythm section. Many people thought this marked the end of the band. Not the case. Todd Swalla (founding member of Necros) stepped in on drums and Kevin Ries on bass. Todd is a much more subtle timekeeper than Jim and Ries had no problem locking in with him, but stayed in the background a little more than Strickland leaving Larissa to take up a little more of the slack. She rises to the occasion, her leads a bit more melodic than before, although still blanketed in a sheet of noise. Brannon's anguished vocals will still peel the paint of the walls and over the new slightly toned down direction, somehow seem even more extreme.

Crawl is notably the only of the Hyenas records recorded in Detroit at White Room Studios.

Bonus material
All tracks from the Covers ''bootleg'' 7'', featuring:
''Solid Gold Hell'' (Scientists)
''I Want You Right Now'' (MC5)
''Under My Thumb'' (Stones)
''Serves Me Right To Suffer'' (JL Hooker)

Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo)
Unseen photos and flyer reprints

Hard Times disc:

This album saw one more line up change: Kevin Ries left and one time Necros Ron Sakowski stepped in, the Hyenas went down to Memphis to the legendary Easley Studios to record their final LP with the one and only Doug Easley. On Hard Times, we see the Hyenas influences are more Howlin' Wolf/Muddy Waters than they are Nick Cave/Iggy Pop. The full-on sonic assault of the first three records has given way to a hard hitting groove that has a graceful Exile-era Stones vibe. Larissa's simple and one-of-a-kind guitar playing has never been better. Brannon does more crooning than screaming on this one, giving us their most ''musical'' offering yet. Every bit as emotionally ruthless as their previous releases, the Laughing Hyenas went out on a high note with Hard Times.

Bonus material
''Shine'' - from the Jabberjaw compilation

* Released in partnership with Touch and Go Records
* Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo)
* Includes unseen photos and flyer reprints

Reverse Board Matte LP jacket, standard weight vinyl, full color inserts and printed inner sleeves

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Spencer Wiggins

The Goldwax Years

19,99 €*

Release: 2018 / UK – Original

Genre: Organic Grooves

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Though Spencer Wiggins did not make the R&B charts until his Fame 45 ‘Double Lovin’’ in 1970, it is his eight Goldwax singles, released in the latter half of the 60s, for which he is rightly famous among soul fans. They epitomise Memphis soul, veering from deep melancholic ballads to raucous uptempo groovers.

Wiggins’ fans dig every aspect of his music; his voice is ideal for the southern soul sound. That genre is close to the blues and ‘Lover’s Crime’, his first 45 on the Bandstand subsidiary, was an early Isaac Hayes composition of that ilk. ‘Sweet Sixteen’, which was unreleased until 1977, is a full-on blues, but presumably not issued by Goldwax as they wanted to keep Spencer known as a soul singer, even though he excels on the number. Goldwax’s strong country influence is apparent on ‘I Never Loved A Woman (The Way I Love You)’ which certainly rivals Aretha’s breakthrough single from a couple of years previously. ‘Once In A While (Is Better Than Never At All)’, written by ex-country singer and Goldwax boss Quinton Claunch and George Jackson’s ‘Old Friend’ are also in the country bag.

The dramatic ballad ‘Uptight Good Woman’ was penned by Dan Penn, Spooner Oldham and Jimmy Johnson and is probably Wiggins’ best-known recording; it is a highlight of his live performances. Penn and Oldham also provided ‘Take Me Just As I Am’, another stand-out track. ‘He’s Too Old’ and ‘I’m A Poor Man’s Son’ are vibrant, warm-hearted numbers taken at a jaunty pace, still very much southern soul; ‘Lonely Man’ is the only song which hints at Detroit’s influence and has consequently cost Wiggins’ 45 collectors appreciably more than the norm.

Wiggins’ career suffered by being in the shadows of James Carr at Goldwax and that may have been the reason why Claunch, a very fair-minded man, let this superb singer move to nearby Fame, along with some Goldwax tracks they had already cut on him in those studios. He also had artistic success at Sounds of Memphis in 1973; unissued tracks from there as well as Goldwax have strengthened his reputation. He is primarily a preacher now but his 2010 appearance at the Cleethorpes rare soul weekender demonstrated he is still a great performer and he recently completed a successful two-date visit to London and Manchester with his brother, manager and fellow singer Percy.

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Numark

M101 USB BLACK

149,00 €*

LP | 2024 | UK | Original (Poppy Ajudha)

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Get up and running quickly at any gig.

READY FOR DIGITAL OR ANALOG

DJs always need a dependable mixer. M101USB fits the bill perfectly as a highly adaptable two-channel mixer for virtually any DJ. M101USB lets you get up and running quickly whether you’re using a computer, turntables or CDs. M101USB is right at home at weddings, parties, clubs and everything in-between.

MIX YOUR MUSIC YOUR WAY

Beginners and seasoned DJs alike who want a durable USB-equipped two-channel solution will find M101USB a perfect fit. M101USB builds on the two-channel M101 mixer with the addition of an easy-to-use USB audio interface for DJs who want the option of working with their computer as well as traditional analog I/O.

TWEAKABLE TUNES

Beyond simply mixing, M101USB has a built-in EQ so that you can fine tune your mix depending on the room or the tracks themselves. Two pairs of switchable Phono/Line inputs are included along with a crossfader, ¼” mic input and stereo RCA line output for connection to an amplifier, powered speakers or another mixer. M101USB can be rack-mounted and features Numark’s legendary industrial-grade durability.

GET CONNECTED

Connecting M101USB to your computer is a snap using a single USB cable. Once connected you can use your computer as an audio source or record your sets straight to your computer's hard drive. If you're a computer DJ on the move and need solid, dependable two-channel performance, look no further than the M101USB mixer.

FEATURES

Two-channel rack-mountable mixer with USB
USB audio built in for playing from or recording to your computer
Two pairs of Phono/Line inputs
Built-in 2-band EQ for quick, easy sound tweaks
1/4-inch Mic input for voiceovers and announcements
Stereo Output for easy connection to amps, powered speakers or another mixer
Class Compliant: this product is immediately compatible with every current and future version of Mac OS X and iOS and with Windows (98SE and up) operating systems.
INCLUDES

M101USB Mixer
Power Supply
Quickstart Guide

Manual: http://www.numark.com/images/product_downloads/m101usb___quickstart_guide___v1.0.pdf

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Poppy Ajudha

Poppy

31,99 €*

LP | 2024 | US | Original (L.G. Records)

Release: 2024 / UK – Original

Genre: Pop

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Preorder shipping from 2024-11-22

Multi-talented artist Poppy Ajudha will be announcing her sophomore album, titled ‘Poppy’, which will be released 22nd November 2024. This follows Poppy’s triumphant return to releasing music this year with the release of 'My Future', following a two year hiatus. ‘Poppy’ was created alongside Mike Malchicoff (Kanye West/King Princess) with contributions from the likes of producers Maestro (Rihanna), Fred Ball (Alicia Keys/Raye/Mariah Carey), Grades, (Kali Uchis, Dua Lipa, Britney Spears), and Travis Sayles (Ariana Grande).

Poppy says: “I can’t believe I’m writing this, but my sophomore album is finally coming out! After numerous trips back and forth from London to LA, millions of revisions to perfect each song and a lot of moving the track listing around, I’ve made an album I’m so in love with, with people who I felt truly seen by, who I respected and found a natural synergy with. I really put everything into this album, it is a reflection of my growth over the last 2 years, an outward pouring of my raw vulnerability, the inner workings of my chaotic brain and the deep desire I have to challenge myself with everything I do. I’m really proud of what we made, and I hope that when you hear it, it means something to you too. Thank so much to all the special people who contributed to the making of this project, the producers, engineers, musicians, visual creatives, the friends who listened to me while I processed my life in order to write it down, I wouldn’t have been able to manifest this dream without you.”

Alongside the announcement of her upcoming album, Poppy has also released new single ‘Lean On Me’, a bold pop banger about the importance of community and showing support for each other even during challenging moments. ‘Lean On Me’ was written by Poppy with production from Wesley Singerman (Kendrick Lamar/Anderson Paak).

On ‘Lean On Me’, Poppy says: “We realise true friendship in the moments we are most vulnerable with each other. When I wrote ‘Lean On Me’ I was going through a breakup and struggling to make sense of my world. My friend who was experiencing their own kind of grieving found the time to give me the advice I needed, and the next day I wrote this song about the power of friendship, community, unconditional love and showing up for each other through our hardest times.”

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Circus Lupus

33,99 €*

LP | 2024 | EU | Original (Spittle)

Release: 2024 / US – Original

Genre: Rock & Indie

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Before Circus Lupus landed on DC’s venerable Dischord Records, the group’s original Midwest lineup recorded a full LP's worth of songs less than a year after forming. With the demise of DC’s Ignition in the late 80’s, bass player Chris Thomson headed to Madison, WI for college. Before leaving DC, he dove headfirst into being a vocalist fronting the short- lived throwback punk/hardcore project Fury. Chris served up pointed and profound Tony Cadena-inspired screeds about betrayal, disappointment and poseurs all set to a soundtrack of furiously primitive and chaotic music supplied by members of the DC punk band Swiz. Brief yet influential, this band marked Chris’s switch to vocals, putting him on course to front Circus Lupus and claim a notable spot in the DC punk timeline of the late 20th century. Soon after arriving in Madison, Thomson was invited to join a new project started by friends Chris Hamley, Arika Casebolt, and Reg Shrader. Circus Lupus marked a change in direction from the familiar sounds of DC punk that Thomson had been associated with for years. The newly formed group looked to noisier Touch & Go and Homestead bands for inspiration, aligning themselves with bands from Chicago, Louisville and Milwaukee. One early supporter of the band described the new group as “profoundly familiar yet uncategorizable. Like if the Germs had gone to college and never got pulled into hard drugs and suicidal behaviors.” The original Circus Lupus lineup played a dozen shows and recorded these songs with Eli Janney at Inner Ear studios in August of 1990 while on a brief tour. Within a year, the band would decide to permanently relocate to Washington DC, where they felt they had more opportunities. Reg opted to move to Chicago and would ultimately join the Touch and Go band Seam. Old friend Seth Lorinczi (Vile Cherubs) would become their new bass player, forming the version of the band that most listeners are familiar with. While a few of these ended up on their first single, the rest were shelved, some later to be rerecorded with Seth and released on Dischord. LG Records is proud to have helped this notable recording see the light of day. The original tapes were recovered by Ian MacKaye and transferred by Darren Edwards. Tim Green remixed and remastered the original recordings at Louder Studios in California. 180-gram black vinyl with 28pt Tip-On sleeve and heavy printed inner jacket.

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The Sex

Unmask Yourself

Life Meets Art: Inside The Homes Of The World's Most Creative People

Release: 2024 / EU – Original

Genre: Rock & Indie

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My adventure buddies? The silent, enigmatic Patti, former singer of the mysterious No Suicide, and the young, faithful Chris, a passionate Police fan, we met on the battlefield and he immediately became my brother. For him, learning to play the bass was a way to get close to Sting, in other words, just one step below Paradise. Patti instead played keyboards as an extension of her mysterious and glacial presence, so still and distant that the audience sometimes wondered if she was real. And then there was my fixation for the drum machine, a futuristic device which could transform the drumming sweat into an invisible, yet physical, dreamlike pulsation. A particular combination of characters and a special astral conjunction, that’s what you need to get a nucleus source of sonic emotions, and in some ways this is what we were. You could clearly feel it during the concerts. When at the end of ‘81 My Mercenary God lost their drummer and had to disband, I felt clearly that the music had already changed. Our old 70’s rock ‘n’ roll sound was no longer representative of the day. We were like some sort of yesterday’s newspaper. Thus I Sex was born (later The Sex). According to Freudian thought that sees sexual instinct as the driving force behind every (creative or destructive) human act. And in fact we immediately started creating, destroying, assembling and deconstructing our sound. Suddenly “tomorrow became now”. It was an outburst of creative independence in the form of homemade cassettes put together with makeshift tools, at least until the arrival of the legendary 4 track recorder. I was 19 years old, Chris was only 17. Nothing more than kids after all. Yet we were already veterans, veterans of a lost war. Wise, naive, disillusioned dreamers, everything and the opposite of everything. But, above all, we were totally devoted to our creative delirium up to the point of losing touch with reality, crossing limits, breaking down barriers and almost bordering on madness. Perhaps we were just too involved, especially if in relationship with what we could receive in return. We always spread our energies as if there was no future. We unconsciously felt that we had to live in the moment, now or never, and in retrospect it really was like that, and this is why these songs exist now. Songs created with the intent to tell an inner universe that is, now as then, far from any convention.

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Sam Lubell

Phaidon

54,95 €*

LP | 2023 | UK | Original (Tain)

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"... a gorgeous compilation of interiors from the homes of famous artists past and present as a way of exhibiting each creator's 'power and legacy' - Publishers Weekly

An inspiring collection of the extraordinary private spaces of 250 of the world's most creative people, past and present

Life Meets Art presents an unparalleled, global, behind-the-scenes tour through 250 beautiful interiors from the homes of the most creative people in art, architecture, design, fashion, literature, music, film and theatre.

These inspiring, unique spaces show us the spaces where the greatest creatives in history lived their lives, honed their crafts and, in many cases, produced some of the world's most celebrated masterpieces - providing an intimate and insightful perspective on the masters that define artistic history. Organized alphabetically by artist, each interior features a color photograph and a short descriptive text, including details on whether the house is open to the public or private.

This book will inspire everyone fascinated by stylish living, creative interior design, and the myriad possibilities for home décor, as well as those fascinated by the personal and professional lives of their cultural heroes.

Life Meets Art includes homes from creative masters of past centuries such as artists da Vinci, Raphael and Rubens, composers Handel, Lizst, and Verdi and writers Dickens, Byron, and Coleridge. The book also showcases the extraordinary interiors of many twentieth century stars and epoch-defining talents such as architects Frank Lloyd Wright, Eileen Gray, Le Corbusier, and Walter Gropius, artists Pablo Picasso, Marc Chagall, and Henry Moore, writers Ernest Hemingway, William Faulkner, and Agatha Christie and musicians Louis Armstrong, Frank Sinatra, and Elvis Presley.

Homes from some of the most celebrated talents of today are also featured, including artists Francisco Clemente, Cornelia Parker, and Gilbert and George, fashion designers Alexander McQueen, Marc Jacobs, and Diane von Furstenberg, designers Marc Newson and Es Devlin and musicians Moby, Jimmy Page, and David Bowie.

About the author
Sam Lubell has written eight books about architecture, including California Captured and two travel guides to mid-century modern architecture in the USA, all from Phaidon. He is a contributing editor at The Architect's Newspaper and writes for the New York Times, Los Angeles Times, The Atlantic, Architectural Record, Architectural Review, and other publications.

Specifications:
Format: Hardback Size: 290 × 250 mm (11 3/8 × 9 7/8 in)
Pages: 304 pp
Illustrations: 275 illustrations

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The Dengie Hundred

Lammas Land

27,99 €*

12" | 2023 | EU | Original (Depth.Request)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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The new recordings from The Dengie Hundred unfurl on Tain Records after a busy year releasing a solo tape on Sagome and a collaborative LP and tape with Japan Blues on Demdike Stare's DDS imprint.

Lammas Land is an album which meditates on the Walthamstow Marshes, an ever-changing watery landscape, rich with history and wildlife. The Dengie Hundred writes:

"I am sitting at my table overlooking the marshes listening to Lammas Land in November 2023, watching crows fight a never-ending aerial battle with the gulls. In summer, you can see bats from here every evening, fluttering around the windows as the light begins to fade, but today it is colder so there is smoke rising from the boats on the River Lea and the dog walkers are wrapped up tight against the wind. Most of Lammas Land was made sitting right here, playing guitar and recording the sounds passing by. I would hang a microphone out of the window to capture the ‘putput’ boat which delivers provisions, or the trains that rattle along the tracks that cut across the marshes and up to Stanstead, carrying passengers to the airport and away. I wonder what tourists make of the marshes as they cross them, the landscape opening up for a moment between the urban sprawl of the East End and the rampant development of Tottenham. They offer a jarring pause of green and sky. I feel very lucky to be living in that pause, a resident, for now…

The album contains a whole year of found sounds recorded from the window and while out walking. It is full of bird song and radio sounds, singing, life.

Many others have been inspired by this space, this pause. The author Esther Kinsky who wrote River, published by Fitzcarraldo Editions, captures this area so perfectly. I borrowed the two track names for this album from her book. I hope she doesn’t mind.

Also, the photographer Paul Fuller whose work reflects the atmosphere I feel here precisely. On hearing the music he wanted to collaborate on the Lammas Land project, He spent a year filming the marsh through the seasons. Some of his images are included with the vinyl release, and there is an accompanying film close to completion. I am so pleased this project is continuing in new forms.

The vinyl also contains a piece of writing, ‘Sound Fishing’, by Gemma Blackshaw, an author, art historian and curator who in a twist of fate also found herself spending time on the marshes, but that is her story, for another day."

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Lesser Of

Within My Fragility

17,99 €*

Private Recordings August 1970

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Having been deck slaying as near their London headquarters as Germany and as far as Canada, goth techno prodigy Lesser Of is steadily approaching double digit release count. With an established residence at queer x trans focused, revolutionary event series Subverted, their efforts have been welcomed to a formidable list of industrial electronic labels and remixed by a tidy sum of high profile scene icons.

Here at Depth.Request our sonars are attuned to emanant potential, and so we conscript Lesser Of to hammer out our fourth acetate offering to date. To this, harsh noise and drone music inspirations are declared, alongside an artistic secret of the trade: lights-off sessions in live room of a recording studio vibrating with the pulse of a bass guitar ran through a freeze pedal were what begot the tracks, and they are well intent on assaulting your headphones with noise. Reeko on the remix - yes, this record fucks.

Prolonged, ominous intro? Nah. Have a face full of Crude Manifestation Of Power instead, as an insatiable, 10-minute long opener braces your ears for a week of ringing with a sonic equivalent of metallic thrashing one could expect from being a sinful, rave-lusting scoundrel. On title-diverting continuation Within My Fragility the words "strength in fragility" are truly alliterated as the pace, abrasiveness and intensity of pummelling are all ramped up fiercely, with linear open hats thrown against them from time to time for good measure. Having reached 140 BPM and concrete mean, Masked proceeds in a well anticipated ra(n)ge: infernal atmosphere, sandy hats and layered tectonic tremors achieved with increasingly undefined low end consisting of a rumble line and rolling kick morphing into abrasive haze. Winding the tempo back a notch, a halftimearranged contemplation Our Descent grows in direct, hyperborean vector: glassy drones and sharp syncopulsation first - atonal reverberations, distorted arpeggios and punchy stabs endwise. Reeko's analog reinvention of Masked convolves the drum structure by borrowing from breakbeat narratives and authorizes the dystopian ambiance to rise and fall on more gradual, panning, confined terms; adding, however, more disorder to the mix with spectrum slicing, high-range chaos.

As you would have learned to expect from Depth.Request, Within My Fragility EP is not an easy listening five-tracker. If by the end of it you find yourself feeling as if you just stepped out of a pounding warehouse at 3AM and you don't know what day it is, you wouldn't have been experiencing this mindspace alone.

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Sylvester

LP | 2023 | US | Original (Dark Entries)

19,79 €* 21,99 € -10%

Release: 2023 / US – Original

Genre: Organic Grooves, Electronic & Dance

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Disco legend Sylvester comes to Dark Entries with Private Recordings: August 1970, an intimate collection of vintage jazz, blues, and gospel. While Sylvester is best known for his chart-topping collaborations with producer Patrick Cowley, such as “You Make Me Feel (Mighty Real),” this release reveals his passion for the sounds of the 30s and 40s. In 1970 a 22-year-old Sylvester had moved to San Francisco and found himself involved with the Cockettes, the infamous psychedelic performance art troupe. Among this milieu was Peter Mintun, a pianist and record collector living in a commune devoted to retro culture. According to Mintun, “We were like hippies who lived in the twenties. We lived in a house that didn’t have anything modern in it. Nothing in it was made after World War II.” Mintun and Sylvester bonded over their love of Black singers of yore and were allotted a slot during Cockettes performances reviving the music of the Prohibition Era. One afternoon, Sylvester and Mintun recorded a number of their shared favorites using a high-end microphone a friend had acquired. Private Recordings features 9 songs from this session, including standards like “Stormy Weather,” “Happy Days Are Here Again,” and “God Bless the Child.” Sylvester’s unmistakable falsetto brings depth and a dash of camp to these familiar tunes. The recordings are casual and intimate, even capturing banter between Sylvester and Mintun; their brief rendition of “When My Dreamboat Comes Home” has the duo working out a melody in real time. In addition to their sonic explorations of decades past, Sylvester and Mintun also staged photographic shoots in vintage couture. Private Recordings comes with a 16-page booklet on firm cardstock featuring images from these never-before-seen shoots as well as liner notes from Mintun detailing his friendship with Sylvester and their experiences recording. All this is housed in a metallic silver sleeve designed by Eloise Leigh featuring a 1920’s Art Deco aesthetic. The record will be released on September 6th which would have been Sylvester’s 76th birthday, and all proceeds from Private Recordings will go to the two charities that Sylvester left his royalties after his death: Project Open Hand and PRC (formerly Aids Emergency Fund). This essential release documents the earliest known recordings from one of disco’s greatest talents.

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Dual

CS 529

999,00 €*

Tex Perkins And The Fat Rubber

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UNCOMPLICATED WITH COMFORT
The CS 529 combines ease of use of a fully automatic turntable with high-end solutions such as precision pivot ball-bearings in a twin gimbal tonearm.

The operation is just as straight forward as every automatic turntable; the tonearm automatically lifts, shifts across and drops with the push of a button. Simply place the vinyl record on the platter and push the start button.

All turntable functions can be controlled via the terminal or remotely operated via the Bluetooth signal, which also transmits the music data. The relevant app can be installed on any smart device to enable you to control the entire turntable remotely. This is the first product world-wide with such a feature.

DETAILS:
Plinth: Solid MDF
• Subchassis construction with rubber dampers
• Bluetooth for audio and remote-control functions
Platter: Aluminium
• Aluminium die-cast, long term precision
• Heavy rubber mat for resonance damping
• Hardened steel spindle in a brass bushing
Tonearm: Twin Gimbal Design
• All functions are fully automatic or manual
• Solid aluminium gimbal construction
• Pivot ball-bearings
Drive: DC- Motor / Belt
• Optical speed control at the motor
• Rubber mountings for vibration decoupling
• Precision cut belt for lower wow & flutter

TECHNICAL SPECIFICATIONS:
Motor:
• Drive: Belt
• Speed settings: 33/45/78
• Wow & Flutter: < ±0,08 % (DIN WTD)

Tonearm:
• Auto-Start/-Stop-Function: Bluetooth Remote Control / Automatic
• Bearing: 4 x ball-bearing / twin gimbal mounting
• Effective length: 221,5 mm
• Offset Angle: 25,6°
• Overhang: 19 mm
• Type: statically balanced
• Stylus Pressure Range: 0 g bis 4 g
• Cartridge Weight Range: 5 g bis 9 g
• Factory installed pick up: Ortofon 2M Red

Platter:
• Material: Aluminium die-cast
• Mat: Rubber 2,5 mm
• Bearing: Hardened steel spindle Brass bushing
• Diameter: 305 mm
• Weight (incl. Mat): 850 g

Plinth:
• Material: MDF, folded
• Surface finish: Vinyl veneer / Black
• Feet: Ø 62 mm / Elastomer
• Connection: RCA socket
• Connection to Phono Input: ✓
• Connection to Line Input: ✓
• Digital Output: Bluetooth Bluetooth 5.2 aptXT HD Audio.
• Dimension, closed dustcover: 435 x 367 x 145 mm
• Dimension, open dustcover: T: D: 415 mm / H: 400 mm
• Weight: 6,7 kg
• Power plug AC / DC: External power supply

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LP | 2021 | EU | Reissue (Beast)

27,99 €*

OST M3gan Pink & White Swirl / Blue White Swirl Vinyl Edition

Release: 2021 / EU – Reissue

Genre: Rock & Indie

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3rd pressing! The latest thrilling incarnation of master rock'n'roll storyteller Tex Perkins (The Cruel Sea, Beasts of Bourbon, Thug, Tex Deadly and the Dum Dums, Tex, Don et Charlie.) and the Fat Rubber Band began with a rare vinyl copy of Link Wray's Beans and Fatback album, recorded in 1971. Perkins and his respected musician, songwriter, producer and bandmate Matt Walker share a mutual admiration of the American electric guitar innovator, whose iconic power chords in his signature 50s rock'n'roll instrumentals, had a profound influence on the evolution of rock guitar. The Fat Rubber Band is borned with this rare vinyl, the pair have enjoyed countless musical conversations over the decade while hanging out backstage and on the road. Walker offered the debut album's opening track, the wide-screen drama of "Pay The Devil's Due". Perkins responded with the plaintive blues of "My Philosophy". Walker replied with the album's fuzz driven debut single "Danger Has Been Kind" and Perkins countered with the glacially-paced, intimate "Poor Simple Minded Fool". The pair road-tested their works in progress as a duo before enlisting bassist Steve Hadley, drummer Roger Bergodaz and Evan Richards on percussion to complete the Fat Rubber Band line-up to record the album's ten tracks at Walker's Stovepipe Studios in Victoria's Dandenong Ranges. "At Matt's studio - you open the door to the studio and nature floods in," Perkins says. "We wanted it to sound rural, to feel the dirt and the grass and the leaves." Even after all these decades, when you think you know that gravelly baritone inside out, Perkins finds new emotional tones in the service of the Fat Rubber Band's songs vivid narratives, with their characters wrestling, but sometimes dancing, with the tougher, darker qualities of the human condition. This is truly existential blues. Bubbling underneath those upfront vocals and raw harmonies are intricately entwined guitar conversations and unexpected percussive flourishes. "Another aspect that we wanted was for the sound to be sometimes a collision and sometimes a marriage of acoustic and electric instruments. We wanted that tension between mandolins and bouzoukis meeting fuzz guitars." "We also considered percussion to be a vital element of the sound we were going for; we noticed in the recordings we loved from the 50s and 60s that often the tambourine hit, or the maracas, or whatever percussion, was right up there in the mix, right next to the vocal," Perkins says.

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Anthony Willis

2LP | 2023 | US | Original (Waxwork)

59,99 €* 79,99 € -25%

Boaz Levin / C/O Berlin Foundation / Annette Hauschild / Kathrin Kohle / OSTKREUZ

Release: 2023 / US – Original

Genre: Soundtracks

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She’s more than just a toy. She’s part of the family.

Waxwork Records is proud to present M3gan Original Motion Picture Soundtrack by Anthony Willis. From Universal Pictures and Blumhouse, the record-breaking hit centers on M3gan, a marvel of artificial intelligence: a life-like doll programmed to be a child’s greatest companion and a parent’s greatest ally. Designed by brilliant toy-company roboticist Gemma (Get Out’s Allison Williams), M3gan can listen and watch and learn as she becomes friend and teacher, playmate and protector, for the child she is bonded to.

When Gemma suddenly becomes the caretaker of her orphaned 8-year-old niece, Cady (Violet McGraw, The Haunting of Hill House), Gemma’s unsure and unprepared to be a parent. Under intense pressure at work, Gemma decides to pair her M3gan prototype with Cady in an attempt to resolve both problems—a decision that will have unimaginable consequences.

About the composer:

Bafta-nominated composer Anthony Willis has taken a running leap into the Neverland of film scoring, quickly becoming one of the most highly sought after new voices in Hollywood. Anthony composed the score to Oscar-winning writer/director Emerald Fennell’s drama thriller Promising Young Woman starring Carey Mulligan, which was nominated for Best Picture and earned Anthony a Bafta nomination for Best Original Score.

Willis grew up in London and began his musical training as a chorister of St. George’s Chapel, Windsor Castle, England. He went on to study Composition at Marlborough College, Wilshire and the University of Bristol, before earning his graduate degree from the University of Southern California. He currently resides in Venice Beach.

Waxwork Records is thrilled to release M3gan Original Motion Picture Soundtrack as a 2xLP album featuring 180 gram pink & white swirl vinyl (Disc 1) and blue & white swirl vinyl (Disc 2), new artwork by Susi Vilchez, and deluxe packaging including heavyweight gatefold jackets with matte satin coating and an art print.

M3gan Original Motion Picture Soundtrack Features:

The Complete Soundtrack by Composer Anthony Willis 180 Gram 2xLP Colored Vinyl Pink & White Swirl (Disc 1) Blue & White Swirl (Disc 2) New Artwork By Susi Vilchez Deluxe Heavyweight Gatefold Jackets with Matte Satin Coating 12"x12" Art Print

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Dream on - Berlin, the 90s (Deutsche Ausgabe)

Spector Books

39,00 €*

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Boaz Levin / C/O Berlin Foundation / Annette Hauschild / Kathrin Kohle / OSTKREUZ

Dream on - Berlin, the 90s (English Version)

Spector Books

39,00 €*

Mitch Leigh, Joe Darion / Peter O'Toole , Sophia Loren And James Coco

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The OSTKREUZ agency was founded in the midst of the upheavals that took place in East Berlin in 1990. For Dream on - Berlin, the 90s, nine OSTKREUZ photographers worked together with curators Annette Hauschild (OSTKREUZ) and Boaz Levin (C/O Berlin Foundation) to cast a modern-day eye over their extensive archives as seen from today’s perspective. As documentarists operating at the apogee of photojournalism, they tracked the changes that the city underwent. They observed the shifts in society and the challenges facing a city that had previously been divided by a wall as it grew together, capturing all this in powerful, personal images. The essays reflect this on a variety of levels: Janos Frecot’s examination of the changes in the urban space; Jens Balzer’s description of Berlin’s potential as a centre of creativity and culture; and Anne Rabe’s very personal view, as a young East German writer, of today’s Berlin.

OSTKREUZ is an independent, Berlin-based agency that is run by twenty-four photographers.

348 pp.
250 b/w and color illustrations
thread-sewn hardcover

Leipzig September, 2024
ISBN: 9783959058520

Width: 20 cm
Length: 24 cm

Language(s): English

Editor
Boaz Levin, C/O Berlin Foundation, Annette Hauschild, Kathrin Kohle, OSTKREUZ

Designer
Marc Naroska

Text
Jens Balzer, Janos Frecot, Boaz Levin, Veronika Epple

Photographer
Sibylle Bergemann, Annette Hauschild, Harald Hauswald, Ute Mahler, Werner Mahler, Jordis Antonia Schlösser, Anne Schönharting, Maurice Weiss

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OST Man Of La Mancha

LP | 1972 | JP | Original (United Artists)

5,69 €* 5,99 € -5%

João Paulo Esteves Da Silva Trio w/ Mário Franco & Samuel Rohrer

Release: 1972 / JP – Original

Genre: Soundtracks

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Used Vinyl

Medium: Near Mint, Cover: VG+

With OBI. Vinyl seems unplayed. Cover is close to NM.

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The River

CD | 2023 | Original (Arjunamusic)

17,99 €*

Release: 2023 / Original

Genre: Electronic & Dance

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LP | 2024 | UK | Original (Open Space)

Puli

Swirling

Yakhal’ Inkomo HHV Summer Of Jazz Exclusive Orange Vinyl Edition

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Open Space is proud to present our first ever full-length LP by LA’s newest 3-man band, Puli. Some words from our dear friend Matt McDermott below: In recent years, a cadre of musicians from the east side of Los Angeles have reestablished the city of angels as the first city of Balearica. Alex Ho’s “Move Through It” followed in the lumbering footsteps of Project Sandro’s “Blazer.” Now, there’s a new landmark for the floating west coast sound. Swirling, the first album from LA supergroup Puli. If you’ve got your ear to the ground you know the names involved here. Drummer and producer Damon Palermo’s pedigree stretches back a good 15 years or so, starting off with dub punks Mi Ami. Phil Cho is one of the busiest DJs, musicians and advocates for the deep stuff in LA, throwing legendary hillside parties under the Third Place banner. John Jones, the preternaturally talented guitarist and electronic tinkerer, records as AV Moves, is a key member of the Suzanne Kraft and Baba Stiltz live configurations and plays in The Trilogy Tapes-affiliated act Geo Rip. But this listing of personnel and credentials puts too fine a point on it. Puli are three close friends who go to parties, DJ and get tacos together, repairing to their Chinatown studio a few times a week and coming out with remarkably textured, idiosyncratic downtempo jams. Building off the solid foundation of their 7-inch of heavyweight dubs for Melbourne’s Constant Delay, Swirling is an exploration of new horizons in chill out. “Ramona” acts a statement of purpose—with halftime/double-time dub-tinged rhythms, hazy yet bright synth motifs and atmospheric guitar from Jones, not terribly far from the expansive approach of Japanese dub aesthetes Pecker. “Cloudy,” meanwhile, is a sort of deconstructed and bittersweet Balearic pop featuring Cho’s ethereal vocals. “Bongo Springs” is steppers’ house not far from close LA peer Benedek or the Mood Hut crew up north. But what truly sets this record apart is the space and layers in the production—while it’s nominally an electronic record, Puli is a band that has slowly crafted these songs in the rehearsal space. “Havana Jam” cruises along a sliding roundwound bass guitar take with dubby chords and textural guitars. Palermo’s hand drums and live percussion enmesh perfectly with icy pads on “Leech Seed Dub.” Cho is back on the mic for the gorgeous closer, “C.S.B.”, underpinned by breakbeat and trunk-rattling sub bass. Puli doesn’t sound like anyone else, and is ultimately reflective of the city itself. Listening to Swirling feels like navigating a warren of side streets in the eternal sunshine. Take the drive and dive.

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Mankunku Quartet

LP | 1968 | UK | Reissue (Mr Bongo)

29,99 €*

Urbs Remix EP Volume 1 (Retrogott, Brenk Sinatra, Cookin' Soul)

Release: 1968 / UK – Reissue

Genre: Organic Grooves

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Limited edition of 200 copies for the 2023 Summer of Jazz campaign, focused on South-African jazz. Only available at HHV.

The Mankunku Quartet's 1968 album 'Yakhal' Inkomo’ clocks in at just over 30 minutes of jazz perfection. This compact, and to-the-point, album would sit comfortably in amongst some of the best works in the catalogues of any of the quintessential jazz labels such as Blue Note, Prestige and Impulse. 'Yakhal' Inkomo’, however, was originally released on the South African record label World Record Co., which resulted in it becoming an elusive and sought-after piece for jazz collectors. First press copies sometimes fetch as much as £1,000 on the collectors' market. It has been long regarded as one of the finest South African jazz albums and DJ / broadcaster Gilles Peterson cemented this when he included it in his "best of genre" focussed radio show, 'The 20 - South African Jazz'. Tenor saxophonist Winston "Mankunku" Ngozi recorded the session on 23rd July 1968 at the Manley van Niekerk Studios, in Johannesburg. It was recorded by Dave Challen and produced by Ray Nkwe. The session is built up of two original works by Mankunku on the A-side, 'Yakhal' Inkomo' & 'Dedication (To Daddy Trane and Brother Shorter)', and on the B-side, the Horace Silver composition 'Doodlin', and a John Coltrane number 'Bessie's Blues'. What is striking is how the Mankunku-penned compositions not only hold their own next to Silver and Coltrane but they are, arguably, the better tracks on the record - a testament to the beautiful writing and playing of Mankunku. 'Yakhal' Inkomo' features the great musicians; Agrippa Magwaza on bass, drummer Early Mabuza, and pianist Lionel Pillay. Pillay was of Indian descent, making this a mixed-race group, thus the very recording of the album was an act of resistance as it broke the apartheid restrictions of the time. The title of 'Yakhal’ Inkomo' means “the bellow of the bull”, the Black audience would have understood this as coded community symbolism and an act of protest but it escaped the attention of the white government. For this edition, we have enlisted the services of Abbey Road Studios mastering, and lacquer-cutting engineer Miles Showell to cut a special half-speed master from the audio taken off the original master tapes. Miles has previously worked on our Arthur Verocai, Marcos Valle and Ian Carr re-issues, and once again we are blown away by the richness and clarity of Miles' work. We have also presented it as a replica copy using the cover artwork and labels from the primary World Record Co. original version. On the sleeve notes, Ray Nkwe the producer and the President of the Jazz Appreciation Society of South Africa writes "This is the LP that every jazz fan has been waiting for" and Ray was not wrong, it's a stone-cold timeless jazz classic.

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Urbs

12" | 2017 | EU | Original (Beat Art Department)

Springs Eternal Blue Vinyl Edition

Release: 2017 / EU – Original

Genre: Hip Hop

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Beat Art Department releases an EP with remixes from the upcoming album of the Vienna DJ and producer Urbs by Retrogott, Brenk Sinatra and Cookin' Soul.
Retrogott aka Kurt Hustle from Cologne, who completely reshaped the track "10.000 Years Behind Me", is one of the most important representatives of
German Independent Hip Hop ever since the mid-2000s. Collectors spend a small fortune for his 2007 debut album “Jetzt Schämst Du Dich!”, which
has become the blueprint of German rap. He has remained popular, even when he changed his name.

It has been eleven long years since Urbs dropped his last album which was called “Toujours Le Meme Film”. Back then, the musician, DJ and producer created the soundtrack to a fictitious Film Noir, which was released on Kruder & Dorfmeister‘s G-Stone Label, but after touring Europe he almost completely retreated from public life. He does not consider his creativity as
being his career, but rather as a part of his life which rarely is subject to concrete planning, and that is why Urbs quite consciously took his time to create his latest –untitled- album.

Urbs: “A lot of people totally appreciated my last album “Toujours Le Meme Film”, and over the years I’ve learned that it really means a lot to some of them. Which was a burden, because, obviously, you do not want to disappoint these people. By now, I think enough water went down Danube river to perhaps surprise some of them with something completely new.
Those who know me know that I’ve always simply produced dope hip hop
tracks.”

This time, as a consequence, this is no all instrumental album but a collection of 12 soulful hip hop tunes that feature some handpicked vocalist
of the international rap, dancehall and soul scenes. On the album right next to EMC’s Wordsworth or R.A. the Rugged Man from New York, you will hear Ward 21 from Kingston, Jamaica, Voice Monet from New Orleans, One Self’s Blu Rum 13 from Washington DC, as well as long time companions like Skero from Vienna or Blabbwona from the group Abstract Art, who now lives in Munich by choice.

There also is a simple answer to the question of why the album has no title:
“This album, so to say, is my competitive exhibition in this field and owing to the endlessly long ripening process it is wonderfully and intensively boiled
down and on point. Therefore, no intros, no interludes, no title, no gimmicks, simply 12 good songs – period."

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William Doyle

LP | 2024 | UK | Original (Tough Love)

LP | 2023 | CA | Original (Marlow)

Release: 2024 / UK – Original

Genre: Pop

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Serving up art-pop for the anthropocene, Springs Eternal is the Mercury-nominated, critically acclaimed artist William Doyle’s most ambitious and most playful creation to date. Taking a panoramic view of the ecstasies and agonies of life in the 2020s, the record asks how we exist as fragile flesh and blood – our hearts beating and our minds racing – in an unprecedented, almost unimaginable time of runaway climate destruction and technological expansion.

Springs Eternal presents a strange and thrilling cast of characters – from cowboys to castaways – who just might be Doyle, once or twice removed. “Most of the songs are in the first-person, but rather than being autobiographical, I was trying to imagine hyperreality versions of myself,” Doyle says. “What if decisions I made in my life had resulted in the self of each particular song? How many degrees of separation am I from those realities? It’s a frightening thought, and frightening thoughts often make for good songs.”

Across 11 tracks, we hear from narrators teetering on the precipice of global disaster, heartbreak, addiction, indoctrination and mental illness, until they pass into the great unknown. The lyrics, by turns earnest and ironic, upfront and allegorical, are paired with infectious melodies and often outright swagger. Co-produced by indie superproducer Mike Lindsay (Tunng, Lump) at his Mess studio in Margate, we hear the siren song of the sea washing around pulsating electronics and stirring instrumentation, featuring contributions from musicians Alexander Painter, Genevieve Dawson and Brian Eno.

A recurring theme of water and flooding runs through the record, alluding simultaneously to the global climate crisis and the deluge of overwhelm these parallel-universe Williams are experiencing. “It wasn’t until we were mixing the record that I realised how many water references there are,” Doyle says. “I guess there’s a fluid border between our inner selves and the outside world that allows things to flood in, in unstoppable or perhaps irresistible ways.”

Springs Eternal is the next chapter in the William Doyle sonic odyssey that began with his incarnation as East India Youth (Total Strife Forever, 2014; Culture of Volume, 2015) and developed under his own name, producing the critically acclaimed records Your Wilderness Revisited (2019) and Great Spans of Muddy Time (2021). Alongside his own output, Doyle recently produced Anna B Savage’s celebrated debut album A Common Turn (2021) and plays in Orlando Weeks’ band both live and on his upcoming record.

“Springs Eternal” follows 2021’s critically acclaimed Great Spans of Muddy Time album (10/10 Loud & Quiet, 9/10 Line of Best Fit, 4/5 Mojo, 8/10 Uncut, 5th The Quietus 100 Albums of the Year).

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Atlantis Jazz Ensemble

Celestial Suite

22,99 €*

Art P / Die Synthetische Republik

Release: 2023 / CA – Original

Genre: Organic Grooves

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The Atlantis Jazz Ensemble is on the rise once again with "Celestial Suite", a brilliant set of spiritual soul-jazz, with a righteous energy in the mode of some of the best work on independent labels such as Strata East or Tribe back in the day, though updated with a fresh current vibe. With the blend of electric piano, sax, trumpet, bass and percussion presented here, the quintet has refined the searching, soaring quality of their sound, capturing over the course of two days in the studio an inspired session worthy of the skyward promise of the album’s title.

The set flows seamlessly from track to track. Opener “Breaking Dawn” starts things off gently as in a morning sunrise, before settling into a hypnotic modal groove. “Transcendence” then kicks up the tempo with boisterous Afro-Latin rhythms, before heading into the mystic soul-bossa brew of “Enlightenment”. Side A eases off with the pleading soul-jazz of “Invocation”, before ramping things up again on Side B with the ethereal pharoanic groove of “Oneness”. The tension builds on “Blessings”, with its searching, coltranesque modal quality, before easing into the funky, down-home exultations of “Joyful Noise”. The suite then winds down as calmly as it began with a solemn “Meditation”, closing the arc of this skybound journey.

The Atlantis Jazz Ensemble was first formed by Pierre Chrétien and Zakari Frantz of The Souljazz Orchestra back in 2013, as an outlet for the more modal, esoteric and spiritual compositions they were exploring outside the confines of their original unit. After the addition of trumpeter Ed Lister, bassist Alex Bilodeau and drummer Mike Essoudry, the Atlantis Jazz Ensemble released their maiden voyage "Oceanic Suite" in 2016, a bold first outing that became a bit of an underground classic, capturing the number two spot on the Canadian radio jazz charts that year (just behind BadBadNotGood’s "iv"), and leading Atlantis to open up live for the likes of Kamasi Washington and Anderson Paak.

However, the wind was somewhat taken out of the group’s sails when their original bassist suddenly moved away to Boston to study with Dave Holland, Cecil McBee, and other jazz luminaries. Atlantis sank into hiatus for a few years, until young double bass phenom Chris Pond blew into town from Eastern Canada, and the group rose up once again in 2022. After a fruitful residency in Ottawa’s hip Somerset Village that summer, perfecting the new set of original compositions that were to make up "Celestial Suite", the quintet hit Metropolitan Studios in the fall, and laid down an especially inspired rendition of the suite, captured with all of the analogue warmth the studio is known for.

"Celestial Suite" is the Atlantis Jazz Ensemble’s 2nd album and is released by Marlow Records on LP, CD, and digital / streaming on October 27th 2023. LP format is meticulously pressed in Canada with the new WarmTone fully automatic, modernised vinyl record pressing system, and comes with download card.

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Genscher Pull N Push / Der Böse Osten

12" | 2023 | EU | Original (The Outer Edge)

14,99 €*

Tape | 2023 | US | Original (Sub Pop)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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We're thrilled to release two exciting electro tracks by Art P, as well as the classic minimal synthwave tune 'Der böse Osten' by related band project Die Synthetische Republik on this limited split 12".

The single kicks off with 'Genscher Pull and Push', an incredible and previously unreleased electro/wave/proto-techno tune from the P.A.P. archives, recorded in October 1982 with a political background. The song was only available on a demo cassette for a radio show and had been forgotten since then. Genscher was a long-time Federal Minister for Foreign Affairs and Vice Chancellor of Germany, who played a key role in a coalition change in September/October 1982, leading his party, the FDP, to leave the Helmut Schmidt cabinet with the SPD and continue with the opposition, the CDU/CSU. As a result, the German lyrics of the song shout 'bitte geh nach links / bitte geh nach rechts' ('please go to the left' - meaning the left-leaning SPD, and 'please go to the right' - meaning the right-leaning CDU), and so on.

Unfortunately, this track was never released, as the topic of the coalition change quickly became uninteresting and outdated. If it had been issued on vinyl in late 1982, it would probably be considered one of the first proto-techno tracks ever. With its driving and heavily-punching 808 rhythms, and the bending synth bass leads played on the Jupiter 4 synthesizer, it gives you a groove that owes as much to Kraftwerk's 'Computerwelt' album as it may rhythmically pre-date the sound of Detroit's Juan Atkins. The energetic German vocals are giving the track a unique Neue Deutsche Welle touch. They are heavily left/right panned to fit the political topic.

Next up on the Art P side is a remix of 'Polaroid', originally found on the No Message LP that we re-released last year. The track was recorded in 1985, and at that time, the duo of Frank Grotelüschen and Jens-Markus Wegener had become bored with the sound of the Roland 808 drum machine, so they made the track with a DrumTraks by Sequential Circuits. However, for this remix, DJ Scientist, the curator of this 12", wanted to recreate the typical electro-funk sound of the era and added 808 bass drums and claps. The track was also shortened to a more DJ-friendly arrangement. The result is a dancefloor delight for all lovers of classic electro and SVC-350 vocoder sounds!

Die Synthetische Republik was a project by Wegener of Art P and Olav Neander. The track 'Der böse Osten' can originally be found on the cassette album 'Faktor D', recorded in just two weeks on a Tascam Portastudio 245. The original recording sessions were pure fun but also rushed. Hence, none of the tracks was perfectly mixed. With digital technologies, we remastered 'Der böse Osten' to achieve the best possible result and are pleased to release this serious synth wave gem on a loud 12" for the first time as an exclusive extended mix.

The split 12" is released in a picture sleeve with a unique artwork on each side. It is limited to 500 copies.

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King Tuff

Smalltown Stardust

13,99 €*

Smalltown Stardust Loser Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means.

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King Tuff

LP | 2023 | US | Original (Sub Pop)

Smalltown Stardust Black Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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King Tuff

LP | 2023 | US | Original (Sub Pop)

LP | 2022 | EU | Original (Kompakt)

Release: 2023 / US – Original

Genre: Rock & Indie

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Perel

Jesus Was An Alien

27,99 €*

Release: 2022 / EU – Original

Genre: Electronic & Dance

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The dance floor as devotional is a trope as old as the club itself. But, with her new album, Jesus Was An Alien, Perel subverts the stakes of our collective communion: Who are our arms raised to? Who are we seeking salvation from?

“Jesus Was An Alien is a discourse about whether Jesus was an actual alien,” she explains, “but also a social debate about what is and implies religion today.” She offers up her provocative second record – her first on Kompakt – as a soundtrack for the listener’s own journey through the intricacies and ironies of modern belief.

Picking up on the themes she brought to her debut, the 2018’s LP Hermetica on DFA, Perel has created ten tracks rich with spirit and allusion. Her influences are myriad, from the indie dance hitmakers of the early 2000s – Hot Chip, Simian Mobile Disco, Justice – to rave compilations that predate her ascent to the DJ booth, to more abstract inputs. Living with synesthesia, she says, “I feel emotions and colors piling up inside me, then there’s a triggering sound or event that opens a valve. My tracks are color streams that tell a story.”

Jesus Was An Alien is not just multicolored – it’s multi-lingual too, slipping in and out of tongues in a single track, sometimes dispensing with words altogether (the ecstatic breakdown of “The Principle of Vibration”). The album features Perel’s voice almost entirely but for her special collaboration with Canadian songwriter Marie Davidson on the title track.

“Jesus Was An Alien” stirs like a late-night revelation, a heady discovery awakened in the dark. Perel lays out a fiercely disciplined electro pulse, with Davidson’s proclamations growing more fervent over the song’s sensual stride. “I already said everything with my synthesizers and the melodies I created,” Perel explains of the collaboration, but “somehow she gave the song a voice I couldn’t.”

Perel drives further not only spiritually but sonically across the ten tracks, taking thrilling production risks: standouts include her breathy vocals atop a melodic piano strut on “Matrix;” the delirious blur of ghostly chimes and disembodied voices of “Religion;” and the retro radiance of “The Principle of Vibration,” in which Perel exhorts us to “come on and vibe” over an athletic riff and shuffling percussion.

“Kill The System,” meanwhile, hits the listener with tense acid pulses, building to only an imagined release and calls out the end of patriarchy. Album closer “Am Kanal” starts as a pensive cloud of a track, finally breaking into a rich textural rain of synths and stabs.

The variety throughout Jesus Was An Alien underlines Perel’s purpose in this latest project; she’s experimenting her way to answers – or maybe just more questions. After all, she says, “questions are the beginning of something new.”

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RMX-60 Digital

549,00 €*

Multi-Format Battle-Workstation

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FIRST-CLASS DJ MIXER
The RMX-60 Digital is a first-class mixer for any DJ application. With its extensive range of connection options, robust construction and fully-digital audio architecture; Reloop’s latest mixer takes the classic 4+1 channel mixer design and updates it to suit modern performance standards. Whether you’re using CD players, Turntables, DJ controllers or DVS systems – the RMX-60 Digital’s 11 input and 6 output options bring true versatility into the DJ booth.

ADJUSTABLE LINE- AND CROSSFADER CURVES
To suit different mixing and scratching styles the RMX-60 Digital’s line- and crossfader-curves are adjustable, and there’s also a linefader start function. The crossfader is freely assignable between all channels, and the stock fader can also be switched for the new RMX Innofader by Audio Innovate, which is specifically designed for Reloop mixers to offer a gentle, gliding performance.

ACTIVE DUCKING TECHNOLOGY
The RMX-60 Digital is a true all-round club mixer. Neat finishing touches such as the “Active Ducking Technology” for the mic channel, and the future-proof firmware system that can be retro-updated by connecting to a computer, elevate this to a mixer that can support any type of DJ for years to come.

FEATURES
• Classic 4+1 channel performance club mixer
• 11 inputs, 6 outputs
• Fully digital architecture for outstanding sound and flexibility
• 8 high-quality performance effects in studio quality (flanger, delay, echo, reverb, gate, pitch shift, phase, bit crusher, noise)
• Large, clearly arranged parameter display
• Bipolar filter per channel
• Adjustable EQ characteristics (kill & classic)
• InnoFader compatible (RMX InnoFader available separately)
• Crossfader assign switch per channel
• Mic channel with 2-band EQ & talkover ''Active Ducking Technology'' for mic channel
• 2 headphones outputs (jack and mini jack)
• Intelligent 1-knob equalizer and mono/stereo switch for headphones
• Future-proof due to innovative, updateable firmware system (USB service port)
• Fader & crossfader-start and curve adjust
• Symmetrical (XLR) as well as asymmetrical (RCA) outputs

TECHNICAL DATA
• Inputs: 2 Phono, 7 Line, 1 Combo-Mic
• Outputs: 1 XLR, 1 Jack, 2 RCA, 2 headphones
• Frequency range: 20 Hz - 20 kHz
• EQ range classic: +12 dB / -8 dB
• EQ range isolator: +12 dB / -26 dB (Total Kill)
• Dimensions: 320 x 107.5 x 386.7 mm
• Weight: 6.8 kg

Manual: https://www.reloop.com/media/catalog/product/pdf/2/3/2/232553_Reloop_IM.pdf

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Magma

359,00 €*

LP | 2021 | EU | Original (Hidden Harmony)

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One size fits all! The new Multi-Format Battle-Workstation is a protective and flexible solution for the touring DJ that needs to transport a 10’’ battle-mixer along with two turntables or the new Rane Twelve players. The practical multi-format design includes several foam strips to accommodate various 10’’ battle-mixer and turntable models from Pioneer, Rane, Technics etc. Thanks to its removable front panel covers, the useful cable access ports and the extra wide gliding laptop platform, the workstation is ready for action in no time at all as the equipment does need not to be removed from the case anymore. Crafted from 9 mm vinyl laminated plywood, sturdy aluminum profiles, heavy duty butterfly latches and smooth rolling wheels, this case provides ultimate protection for mobile use on the road.

FITS:

Turntables:
• Technics 1200/1210 G
• Technics 1200/1210 GR
• Technics 1200/1210 MK2
• Rane Twelve
• Rane Twelve MK2
• Audio Technica LP120-USB
• Audio Technica LP1240-USB
• American Audio Power Drive 2
• DJ-Tech SL-1300MK6
• Denon VL12
• Epsilon DJT-1300
• Mixars STA
• Numark TTX
• Numark CDX
• Pioneer PLX-1000
• Pioneer PLX-500
• Reloop RP-8000
• Reloop RP-7000
• Reloop RP-6000
• Reloop RP-4000
• Reloop RP-2000
• Roland TT-99
• Stanton ST-150
• Vestax PDX 3000

Mixers:
• NI Kontrol Z2
• Mixars Duo
• Pioneer DJM-S11
• Pioneer DJM-S7
• Pioneer DJM-S9
• Pioneer DJM-909
• Pioneer DJM-707
• Rane Seventy-Two
• Rane Sixty-Two
• Rane Sixty-One
• Rane TTM57 MK2
• Rane TTM57 SL
• Rane TTM-56
• Rane MP-2014
• Reloop Kut
• Reloop Elite
• Thud Rumple TRX
• Vestax PMC-07
• Vestax PMC-05

BASICS:

• Heavy duty construction of 9 mm vinyl laminated plywood
• Incl. recessed wheels for easy transportation
• Solid aluminum profiles and spring loaded latches
• Secure ball corners
• Solid rubber-feet
• Convenient cable access ports
• Additional foams to fit various mixer and turntable models

SPECS:

• Outer dimensions: 116 x 57 x 24 cm
• Inner dimensions: 37 x 52 x 8,3 cm (Turntable-compartment), 29 x 52 x 8,3 cm (Mixer compartment)
• Weight: 25 kg
• Color: black/black (Item-No.: 41017 / EAN-Code: 4041212410177)

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Ramona Córdova

Naive

22,99 €*

Guardian Singles Black Vinyl Edition

Release: 2021 / EU – Original

Genre: Electronic & Dance

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When I first started working on Naïve I was completely consumed by all of the technical details involved in making a 'professional studio recording' on my own - one which could not be refuted or disregarded as subpar. My only other hope was to tell some sort of story with whichever songs i could piece together. The content and message of which were much less important to me.

The story that Naïve ended up telling comes from a cohesion of themes, ceaseless in my personal experiences living day to day in the world. Although the album dares to tread on tact while speaking poetically and lyrically about issues such as systemic oppression, racism, misogyny, policing and patriarchy - I think the album really just wants to reflect - to serve as a reflection - in order to foster healing and healthy growth towards maturing. I feel it commanding a kind of firm kindness as a reminder to love yourself enough to accept others, by way of accepting yourself.

Pressed onto this 180-gram vinyl are 10 songs I wrote while living in many different places around the world. Spontaneous recordings of inspired notions of song, written one rainy evening up high above the vineyards in Banyuls-sur-Mer became Men on the Mountain. A Scrap of paper holding jots about a sudden storm on a hot day in August while helping friends on their farm in Puglia became Mouth of Autumn and Peace Through Violence. As I dressed myself into the fragile reality of the United States, I became flooded by its manipulative social governing systems. As the monuments of slave-owners, colonisers, and white supremacists came crashing down in the name of responsibility and accountability, The Bridge Works was built, a song about crossing bridges towards empathy and equality. Civil rights activist and American-Football quarterback, Colin Kaepernick, taking the knee during the United States national anthem pre-game ceremony, brought about So Long. The incessant murdering of black, brown, and transgender citizens brought Woke, Scared I'll Bite You, and The End. The murder of Eric Garner and the feeling of being choked-out and suffocated under the weight of systemic oppression brought about Still.

From all of this birthed the collection of songs that is Naïve, a title given to the album by French Ghanian artist Eden Tinto Collins. Although written both in Europe and the U.S., most of the songs were performed and recorded at the end of the year 2018 in Philadelphia, during the American-Holidays season. Still, Loving Him, and The End were written in Philadelphia, but produced in Vlorë, Albania. This helped serve as a reminder that the issues these songs speak of are not isolated to the United States of America. - Ramona Córdova

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Guardian Singles

LP | 2021 | US | Original (Trouble In Mind)

21,99 €*

5LP | 2021 | UK | Original (Warner)

Release: 2021 / US – Original

Genre: Rock & Indie

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Guardian Singles hail from Auckland, New Zealand, home to (among many things) storied label Flying Nun and just about every great indie band of the last century. After seeing the band's livestream from Auckland for Gonerfest 17 in fall of 2020, Trouble In Mind is honored to welcome the band to the roster and reissue their excellent 2020 self-titled album outside of New Zealand for the first time. Formed in 2015, by Thom Burton on guitar (SoccerPractise, Moppy)and Fiona Campbell on drums (Vivian Girls, Coolies), the band hit the ground running, supporting touring bands in New Zealand like Metz, slots on the Chronophonium festival and tours in Australia. The band had recorded what would become their debut album in early 2018, simply as Campbell puts it "We just wanted good versions of the songs in our live set we were playing at the time." The addition of Yolanda Fagan on bass (Na Noise, Echo Ohs) and Durham Fenwick on lead guitar (Green Grove) solidified the current lineup in late-2018, and Auckland label Moral Support released it in a micro-edition of 150 copies in the spring of 2020. The debut album packs a wallop; driving guitar lines dance across the rhythm sections propulsive throb hearkening back to greats like Mission of Burma, The Wipers and The Sound. Opener "Tea Lights Exploding" does just that, with an instantly memorable hook and sticky guitar line written as Burton explains as "a sort of "Fuck you" to a certain kind of pervasive rape culture and culturally lobotomized idea of masculinity that I was seeing too much of ", followed by the moody "Being Alone". "Roll Undead" is next, with its persistent shuffle springing forth over a synth-siren before breaking open into an anthemic howl of a chorus. Side one closes with the crunchy stutter-step of "Never Gonna See The RainAgain". Side two doesn't let up, with aptly-titled opener "Can't Stop Moving"s ragged guitar sting hanging in the air before the band launches in with Campbell's drums skipping underneath like an arrhythmic heartbeat. Their vital cover of The Sound's "Heartbeat" (from 1980's "Jeopardy") is next, injecting a nouveau sense of modern urgency into Adrian Borland's post-punk rager. "Gold Plated Cars"s razor-wire sway comes next, with Burton & Fenwick's guitar squall waltzing over a robust bassline. Album closer "Midnight Swim" is the album's moody anthem, ratcheting up tension the old-fashioned way balancing jangle and drone with one guitar 's persistent strum and the other 's strategic punches, all while the rhythm section holds down a steady forward motion. "Guardian Singles" is a vital document of a band breaking out of the chrysalis near-fully formed; melodic, urgent and on the verge of greatness. Look for more from the band soon as they head into the studio in 2021 to record the follow-up.

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Rod Stewart

1975-1978

150,99 €*

Primary E Phono (Ortofon OM)

Release: 2021 / UK – Original

Genre: Pop

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Sir Rod Stewart was on his way to becoming one of the most successful recording artists in history in 1974 when he moved to America and signed with Warner Bros. Records (now Warner Records). Over his next 27 years with the label, Stewart released some of the most commercially successful and critically acclaimed records of his extraordinary career. This 5LP boxed set features Stewart's first four Warner albums on vinyl, plus a bonus LP of rare and unreleased studio outtakes from those albums: Atlantic Crossing (1975), A Night on the Town (1976), Footloose & Fancy Free (1977), and Blondes Have More Fun (1978).

After being out of print for decades, the studio albums look and sound better than ever as they return to vinyl, complete with replica sleeves and newly remastered sound. The albums and the bonus LP are all organised in an iridescent box with Stewart foil-stamped on the cover, his blonde shag haircut glistening in gold, and his leopard-print suit shimmering in silver.

After brilliant stints with the Jeff Beck Group and the Faces and several outstanding solo albums, Stewart moved to Los Angeles in 1974. ROD Stewart: 1975-1978 reflects the burst of creativity that followed, starting in 1975 with his label debut, Atlantic Crossing. The album was produced by the legendary Tom Dowd, who produced Stewart's next three albums. After Atlantic Crossing was certified gold, A Night On the Town went double-platinum, and Foot Loose & Fancy Free went triple-platinum, as did its follow-up Blondes Have More Fun, which became Stewart's first #1 album. That era introduced many of the singer's best-known tracks: "Sailing," "I Don't Want to Talk About It," "I Was Only Joking," "The First Cut Is the Deepest," "You're in My Heart (The Final Acclaim)," "Da Ya Think I'm Sexy?" and "Hot Legs."

The bonus LP, titled Encores 1975-1978, is a collection of 10 outtakes selected from the recording sessions for all four albums. The first side highlights five songs from the recent deluxe editions released for Atlantic Crossing and A Night on the Town. Songs include an alternate version of the B-side "Rosie" and a cover of the Bee Gees' "To Love Somebody" recorded with the influential Stax Records house band, Booker T. & The MG's. The flip side features five previously unreleased session outtakes from Foot Loose & Fancy Free and Blondes Have More Fun. Highlights include a cover of the Motown classic, "You Really Got A Hold On Me," and the unreleased tracks "Silver Tongue" and "Don't Hang Up".

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Pro-Ject

329,00 €*

Slum Village & Abstract Orchestra

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Audiophile Plug & Play turntable - Made in Europe!

Built-in phono stage and switchable phono/line output

With a smart tonearm design we were able to combine pure sound quality with an easy setup. Our Plug & Play design with pre-adjusted tracking force and anti-skating for the included Ortofon OM cartridge has saved us costs and is extremely efficient in handling for our customers.

No compromise in sound: On contraire, the lightweight and low friction aluminium tonearm is optimized for the Ortofon cartridge and will bring out its maximum potential. Also the vibration absorbing feet isolate the turntable from the surface it is place on to deliver the best sound possible. The Primary E Phono is equipped with a switchable phono/line output, so it can be run with a dedicated external phono preamp or with the integrated phono preamp connected to a line input (for example AUX, CD, Tuner, Tape, etc.). With intelligent construction and without needless features we were able to keep the price attractive, despite this product being handmade in Europe. This way we‘re able to offer our customers the sound quality they deserve!

In the box:

Primary E Phono with Ortofon OM cartridge
Gold-plated RCA Phono Cable
Felt mat
Dust cover
Adapter for 7“ singles
Power supply
Allen key, stylus pressure gauge

Features
Built-in phono stage
Switchable phono and line output
Belt-drive with synchronous motor
Ortofon quality OM cartridge
Vibration absorbing feet
Machined special composit fibre chassis
Light-weight, high-precision aluminium tonearm
Sapphire tonearm bearing
Gold-plated contacts
Stainless steel bronze bushing
Elegant dust cover with adjustable hinges
Silicon belt with optimum damping
Handmade in Europe

Technical Specifications
Outputs RCA Phono/Line
Speed 33, 45 (manual speed change)
Principle Belt drive
Speed variance 33: 0.8% 45: 0.7%
Wow & Flutter 33: 0.29% 45: 0.27%
Platter 300 mm with felt mat
Main bearing Stainless steel
Tonearm 8.6” aluminium
Effective arm length 218.5 mm
Overhang 22.0 mm
Effective tonearm mass 8.0 g
Counterweight for mass 3 - 7 g (supplied)
Tracking force range 0 - 25mN (18mN pre-adjusted)
Included accessories Dust cover
Power consumption 4.5 Watts max
Dimensions 420 x 112 x 330mm (WxHxD)
Weight 4.0 kg net

Manual: https://www.project-audio.com/wp-content/uploads/2018/09/PJ-Phono-Primary-E-Phono_Userguide-140818.pdf

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Fantastic 2020

2CD | 2020 | US | Original (Ne'Astra Music Group)

18,99 €*

LP | 2024 | UK | Original (Unspun Heroes)

Release: 2020 / US – Original

Genre: Hip Hop

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Live jazzy orchestral interpretations of the Jay Dee aka J Dilla produced Slum Village classic Fantastic Vol 2!
The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. All these elements would come together in a truly prodigious fashion in the early 00s, when Dilla and Slum Village would release their second studio album Fan-Tas-Tic Volume 2. The group had already made critically acclaimed waves with Volume 1, but few could have predicted at the time of its release that Dilla's production, which combined portions of alternative, gangsta, and soul hip-hop, meshed with T3 and Baatin's deft lyrical flows, would become such a far-reaching influence. Artists like D'Angelo and Erykah Badu have name-checked Fan-Tas-Tic Volume 2 as a key influences, while The Roots' drummer ?uestlove declared that they hands down "...birthed the neo-soul movement."
Enter the Abstract Orchestra. Helmed by composer and saxophonist Rob Mitchell, this 18-piece ensemble has become renowned for their distinct sound, which reinterprets some of the most famous hip-hop productions of all time (right on down to the sample material) into a unique blend of big band jazz and live hip-hop. The group has toured alongside the likes of John Legend, Amy Winehouse, and Adele among others, and have provided live backup for Mos Def, and many more. They previously have released orchestral versions of revered hip-hop record Madvillian and a tribute to Dilla to critical acclaim as well.
On this, the 20th anniversary of Fan-Tas-Tic Volume 2's release, the Abstract Orchestra are proud to pay tribute to this highly innovative hip-hop classic. Across two volumes of vinyl and a 2-CD set of studio recordings, the big band applies their own jazzy spin to Dilla's classic productions, with occasional assistance from the surviving members of Slum Village themselves. The end result is Fantastic 2020, a hybrid blend of smooth, funky brass rhythms with boom-bap sensibilities that is just the kind of tribute that an often unsung, but highly influential group like Slum Village deserves, and is a more than welcome addition to any Dilla
completist's library.

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James Varda

Chance And Time

28,99 €*

Just What I've Been Looking For / What's It Gonna Be

Release: 2024 / UK – Original

Genre: Rock & Indie

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Suffolk-based singer songwriter James Varda’s fourth and final album before his death from a long battle with cancer in 2015, Chance And Time, set for a vinyl only reissue on Unspun Heroes is an astonishing aural document of a creative, forward -thinking musician coming to terms with a life slowly evaporating away. There is hubris, melancholy and an undeniable weight of sadness in these ten songs but, miraculously, there is also a stoic realisation and acceptance from Varda that is both heart-wrenching and deeply affecting. On Chance And Time Varda reconnects the human spirit to the land, a heavy, fearful heart to an optimistic soul, and in a beautiful poetic flourish gives a real tangible sense of loving and hope to his family and friends offering genuine reassurance and even, at times, a green light for celebration.

Carrying a certain air of mystique, that same sense of a ‘other worldliness’ if you will of say a Karen Dalton or a Jeff Buckley, Varda’s delivery and tone carries huge emotional weight here and an unique ability to add an honest perspective and warmth to the starkest of realities. The hard hitting impact of the opening tracks is blunt and sharply defined. There is pain, hardship, and fear wrapped in these tales - ‘The Doctor Spoke, Two Hearts Broke” - made all the more hitting as this is a real life journey in the here and now being catalogued. As we move towards the second half of the record there is something even deeper and truly incredible at play. Varda’s whole demeanor is one of understanding and acceptance - hear the celebratory shamanic vibe of the extraordinary ‘Pass It On’ and the poignantly reflective, chokingly sad finale ‘We Won’t Dream’ - bringing to an end a record that will leave a mark on everyone who hears it. Real art is both timeless and omnipresent, these songs from James Varda will hang in

the air forever and be there for those who look to find understanding, joy and a sense of hope. Chance And Time is both an extraordinary record and poignant study of life and living, of death and what comes after.

James Varda released four albums between 1988 and his death in 2015. A fledgling career beginning on the singer-songwriting folk scene where his arrival was met with both curiosity and critical acclaim as was his debut, the John Leckie produced Hunger. Any momentum was lost however as it would be ten years before the next, In The Valley was met with a ruffle of applause. Cancer took hold of the troubadour and for a number of years Varda lived life and wrote songs until The River And The Stars appeared like a phoenix from the flames as he began to wrestle with the realities of his situation. It’s a record that beautifully lays the ground for this his masterpiece that was to follow.

Unspun Heroes, a new label set up by Simon White, has the sole purpose of finding and reissuing albums that he considers both undervalued and seemingly ignored. All releases will be on vinyl only complete with Obi strip and extensive liner notes. Each will be individually numbered and limited.

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The Petersons

7" | 2023 | UK | Reissue (Soul Junction)

19,99 €*

Release: 2023 / UK – Reissue

Genre: Organic Grooves

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‘The Petersons’ were a vocal trio from Waycross, GA, their performing name came from their founder, lead vocalist and drummer Kenneth Peterson, along with Keyboard player Salem Chatman and vocalist/bassist Johnny Members. The trio regularly performed shows along America’s East Coast, and it was while working in Philadelphia during early 1973 that the group answered an advertisement in Billboard Magazine quote “Masters Turned Down? We Are Looking for New Acts to Sign, Contact Omega Sound Productions, Philadelphia, PA”.

Omega Sound was a fledgling independent Recording Company formed by Frank Fioravanti a budding songwriter and former Encyclopedia Britannica Salesman for the initial purpose of find some extra work for the musicians of The Philadelphia Orchestra who were looking to earn some side money. As a result of answering the Billboard advertisement ‘The Petersons’ found themselves booked into Frank Virtue’s recording studio to record two Fioravanti and the late Alan Felder penned songs, the up-tempo “What’s It Gonna Be” backed by the melodic “Just What I’ve Been Looking For” Mel Omega (1833). With the release failing to make much noise, The Petersons returned to their native Georgia where they continuing to perform and record but under the group name of ‘Toll Darkness’. Fast forward circa 30 years and a couple of copies of this obscure Mel Omega 45 was introduced into the UK by Soul Bowl’s John Anderson where they gained belated recognition initially at the Soul Essence Weekenders through resident DJ Steve Guarnori with “Just What I’ve Been Looking For” being his chosen side. These initial copies had a paper sticker on them crediting the Artist as ‘Toll Darkness’ but the subsequent find of further copies with no sticker coverings, revealed the real artist to be ‘The Petersons’, intriguing? The reason behind the differing artist names is reputedly assumed to be that Ken Peterson took some copies of the Mel Omega 45 back to Georgia and pasted the ‘Toll Darkness’ group name stickers over the Petersons label credits to enable him to sell them at shows with his other ‘Toll Darkness’ 45 “Party/Love Makes Me Do Foolish Things on Alpha Records. The up-tempo backing track of The Peterson’s “What’s It Gonna Be” was a Frank Virtue arrangement that he had great faith in, hence it’s usage on plethora of other Philly artists recordings, i.e. Fred Mark, Liza Mae, Michael Christian, Cody Michaels etc over different record labels, Melomega, Concept, Fox Century Plaza and Merben.

Frank Fioravanti also founded the Sound Gems label which brought us the timeless classic “Your My Main Squeeze” recorded on the New Beford, MA group ‘Crystal Motion’. Omega Sound’s most notable achievement would be William DeVaughn’s 1974 hit “Be Thankful For What You Got”.

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Audio-Technica

ATH-TWX9

279,00 €*

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Wireless Earbuds

The ATH-TWX9 truly wireless earbuds offer the freedom to customize your sound space for an advanced audio experience. These headphones create an immersive audio experience and feature digital hybrid noise canceling technology. With unique features including deep-UV sterilization, 360 Reality Audio for a realistic 3D sound stage, and Snapdragon Sound™ platform for higher quality music, video, and calls, the ATH-TWX9 set themselves above the rest as the best truly wireless headphones.

Designed to connect people through sound, these hybrid headphones are equipped with advanced features making the ATH-TWX9 optimal workout headphones or commuter headphones. The splashproof headphone design (IPX4®-equivalent) makes these perfect for rain, water, and sweat. Choose from five preset noise-cancelling modes or optimize noise cancellation for your current environment simply by pressing the touch sensor on the left earbud. These non-slip, compact and ergonomic headphones are designed to ensure a secure, comfortable fit. Customize your experience with twelve different fitting eartip designs (4 diameter sizes, 3 stem lengths) for the most comfortable noise cancelling headphones.

With approximately 6 hours of continuous playback with up to 18.5 hours of extended use, these in-ear Bluetooth headphones are newly designed with 5.8 mm high-resolution drivers to deliver an extended high-frequency range and improved sound detail. Experience crystal clear call quality thanks to the Qualcomm® cVc™ Generation 8.0 technology. Minimize sound delay while playing games or watching videos with Low Latency mode. Compatible with Google Fast Pair , Sony’s 360 Reality Audio, multipoint pairing, and the A-T connect app, these headphones provide a customizable and seamless experience across devices.

Included Accessories: 30 cm (1.0’) USB-A/USB-C charging cable

Your Sound Space - A Premium Listening Experience
Combining innovative acoustic technology with a snug, comfortable fit and convenient controls, the ATH-TWX9 lets you create an intimate sound space that’s all your own.

Ambience Control - Customize Your Noise Cancellation
With five preset noise-cancelling modes to choose from, plus options for adapting noise cancellation to your current environment or for hearing the people around you, the ATH-TWX9 puts you in control of ambient noise.

Advanced Audio - Designed for Premium Sound
Newly designed 5.8 mm high-resolution drivers deliver an extended high-frequency range and improved sound detail – perfect for use with the advanced Qualcomm® Snapdragon Sound™, Qualcomm® aptX™ Adaptive audio, and Sony 360 Reality Audio technologies.

Features:
• Truly wireless in-ear headphones with digital hybrid noise-cancelling technology
• Ambience control (noise-cancelling and hear-through) can be employed for music playback and calls
• Use the touch sensor to choose from five preset noise-cancelling modes or optimized noise cancelling that adapts to your current environment
• Hear-through function allows you to hear ambient sounds (plus your own, unmuffled voice) so you can talk to others around you without removing your earbuds
• Newly designed 5.8 mm high-resolution drivers deliver an extended high-frequency range and improved sound detail
• Compatible with Qualcomm® Snapdragon Sound™, Qualcomm® aptX™ Adaptive audio, and Sony’s 360 Reality Audio to deliver an advanced listening experience
• Eartips feature a hybrid structure of hard and soft silicone for best fit and sound performance, and come in three different lengths for each size (XS/S/M/L)
• Dual high-performance MEMS (micro-electromechanical system) mics, beamforming technology, and Qualcomm® cVc™ Generation 8.0 technology ensure crystal-clear call quality
• Sidetone circuitry improves conversations by letting you hear your voice in the headphones when making calls on most smartphones
• Qualcomm® TrueWireless Mirroring enables independent transmission to the left and right earbuds, reducing sound interruptions and delays for videos
• Multipoint pairing function allows you to stay connected to two Bluetooth devices at once
• Approximately 6 hours of continuous playback with up to 18.5 hours of extended use
• Charging case’s deep-UV LED sterilization system (with unique mirror processing) eliminates bacteria and viruses from the surface of the headphones**
• A-T Connect app gives you additional control: activate low latency mode, personalize noise-cancelling system, adjust and save EQ to the headphones, change L/R volume balance, select desired voice assistant (such as Amazon Alexa Built-in or Google Assistant), change codecs, and more
• Rain and water splashproof design (IPX4*-equivalent)
• Flexible dual- or single-ear usability
• Includes 30 cm (1.0') USB-A/USB-C charging cable

* IPX4 equivalent means that there is no harmful effect even if water is splashed from all directions. It cannot be used in hot and humid places such as baths. It is not completely waterproof.
** The system is more than 99% effective against E. coli and bacteriophage viruses, and more than 90% effective against Staphylococcus aureus, but it is not effective against all bacteria and viruses. The effectiveness against the novel coronavirus has not been verified.

Specifications Headphones:
• Type Dynamic
• Driver Diameter 5.8 mm
• Frequency Response 10 to 40,000 Hz
• Sensitivity 102 dB/mW
• Impedance 16 ohms
• Weight Headphone: Approx. 5.4 g (0.19 oz) (L side), approx. 5.4 g (0.19 oz) (R side); Charging case: Approx. 55.9 g (2.0 oz)
• Charging Time Headphones: Approx. 2.5 hours *3
• Charging case: Approx. 3.5 hours (USB charging) *3; Approx. 5.0 hours (wireless charging) *3
• Operating Temperature 5 °C to 40 °C (41 °F to 104 °F)
• Operating Time Continuous transmission time (music playback): Max. approx. 6.0 hours *3 (headphones), Max. approx. 18.5 hours *3 (if charging case is used in combination)
• Microphone Type MEMS type
• Microphone Sensitivity -38 dB (1 V/Pa, at 1 kHz)
• Microphone Frequency Response 100 to 16,000 Hz
• Microphone Polar Pattern Omnidirectional
• Power Supply Headphones: DC 3.85 V lithium ion battery
• Charging case: DC 3.85 V lithium polymer battery
• Water-Resistant (drip-proof) Performance IPX4*4
• Accessories Included • USB charging cable (30 cm (12"), USB Type-A / USB Type-C) • Eartips: Short (XS, S, M, L), Standard (XS, S, M, L), Long (XS, S, M, L)

Notes
*1 When using Qualcomm® Snapdragon Sound.
*2 When using Qualcomm® Snapdragon Sound and Qualcomm® aptX™ Adaptive audio.
*3 The figures above depend on operating conditions.
*4 Headphones only.

Specifications Bluetooth®:
• Bluetooth® Version Bluetooth version 5.2
• Operating Range Line of sight - approx. 10 m (33')
• Maximum RF Output 10 mW EIRP
• Frequency Band 2.402 GHz to 2.480 GHz
• Modulation Method GFSK, Pi/4DQPSK, 8DPSK
• Spread Spectrum Method FHSS
• Compatible Bluetooth Profiles A2DP, AVRCP, HFP
• Support Codec Qualcomm® aptX™ Adaptive audio, Qualcomm® aptX™ audio, AAC, SBC
• Supported Content Protection Method SCMS-T
• Supported Sample Rates 44.1 kHz, 48 kHz, 96 kHz *1
• Supported Bit Rates 16 bit, 24 bit *2
• Transmission Band 10 Hz to 47,000 Hz; (when Qualcomm® Snapdragon Sound 96kHz sampling) 20 Hz to 20,000 Hz

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Mixtour Pro

449,00 €*

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We are excited to introduce the Reloop Mixtour Pro: A Superior 4-Deck All-In-One DJ Controller for Algoriddim djay Pro and developed in close collaboration with legendary DJ & producer, Laidback Luke.

THE FUTURE OF DJING
The Reloop Mixtour Pro exceeds expectations in the tiniest of spaces and provides a professional yet portable solution for the club and festival scene. The ultra-compact DJ controller was developed in close collaboration with legendary DJ & producer, Laidback Luke and is specifically designed to use seamlessly with Algoriddim’s award-winning djay Pro software.

MIXING WITH UP TO FOUR DECKS
Despite its small size, the Mixtour Pro is capable of supporting four-deck mixing with its powerful and intuitive controls. Thanks to the illuminated transport section with dedicated coloured LEDs, users are always informed of whether decks 1 and 2 or decks 3 and 4 are currently active. The aluminium browse encoder and designated load buttons allow for efficient library navigation and instant loading of tracks.

PROFESSIONAL DESIGN AND FX CONTROL
The Mixtour Pro’s two channel strips with their trusted design are fitted with all the important controls for a modern DJ setup. Each channel features an electroplated bi-polar sound filter (LPF/HPF) with a dedicated LED indicator, in addition to gain and three-band EQ. The convenient FX paddles allow the user to trigger effects in bursts via FX Hold mode or to apply them indefinitely via FX On mode. A large, electroplated dry/wet knob controls the intensity of the effect, while the two dedicated parameter buttons offer complete control over the effect parameters. The lower performance area is fitted with 45mm Ultra Glide crossfader and line faders, for the smoothest operation in the mix.

MADE FOR DJAY & NEURAL MIX™
The Reloop Mixtour Pro unlocks Algoriddim’s djay Pro software² and incorporates their revolutionary Neural Mix™ technology into the workflow with dedicated controls. This allows DJs to isolate and manipulate individual drums, instruments, and vocals from any tracks in real time, expanding creative mixing capabilities to a whole new level. This feature is toggled easily and intuitively with the press of a button and controlled via the EQ controls of the two channel strips.

CROSSFADER FUSION™
The Mixtour Pro is also the first DJ controller to support Algoriddim djay Pro’s revolutionary Crossfader Fusion™ feature. DJs are now able to select from a range of creative transition styles that are automatically applied when mixing from one song to another, delivering a perfect mix every single time with the simple slide of the crossfader.

FLEXIBLE PERFORMANCE PAD SECTION
Eight performance pads with RGB lighting provide users with more creative options with a wide range of modes including Hot Cue, Bounce Loop, Pitch Cue, Instant FX, Auto Loop, Sampler, Skip and Neural Mix™. Furthermore, all eight pads can be assigned to control one channel in single pad mode, or four pads can be assigned to a channel each via split pad mode.

FULL CONTROL: THE TRANSPORT SECTION
The Mixtour Pro's sophisticated transport section enables a smooth and efficient workflow. It features four rubberized buttons for each channel to control Play / Pause, Cue, and Sync respectively, while the signature “Laidback Loop” button independently offers instant looping (In/Out/Exit) with a single control. This transport section also offers secondary layer functions to control Auto Loop, Key Match, Pitch Bend, and Key Shift. The transport buttons also illuminate in 2 different colours representing decks 1 and 2 or decks 3 and 4, respectively, keeping the DJ clearly informed when performing.

USB-C DESIGN FOR MULTI-PLATFORM & DEVICE SUPPORT
The Reloop Mixtour Pro provides impressive compatibility options when pairing it with a device and platform. A smartphone, tablet or computer can all be conveniently bus-powered thanks to the modern USB-C architecture. The unit also houses a second USB-C PD port, capable of up to 85W to efficiently daisy-chain a power supply, allowing the device and controller to be powered simultaneously. Algoriddim's djay Pro is available for iOS, iPadOS, macOS, Windows, and Android for even more cross-platform versatility.

STREAM IT!
In addition to performing with locally stored music, the Reloop Mixtour Pro together with Algoriddim djay offers access to millions of tracks on demand via major streaming services¹ such as Tidal, SoundCloud Go+, Beatport Streaming, and Beatsource Streaming. These different sources can all be mixed together and even combined in the same playlists within djay Pro.

POWERFUL AUDIO QUALITY
As the name suggests, the Reloop Mixtour Pro also delivers in regards to professional audio. The integrated 4x Out USB interface with high-quality D/A converters from Cirrus Logic enables first-class 24-bit sound with low latency. Direct connection is provided via gold-plated RCA outputs and a 3.5mm headphone jack.

PORTABLE DESIGN WITH DURABLE BUILD
The top panel of the Mixtour Pro is composed of brushed aluminium with a high-gloss acrylic plate inlay, while large non-slip feet keep the unit firmly in place when in use. The Premium Modular Bag XT is available as an optional accessory for safe transportation with the additional benefit of providing a solid base for the controller.

FEATURES:
• High-quality, ultra-portable, all-in-one four-deck DJ controller with audio interface
• Professional solution for clubs and festivals developed in close collaboration with DJ & producer Laidback Luke
• Designed for the award-winning Algoriddim djay Pro software
• Integrated 4x Out USB sound card with 24-bit D/A converters from Cirrus Logic ensuring premium sound quality and low latency
• USB-C design (bus-powered) with optional power delivery support (85W)
• 4-deck control: dedicated LED indicator for active decks 3 and 4
• Supports revolutionary Crossfader Fusion™ feature for automated transitions delivering a perfect mix
• Neural Mix™ pad & EQ mode for real-time isolation of drums, instruments, and vocals of any song
• Electroplated bi-polar sound filters (LPF/HPF) with LED indicator
• 8 performance pads with RGB lighting
• Split pad mode to assign 4 performance pads to each deck
• Single pad mode to assign all 8 pads to a single deck
• 8 performance modes individually selectable per deck: Hot Cue, Bounce Loop, Pitch Cue, Instant FX, Auto Loop, Sampler, Skip, Neural Mix™
• Plug-and-Play: unlocks Algoriddim djay Pro on all available platforms²
• FX section for selecting and controlling effects for each deck
• 2 parameter buttons for setting the effect parameter
• 2 large electroplated toggle switches (FX paddles) with Hold & On position for burst triggering or constant effect activation
• Effect status easily visible via FX-On LEDs
• Large electroplated Dry/Wet controller for controlling the effect level
• Rubber-coated transport section with four control buttons per deck (Play/Pause, Cue, Sync, Manual Loop)
• Laidback Loop mode: instant looping with just one button (In/Out/Exit)
• Intuitive deck lighting: the transport section illuminates in a different colour according to the active decks
• Shift/mode control for 2nd-layer functions such as Auto Loop, Key Match, Pitch Bend, and Key Shift
• Millions of tracks are available on demand within Algoriddim djay Pro via the Tidal¹, SoundCloud Go+¹, Beatport Streaming¹ and Beatsource Streaming¹ streaming services
• Dedicated controls for main output level, headphone volume, and cue mix
• LED chain input signal for level indication
• Aluminium browse encoder and load buttons for quick and easy track navigation and loading
• Gain and 3-band EQ per channel
• Headphone cue buttons per channel
• 45mm Ultra Glide line faders and crossfader
• Gold-plated RCA outputs and 3.5mm headphone jack
• Brushed aluminium top panel with high-gloss acrylic plate inlay
• Flat design with high-quality components and large, non-slip feet
• Multi-platform support compatible with smartphones, tablets, or laptops
• MIDI-compatible
• Optional Premium Modular Bag XT for safe transportation and a solid base to raise the Reloop Mixtour Pro to club setup height
• Incl. USB-C to USB-C cable, RCA cable and instruction manual

¹ Internet connection and a Tidal Premium or HiFi or SoundCloud Go+ subscription required. All three subscriptions include access to Beatport Streaming and Beatsource Streaming.
² The app's functionality may vary depending on the platform used. Only Pro functions that can be operated with the controller are activated without a subscription.

SPECIFICATIONS
• Dimensions: 129 x 310 x 55 mm
• Weight: 960 g

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Flux + UDG Creator Hardcase (HHV Bundle)

419,00 €*

Gilly Mc X Self The Bluest Eye X Dee X Restless M.I.N.D.

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Reloop - Flux + UDG Creator Hardcase (HHV Bundle)
The Bundle contains 1x Reloop - Flux and 1x UDG Creator Hardcase.

RELOOP FLUX - 6X6 IN/OUT USB-C DVS INTERFACE FOR SERATO DJ PRO

We are excited to introduce the Reloop Flux: A next-generation 6x6 In/out USB-C DVS Interface for Serato DJ Pro. It can transform any conventional mixer into a professional digital vinyl system.

BACK TO THE MUSIC
The Reloop Flux is a next-generation USB-C interface for using Serato DJ Pro with turntables, CDJs or other media players. The interface boasts superior audio qualities, a well-designed operating concept and a club-ready design. It can transform any conventional mixer into a professional digital vinyl system.

MAXIMUM FLEXIBILITY
Three stereo inputs provide DJs with maximum flexibility. Turntables, CDJs and similar can be used in any combination. The settings are adjusted using discreet DIP switches, which virtually eliminates any chance of accidental switching in the club. The interface includes three stereo outputs, including an AUX out that can be routed to Serato DJ Pro´s internal sampler. Gold-plated, corrosion-resistant RCA jacks ensure high-quality audio transmission.

FULL CONTROL
The Flux provides the best possible routing overview thanks to clearly visible signal flow LEDs for all inputs and outputs and a Thru status indicator. Connection status (hub, PD, DC) LED indicators on the top of the interface provide additional control options. The Direct Thru buttons on the top of the interface enable you to quickly and easily activate and disable Thru mode, which allows connected turntables and CDJs to be used conventionally. Navigation through the Serato software is no longer necessary.

HUB INSIDE
The Flux includes a built-in 2-port USB-A hub for connecting MIDI controllers and other USB accessories. Aside from the expanded connection options, the hub reduces potential connection faults in a busy club environment by keeping the setup connected even without the laptop.

STUDIO QUALITY – ANYTIME, ANYWHERE
The Flux offers studio quality in the club and wherever it's needed with 24-bit/96 kHz, high-quality digital/analogue converters and ultra-low latency. For this reason, it’s a superior DVS interface which could also be used as an audio interface in the studio.

ALWAYS POWERED
The Flux is bus-powered by a computer, so there's minimal wiring required for audio and power cables. The DVS interface can also be powered by external power sources through the USB-C DC input, allowing turntables and CDJs to be used in Thru mode even without a computer connected. The Flux's second USB-C port provides Power Delivery support for other USB-C devices (max. 60 W), such as a MacBook.

ROBUST AND ROADWORTHY
The interface has a durable metal housing with a scratch-resistant, black surface, ensuring a long service life even with heavy use. The extended edge design keeps the connections well-protected.

PLUG & PLAY FOR SERATO DJ Pro
The Reloop Flux unlocks the full version of Serato DJ Pro and Serato DVS. This means DJs can get up and running with the market-leading digital vinyl system in no time. Additional licences are not necessary.

FEATURES:
• 3-channel (6x6 in/out) USB-C DVS interface for Serato DJ Pro
• Turn any mixer into a professional digital vinyl system
• Unlocks full version of Serato DJ Pro and Serato DVS
• Studio-grade 24-bit sound card with crystal-clear audio and ultra-low latency response
• Supports up to 96kHz with high-quality D/A converters for superior audio processing
• Also functions as a stand-alone studio interface for recording and playback audio
• 3x inputs for turntables, CD players or AUX-In for live feed signal, switchable in any combination via dedicated dip switches
• Dedicated GND terminal for grounding turntables
• Gold-plated, corrosion-resistant audio connections
• 3x line outputs, including AUX-Out, assignable to the Sampler
• Easy, accessible direct thru buttons for analogue deck playback
• All terminals are visible from the top of the unit for easy installation in dark surroundings
• Bus-powered cable connection for power and audio
• Optional USB-C DC in port for external power supply
• Power delivery support for USB-C devices (max 60W)
• Signal-flow LEDs for all inputs and outputs (L/R) and thru indication for clear visibility
• Power LEDs on the top panel for connection status (Hub, PD, DC)
• 2-port USB-A hub for connecting further accessories
• Rugged, heavy-duty metal housing with a scratch-resistant black finish for durability on the road and reliability in the club
• Highly robust, extended edge design to protect connection terminals
• Supports the use of Serato NoiseMap™ control vinyl (not included) or custom control signal WAV file for use via CDs or USB drive (download available) with no additional license purchase needed
• Including: 2x RCA audio cables, 1x USB-A to USB-C, 1x USB-C to USB-C, user manual

TECHNICAL DATA:
Power:
• USB bus powered: Yes
• Recommended power: 2 A or higher / minimum power: 400 mA
• Maximum USB-PD throughput: 60 W
• Maximum USB Hub power output: 2 x 0.8 A = 8 W
• Supported external USB (type A or C) power supply: 5 V/1 A - 20 V/3 A
• Power supply priority: FLUX self-power -> USB Hub -> PD (to PC)

Audio:
• S/N Ratio (output reference level 1 kHz, +4 dB):
• Deck In (LINE signal input: 0 dBV): More than 83 dB
• Deck In (PHONO signal input: -32 dBV): More than 73 dB
• THD + N:
• LINE signal input: -4 dBV @1K / Less than 0.03% (1 kHz,+0 dB)
• PHONO signal input: -36 dBV @1K / Less than 0.05% (1 kHz,+0 dB, Inverse RIAA)

Maximum Gain:
• Deck In (LINE): +4 dB ± 2 dB
• Deck In (PHONO): +36 dB ± 2 dB
• Maximum Input (1 kHz, THD=1%):
• Deck In (LINE): More than +7 dBV
• Deck In (PHONO): More than -25 dBV
• Maximum Output (1 kHz, THD=1%):
• Deck Output: More than +11 dBV

USB:
• USB audio interface with 24 bit/44.1 kHz, 48 kHz, 96 kHz
• USB 2.0 high-speed (480 Mbit/s)
• Class-compliant on macOS
• USB Power Delivery Protocol 3.0

General:
• Dimensions (WxDxH): 160 x 120 x 34 mm
• Weight: 0.85 kg

Accessories:
• User Manual
• 1x USB type C/C cable
• 1x USB type C/A cable
• 2x RCA cables

Manual: https://www.reloop.com/media/catalog/product/pdf/2/4/5/245389_Reloop_IM.pdf

UDG - Creator Reloop Flux Hardcase

A Digital DJ/ Producer looking for a professional, durable case solution for your Reloop Flux? Then look no further, UDG developed a super light EVA Hardcase designed for life on the road. Constructed from durable lightweight compression moulded EVA material with a laminated nylon exterior this case provides protection against drops, scratches & liquids. Skillfully designed & moulded to fit the Reloop Flux, this case is perfect for the travelling DJ/ Producer that needs to protect their equipment.

Weight 0,20 kg / 0.44 lbs
Outer Dimensions (W x H x D) 21.0 x 18.5 x 6.2 cm | 8.3 x 7.3 x 2.4 inch
Inner Dimensions (W x H x D) 16.0 x 13.0 x 5.2 cm | 6.3 x 5.1 x 2.0 inch
Material Durashock molded EVA foam
Protection Cover main material 600D polyester with 5 mm EVA durashock molded body
Water repellent laminated nylon exterior
Black soft fleece interior
Protective top removable foam
Extra's Easy grip zipper pulls
Fits Reloop Flux

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Boombap Guardians Episode 1

LP | 2024 | UK | Original (The Get Down)

Chaka Khan / Freddie Hubbard / Joe Henderson / Chick Corea / Stanley Clarke / Lenny White

Release: 2024 / UK – Original

Genre: Hip Hop

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"Boombap Guardians Episode 1" entails a journey through the lifestyle of bringing Hip-Hop culture to our daily lives… not only as independent artists, but as human beings. The notion of social and society collapse, fallen friends, inner peace and the beauty it takes to stay up, true life stories written on paper and expressed through HipHop. Boombap Guardians has improved on the design of sample based Hip-Hop backed by heavy percussion, speaking English and Dutch languages with some serious grime. This project has been many years in the making, although the majoring of the tracks were recorded over the last 3 years. BBG is important to us in the following ways…the beginning of friendships…the end of an era, but truly not forgotten. In many ways Hip -Hop has saved our lives and helped us move forward. Id have to say this project entails how even HipHop can turn strangers into brothers.

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Echoes Of An Era

LP | 1982 | JP | Original (Elektra)

Jah Mason, Tristan Palmer / Ks Music Band, Ruba Kpo Ft Ras Tweed

Release: 1982 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Japanese pressing. Includes OBI and insert.

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Selassie I Bless Me, Beware / Riddim, Come Again

12" (King Sound Music)

8,24 €* 10,99 € -25%

Genre: Reggae & Dancehall

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Ella Fitzgerald, Memphis Slim, Big Joe Turner, Ray Charles And His Orchestra

Europa Jazz

LP | 1981 | IT | Original (Europa Jazz)

4,99 €*

Release: 1981 / IT – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Miles Davis With John Coltrane, Red Garland, Paul Chambers & Philly Joe Jones

The Complete Cookin' Sessions

4LP | 2019 | EU | Original (Jazz Images)

68,99 €*

Release: 2019 / EU – Original

Genre: Organic Grooves

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Chaka Khan / Freddie Hubbard / Joe Henderson / Chick Corea / Stanley Clarke / Lenny White

Echoes Of An Era

LP | 1982 | US | Original (Elektra)

7,99 €*

Gilly Mc X Self The Bluest Eye X Dee X Restless M.I.N.D.

Release: 1982 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

The cover has slight wear and a cut corner.
Vinyl shows a few scuffs.
Cops is between VG and VG+!

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Boombap Guardians Episode 1

Tape | 2024 | UK | Original (The Get Down)

18,99 €*

Cliff Carpenter Und Sein Orchester, Jo Ment & His Orchestra, Soundorchester Roy Etzel

Release: 2024 / UK – Original

Genre: Hip Hop

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Go to Item

Stereo Hitparade Instrumental '76

2LP | 1976 | DE | Original (SR International)

6,99 €*

Stefan Grossman Featuring Son House, Jo-Ann Kelly, Sam Mitchell, Mike Cooper

Release: 1976 / DE – Original

Genre: Pop

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Used Vinyl

Medium: VG, Cover: VG

Cover close to VG+

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Country Blues Guitar Festival

LP | 1977 | UK | Original (Kicking Mule)

Joe Williams, Dave Lambert , Jon Hendricks, Annie Ross Plus Count Basie Orchestra

Release: 1977 / UK – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG

Cover close to VG+

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Sing Along With Basie

LP | 1972 | JP | Original (Roulette)

11,24 €* 14,99 € -25%

Joe Williams, Dave Lambert , Jon Hendricks, Annie Ross Plus Count Basie Orchestra

Release: 1972 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

No obi.

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Sing Along With Basie

LP | 1958 | JP | Reissue (Roulette)

Beautiful Soul HHV Exclusive Violet Pink Vinyl Edition

Release: 1958 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

OBI is missing!

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Spectac & Amiri

LP | 2024 | US | Original (Ill Adrenaline)

Beautiful Soul Black Vinyl Edition

Release: 2024 / US – Original

Genre: Hip Hop

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Preorder shipping from 2024-12-13

Limited to 100 copies. Underground hip-hop legends Spectac & Amiri are back with their latest offering, "Beautiful Soul", set for release through Ill Adrenaline Records. Known for their signature jazzy, soulful soundscapes and introspective lyricism, this album builds on the success of their critically acclaimed project Soul Beautiful. Once again, Amiri's soulful production lays the foundation for Spectac's sharp, reflective rhymes, proving the duo's chemistry is as potent as ever.

Amiri has long been praised for his ability to blend golden-era vibes with modern production techniques, crafting beats that seamlessly combine jazz, soul, and boom bap. Over the years, his work has earned a respected place in the underground scene, producing for a wide array of artists while staying true to his unique sound.

On the mic, Spectac is a seasoned emcee from South Carolina with roots in North Carolina, known for his witty wordplay and freestyle prowess. With a career spanning over a decade, his lyricism often explores personal experiences and societal issues, making his verses both relatable and thought-provoking. Together, the duo has earned the respect of underground hip-hop heads globally, delivering consistently high-quality music that blends nostalgia with fresh creativity.

Having worked with the likes of 9th Wonder, Big Daddy Kane, and A Tribe Called Quest, Spectac & Amiri are most definitely veterans in the game. Their releases have always been rooted in the spirit of true-school hip-hop, which has enabled them to maintain their underground presence for decades.

The lead single from Beautiful Soul, titled "Yeah Y’all", features their long-time friend and collaborator DJ Shakim, who adds his signature blend of scratches and cuts over Amiri’s dreamy instrumental. Spectac's effortless flow shines with lines like, "…me and Amiri not the greatest but close enough, a stone throws away from a J-Dilla donut…"

With tracks like "When We Do It", "Sermons for Bentleys", "Got a Feeling", and "Wake Up!", the duo dives into themes ranging from reflections on their personal journeys to commentary on the political and social challenges they've witnessed throughout their careers. As always, the album serves a balanced mix of lyrical depth and soulful vibes, offering something for both new listeners and longtime fans.

For those familiar with Spectac & Amiri, Beautiful Soul is a return to form, delivering the kind of lush, thoughtful hip-hop that's become their trademark. And for newcomers? Consider this your backstage pass to one of the best-kept secrets in the underground. Get ready, because once you hit play, you're not just listening — you’re vibing with legends.

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Spectac & Amiri

LP | 2024 | US | Original (Ill Adrenaline)

Philippe Maté / Jef Gilson

Release: 2024 / US – Original

Genre: Hip Hop

Add to Cart Coming Soon Sold out Currently not available Not Enough Coins

Preorder shipping from 2024-12-13

Underground hip-hop legends Spectac & Amiri are back with their latest offering, "Beautiful Soul", set for release through Ill Adrenaline Records. Known for their signature jazzy, soulful soundscapes and introspective lyricism, this album builds on the success of their critically acclaimed project Soul Beautiful. Once again, Amiri's soulful production lays the foundation for Spectac's sharp, reflective rhymes, proving the duo's chemistry is as potent as ever.

Amiri has long been praised for his ability to blend golden-era vibes with modern production techniques, crafting beats that seamlessly combine jazz, soul, and boom bap. Over the years, his work has earned a respected place in the underground scene, producing for a wide array of artists while staying true to his unique sound.

On the mic, Spectac is a seasoned emcee from South Carolina with roots in North Carolina, known for his witty wordplay and freestyle prowess. With a career spanning over a decade, his lyricism often explores personal experiences and societal issues, making his verses both relatable and thought-provoking. Together, the duo has earned the respect of underground hip-hop heads globally, delivering consistently high-quality music that blends nostalgia with fresh creativity.

Having worked with the likes of 9th Wonder, Big Daddy Kane, and A Tribe Called Quest, Spectac & Amiri are most definitely veterans in the game. Their releases have always been rooted in the spirit of true-school hip-hop, which has enabled them to maintain their underground presence for decades.

The lead single from Beautiful Soul, titled "Yeah Y’all", features their long-time friend and collaborator DJ Shakim, who adds his signature blend of scratches and cuts over Amiri’s dreamy instrumental. Spectac's effortless flow shines with lines like, "…me and Amiri not the greatest but close enough, a stone throws away from a J-Dilla donut…"

With tracks like "When We Do It", "Sermons for Bentleys", "Got a Feeling", and "Wake Up!", the duo dives into themes ranging from reflections on their personal journeys to commentary on the political and social challenges they've witnessed throughout their careers. As always, the album serves a balanced mix of lyrical depth and soulful vibes, offering something for both new listeners and longtime fans.

For those familiar with Spectac & Amiri, Beautiful Soul is a return to form, delivering the kind of lush, thoughtful hip-hop that's become their trademark. And for newcomers? Consider this your backstage pass to one of the best-kept secrets in the underground. Get ready, because once you hit play, you're not just listening — you’re vibing with legends.

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Workshop

LP | 1973 | EU | Reissue (Souffle Continu)

Aquamarine Teal Virgin Vinyl Edition

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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In October 1974, the first number of “L'Indépendant du Jazz”, a small self-produced magazine DIY -before punk supposedly invented the concept- was launched by Jef Gilson, Gérard Terronès, Jean-Jacques Pussiau and a few other specialists of a different kind of jazz in France, it looked at the already long career of Jef Gilson and in detail at the album with saxophonist Philippe Maté : “The ‘Workshop’ is, with Philippe Maté (alto-sax), an undeniable success. Maté is genuinely ‘the’ most inventive French saxophonist since Michel Portal burst onto the jazz scene (who has also worked with Jef Gilson on both “Enfin” and “Gaveau”).” Even though the author of the article is a mysterious I.H. Dubiniou, and it is difficult to know if it is a real person or a pseudonym used by one of the merry bunch, it is also tempting to hear it as what Jef Gilson really thought about his new discovery. Even more so as the two men would work together over a long period, as Maté became one of the key figures of Gilson’s Europamerica orchestra up until the 1980s. Philippe Maté had started to make a name for himself with the Acting Trio when they released an album on the BYG label in 1969, and he was also one of the regular sidemen for the Saravah studios (he can notably be heard on albums by Higelin, Fontaine or his cult duo album with Daniel Vallancien). The album was recorded on 4 February 1972, at the Foyer de Montorgueuil, where Gilson had set up his studio, with more or less the same team found on “La Marche Dans Le Désert” by Sahib Shihab + Gilson Unit (recorded ten days later). This was drummer Jean-Claude Pourtier and pianist Pierre Moret (regular Gilson accomplices since “Le Massacre Du Printemps”), alongside Maurice Bouhana and Bruno Di Gioa on various percussions and/or wind instruments. On bass is Didier Levallet, of the now mythical Perception, (Jean-François Catoire would replace him with Shihab) and Philippe Maté who took top billing, rather than the American saxophonist afterwards. The two albums are however quite different. This “Workshop” is more abrasive, more free. Made up of two long improvisations each of over 22mn, “L'Œil” on side A and “Vision” on side B (Gilson specialists would recognise the nod to one of his albums from the 60s), the album plunges you into the depths, attempting to drown you in electronic waves, dragging you back to the surface by the collar, giving you a good shakedown, before showing you the light, leaving you breathless on the shore after 46mn of the most intense music French has to offer. “An undeniable success”, they said.

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Ash Walker

LP | 2019 | UK | Original (Night Time Stories)

29,99 €*

7" | 2024 | EU | Original (The Outer Edge)

Release: 2019 / UK – Original

Genre: Organic Grooves

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Limited numbered edition of 1000 copies on colored vinyl!

Ash’s production output is similarly exploratory: his journeys have taken him far and wide, from tunnels under the river Thames to recording local percussionists in the Atlas mountains of Morocco. Inspired by a deep dive of sounds from artists including Duke Ellington, Quincy Jones, King Tubby, Bo Diddley, 4Hero, J Dilla, Pete Rock, Curtis Mayfield, Philip Glass, and Steve Reich; his first two albums, ‘Augmented 7th’ (2015) and ‘Echo Chamber’ (2016) gained attention from the likes of BBC 6 Music DJs Gilles Peterson, Don Letts, Gideon Coe and Clash Maga- zine, XLR8R and MIMS.

‘Aquamarine’ is a projection and culmination of all he’s ab- sorbed. A cosmic explosion of sound and colour, rhythm, shape and patterns. The arrival of an unassuming dreamer now projecting his unique flavour of expression. ‘Aqua- marine’ is the take-off of this audial spaceship, a sound discovered in the grooves of thousands of records, united in one. A meditation designed to inspire good energy, Ash hopes to bring a sense of calm and tranquility to the listener amongst the chaos of life. Recorded at home with the freedom of time and space, it combines analogue with digital, and a fondness for normally unwanted shapes and textures such as fuzz, hiss and crackle.

“My previous albums have felt to me more like ventures on land. This one feels more like a deep sea voyage into the subconscious. Living to dream with visions of gran- deur. Manifesting a beautiful path to walk on. It was inspired by everything around me, from friends and family to art and design, engineering and architecture, move- ment and how we use our five senses. I love to try and push my own boundaries of what I perceive to be right and wrong, seeing mistakes as innovations, and obstacles as inspiration.”

Highlights on the album include ‘Under The Sun’, ‘Time’ and ‘Finishing Touch’, all of which feature the smooth and silky voice of Laville. Themes of metaphysical exploration and transportation re-occur in the cosmic jazz of ‘Brave New World’ and the smoked beats on ‘Come With Us’. Also featured across the album are trumpet and flugel- horn genius Yazz Ahmed, bassist Marc Cyril (Keziah Jones, Jr Walker & The All Stars) and renowned musician and producer Jonathan Shorten.

Having already graced the stages of some of the biggest UK festivals as well as as The Jazz Cafe and Rich Mix, The Ash Walker Experience is a formidable six piece live lineup. Ash has collaborated with Ezra Lloyd-Jackson to turn each performance into a vibrant, multi-sensory experience combining live reactive projections and carefully crafted frequency complimenting fragrances.

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Grand Slam

Goin Out

15,99 €*

Bad Company Atlantic 75 Series

Release: 2024 / EU – Original

Genre: Organic Grooves

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- Limited Edition of 350 copies
- Thick high quality picture sleeve with hype sticker
- Previously unissued on vinyl, recorded in 1986

The Outer Edge is excited to announce the release of an intense and previously undiscovered funk rap / boogie single, featuring two tracks recorded in 1986.

While researching for his book on 80s funk music in Germany, DJ Scientist explored bands from Bavaria that collaborated with GIs. One of these bands is Grand Slam, a group that remains active to this day. The band’s leader, Toby Mayerl, lived near a US Army base in Amberg, where he fell in love with funk after hearing Roger Troutman and Zapp. He soon became part of two groups: Total Control and Grand Slam.

Originally led by guitarist Harry Zawrel, Grand Slam had a “European” funk sound similar to Talking Heads or Level 42. However, in 1985, Mayerl took over the band and merged it with Total Control, a mixed group that included African-American soldiers. From that point on, they shifted towards a heavier funk and soul sound, continuing to work with musicians from the GI community. By late 1986, they had enough material to record their debut album, Make My Day. Although published by the independent label Kerston, the album was only available on cassette, primarily sold at their concerts in early 1987.

DJ Scientist managed to track down an original copy of this ultra-rare tape in the MUZ archive in Nuremberg. "What I heard blew my mind," he said. "The cassette featured seven raw, well-produced funk and soul jams with fantastic arrangements and vocals." As an old-school funk and disco rap collector, he was immediately captivated by the track "Goin' Out," which features GI rapper Calvin E. Flagg. This song evokes the energy of early recorded rap singles from labels like Enjoy or Sugar Hill Records.

On Side B, the second track from the unheard debut album, ‘Don’t Let You Down,’ offers another glimpse of what we've been missing. This uptempo boogie-funk track features lead vocals by Aletha Mcbryde, Calvin E. Flagg, and Oliver Allwardt, along with thrilling synths and a lively brass section - perfect for turning up the volume.
Both tracks have been remastered from the original master tapes, which Toby Mayerl fortunately still had in his archive. The artwork for the release is inspired by original band posters, with the Grand Slam logo taking cues from Bootsy's Rubber Band’s Body Slam! cover from 1982. This limited vinyl pressing is capped at just 350 copies.

- Intense Funk Rap / Boogie single
- Fully Licenced, recorded in 1986
- Transferred from original master tape
- Mastered by Frederic Stader

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Bad Company

2LP | 2023 | US | Reissue (Analogue Productions Atlantic 75 Series)

75,99 €*

Home Recordings, 1978-1980

Release: 2023 / US – Reissue

Genre: Rock & Indie

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Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

Bad Company's eponymous 1974 debut featuring "Ready for Love"

180-gram 45 RPM double LP

Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound

Pressed at Quality Record Pressings and RTI

Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

From the wreckage of Free came Bad Company, the English hard rock supergroup fronted by singer Paul Rodgers and featuring his drummer bandmate Simon Kirke, Mott the Hoople guitarist Mick Ralphs, and King Crimson bassist Boz Burrell. Peter Grant, who managed the rock band Led Zeppelin, also managed Bad Company until 1982.

The group's eponymous 1974 album debut decidedly proves the band is proudly not progressive — the details make a difference, as do the pastoral acoustics of the closing "Seagull" — reducing their rock 'n' roll to a strong, heavy crunch; compare "Ready for Love," a tune Ralphs brought over from Mott the Hoople, to the original to see how these quartet members keep their heads down as they do their business. Appropriately enough given their name, there's a sense of slow, churning menace to Bad Company, writes AllMusic reviewer Stephen Thomas Erlewine.

Their first three albums, Bad Company (1974), Straight Shooter (1975), and Run with the Pack (1976), reached the Top Five in the album charts in both the U.K. and the U.S.. Many of their singles and songs, such as "Bad Company," "Can't Get Enough," "Good Lovin' Gone Bad," "Feel Like Makin' Love," "Ready for Love," "Shooting Star," and "Rock 'n' Roll Fantasy," remain staples of classic rock radio. They have sold 20 million RIAA-certified albums in the U.S. and 40 millon worldwide.

The self-titled debut album was recorded at Headley Grange, Hampshire, in Ronnie Lane's Mobile Studio. The album reached No. 1 on the Billboard 200 in the U.S, and No. 3 on the U.K. Albums Chart, spending 25 weeks on the U.K. charts. The album has been certified five times platinum in the U.S., and became the 46th-best-selling album of the 1970s. The singles "Can't Get Enough" and "Movin' On" reached No. 5 and No. 19 on the Billboard Hot 10.

All the hallmarks of a top-notch Analogue Productions reissue are here for your pleasure: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

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The Fast Set

Tape | 2024 | UK | Original (The Tapeworm)

LP | 2023 | US | Original (Company)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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"In 1978 I started making experimental home recordings with my old schoolfriend Alan Clark. We both had Akai 4000ds reel-to-reels, which made for easy swapping of locations and ideas. We would meet most evenings to record – for the best part of two years. Much of the music on this tape comes from those experiments.

Some of my solo pieces on this cassette were on a compilation cassette I made for my friend Brad Day, who in 1979 was working at Beggars Banquet record shop in Earl's Court. He happened to be playing it in the shop when co-manager Peter Kent walked in and asked who it was. From that I was offered a 7" release on the Axis label Peter was starting with his colleague Ivo Watts-Russell, and my first gig was organised at Mayhem Studio in Battersea, supporting Vice Versa. With another schoolfriend, Steve Player on guitar and Stylophone 350s, my 16-year-old brother Peter Knight on backing tapes and backing vocals, and me on Vcs3 and vocals, we put a set together within a week. The filmmaker John Maybury projected Super-8 films over us at the gig, and suggested we call ourselves The Fast Set – as all three of us were rooted static to the spot with nerves. The name stuck, and it now seems appropriate to retrospectively apply that name to our previous untitled endeavours.

This cassette release is a 'patchwork' I constructed back in 1980 of the late-70s home recordings – both solo or with Alan. There were two projects back then – the experimental pieces, and the electronic 'pop' songs. This release consists of the former, which I feel age has been kinder to. The tapes had remained untouched for over 40 years until I baked and transferred them recently, so please excuse the hiss, distortion, pops, crackles, and wobbles, as I wish to maintain the integrity and home-made feel of the original recordings." – David Knight, London, 10 January 2024.

London-based musician David Knight has been a member of/worked with: The Fast Set, Five Or Six, Shock Headed Peters, Left Hand Right Hand, Arkkon, The Amal Gamal Ensemble, The Stargazer's Assistant, and Lydia Lunch. He wrote and recorded with Danielle Dax throughout the 1980s, and currently works with Stephen Thrower (Coil, Cyclobe) in UnicaZürn.

Recorded between 1978 and 1980 in Battersea, London on an Akai 4000ds and later a Teac 3300sx. Instruments used: EMS Vcs3, Roland System 100, Hohner K4 String Machine, Dubreq 350s, Piano, Guitar, Percussion, Roland Re201 Space Echo, Colorsound Ring Modulator, EHX Small Stone Phaser, Ibanez Standard Fuzz. Written, recorded and performed by David Knight and Alan Clark. Compiled and mastered by David Knight.

Artwork by Danielle Dax.

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Tanukichan

Gizmo

23,99 €*

True 2 Da Game Yellow Vinyl Edition

Release: 2023 / US – Original

Genre: Rock & Indie

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When the pandemic hit, Hannah van Loon adopted a dog named Gizmo, who became a much-needed companion while the Bay Area musician wrote her second album as Tanukichan. Aptly named after her new four-legged friend, Gizmo is an exercise in release, whether from situational hindrances—a forced lockdown, for one—or from self-imposed hedonistic coping mechanisms.“ A theme I always had floating around was escape,” van Loon explains of her follow-up to 2018’s Sundays. “Escaping from myself, my problems, sadness and cycles.”

To channel the more uplifting spirit she wanted for Gizmo, van Loon turned to the radio pop-rock of her childhood: “I was struck by the in-your-face positivity of the lyrics,” she adds, referencing artists like 311, The Cranberries, and Tom Petty. “I wanted to bring that positivity while writing about the sad and helpless emotions I’d been grappling with.” But Gizmo’s lightheartedness doesn’t make it shallow: “I think that I could let it go, as beautiful as snow,” she murmurs on “Don’t Give Up,” a nu metal-meets-Cocteau Twins groove about the sudden awareness that all the relationships you depend on could vanish instantaneously. Van Loon’s main collaborator on Gizmo was Toro y Moi’s Chaz Bear, and the jangly pop earworm “Take Care” showcases the heavily distorted, in-your-face guitar work reminiscent of Bear’s own psych joints What For? And Mahal. On the hypnotic, wall-of-sound-rocker “Thin Air” featuring Enumclaw, van Loon channels the triumphant grit of The Smashing Pumpkins as she ponders the impermanence of even the most impactful relationships: “I’ll always have the memories/Of how you used to make me see/Until they fell in the ocean/They’re not swimming/They’re not floating.”

Existentialism aside, Gizmo also sees van Loon break out of her sonic comfort zone. “One of the main changes of how I’m approaching music now is that I want to have more fun in the process,” she says, and she walks the line between melodrama and whimsy gracefully: “I can learn something because I’ve been here before,” she sings on the soaring, bittersweet “Been Here Before.” Deftones-inspired thrash drums and screeching electric guitars are gracefully contrasted with van Loon’s hypnotic, almost deadpan vocal style and a crystal clear acoustic guitar she describes as “cute.” Gizmo the dog suddenly passed away right as van Loon finished the album, but he’s immortalized with his photo on the cover—a fitting emblem of this new era of Tanukichan.

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Ice Mike

2LP | 1992 | EU | Reissue (Southwest Enterprise)

42,99 €*

True 2 Da Game Black Vinyl Edition

Release: 1992 / EU – Reissue

Genre: Hip Hop

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SWE in collaboration with Dust & Dope are excited to announce the release of legendary Nola rapper/producer Ice Mike's debut "True 2 Da Game!" originally released back in 1992 on cassette only. All tracks were taken from the OG Dats to give you top notch quality. Let's get into the album a little deeper...

Fresh off the heels of producing for other New Orleans West Bank artists such as Bust Down and Mobo Records, “True 2 Da Game!” is the first full-length album from legendary New Orleans hip-hop pioneer Ice Mike. The follow-up to his 1991 debut as a solo artist is almost entirely self-produced (except for some co-production with DJ Lowdown & 8-ball The DJ). The writing, production, scratching, mixing, concepts, vocal and edit arrangements, piano and drum overdubs, and performances were all done by one man - Ice Mike. This feat is more impressive considering Ice Mike arranged and spliced the studio masters by hand with a razor blade and splicing tape, resulting in a level of mixing and editing that most couldn’t achieve until digital software was invented for computers.

The tracklist has been re-arranged and improved. An extra track has been added and the last 2 tracks of the original tracklist have been replaced. The love song "Good 2 U" and the shoutout outro "Atdasamtyme!" have been cut. Here's what Ice Mike had to say about "Good 2 U": "We were experimenting. I was the wrong artist to record it. Good song but, at the time I was recording all my ideas and back then i was trying to fill up the tape minutes as much as possible for the people with music in their mitsubishi trucks and somehow chose that one."

The Album also introduces Jr. Mack, Da Playa Bum & Kock Desil as "The Disturbed Young Hustlaz" on the the hard hitting "Still A WestBank Thang". This track received radio play back in the days and was used at live shows but never actually made it to an album due to street beef. "I Got Game" which originally was the B-Side of the "Doin' My Thang" 12" was added as well and then we have another previously unreleased gem called "Bad Attitude" which will surely please everyone.

From the raw raps on ‘Flow Down’ and ‘Bring Da Heat’, to the Pimptations-esque precursors ‘Fnalluslipnikkashoes’ and ‘Da Mack Game’, to the lyrically literal dope rhymes in ‘Man-N-Da-Hole’, “True 2 Da Game!” is an album packing a variety of concepts presented with polished analog production.

For the first time on vinyl, this edition will come housed in a beautiful gatefold edition and will be limited to only 250 copies. There will be 100 copies on transparent yellow vinyl and 150 copies on black vinyl.

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Ice Mike

2LP | 1992 | EU | Reissue (Southwest Enterprise)

39,99 €*

LP | 2021 | EU | Original (Gutifunk)

Release: 1992 / EU – Reissue

Genre: Hip Hop

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Lalo Lopez

Lalo Malo

20,99 €*

The Works And Days: The Black Sections

Release: 2021 / EU – Original

Genre: Organic Grooves

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System Error We started with enthusiasm, because with enthusiasm and effort everything was possible. We were that young but well-prepared generation that was going to take the world by storm. And we work, and we work, and we work, because art, culture, creativity, do not know schedules. Meritocracy and talent were our gods. Just do it. But the years passed (passed), and the success, the stability, the recognition, they never finished (they just) arrived, we never finished arriving. On bad days, we blame ourselves: we're not good enough, we don't make good decisions, we don't try hard enough. On good days, lucidity reminds us that talent is good, but also contacts, money, time and having the privilege of making mistakes, and little by little, the illusion turns into disenchantment. And what remains of that enthusiasm coexists with frustration and precariousness, just as anger coexists with that hope that refuses to disappear. Lalo Malo is the product of that anger, but also of that hope. Lalo Malo strips naked and confronts us with his (our) failures: professional, personal, social, political, economic. Because we need to face those failures in order to move forward. And between modesty and identification, understanding and anger, Remedios Zafra, and Antonio Machado, and Marina Garcés, and César Rendueles, and Mark Fisher, and David Harvey and so many, many others resonate; the voices of those who have stopped to analyze their experience and context, and who tell us that we are missing the mark and that our failures are not only ours, they are failures of the system, of a system (of a city, of a country, of a capitalist, individualist, neoliberal model that makes us devour each other, that devours us and devours itself. Against all odds, here we are, standing. Shaking off failures over and over again. Using any tool at our disposal to keep moving forward. Lalo Malo is, therefore, a triumph. And a hope for change. (Carmina Gustrán, cultural agitator)

Lalo Malo is a sound survival manual composed and written by Lalo López, and produced by Jordi Picazos. All the songs have been sung and played on guitar by Lalo López. The music has been made by Jordi Picazos on guitars, mandolins and keyboards, Hector Moras on bass, Dani Martí on drums and Ernest Martínez on percussions. Manu Davobe has played “Cruel” on the piano, and Francesc Chaparro has played the waterphone on “Perros” and the two parts of “La Ciutat”. Joan Vigo has put the double bass on “Blues de la Miseria”. Yasmina Azlor and Claudia Steccato have performed the backing vocals. The album has been recorded at Nación Funk Estudios, Barcelona by Miguelito Superstar, who has also mixed it with Jordi Picazos.

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C.W. Winter

LP | 2021 | EU | Original

21,99 €*

Sylvin Marc / Del Rabenja

Release: 2021 / EU – Original

Genre: Electronic & Dance

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The Works and Days: The Black Sections' is a sound collage album that emerged out of the production material of the film, The Works and Days (of Tayoko Shiojiri in the Shiotani Basin). The film — winner of the Encounters Golden Bear for Best Film at the 2020 Berlinale — is the second feature of C.W. Winter & Anders Edström. It is an eight-hour fiction shot for a total of twenty-seven weeks, over a period of fourteen months, in a village population forty-seven in the mountains of Kyoto Prefecture, Japan. It is a geographic description of the work and non-work of a farmer. A portrait, over five seasons, of a family, of a terrain, of a sound space, and of a duration. The film was named one of the Ten Best Films of the Year by critics at: Artforum, Cargo, Cinema Scope, Desistfilm, Filo, La Internacional Cinéfila, Mubi, Nobody, Senses of Cinema, and Sight & Sound.

The film is accompanied by this LP, The Works and Days: The Black Sections, by C.W. Winter, and the photo book, Shiotani, by Anders Edström. The album features musical excerpts from Tim Berne & Bill Frisell, Tony Conrad, Graham Lambkin, Mary Jane Leach, Alvin Lucier, Phill Niblock, Folke Rabe, Éliane Radigue, and Akio Suzuki. Producing, editing, and recordings by C.W. Winter. Mastered by Stephan Mathieu.

Winter & Edström’s first feature, The Anchorage, won a Golden Leopard at Locarno Film Festival and won the Douglas E. Edwards Independent/Experimental Film/Video Award from the Los Angeles Film Critics Association. It was named one of the Ten Best Films of the Year by critics at Cinema Scope, Film Comment, Senses of Cinema, Variety, and Indie Wire and was named Best First Film of the Year by The New York Times. Their first film, a documentary short called One Plus One 2 was made in collaboration with the late British guitarist, Derek Bailey. Their film/video work has shown at such venues as the Institute of Contemporary Art (Boston), Centre national de la photographie (Paris), Kunstmuseum Wolfsburg, Fotomuseum Winterthur, NRW-Forum (Düsseldorf), the Harvard Film Archive, Anthology Film Archives, the Wexner Center for the Arts (Columbus), Centre de cultura contemporània de Barcelona, the Tokyo Metropolitan Museum of Photography, and the National Museum of Modern Art (Kyoto).

C.W. Winter was born in California. In 2020, he completed his DPhil in Art Practice & Theory at The Ruskin School of Art at the University of Oxford. He received his MFA from California Institute of the Arts where he studied closely under Thom Andersen, James Benning, and Allan Sekula. His writing has appeared in Cinema Scope, Moving Image Source, Purple, and Too Much. He lives in the United Kingdom where he is currently a Visiting Professor at the Royal College of Art and a Lecturer at the University of Oxford.

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Madagascar Now

LP | 1973 | EU | Reissue (Souffle Continu)

25,99 €*

LP | 2021 | US | Original (Tompkins Square)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Key players on the mythical albums, "Funny Funky Rib Crib" by Byard Lancaster, "Soul Of Africa" by Hal Singer & Jef Gilson and "Malagasy At Newport-Paris" by Jef Gilson, the young Malagasy musicians Del Rabenja and Sylvin Marc were able to develop their own compositions on an album for Palm in 1973. Del Rabenja takes us to the depth of spirituality with his valiha (a small Malagasy harp) while Sylvin Marc oscillates between free jazz and electro-groove.

"While he was working on the repertoire for the new version of his group Malagasy, with young Malagasy musicians he had met in Paris in 1972 (and who can be heard on the album "Malagasy At Newport-Paris"), Jef Gilson realised that two of his new discoveries, in addition to being established polyinstrumentalists (who both had sharpened their skills in the legendary seja-jazz band from La Réunion, Le Club Rythmique), were also skilled composers. They were capable of reinventing jazz and traditional Malagasy music, adding influences from the new generation inspired by pop, rock and funk into the mix. He offered them the chance to share the two sides of an album recorded on his own label, Palm, alongside their compatriots. Ange "Zizi" Japhet, Gérard Rakotoarivony and Frank Raholison.

This is how Del Rabenja and Sylvin Marc came to record this "Madagascar Now / Maintenant 'Zao". The first side really showcases the valiha (a small Malagasy harp) of Del Rabenja who uses the occasion to pay homage to the sadly missed Rakotozafy, often called the Django Reinhardt of the instrument. His three compositions are full of spirituality and invite an almost trance-like state. But Rabenja is equally a very good tenor saxophonist and organist on the other tracks. The other side displays the full range of talents of the multi-instrumentalist and composer Sylvin Marc, who moves from bass to drums, from vocals to percussion and offers four compositions ranging from free jazz to cosmic groove.

At the same period the five men could also be found amongst the cast list of the mythical albums, "Funny Funky Rib Crib" by Byard Lancaster and "Soul Of Africa" by Hal Singer & Jef Gilson. Later, Sylvin Marc would play bass for Nina Simone on her album "Fodder On My Wings" in 1982, then join the team of violinist Didier Lockwood, while Del Rabenja would be part of Manu Dibango’s and Eddy Louiss’ orchestras for a long time and would even be at the front of the top 50 at the end of the 80s with David Koven. He would also be the special guest of the Palm Unit trio (Fred Escoffier, Lionel Martin, Philippe "Pipon" Garcia) on their first album, an homage to the œuvre of Jef Gilson, in 2018." --- Jérôme "Kalcha" Simonneau

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Russell Potter

Neither Here Nor There

25,99 €*

Release: 2021 / US – Original

Genre: Rock & Indie

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“The two latest reissues to spin off from our acclaimed Imaginational Anthem Volume 8: The Private Press feature the solo guitar compositions of Russell Potter, recorded in the last waning days of the initial American Primitive explosion. A then obsessed teenaged devotee of John Fahey, Robbie Basho, and Leo Kottke at a time when Punk and New Wave were ascendant, Potter harnessed a similar DIY ethos to his own ends by starting his own label & self-publishing his first record, 'A Stone’s Throw’, while a freshman enrolled at Goddard College in Vermont in 1979. Assembled at the legendary Boddie Records in Potter’s hometown of Cleveland, Ohio, and sprinkled liberally with references to his heroes, from the initial record label name of Fonytone (which more than a little recalls Fahey’s earliest record label, Fonotone), to the arcane song titles and references to obscure rags. Even as he looks to his elders, Potter’s debut release nimbly evinces a complete mastery of his form and is all the more remarkable for one of such tender years, as only the chutzpah of youth can account for such moves as successfully grafting one of your own composition to one of John Fahey’s, as he does here. There’s a very immediate, lovely, and real homespun quality to Potter’s chiming twelve-string compositions that puts it in the realm of those classic records that seem to simply exist outside of time. Shortly after ‘A Stones Throw’, Potter produced & released a 45rpm single by an Ohio bluegrass band featuring the cult singer songwriter Bob Frank performing a cover of Devo’s ‘Mongoloid’, before moving on to his second (and sadly final) album the following year, ‘Neither Here Nor There’. Following an independent study with a Goddard College ethnomusicologist, Potter’s compositions and performance only deepened on his second release — the recording quality steps up a little but loses none of the immediacy, the playing gets more exuberantly virtuosic —but then more reflective too, particularly on the tunes that are influenced by the gorgeous traditional Irish slow airs. He’s still tipping his hat to Fahey occasionally as well, this time with an audacious electric guitar setting of the classic “Dance of the Inhabitant of the Palace of King Philip XIV of Spain.” Though these albums landed at a time when American Primitive guitar music’s 1960s & 1970s heyday was in the rear view mirror, they absolutely look ahead to the genre’s eventual 21st Century resurrection, anticipating both in form & content many of the same concerns you find in the great contemporary work of the last two decades by Jack Rose, Glenn Jones, Daniel Bachman, et al., and as such provide about as fine a stepping stone between these two eras as you’re likely to find.”—Michael Klausman

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Elac

Miracord 50

399,00 €*

Monorails And Satellites Volumes 1-3

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Smooth vinyl precision.

ELAC’s Miracord 50 Turntable is designed to deliver exceptional vinyl transcription, inspired by the iconic Miracord name from the Golden Age of Stereo, when turntables reigned supreme. The Miracord 50 is carefully engineered with a belt-drive motor and die-cast aluminum platter. A precision static balanced, straight-tube tonearm with removable headshell features a factory-mounted MM phono cartridge. Designed with convenience in mind, the Miracord 50 is equipped with a built-in defeatable phono preamplifier, allowing you to add this turntable to virtually any music system.

SPECIFICATIONS

Turntable Section
• Drive System: Belt drive
• Motor: DC motor
• Selectable Speeds: 33⅓ and 45 rpm
• Motor Servo: Speed rotation and servo system
• Rotation Speed Variation: +/-1%
• Wow and Flutter: 1%
• Signal-to-Noise Ratio: -67 dB or higher (A-weighted) -60 dB or higher (unweighted)
• Platter: Aluminum die-cast
• Platter Diameter: 0 in / 300 mm

Tonearm Section
• Type: Aluminum tube, static-balanced
• Effective Arm Length: 8 in / 223.6 mm
• Stylus Pressure Range: 0 to 0 g
• Cartridge Weight Range: 5 to 6.0 g
• Effective Arm Mass: 4 g
• Overhang: 6 mm
• Offset Angle: 25 degrees
• Anti-Skating: Adjustment Supported
• Main Bearing: Stainless steel

Cartridge Section:
• Type: Audio-Technica AT91 moving magnet
• Stylus Construction: Bonded diamond
• Mount: Half-inch
• Frequency Response: 20 Hz to 20 kHz
• Channel Separation: >18 dB
• Channel Balance: 5 dB
• Vertical Tracking: Angle 20 degrees
• Stylus Pressure: 0 g +/-0.5 g
• Cartridge Weight: 0 g +/-0.5 g
• Headshell Weight: 0 g (including screws, nuts and wires)

Phono Equalizer Amplifier
• Type :Moving magnet (MM)
• Phono Output: 5 mV (1 kHz, 3.54 cm/sec)
• Line Output: 140 mV (-17 dBV)
• Phono/Line: Switchable
• Supported Load Impedance: 47 kΩ

Connector: RCA pin jack including RCA cable accessories
Voltage: 100 to 240 V AC / 50 to 60 Hz
Power Consumption: 1.5 W (less than 0.5 W at standby)
Dimensions: (WXHXD) 5.5 x 16.05 x 14.20
Weight: 12.10 lb

Tech Sheet: https://elac-content.s3.amazonaws.com/uploads/2018/08/Miracord-50-Turntable_8-8-18.pdf

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Sun Ra

3LP | 2019 | EU | Original (Cosmic Myth)

44,99 €*

Release: 2019 / EU – Original

Genre: Organic Grooves

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"I have always thought orchestra. I play that way, even when playing the piano." — Sun Ra

Monorails and Satellites were two volumes of solo piano works recorded by Sun Ra in 1966. Volume 1 was issued on his Saturn label in 1968, volume 2 the following year. They were the first commercial LPs of the artist's solo keyboard excursions. Vol. 1 featured seven idiosyncratic Sun Ra originals and one standard delivered in Sunny's singular manner. Vol. 2 consists entirely of original compositions. A tape of a third, unreleased volume was discovered posthumously by Michael D. Anderson of the Sun Ra Music Archive. Released here for the first time, it consists of five originals and four standards, and was recorded in stereo.

Despite Sun Ra's obsession with the future, Monorails and Satellites is something of a nostalgia trip. As a youth in Birmingham, Alabama, the man who became Sun Ra—Herman Poole Blount—spent hours at the Forbes Piano Company, amusing himself (as well as staff and customers) at the showroom keyboards. He practiced standards, emulated his piano heroes, played the latest pop songs, and improvised. The idyllic reveries which the teen experienced in those formative years were no doubt recaptured during the Monorails sessions.

The playing here speaks less of a style, and more of a collection of statements. Some of the tunes, with their odd juxtapositions of mood, could be mistaken for silent film scores. Perhaps they were audio notebooks, a way to generate ideas which could be developed with the band ("I think orchestra"). Regardless of any secondary (and admittedly speculative) intent, they serve as compelling standalone works. The fingering reflects Sun Ra's encyclopedic knowledge of piano history as his passages veer from stride to swing, from barrelhouse to post-bop, from march to Cecil Taylor-esque free flights, with a bit of soothing "candelabra" swank thrown in. Sunny's attack is mercurial, his themes unpredictable. His hands can be primitive or playful, then abruptly turn sensitive and elegant. As with the whole of Sun Ra's recorded legacy, you get everything but consistency and predictability.

The listener also experiences something rare in the Sun Ra recorded omniverse: intimacy. His albums, generally populated by the rotating Arkestral cast, are raucous affairs. With the Monorails sessions, we eavesdrop on private moments: the artist, alone with his piano. These are brief audio snapshots of what was surely a substantial part of Sun Ra's life, infinitesimal surviving scraps of 100,000 hours similarly spent, most lost to posterity.

The 2-CD and 3-LP packages of this set include an essay by three-time Down Beat Artist of the Year VIJAY IYER, along with a historical chronicle by jazz authority BEN YOUNG.

– I.C.

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Transparent

Transparent Turntable

1.300,00 €*

2LP | 1972 | US | Reissue (Light In The Attic)

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• Crafted from high quality materials and components
• Pre-mounted Ortofon OM5E Cartridge
• Pre-mounted Bluetooth 5.0 Module

Timeless Design
The Transparent Turntable is a reinvention of a classic vinyl record player, designed for a modern home and an ever evolving technology. The Transparent Turntable is meticulously crafted out of aluminium and tempered glass. It is a belt driven system with a built in phono stage, and a pre-mounted cartridge from Danish Ortofon.

• Cartridge: Ortofon OM5E (MM)
• Stylus: Elliptical Diamond

Modular
Just like all Transparent products the TT has a completely modular design. With the future in mind, it is made for flexibility, upgradability and repairability.

• Cartridge Mount: Standard ½ in
• Headshell Mount: Standard SME

Transparent Sound
The Transparent Turntable plays music to any sound system, but works best with a Transparent Speaker. It plays with effortless clarity and precision, and offers playback either through cable or Bluetooth.

• Wireless Module: Bluetooth 5.0
• Phono Stage: Built in (with on/off switch)

Technical Specifications:
• Nominal speeds: 33 ⅓ and 45 RPM
• Speed variance: 33: ±0.70% 45: ±0.60%
• Wow and flutter: 33: ±0.25% 45: ±0.25%
• Signal to noise: ≥ 70dB at 1kHz, 0dB A-weighted
• Frequency range: 20-25.000Hz +3 / -3
• Stylus tip radius: r/R 8/18 µm
• Tracking force range: 1.5-2.0 g (15-20 mN)
• Tracking force, recommended: 1.75 g (17.5 mN)
• Tracking angle: 20°
• Replacement stylus unit: Ortofon Stylus 5E
• Effective tonearm mass: 13.5g
• Effective tonearm length: 220mm / 8.7in
• Overhang: 19.5mm / 0.77in
• Max power consumption: 15W
• Dimensions (W x H x D): 410 x 125 x 320 mm / 16 x 5 x 13 in
• Weight: 6,5kg / 14lb
• Dimensions packaging (W x H x D): 580 x 240 x 460 mm / 23 x 10 x 19 in
• Weight incl. packaging: 7,0kg / 15lb
• Rated input voltage: 100~240Vac, @ 50/60Hz.
• Bluetooth version: 5.0
• Normal or True Wireless (stereo) pairing
• 3.5 mm port for digital optical and analogue signals
• µUSB port for 5V power
• RX and TX mode (switch)
• Chip: Qualcomm CSR8670C
• Codec: aptX LL / SBC / MP3 / AAC
• Low Latency: <40ms
• Gold-plated contacts for perfect signal transmission

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Lee Hazlewood

13 Deluxe Edition

48,59 €* 53,99 € -10%

Release: 1972 / US – Reissue

Genre: Rock & Indie

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Newly Expanded Deluxe Double LP Edition! Includes the original 1972 album, plus all of Larry Mark's acoustic demos and tracks from his unreleased 1970 LHI LP for the first time on vinyl Previously unreleased session outtake of “Cold Hard Times” plus demos of obscure Hazlewood compositions “Drums,” “The Start,” “Susie,” “Miracle on 19th Street,” and “Peppermint Morning” 30 total tracks Remastered by GRAMMY®nominated mastering engineer John Baldwin Liner notes by GRAMMY®nominated reissue producer Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter Double LP housed in a gatefold jacket “Pimps… whores… pushers… dopers… gangsters… and bottom of the human chain shitheels. Now you’re probably thinking I’m writing about major record companies and their unscrupulous executives… and lawyers. You could be right… but this time… You’re Wrong! I’m describing the characters in my album ‘13’ …Some I knew… some I invented … some are true… some are false… some I liked… some I didn’t. But they all had a story to tell and I told it…none of ‘em seem to care… and I don’t either… have fun…" Lee Hazlewood

“He (Lee) took my voice off the album and put his voice on the album. Now don’t forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that’s the way he wanted it.” Larry Marks

The album 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The Bombastic brass heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an offstrip seedy Vegas lounge. By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjӧrn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks (lhi producer, artist and the voice of the first ScoobyDoo theme). Larry’s concept was to take Hazlewood’s strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry’s record. The tapes were taken to Sweden, Larry’s voice was wiped and Hazlewood’s was dubbed… 13 was born.

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Ortofon

OM 5E

55,00 €*

OST Evil Dead Rise Deadite & Blood Hand Poured Vinyl Edition

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Optimal fit and sound reproduction
If your tonearm has a standard headshell or a cartridge mount, then step up to optimal sound reproduction with OM’s. A glance at anyone of these cartridges will reveal Ortofon's answer to perfect tonearm matching. Ingeniously tucked into the top of the mounting bracket is a tiny, removable weight-plate.

If your tonearm is an standard tonearm, just leave the weight-plate. If your tonearm is one of the low mass types, then simply remove the weight. The mass of your OM cartridge is now a mere 2.5g.

OM 5E features Elliptical stylus that provides balanced and distortion-free playback. Elliptical diamonds are able to follow the groove oscillations more accurately than spherical diamonds due to their contoured shape. This results in better tracking and less distortion.

• OM 5E Technical data:
• Output voltage at 1000 Hz, 5cm/sec. - 4 mV
• Channel balance at 1 kHz - 2 dB
• Channel separation at 1 kHz - 22 dB
• Channel separation at 15 kHz - 15 dB
• Frequency response - 20-20.000 Hz + 3 / -3
• Tracking ability at 315Hz at recommended tracking force *) - 60 µm
• Compliance, dynamic, lateral - 20 µm/mN
• Stylus type - Elliptical
• Stylus tip radius - r/R 8/18 µm
• Tracking force range - 1.5-2.0 g (15-20 mN)
• Tracking force, recommended - 1.75 g (17.5 mN)
• Tracking angle - 20°
• Internal impedance, DC resistance - 750 Ohm
• Internal inductance - 450 mH
• Recommended load resistance - 47 kOhm
• Recommended load capacitance - 200-500 pF
• Cartridge colour, body/stylus - Black/Black
• Cartridge weight incl. extra weight - 5 g
• Cartridge weight excl. extra weight - 2.5 g
• Replacement stylus unit - Stylus 5E
*) Typical value

Styli types and interchangeability
By adopting a wide range of replacement styli, the OM 5 Series can provide an optimum match for your home system, application and budget.
In the development of OM cartridges, a major objective was to provide the music lover with the opportunity to optimize sound reproduction without having to replace the entire cartridge. Instead of being merely intended for replacement purposes following wear or damage, the OM 5 Series allows you to step up to better sound by simply upgrading the stylus. Depending on your preference, styli for the OM 5 Series are easily interchanged and include: styli 3E, 5E, 10, 20, 30, 40 & 78 and D 25 M.

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Stephen Mckeon

2LP | 2023 | US | Original (Waxwork)

45,99 €*

12" | 2023 | UK | Original (Differance)

Release: 2023 / US – Original

Genre: Soundtracks

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Waxwork Records is beyond thrilled to announce the debut vinyl release of Evil Dead Rise Original Motion Picture Soundtrack by Stephen McKeon. Written and directed by Lee Cronin (“The Hole in the Ground”), the movie stars Lily Sullivan and Alyssa Sutherland.

Moving the action out of the woods and into the city, Evil Dead Rise tells a twisted tale of two estranged sisters, played by Sullivan and Sutherland, whose reunion is cut short by the rise of flesh-possessing demons, thrusting them into a primal battle for survival as they face the most nightmarish version of family imaginable.

Evil Dead Rise is produced by longtime franchise producer Rob Tapert (Ash vs Evil Dead, Don’t Breathe) and executive produced by series creator and horror icon Sam Raimi and cult legend and “Ash” himself, Bruce Campbell.

About THE Composer

Stephen McKeon has been composing music for film and television for more than 30 years. A highly versatile multi-instrumentalist, he has scored over 100 feature films and numerous award-winning international television drama series and documentaries, including Black Mirror (“Fifteen Million Merits”).

McKeon, an admitted ‘huge horror fan,’ discussed his approach to the film’s soundtrack. “Lee liked the idea of something offscreen laughing and delighting at the suffering and terror of the characters, so I recorded two female vocalists performing 'taunting' sounds and vocal effects.

(Lee) wanted a score that was visceral, immersive and confrontational, while still leaving room for an emotional theme. So, I began to create sounds and textures based on guitar feedback; guitar strings stretching and breaking; strings being ripped with knives and scissors; and many other weird effects. Many of these made it into the score as part of the texture and tapestry. But ultimately, for the signature, we hit upon an idea we called 'the meat grinder.' I spent a week creating lots of sounds using a variety of methods, but eventually, the one that worked was the result of me dragging carving knives along the strings of my beautiful grand piano and then chopping and stretching the audio into something that eventually sounded like a demonic meat grinder being revved up.”

McKeon also recorded various stringed and percussion instruments, “being tortured, broken and slowly dismembered. Then, these recordings were chopped up, bent and stretched before being fed, screaming for mercy, into the score.”

Evil Dead Rise Original Motion Picture Soundtrack Features:

The Complete Soundtrack By Stephen McKeon 2xLP 180 Gram "Deadite & Blood" Hand Poured Colored Vinyl Old Style Tip-On Gatefold Jackets with Built In Pages From The Book Of The Dead New Artwork By Steve Reeves Printed Inner Sleeves

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Bjarki

Look At Yourself

15,74 €* 20,99 € -25%

Jewel Case CD | 2024 | EU | Original (90's Tapes)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Bjarki launches creative hub Differance Engine with new four-track EP, ‘Look At Yourself Pt.1’ The project sees the bbbbbb founder combine with creative Thomas Harrington-Rawle, building on the pair's recent AV show ‘Look At Yourself’ with a wealth of new projects and releases slated for 2023. DJ, producer, live artist and label owner Bjarki, full name Bjarki Rúnar Sigurðarson, launches his latest creative project Differance Engine and label Differance with a brand new EP in February. Welcoming a new home for the Icelandic favourite to release and showcase audio-visual projects, the creation of Differance Engine sees him reunite with London-based creative and partner-in-crime Thomas Harrington-Rawle - the creator of Care More, featured on Nowness, Arte and more. Set to become the central focus for all things creative, Difference Engine will serve as a diverse ‘mother hub’ for a myriad of new projects from the pair, including GUM Magazine - an experimental print publication set to challenge existing publications and zines with a focus real conversations and forward-thinking audiovisual work - while also absorbing Bjarki’s longstanding imprint bbbbbb recors next year. The launch arrives on the heels of the duo's recent conceptual audiovisual show ‘Look At Yourself’ exploring and experimenting with ‘ai’ technology during ADE at Amsterdam’s renowned Nxt Museum, with forthcoming appearances in Foligno, Italy on 29th December and in London in the New Year. Opening 2023, the label boss unveils the first EP in a three-part series, ‘Look At Yourself Part 1’. Comprised of four expansive originals, the release welcomes a first look at the new audiovisual direction crafted and shaped by Sigurðarson and Harrington-Rawle, featuring his recently released single ‘Do You Like Yourself’, and new single ‘I Wish I Was A Mode’ - out 9th December.. “Differance Engine is mine and Thomas’ new platform where we will be testing out all kinds of material. It will also operate as a label and an engine which will run both bbbbbb records and GUM Magazine. There are a lot of magazines dying out and having a hard time surviving. Thomas and I want to show some depth into the hearts and minds of individuals through music, visuals and with words. 2023 will be the year of vulnerability and real talks.” - Bjarki. Wandering the line between perceived and actual reality, the four productions balance playful AI-generated voices with darker sonics, deconstructing societal issues and exploring human-to-human interaction within cyberspace. Accompanied by a warping video, B2 ‘I Wish I Was a Model’ is a trippy dive into Harrington-Rawle’s ever-evolving world as he warps and twists human subjects amongst their surroundings.

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Grav

Down To Earth

17,99 €*

Tape | 2024 | EU | Original (90's Tapes)

Release: 2024 / EU – Original

Genre: Hip Hop

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Limited edition of 300 copies on CD in jewel case.

"Down To Earth" marked the debut album by Chicago's very own Grav. Originally released in 1996, the deep-voice MC flows on productions by No I.D., Dug Infinite, Big Q and a young Kanye West. Album guests include Al' Tariq and Lil Ray as well as DJ Nu-Mark on the cuts.

Underground lyrical terrorist, Grav, is among Chi town's most jovial and modest rappers. His personality is a blend of tranquillity and sangfroid, whether he's belting out razor sharp metaphors or head-nodding in time with a hip hop DJ. He grew up in Harlem when hip hop's street poets began taking a firm hold on the minds and hearts of New York's disenfranchised urban youth. He often journeyed to a park within the Lincoln Projects at 135th Street between Fifth and Madison avenues to hear such emerging hip hop artists as Doug E. Fresh beat box or rhyme. Grav remembers a special camaraderie emanating from those park jam sessions. "Everybody just grew up being cool with everybody," he says. "It was like a second family." In 1992, Grav moved to the Midwest to major in computer animation and sound engineering at the Art Institute of Chicago. Once he got to the Windy City, Grav decided to settle in the section of town referred to as Wicker Park. Wicker Park is the Midwest equivalent of Greenwich Village with it's ultra bohemian clubs, art galleries, cafes, bookstores, and theaters. Grav was then introduced to the city's underground hip hop scene through his roommate, Free. Grav spent most of his days with his head buried deep in his university school books to master the heavy scholastic work load. But his nights were spent flexing in freestyle sessions and ripping ciphers to shreds at clubs with an open mic night. He took on the name "Grav" when he teamed up with rapper, Magpie. In 1993, the two of them organized the group Indigenous Theory. Commenting on his unique moniker, Grav says, "My name reflects my down to earthness with people and how they react to me when I perform. I'm not just up there kicking lyrics. There's something in my style that attracts people to me, like the force of Gravity." Eventually Grav went solo when the group broke up in 1994. During this time Grav decided to seriously enter the rap game and lie concentrated on captivating audiences with the machine gun rhythm of his incredible flow and delivery at the legendary B Side Café. Grav rapidly graduated from headliner to host, with shows on Chicago's underground rap circuit. His debut album "Down To Earth" adds to the handful of projects that Grav already has on his plate, like rhyming on countless underground mix tapes and contributing to producer No.ID album (beat maker supreme for Common, Al Tariq, etc.).

Available in a limited run on 2LP+7", CD in jewel case, cassette and digitally on all major platforms.

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Grav

Down To Earth

Welcome To Anxiety Group Red Vinyl Edtion

Release: 2024 / EU – Original

Genre: Hip Hop

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Limited edition of 100 copies on cassette.

"Down To Earth" marked the debut album by Chicago's very own Grav. Originally released in 1996, the deep-voice MC flows on productions by No I.D., Dug Infinite, Big Q and a young Kanye West. Album guests include Al' Tariq and Lil Ray as well as DJ Nu-Mark on the cuts.

Underground lyrical terrorist, Grav, is among Chi town's most jovial and modest rappers. His personality is a blend of tranquillity and sangfroid, whether he's belting out razor sharp metaphors or head-nodding in time with a hip hop DJ. He grew up in Harlem when hip hop's street poets began taking a firm hold on the minds and hearts of New York's disenfranchised urban youth. He often journeyed to a park within the Lincoln Projects at 135th Street between Fifth and Madison avenues to hear such emerging hip hop artists as Doug E. Fresh beat box or rhyme. Grav remembers a special camaraderie emanating from those park jam sessions. "Everybody just grew up being cool with everybody," he says. "It was like a second family." In 1992, Grav moved to the Midwest to major in computer animation and sound engineering at the Art Institute of Chicago. Once he got to the Windy City, Grav decided to settle in the section of town referred to as Wicker Park. Wicker Park is the Midwest equivalent of Greenwich Village with it's ultra bohemian clubs, art galleries, cafes, bookstores, and theaters. Grav was then introduced to the city's underground hip hop scene through his roommate, Free. Grav spent most of his days with his head buried deep in his university school books to master the heavy scholastic work load. But his nights were spent flexing in freestyle sessions and ripping ciphers to shreds at clubs with an open mic night. He took on the name "Grav" when he teamed up with rapper, Magpie. In 1993, the two of them organized the group Indigenous Theory. Commenting on his unique moniker, Grav says, "My name reflects my down to earthness with people and how they react to me when I perform. I'm not just up there kicking lyrics. There's something in my style that attracts people to me, like the force of Gravity." Eventually Grav went solo when the group broke up in 1994. During this time Grav decided to seriously enter the rap game and lie concentrated on captivating audiences with the machine gun rhythm of his incredible flow and delivery at the legendary B Side Café. Grav rapidly graduated from headliner to host, with shows on Chicago's underground rap circuit. His debut album "Down To Earth" adds to the handful of projects that Grav already has on his plate, like rhyming on countless underground mix tapes and contributing to producer No.ID album (beat maker supreme for Common, Al Tariq, etc.).

Available in a limited run on 2LP+7", CD in jewel case, cassette and digitally on all major platforms.

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Drone Operator

12" | 2022 | UK | Original (Participant)

19,99 €*

Release: 2022 / UK – Original

Genre: Organic Grooves, Electronic & Dance

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Preorder shipping from 2024-11-22

“There is a German satellite falling to earth!” a woman’s voice urgently announces. “She says, what if it hits me? Welcome to anxiety group.” A dense cloud on the horizon heralds a fresh onslaught from that infamous swarm of free jazz killer bees, a new project from self-described “conceptual kleptomaniac post digital free jazz outfit” Drone Operatør. Riding hard along the line between experimental electronics, blockbuster sound design and the loosest jazz improvisation, this rogue’s gallery of players, headed up by art world provocateurs Paul Barsch and Tilman Horning, take the fevered pulse of the relentlessly flattened now and note down four key observations which presented together make up Welcøme TO Anxiety Group. Coaxing lively theatricality from a continually provoked altercation between acoustic instrumentation and synthetic sound, each of the project’s four tracks provides a new perspective on what it means to improvise through technological mediation. “Here we are now,” write Drone Operatør. “22 after 2k. mp4 flex to 32bit float. The sax - the heart. The quadcopter - the brain. Duo d'Allemagne not wasting a life time learning jazz standards.” To open proceedings, our faithful operatør whips up exquisite dissonance with ‘Bot Møther’, smashing together squalls of saxophone and ripples of percussion with the sounds of sci-fi artillery, like an amphetamine-fuelled, midnight jam hammered out oblivious to an ongoing alien invasion. Slowing to a furtive creep for ‘German Satellite’, picking out keenly felt anxiety in suggestive plucks, stuttering clacks and strained wails, their cosmic warning signalling a neurotic climax before settling back into a post-coital skitter, flourishes of keys, both digital and analogue, harmonising with Drone Operatør’s weary welcome to the group. Eschewing the electronic completely for the cacophonous gallop of ‘Røhrstøck’, we’re invited to hold on for dear life during a mad scramble towards the ‘The Vessel,’ a staggering sequence of tumbling synthetic chimes, embellished with peals of ornate sax that flare up and out to illuminate the track’s irregularity, alternately submerged and retrieved through a subtle manipulation of filters. It’s a session that has to be heard to be believed, crammed with as much difficulty and as much revelation as any good therapy should. As Drone Operatør describe: “From iconic spamming to intellectual nonsense. Always never predictable, never not cheesy. Battery life cycles full of joy. You say you like free jazz. We don’t believe you.” Welcøme to Anxiety Group will be released on July 29th, 2021 by Participant, on limited edition clear red vinyl, and digital download via the Participant Bandcamp. The release will be accompanied by a series of films by Drone Operatør, featuring editing, FX, and CGI by digital artist Darío Alva. Text by: Henry Bruce Jones Participant is a record label and creative studio run by filmmaker William Markarian-Martin and conceptual artist Richie Culver

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Audio-Technica

AT-XP7

159,00 €*

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Preorder shipping from 2024-11-01

AT-XP7
DUAL MOVING MAGNET STEREO CARTRIDGE

• Excellent Tracking ability
• Superior sound without compromise
• Durable robust design for high-quality DJ playback
• Great visibility of stylus tip for instant positioning
• VM dual magnet cartridge with elliptical bonded stylus

The AT-XP7 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 6.0 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 robust design for high-quality specialist DJ playback
• Cartridges designed for DJ venue applications for their Hi Fi audio Performance
• Great visibility of stylus tip for instant positioning in dark environments
• Audiophile experience associated with DJ’ing environment with the signal output level and output impedance characteristics adapted to DJ professional mixing boards
• VM dual magnet cartridge with 0.3 x 0.7 mil elliptical bonded stylus
• Tapered aluminium cantilever
• Stainless wire suspension enables expressive higher frequency for clearer sound
• High-rigidity and Low-resonance cartridge housing
• Replacement Stylus: ATN-XP7

Specifications:
• Type: VM Dual Magnet
• Frequency Response: 20 - 20,000 Hz
• Channel Separation: 22 dB at 1kHz
• Vertical Tracking Angle: 20°
• Vertical Tracking Force: 2.0 to 4.0 g (standard 3g)
• Stylus Construction: Bonded Round Shank
• Recommended Load Impedance: 47,000 ohms
• Coil Inductance: 1.0 H (1 kHz)
• Output Voltage: 6.0 mV (mV at 1 kHz, 5 cm/sec)
• Output Channel Balance: Output Channel Balance
• Stylus Shape: Elliptical
• Cantilever: Aluminium tapered Pipe
• Static Compliance: 20 x 10-6 cm/dyne
• Dynamic Compliance: 8.0x10-6cm/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-XP7
• Stylus Size: 0.3 x 0.7 mil
• Weight: 6.2g

User Manual: https://eu.audio-technica.com/resources/AT-XP7_UM_112301360_V1_11L_web_171018.pdf

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Pioneer DJ

HDJ-X7 Pro

199,00 €*

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Professional over-ear DJ headphones

Designed to adapt
We’ve listened to feedback from DJs and improved on our previous professional DJ headphones. With newly developed drivers, the HDJ-X7 model gives you clean monitoring even at high volumes. The independent ground wire in the 4-core twisted-structure cable ensures superior left and right channel separation, while the flexible headband means your headphones will be a perfect fit.

The HDJ-X model headphones are designed to be flexible. Their swivel mechanism allows you to wear them comfortably, whichever way you prefer, for long periods of time. No need to worry about bumps and knocks during transport as these DJ headphones can handle severe conditions and heavy use. They even cleared the US Military Standard Shock test.

KEY FEATURES

Outstanding sound
Thanks to the newly developed 50-mm driver, sound is always crystal clear. Add to that the tight bass notes from the optimised diaphragm, a cable with superior left and right channel separation and the bass reflex chamber, all enabling professional monitoring.

Rigorously tested
Even on the road, your headphones will handle severe conditions and heavy use. Durable metal is used in the moving parts, enabling a strong construction that cleared even the US Military Standard Shock test*.
* MIL-STD-810G

Comfortable fit
These headphones are comfortable to use no matter how you wear them. The housing design reduces pressure on your head, while its outside texture enhances grip. To help you find the perfect fit, they also feature a flexible, durable headband and a flexible swivel.

Solid, refined design
All the HDJ-X headphones feature a refined look and durable construction. Choose from black or silver versions to complete your desired look.

Various accessories included
The HDJ-X7 comes with a detachable 1.2 m coiled cable and a 1.6 m straight cable, plus an L-type mini-jack to prevent accidental disconnection.

Replacement parts available
Easily renew the detachable cables and ear pads with replacement parts (sold separately).

2-year warranty
Count on long-term, reliable performance from your HDJ-X headphones. A 2-year warranty has got you covered.

SPECIFICATIONS

Main Features:
• Type: Closed, dynamic
• Driver Units: 50 mm dome type
• Cord: 1.2 m coiled cable (3 m extended length) & 1.6 m straight cable

Accessories:
• HDJ-X7
• 1.2 m coiled cable (3 m extended length)
• 1.6 m straight cable
• 6.3 mm stereo plug adapter (threaded type)
• Carry pouch

Specifications:
• Impedance: 36 Ω
• Output Sound Level: 102 dB
• Maximum Input Power: 3500 mW
• Weight (without cord): 312 g
• Frequency Range: 5 - 30000 Hz

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Pioneer DJ

HDJ-X7 Pro

199,00 €*

Let's Turn It Into Sound Neon Yellow Vinyl Edition

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Kaitlyn Aurelia Smith

LP | 2022 | US | Original (Ghostly International)

Let's Turn It Into Sound Black Vinyl Edition

Release: 2022 / US – Original

Genre: Electronic & Dance

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"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "[It] is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff [my inner community] wants to communicate but it doesn't have the English language as its form of communication, and so [this album was a form of] giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

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Kaitlyn Aurelia Smith

LP | 2022 | US | Original (Ghostly International)

Release: 2022 / US – Original

Genre: Electronic & Dance

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RMX-44 BT

399,00 €*

Long Morrow Transparent Green/Purple/Yellow Vinyl Edition

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MULTI-FUNCTIONAL
The Reloop RMX-44 BT is a 4-channel Bluetooth DJ club mixer in classic design, including a Bluetooth input with cue function, which offers numerous application possibilities. The intuitive Club mixer layout guarantees a simple overview and allows experienced artists to find their way around immediately.

FLEXIBLE USABILITY
With 9 inputs and 4 outputs, as well as a 3-band EQ and bipolar filter unit per channel, the RMX-44 BT is not only a full-fledged DJ club mixer, but thanks to Bluetooth compatibility and the 2-band EQ microphone section with talk-over function, it is also ideal for bars, mobile DJs and home setups.

UNIVERSAL CONNECTIVITY
Thanks to the Smart Connectivity Bluetooth input, Smartphones, laptops as well as iPad’s and other devices can be connected quick and easily. In combination with its numerous other connection opportunities, the RMX-44 BT is up to any challenge and adapts perfectly to any application.

FREQUENCY MIXING IN DIGITAL SOUND ARCHITECTURE
For creative frequency mixing, the RMX-44 BT offers dedicated, bi-polar sound filters per channel to allow smooth low- and high-pass fading. The fully digital sound architecture enhances your sound to be clear and punchy in every situation.

HIGH QUALITY DESIGN
The sturdy metal construction and scratch-resistant surface with a deep black metallic finish make the RMX-44 BT extremely durable, despite frequent use and transport. The fabrication meets the industry’s highest quality standards and is visually and haptically particularly attractive. In addition, the stylish and timeless design blends perfectly into any DJ setup.

FEATURES
• 4-channel Bluetooth DJ club mixer
• 9 inputs, 4 outputs
• Symmetrical (XLR) as well as asymmetrical (RCA) outputs
• Smart connectivity Bluetooth input with cue function
• 3-band EQ
• Sound filter, bi-polar filter unit with LPF and HPF
• High-quality surface in deep black metallic
• Fully digital architecture for outstanding sound
• Sturdy metal construction
• RMX Innofader compatible
• Crossfader curve adjust
• Mic channel with 2-band EQ & talk-over ''Active Ducking Technology'' for mic channel
• Headphones output (6.3 mm jack)
• Incl. power cord, instruction manual

TECHNICAL DATA
• Frequency range 20 Hz – 20kHz
• Inputs: 2x Phono RCA, 6x Line RCA, 1x Mic XLR/Jack
• Outputs: 1 Master XLR (balanced), Master RCA (unbalanced), Booth RCA (unbalanced), Rec RCA (unbalanced), headphones (6,3 mm jack)
• EQ range classic at 70 Hz, 1 kHz, 13 kHz: -8 dB/+9 dB
• Dimensions: 320 x 106.4 x 379.4 mm
• Weight: 5,4 Kg

Manual: https://www.reloop.com/media/catalog/product/pdf/2/4/3/243591_Reloop_IM.pdf

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Big Scenic Nowhere

LP | 2022 | EU | Original (Heavy Psych Sounds)

29,99 €*

Long Morrow Black Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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Bob Balch here. Wanted to let you know about "The Long Morrow." We released the E.P "Lavender Blues" back in October of 2020. "Lavender Blues" and "The Long Morrow" are both the result of a three day jam session back in November of 2019. The players were myself, Gary Arce (Yawning Man), Bill Stinson (Yawning Man) and Tony Reed (Mos Generator). We left that session with hours of stuff to choose from. We still have tons to release! Once 2020 hit, we started digging into what would become "Lavender Blues" with the intention to make it an EP and save the main chunk of the material for the LP which would become "The Long Morrow." Once we released "Lavender Blues" Tony Reed and I began digging into the tunes. All of the songs were jams at first, just two or three parts and lots of improvisation. Tony started chopping them up into arranged songs and added lyrics and a few changes. That's where we got songs like "Murder Klipp" "Defector" "LeDu" and "Lavender Bleu." I did a few guitar overdubs on them as well to flesh out the parts, but for the most part they are all live takes. I'm surprised that "Murder Klipp" came together so easiely that early in the morning. That time signature is bonkers, Bill Stinson had no trouble coming up with a beat that complemented it. I had to take notes and increase my caffeine intake for that one. "Lavender Bleu" is a second take for "Lavender Blues" hence the title similarity. They were both jams but "Lavender Bleu" became a structured song and the second half of it became "Labyrinths Fade" from the EP. I got to play bass on "Defector" and Tony switched to guitar. "LeDu" is inspired by Husker Du and Led Zeppelin. Gary Arce (Yawning Man) planted the main riff ideas for all of those songs on Side One. The dude is a riff machine. “The Long Morrow” takes up Side Two. Clocking in at a little under 20 mins, “The Long Morrow” was the very first jam we did during the session. Took us about 30 seconds to fall into a groove and we didn’t surface for 30 mins. I went home and re-recorded all of my guitar parts throughout 2020. I kept the original ideas in place but embellished them a little. After editing it down and changing guitar parts around it was sent to Reeves Gabrels (the Cure/david Bowie) and Per Wiberg (opeth, Spiritual Beggars) to add guitars and synth. Then it was sent to Tony Reed (mos Generator) for vocals, overdubs and structure changes. Mixed and Mastered by the very talented Tony Reed. I couldn't ask for a better production. Sounds just as I wanted to hear it. We are super proud of this album, and look ahead into the future as this is only the beginning. If we can create stuff like this the first time jamming together we can only imagine that it’s gonna get better and better! More soon!

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Big Scenic Nowhere

LP | 2022 | EU | Original (Heavy Psych Sounds)

22,99 €*

Release: 2022 / EU – Original

Genre: Rock & Indie

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Audio-Technica

AT-XP5

89,00 €*

2CD | 2024 | UK | Original (Shadow World Archive)

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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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Kristen Gallerneaux

The Mcclintic Chorus

LP | 2024 | UK | Original (Upset The Rhythm)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Tag this as somewhere between “hospital ambient” and “backwoods industrial.”

Shadow World Archive is proud to present The McClintic Chorus, the second full-length LP from Kristen Gallerneaux. The follow-up to her critically acclaimed debut Strung Figures, The McClintic Chorus finds Gallerneaux in world-building mode, crafting a psychogeographic landscape of folkloric Appalachia through sound. Turning her inimitable, idiosyncratic ear to field recordings and sound sources recorded or re-recorded in and around Point Pleasant, West Virginia and the McClintic Wildlife Area's infamous TNT domes, Gallerneaux performs a sort of alchemy, teasing uncanny and unknowable deep-time histories from post-industrial rubble. Transforming the hyper-local and hyper-personal into something that can be universally felt - in your head, heart, and guts. Literally. 'Cause this gear bangs.

The McClintic Chorus is presented as a digital download and as a luxe 2xCD + zine. The second disc includes Where The Whistles Mingle, an album-length longform track only available with the physical release.

But enough from us. Let's hear from Gallerneaux herself: The McClintic Chorus is a 68-minute composition and multimedia performance created from recordings gathered at the McClintic Wildlife Management Area in Point Pleasant, West Virginia. From 1942-1945, this site was known as the West Virginia Ordnance Works or “tnt Area,” in reference to its history as a WWII-era explosives manufacturing facility. Over 720,000 tons of TNT were produced daily on the grounds. A series of concrete “igloo” storage huts were erected and covered with earth to camouflage them from potential enemy aircraft. These structures are the only architectural clues that remain of this landscape’s former life.

In November 1966, the TNT Area received attention in local newspapers as the place where a mysterious 6-foot-tall, winged humanoid with red eyes known as “Mothman” was first spotted. A flood of reports connected to the TNT Area described Mothman’s penchant to silently glide alongside cars and interfere with telephone calls by emitting shrill blasts of tinny static, beeping, and electronic pulses. Today, many paranormal seekers visiting the site believe the cryptid was a “harbinger of doom” who was attracted to the Point Pleasant area to observe or warn of the fatal December 1967 collapse of the town’s Silver Bridge.

The McClintic Chorus is a biography of place—exploring the tenuous collisions between industrial landscapes, ecological redemption, and contemporary legends embedded in rural Appalachia. While producing this work, the complicated oscillations between the bucolic and the vaguely threatening were visibly and audibly palpable. Searching for the overgrown entrances to abandoned ordnance huts—the deafening sounds of bullfrogs, redwing blackbirds, and other wetland wildlife compete with the rattle of gunfire from the nearby range.

Binaural, contact, and stereo microphones were used to capture the powerful echoes from inside and around the TNT domes. Recognizable recordings of these sounds permeate the work, blended with fragments of recordist stomps, gasps, coughs, and voices—which were transformed into several DAW-based drum kits and instruments.

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The Pheromoans

Wyrd Psearch

15,74 €* 20,99 € -25%

Release: 2024 / UK – Original

Genre: Rock & Indie

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The Pheromoans are tenants of an unruly domain. Over the last 18 years the group have evolved from garage rock primitivists to auteurs of their own curious sound; a frothy brew of loose electronics, refractory rock and humdrum musing. Their songs are mutable, capricious, unreliable narrations, often withholding as much as they reveal. Russell Walker’s understated vocal has always been the band’s unifying focus, it is wry, unsparing and wilfully honest. Walker’s lyrics are an observational tour de force, sometimes droll, yet often tipping over into unlikely pathos. With previous releases on Upset The Rhythm, Convulsive and Alter, 2024 will witness The Pheromoans return with lucky album number 13, entitled ‘Wyrd Psearch’ (out March 1st on Upset The Rhythm).

‘Wyrd Psearch’ was recorded in Lewes throughout 2023. This was undertaken by founding member James Tranmer, his keen instinct for how the band should sound shaping many of the creative decisions. Joined by new guitarist Henry Holmes, the five piece doubled down on a decidedly breezy, melodic approach. Scott Reeve’s drumming is ever brisk, whilst Daniel Bolger explores AOR peripheries on keyboard and bass. “Wyrd Psearch finds us on relatively zestful form” affirms Walker “whether it be merrily recalling the Jason Williamson / Tim Lovejoy Covid summit, or mentally bathing in the pleasures of lunch hours spent strapped to a listening post in Borders.” With The Pheromoans there is always a familiarity at play, only broken and reassembled, like a bygone sitcom gone rogue in your memory. This contributes to the group’s peculiarly British outsider perspective, one that shouts from the sidelines, but never goes unnoticed.

Subjects covered lyrically on ‘Wyrd Psearch’ include “mid-life crises, male pattern baldness, and thwarted artistic and personal ambitions” according to Walker himself. “Nothing is off limits for scrutiny, even rural arts communities” he concludes. Lead single ‘Downtown’ swings with chiming guitars and finds Walker mid-breakdown trying to persuade a loved one to accompany him into the town centre to collect controlled medication and wind back the clock to happier times. “I want to keep you in cotton wool until pay day” he confides. ‘Cropped to Death’ and ‘Father Austin’ are ruminative and more relaxed in nature, whilst ‘Twibbon Wife’ is a more energetic effort, all jabbed synth chords, circuitous basslines and rampant drum fills. ‘Faith in the Future’ similarly bounds along with reverie.

Walker claims that the album’s title is an expression of his frustration at the ubiquity of people claiming things are eerie or weird / wyrd in the present cultural milieu. The artwork for the record is designed as an actual word search too, a knowing nod to how we all grapple for meaning amongst the absurdity of each day. Leaning into ‘weird’ as a coping mechanism is not on The Pheromoans’ agenda however. This album holds little sway with the supernatural, it’s not enough. The overriding impression given by ‘Wyrd Psearch’ is of a band renewed with ideas. There’s no trouble finding the right words, they’re hitting their mark, keeping up with the commentary. ‘Wyrd Psearch’ is a document of The Pheromoans

mastering their unquiet moment.

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Ortofon

MC Quintet Red

349,00 €*

OST Malum Colored Vinyl Edition

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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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Samuel Laflamme

2LP | 2014 | US | Reissue (Waxwork)

42,74 €* 44,99 € -5%

Carlos Lyra E Dulce Nunes Com Moacir Santos / Catulo De Paula / Thelma Soares

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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Pobre Menina Rica

LP | 1964 | BR | Original (CBS)

79,99 €*

High Smile Hifi Feat Tenna Star / High Smile Hifi Feat Ras Negus I

Release: 1964 / BR – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Vinyl with scuffs and hairlines. Cover with shelf wear

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Right Now

7" | EU (Top Smile)

8,54 €* 8,99 € -5%

Release: EU

Genre: Reggae & Dancehall

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LP | 2024 | US | Original (Recital)

Nour Mobarak

Dafne Phono

36,99 €*

LP | 2022 | US | Original (Students Of Decay)

Release: 2024 / US – Original

Genre: Electronic & Dance

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Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.

The A-Side of the record presents a stereo version of Mobarak’s 15-channel sound installation, Dafne Phono. The B-Side uses a recording of a portion of the translation process the libretto underwent in Namibia, live-processed by the artist.

The LP is published on the occasion of Nour Mobarak’s exhibition at The Museum of Modern Art, New York (October 26, 2024–January 12, 2025), with support from Sylvia Kouvali.

Artist Bio: Nour Pamela Mobarak (Lebanese-American, b. 1985, Cairo, Egypt) lives and works between Los Angeles; Bainbridge Island; and Athens, Greece. Her works have been shown at Sylvia Kouvali (formerly Rodeo), London/Paris; Schinkel Pavillon, Berlin; MIT List Visual Arts Center, Cambridge, MA; Amant, Brooklyn; Joan, Los Angeles; Kim? Contemporary Art Centre, Riga; Miguel Abreu Gallery, New York; Hakuna Matata, Los Angeles; and Cubitt Gallery, London. Exhibitions at the Museum of Modern Art, New York, and Castello di Tivoli Museo d’Arte Contemporanea, Turin, are forthcoming. She has performed at Western Front, Vancouver; 2220, the Hammer Museum, and Laxart, Los Angeles; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, San Diego; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe OTO’s TakuRoku (London), and Ultra Eczema (Antwerp), and she has had sessions on BBC Radio 3, NTS Radio, and Dublab Radio. Mobarak’s writing has been published in Triple Canopy, F.R. David, The Claudius App, and the Salzburg Review, and her first catalog, Sphere Studies and Subterranean Bounce was published by Recital (2021). She received a BA in English and Media Studies from Sussex University and did further studies at Université Paris-Sorbonne, Paris IV. She has held residencies at Denniston Hill, New York and the Institute of Contemporary Art, Los Angeles, and was the recipient of the 2023 Foca fellowship award. Mobarak was a 2024 faculty at Bard College MFA program.

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Flanger Magazine

After The Bend

21,99 €*

Release: 2022 / US – Original

Genre: Electronic & Dance

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After the Bend is the second album from Louisville based Flanger Magazine, and the follow up to FM’s 2018 debut, Breslin. Whereas Breslin was the solo creation of Christopher Bush, an album noted for “an astute synthesis of ‘library music’ and solo acoustic guitar,” and “a seamless blend into the uncluttered and airier side of classic 1970’s giallo,” After the Bend is an ensemble affair. An ecosystem, a perfect mutualism bodies forth—of strings, outdoor recordings, electronics, reeds, and percussion—featuring new FM players Anna Krippenstapel (Frekons (Freakwater + Mekons), The Other Years), Jim Marlowe (Equipment Pointed Ankh, Tropical Trash, Sapat), Eric Lanham and Benjamin Zoeller (both from Caboladies). The various combos perform with both a distinguished efficacy and unhurried Sunday drift—charged and beautiful, pulsating and pleasing. The production is subtle and tasteful. Mutating past the old saws of bounded individualism, a strange form of tentacular life accrues, cyborgian-fungral-tangles of the more-than-human variety. Robert Beatty’s cover art of otherworldly and interconnected river-scape gradients, coupled with song titles like “Reservoir,” “Falls Fountain Removed,” and “Sympathies for the River,” cue and clue the listener toward a river as a singular multitude analogue for the album. Interstitial gaps, clearings and openings give rise and merge into an accumulated flow from the tributaries of spirited improvisational performance, palimpsestic song cycles, and high fidelity studio production. The composite sound-image of After the Bend refuses to put both oars down into any one of the eddies of the folk, sound, chamber, electronic, or jazz idioms, and instead glides along the currents found within the slipstreams between. Gathering samples, a River Doctor Limnologist inspecting the properties of After the Bend might note the specter of Leroy Jenkin’s free-violin heat-light deepin the water’s thermal stratification. Or mortgage the late-Maestro’s time with Gruppo di Improvvisazione Nuova Consonanza to pay down the growing river heat budget. Or take one’s dirty buckets to the banks of the 19th laundromat where Walt Dickerson plays his vibraphone parts from Divine Gemini with dowsing rods. Or excavate the bedrock in the drainage basin, noting skeletal remains of a Shostakovich string quartet attempting to tune up a Kentucky Fiddle’s subsequent influence on the chemical composition of the water. Or consult the historical revisionist reenactment troupe’s episode of Fishing with John (Fahey) in which Codona, The Sea Ensemble and Nuno Canavarro guest host as their fleet of paddle boats churn river water into a regal lager, and all the fish get drunk in their quest for the leaner enamel Hosianna Mantra GPS coordinates of the Fattened Herb. Bush and Marlowe recorded and produced the album at End of an Ear Studios, located in the Portland neighborhood, in the west end of the city of Louisville, bordering the Ohio River, between Kentucky’s Upper South and the Indiana’s Midwest, during the first year of the global pandemic, amidst the planet’s sixth great extinction event. As good a time to be alive as any other. (by Kris Abplanalp)

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Groove Blaster BT

132,04 €* 139,00 € -5%

7" | 2022 | UK | Original (Detour)

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PORTABLE 100 W SPEAKER WITH MASSIVE BASS PERFORMANCE
The Reloop Groove Blaster BT is a portable 100W loudspeaker with high sound pressure level (SPL) and massive bass performance. The built-in Bluetooth 4.0 interface ensures that audio signals can be transmitted to the Groove Blaster BT at a range of up to 30 metres. Depending on the mode and connection, the integrated, rechargeable Li-ion battery offers extensive music playback of up to 10 hours.

VERSATILE CONNECTIVITY
Wireless NFC connection to the loudspeaker from supported devices is easy and requires no further setup. The precise separation of the frequencies in 3 ways ensures a rich and balanced sound character.

RICH SOUND
The arrangement of the two 3" midrange drivers and 1" tweeters ensures a wide stereo image and the 6" low-frequency driver gives excellent, deep bass characterisics.

SMART SPEAKER PAIRING
Using the Smart Link function, two Groove Blaster BT’s can be connected together wirelessly, doubling the overall volume and allowing the speakers to be placed in multiple rooms simultaneously (speaker pairing).

STURDY CONSTRUCTION
A stable and lightweight housing with a metal grille on the front protects the loudspeaker chassis and is easy to carry thanks to the detachable carrying handle.

FEATURES
• Portable speaker with high sound pressure level
• Massive bass performance thanks to the 6” low-frequency driver
• Bluetooth 4.0: Up to 30 meters of transmission range
• NFC: Wireless communication standard enables a quick connection on supported devices
• Precise separation of the frequencies in 3 ways
• Stereo speaker chassis layout: 1x 6” woofer, 2x 3” mid, 2x 1” tweeter
• Smart Link function: Wireless connection of two speakers (Speaker Pairing)
• 100 W max. output, powerful class D amplifier module
• Integrated rechargeable Li-ion battery with a run-time up to 10 hours (6.600 mAh)
• USB charging function for other devices
• Playback control panel on top of the speaker
• Perfect complement to an existing portable turntable setup
• Adapter compartment with battery level LEDs and mains connection
• Metal grille on the front protects the speaker chassis
• Stable and lightweight housing
• Incl. power supply and detachable carrying handle

TECHNICAL DATA
• Output Power: 1x 30 W (woofer), 2x 12 W (mid), 2x 5 W (tweeter)
• Power Input: 12V DC
• Speakers: 1x 6” woofer, 2x 3” mid, 2x 1” tweeter
• Connections: 1x 3.5 mm stereo jack, USB port (type A), 5V/2A
• Battery Type: Lithium-Ion
• Battery Capacity: 6600 mAh
• Dimensions: 180 x 180 x 430 mm
• Weight: 4.40 kg (incl. PSU)

https://www.reloop.com/media/custom/upload/Reloop-groove_blaster_bt_instruction_manual_20190521.pdf

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The Clerks

Dancing With My Girl