Search "It\s A Musical" 49897 Items

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

16,99 €*

I Can't Believe I Ate The Whole Thing

Release: 2022 / UK – Original

Genre: Rock & Indie

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In 1976 The Clerks were a four-piece group of schoolfriends living amidst the burgeoning punk rock scene in Birmingham. In October '76 two members of the band saw the notorious Sex Pistols gig at Bogarts, a small club in the city, and later the likes of Blondie, Buzzcocks, The Clash and Ramones at Barbarella's. Like many others, the guys were inspired by what they were hearing and before too long The Clerks would be playing these clubs themselves. From the start they wrote their own three-minute songs with a 60's pop sensibility and included in the set a couple of covers of The Beatles, 'I'm Down' and the Stones 'Paint It Black'. The guys didn't consider themselves to be Punks or Mods although they did share some of the same influences. Indeed, The Clerks name was taken from a line in a Velvet Underground song, 'Sweet Jane'. Throughout 1977 and '78 The Clerks gigged the pubs, clubs and halls of Birmingham, a demo was recorded in late '78 and the group decided, with a handful of friends and fans, to move en masse, to London. Starting to gig around London and with demo tape in hand the guys were picked up by ROK records for a single and compilation LP. 'No Good For Me' and the LP 'Odd Bods, Mods and Sods', were released in the spring of 1979. The single 'No Good For Me' was described by the music press at the time as 'Straight out of organised Sixties Pop'. Two of the group had become homesick by this time and moved back to Birmingham. However, the song writing team Paul Day and Martin Poole remained and recruited Londoner Paul Cuthbert on drums and another schoolfriend, now working as a photographer in London, Martin Booth on guitar and vocals. 1980 was a very busy year for the new line up. They gigged extensively in London and Birmingham and places in between, developed a new following, supported the likes of Athletico Spizz 80 and Tenpole Tudor and in the summer made another recording of four of their own songs. Dancing With My Girl, All I Want Is You, On The Telephone and Cold About Love. Things seemed to be going well enough and by now there was some record company interest but by the end of 1980 for reasons lost in the mists of time, the band had had enough and had gone their separate ways. A couple of years after their demise a limited-edition EP called Dancing With My Girl with three of the four 1980 studio recordings was released. This EP is now a collector's item and changes hands for up to £50 in mint condition to grateful fans as far away as Japan, Europe and USA. However, for some reason that no one can recall, one song 'Cold About Love' was not included and has never been released. Until now that is, on Detour Records! So, we have for you, three new 7" vinyl releases. For the first time Detour Records release from 1978 (dr124) 'No Good For Me' and 'When The Light Go Out' back-to-back and from 1980 the previously unreleased (dr128) 'Cold About Love' b/w 'On The Telephone' and last but not least, also from 1980 (dr129) 'Dancing With My Girl' b/w 'All I Want Is You'.

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Rudy Ray Moore

CD | 1988 | US | Reissue (Dolemite)

14,99 €*

Up On Gravity Hill Yellow Vinyl Edition

Release: 1988 / US – Reissue

Genre: Organic Grooves

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Another raucous and raw comedy album from Rudy Ray Moore's vast crazy catalog! He's got some nasty ass shit to talk and you will thrill with the exploits of Dangerous Dan, Lolita (who likes mucho peetah) and even Romeo & Juliet (!). Don't be ashamed if you find yourself repeating these bits to friends as there's plenty here to laugh at. This album is over 40 years old and a testament to the power and shock of Moore's material. If you need to catch your breath, Moore gives you a break by the album's end as he reworks one of his old vocal tracks with... well... some pretty nasty lyrics. What did you expect? This is a Rudy Ray Moore album!

- Mark Jason Murray, Biographer

Rudy Ray continued to cut his comedy party records, rappin' out his street rhymes with a little music behind. The room was packed with guys and gals, friends and partiers from the neighborhood. Dudes, pimps, gangsters, players, winos, and just plain Bad Ass Kids! And this album is breakout time! I Can't Believe I Ate the Whole Thing blew the doors open, set the trend, the one that a decade later in 1986 launched 2 Live Crew when they sampled Rudy Ray Moore on hit singles "Throw That D" and "Get it Girl" from their debut album The 2 Live Crew Is What We Are. Through word of mouth and pure outrageousness the 2 Live Crew album sold over half a million copies.

And it didn't stop there!! Rudy Ray was now deep in the Hip Hop mix. 2 Live Crew's "Movin' Something" audaciously sampled "Romeo and Juliet," Rudy Ray's nasty duet with Lady Reed, aka Queen Bee from the Dolemite movies and one of Rudy's early label signings back in the day. Ice Cube with Funk Master George Clinton throws out in "Bop Gun" a Rudy Ray Moore line from on this very album, "No One Knows Where the Nose Goes." Big Daddy Kane loves the track "Dangerous Dan."

I Can't Believe I Ate the Whole Thing is the album that sets the tone for the Hardcore Hip Hop scene. Here you can hear where Dr. Dre, N.W.A. Snoop Dogg, Busta Rhymes, and Ice T got their stuff. Also where comedian Robin Harris took Rudy's joke "Piccolo Player" and made it one of his own laugh line bits. All of it jumped off
this album and swayed a generation. Straight off the street from shooting dice, playin' the horses in a bookie joint, and cruising in a lowrider car to smoking weed and late night listening when the kids are all asleep. Yeah, right!

As Rudy Ray Moore said, "Rappin' and cappin' is my game. And all those young men are rappin' good! BUT, when it comes down to rappin', I was through with it before they even learned what to do with it!!"

- Liner Notes by Donald Randell

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Metz

LP | 2024 | EU | Original (Sub Pop)

29,99 €*

Catatonic Suns Orange Vinyl Edtion

Release: 2024 / EU – Original

Genre: Rock & Indie

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With time, we come to understand the way the joy of connection is mirrored by the void of loss, how the constancy of love is matched only by the impermanence of life, the simple idea that we could not create light if we did not risk the dark - we'd never need to. So it is with Metz, a band once known for blowing out eardrums with songs of joyous rage who have, over their past few records, begun exploring ways to turn abrasiveness into atmospherics, the evolution of their sound not only a reflection of the maturing of the band themselves but also of a changed world that demands nuance and compassion to comprehend and to survive. It was a journey already underway on 2020's Atlas Vending, but one that reaches new heights on Up On Gravity Hill, where the Canadian trio creates a kaleidoscopic sonic world as tender as it is dark, aided once again by engineer Seth Manchester (Mdou Moctar, Lingua Ignota, Battles, The Body). Deep, detailed, and unyieldingly personal, it is not only Metz's most powerful record to date but also their most beautiful. Still three punks from Ontario at heart, guitarist and vocalist Alex Edkins, drummer Hayden Menzies, and bassist Chris Slorach waste no time as opener "No Reservation/Love Comes Crashing" sweeps in like a wave, sonically and thematically setting the scene for the record to come. A dynamic song about feeling suspended in stasis, layers of dissonance melt into a restlessly heady outro marked by escalating crescendos of shimmering noise that reach for the stars - and is that a violin quivering brightly beneath those elegant swells of guitar, those charging drum fills, those intricate bass lines? It is indeed, courtesy of composer Owen Pallett; his presence an immediate indicator that Metz are thinking more cinematically than ever before. The change is partially inspired by Edkins' work as a scorer for film and television and his pop-leaning solo project, Weird Nightmare, where, he says, he learned to write more intuitively, letting his emotions lead the way. But make no mistake: Up On Gravity Hill is a total band effort, the work of three musicians who have been playing together for over a decade, with all the trust that entails. For those who believe in the power of the rock band to exemplify the highest resonance of human connection, there is much on Up On Gravity Hill to lift the spirit, a puzzle worth repeated listening to unlock or just to get lost in again and again. Rather than the music being flattened into a single plane, the band explores "the space above the cymbals," resulting in some of the most spacious, sympathetic, and accessible songs - could we call them pop? - of their career. If this seems contradictory, well, Metz has always been something of a contradiction. "We've never been heavy enough for metal or hardcore purists, but we're way too heavy for indie rock. We just don't have a lane - and that's okay. We exist outside the lines of delineation. I think this record is even more like that," says Edkins.

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Catatonic Suns

LP | 2023 | UK | Original (Agitated)

20,99 €*

Shirt Kings: Pioneers Of Hip Hop Fashion

Release: 2023 / UK – Original

Genre: Rock & Indie

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Catatonic Suns is Patrick Shields (guitar, vocals) , Jakob Christman (bass) and Caleb Strobl (drums) Catatonic Suns new album sees them blend the underground psychedelia of the late 80s / early 90s Pacific Northwest with the shimmering shoegazery of Britain from the same time. Heavy and soft guitars, songs that soar, these new recordings verge on the epic. For fans of The Verve (early), Screaming Trees, Truly, Ride, Slowdive, Alice In Chains. Pennsylvanian threepiece Catatonic Suns release their brand new album via Agitated records this autumn (Fall if you reside in the US), Patrick and Jake have known each other since birth, obsessing on punk rock, but the band actually formed in 2019. Vocalist / guitarist Patrick and fellow guitarist Llambro Llaguri began creating homemade psychedelic psychedelic 4 track cassette demos during the Winter of 2015, taking heavy inspiration from an eclectic mix of acts ranging from Ween to R.E.M. As these early songs were created, the duo sought other like minded individuals in their hometown of Allentown, PA to take these primitive demos to the next level. It was then that Patrick recruited another childhood friend, Jakob Christman, to fill the role of bass along with another mutual friend Caleb Strobl completing the rhythm section of Catatonic Suns. In 2019, the group put out their first release, the Catatonic Suns demo, a collection of lo-fi recordings made by Patrick over the years. During this period, the band began to make a name for itself by playing shows across eastern Pennsylvania including the Lehigh Valley where local garage rock heroes Original Sins hailed from. During the months of August and September of the same year, Catatonic Sun's reputation for wall of sound psych-grunge was really brought to life when the group teamed up with local record producer guru Matt Molchany of Shards Recording Studio to track their debut studio venture “Aphelion” (more an extended EP). Self -Released in the December, the album found an audience beyond the local music circuit of Pennsylvania, even reaching countries such as the U.K.,Germany and Japan. The band continued to play shows growing their fanbase and honing their skills as a cohesive unit resulting in radio airplay across the country and a feature on the compilation “Pedal Worship” by Bummer Recordings. During this same period, Matt Molchany once again helped the band carve their next album (a full length) “Saudade” along with mastering engineer Matt Poirier (War On Drugs), which was also self released, in February 2022. They played plenty more gigs, and ventured to the west coast for some shows in LA with local friends Laurel Canyon, one especially wild night was with both bands supporting Strawberry Alarm Clock at the Whiskey A Go Go. Now a three piece and into 2023 the band record the 7 original songs and one Original Sins cover for this new release.. Recorded early 2023 at Shards Recording Studio, Bethelem, PA with tracking and mixing once again by Matt Molchany. Mastered by Mikey Young. Agitated/ Catatonic Suns intend to remaster/ reissue Saudade on LP / CD formats in 2024, to coincide with debut UK shows.

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Edwin "Phade" Sacasa

Dokument

29,90 €*

2LP+7" | 2024 | EU | Original (90's Tapes)

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he exiting story about how the street wear pioneers Shirt Kings created a style that would define hip hop culture in the 1980s and beyond. Jamaica, Queens, New York in the mid 1980s. Rappers, celebrities and hip hop fans came from all over the city to get their own customized T-shirt by the Shirt Kings. The style traveled all over the world through record covers and music videos, and the Shirt Kings designs soon became synonymous with hip hop and the culture of making something out of nothing. Shirt Kings: Pioneers of Hip Hop Fashion looks at the early days of street wear through the lens of the pioneering group of artistic entrepreneurs known as the Shirt Kings. By adapting the graffiti skills from the trains and spray cans to shirts and airbrush they created a new look for a new generation. Edwin Phade Sacasa is a founding artist of the group and it is through his archives that we are transported to the 1980s in New York City where the fashion was loud, colorful, and filled with cartoon imagery. But not just any cartoon imagery for the cartoons where urbanized. Mickey Mouse with a Fila suit, Casper the Friendly Ghost with gold teeth and Pink Panther with gold chains. People from across the city made their way to Jamaica, Queens to a small shopping mall known as the Coliseum where you could easily bump into the biggest names in hip hop of the day. From DJ Red Alert to LL Cool J to Big Daddy Kane to Mike Tyson – they all had to have their Shirt Kings designs. Shirt Kings: Pioneers of Hip Hop Fashion chronicles the art, the styles, and the people who where loyal supporters of the Shirt Kings, and takes us on a trip down memory lane to when customization and art reigned supreme in New York City. After the hardcover has been sold out for years, just in time for Hip Hop’s 50th anniversary comes another chance to take part of the Shirt Kings’ inspiring history as pioneers of hip hop and street wear in this beautiful soft cover edition. “Shirt Kings brought the hip hop element into the clothes for real and integrated it, and it was the first time I saw hip hop culture completely merged with clothing.” — LL Cool J “The Shirt Kings network was fashion TV of the times, and advertising and promotion way before it became trendy.” — Chuck D, Public Enemy ”Phade and the Shirt Kings are pioneers of hip hop fashion, also it is duly noted that the graffiti element has been elevated and made fashionable thru their airbrushing work.” – RZA ”Phade has been my go to guy since the eighties for all airbrush collabos!” – Dapper Dan Born in East New York, Brooklyn, Edwin Phade Sacasa founded the Shirt Kings in the mid 1980s, where he serviced many of todays Hip Hop stars and pioneers, such as Jay Z and Run DMC. Phade is working with youth in the inner city and have developed a program that teaches urban fashion through art therapy and entrepreneur skills. Alain KET is an artist, photographer, author, artistic consultant, marketing professional and frequent lecturer on the topic of graffiti.

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Grav

Down To Earth

39,99 €*

Tales Of Mystery And Imagination

Release: 2024 / EU – Original

Genre: Hip Hop

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Limited edition of 300 copies on 2LP in gatefold sleeve incl. bonus 7" ("C'mon" b/w "Instrumental"). One per customer!

"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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Nocturnal Rites

LP | 1997 | EU | Reissue (Jolly Roger / Blackbeard)

23,99 €*

LP | 2024 | UK | Original (Central Processing Unit)

Release: 1997 / EU – Reissue

Genre: Rock & Indie

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In 1990 guitarist/vocalist Fredrik Mannberg formed a band called Necronomic, then by the end of the same year the only two remaining members (Fredrik and drummer Tommy Eriksson) recruited bassist Nils Eriksson and started with the monicker of Nocturnal Rites. In 1991 the band made their first, and still only, official demo recording. A four track release called "The Obscure". It attracted some indie-labels but the band decided to wait for something better. While writing material to be a two track promo recording they found themselves having drifted away from the death metal sound, towards a more melodic and harmonic oriented sound. This new approch, again, attracted some label attention. But the band was not be willing to sign. Around this time drummer Tommy Eriksson left the band and was replaced by Ulf Andersson. The band also added a second guitarist, Mikael Söderström. Through 1993 the band continued writing material and by this time their sound had come to grow into traditional heavy metal, influenced by the likes of Iron Maiden and Judas Priest. The band describes this transition as a normal continuance on what they started on in 1992. By the end of 1993 they felt they had gathered enough good material for another recording. This recording, however, made the band realized Fredrik's vocals didn't quite fit their new sound. So they felt they had to recruit a proper, melodic singer. Fredrik's replacement was found in Anders Zackrisson, a talented and experienced vocalist, formerly of Gotham City band. With 1993's recording with newly recruited Zackrisson they felt the songs had potential and it was sent out to various labels. The tape caught swedish label Dark Age's attention. A deal was worked out and by the end of 1994 the band signed it. Dark Age's intention was always to license the album to a bigger label with better funds and distribution. The partner was found in Megarock Records and finally Nocturnal Rites debut album "In a Time of Blood and Fire" (1995) was launched upon the world. It was critically a big success but, unfortunately, due to some distribution problems and poor efforts in promoting the album, it never became “big” as it potentially could have been. While writing for a follow-up, guitarist Mikael Söderström decided to leave the band and was replaced by Nils Norberg, equally talented as musician and songwriter. In late 1997 the band's second CD, "Tales of Mystery and Imagination" was released in Japan. But since Megarock didn't please Dark Age, they looked for a better deal in Europe and found it in Century Media and so the album was finally released in March 1998. At this point, a whole new era was to begin for the band. After touring Europe in support of the "Tales..." album, the band came back with a newfound confidence to write and record its third offering, the critically acclaimed "The Sacred Talisman" (1999). It showed a more mature and able side of the band and a new addition to the rythm section, the drummer Owe Lingvall. Then the boys joined Nevermore and Lefay for an intense european tour. When all touring duties were done the band and vocalist Anders Zackrisson separated. Quite quickly a replacement was found in local singer, Jonny Lindqvist and with him Nocturnal Rites released the following albums: "Afterlife" (2000), "Shadowland" (2002), "New World Messiah" (2004),"Grand Illusion" (2005), "The 8th Sign" (2007) all under Century Media, then "Phoenix" (2017) under AFM.

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Maelstrom

The Fm Tapes

17,99 €*

LP | 2024 | Original (Circus Company)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Maelstrom returns to Central Processing Unit for the fourth time, and it's the one born Joan-Mael Péneau's lengthiest drop on the Sheffield label yet. The French artist has been a mainstay in the European electro game since the 2000s, and Malestrom brings that experience to bear on new LP The FM Tapes. He goes about this album with the assurance of a seasoned pro, combining his mastery of electro production techniques with a trademark guile to craft an expertly-paced eleven-track affair.
The first section of The FM Tapes sets out the album's stall with style and aplomb - listeners are in store for a rich feast of off-kilter machine-funk which will feature no shortage of intriguing detours. On opener 'Ondes Courtes' the mix throbs with all manner of strange electronic gristle: a distorted bass hum rattles the monitors; wisps of distortion float across the mix; eerily pretty keys wax and wane before giving way to a radar pulse.
'Ondes Courtes' is an ominous slouch of a scene-setter, and it lines things up perfectly for following cut 'Alt50ser' to lock in. This track's churning, gurgling mid-tempo rattle brings to mind the wacky insistence of Modeselektor. Maelstrom repeats the slow-fast one-two again directly afterwards - 'La Vie Sociale Des', a strange nugget that sounds like an early Eski instrumental stripped for parts and blasted into the cosmos, is an ideal prelude to the twitchy space-funk of 'My Digitone'.
Maelstrom's staying power in the electro world comes, in no small part, from his ability to apply his delightfully idiosyncratic choices to some of the genre's staple production tropes. On The FM Tapes, he marks himself out once more as a pleasingly unorthodox talent by taking tracks in unexpected directions to produce surprising - and often rather moving - results.
There are multiple cuts here which channel the more cerebral end of Richard D. James' AFX/Analord output: 'My Digitone' may be a quicksilver techno-electro number, but there's still something cinematic about the synth treatment here which softens the edges; 'Suede's minor-key oscillations bring other CPU veterans like Cygnus and Bochum Welt into view; 'Res 06', one of two Fasme collaborations on the record, is full of pathos even as the beat programming bangs and whirrs throughout.
While there's a deep emotional undercurrent to The FM Tapes, though, Maelstrom's commitment to bringing the thrills surfaces time and again. If 'Res 06' had Maelstrom and Fasme getting wistful, the album's other Fasme link-up 'Trempo' is one of the hardest club joints here, a piece of old-school Detroit energy replete with some great cascading drum production. Indeed, 'Trempo' comes in the middle of a run towards the album's end where Maelstrom takes the handbrake off - there's a wild-eyed sense of fun to 'The Operator' and 'Upside Down Dx7' which has one thinking of the zany cut-and-thrust of KiNK's best work.
Maelstrom's latest drop for Sheffield's Central Processing Unit label is an album of leftfield electro numbers that bring both pounding beats and poignant production.
Riyl: KiNK, Modeselektor, Cygnus, Bochum Welt, AFX

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The Mole

High Hopes

24,99 €*

Release: 2024 / Original

Genre: Electronic & Dance

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High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the
beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to
Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples
chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original
collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie.
Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His collages marry the corporeal world with an updated, digitalized age of
reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz
(Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with
the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle
can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

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We've Been Going About This All Wrong Deluxe Edition

2LP | 2022 | US | Original (Jagjaguwar)

35,99 €*

Release: 2022 / US – Original

Genre: Rock & Indie

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

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Pioneer DJ

HDJ-X5

99,00 €*

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Over-ear DJ headphones

Prime sound quality
Hear your tracks loud and clear in the booth and on the move with the HDJ-X5. By taking on board feedback from DJs and analysing many different styles of monitoring, we’ve made sure our new DJ headphone range includes all the features needed for performing at every level. Thanks to the high-quality audio design inherited from our previous professional DJ headphones, you can enjoy distortion-free monitoring, even at high volumes, wherever you go.

The HDJ-X 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
With a new 40-mm driver, hear your tracks loud and clear. The 4-core twisted-structure cable gives superior left and right channel separation and the magnetic circuit is optimised so, thanks to fine noise suppression and elaborate tuning, you can enjoy distortion-free sound.

Rigorously tested
Take the HDJ-X headphones on the road and feel confident they’ll handle severe conditions and heavy use. All the HDJ models have cleared the US Military Standard Shock test* as well as our own stringent stress testing.
*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.

Excellent portability
A compact carry pouch fits snugly around your folded headphones to save space in your luggage and reduce the risk of damage on the road.

Various accessories included
The HDJ-X5 comes with a 1.2 m short coiled cable and an L-type mini-jack, preventing any accidental disconnection during performances.

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: 40 mm dome type
• Cord: 1.2 m short coiled cable (1.8 m extended length)

Accessories:
• HDJ-X5
• 1.2 m Coiled cable (extended length 1.8 m)
• 6.3 mm stereo plug adapter (threaded type)
• Carry pouch

Specifications:
• Impedance: 32 Ω
• Output Sound Level: 102 dB
• Maximum Input Power: 2000 mW
• Weight (without cord): 269 g
• Frequency Range: 5 - 30000 Hz

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Pioneer DJ

HDJ-X5

99,00 €*

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We've Been Going About This All Wrong

Tape | 2022 | US | Original (Jagjaguwar)

Release: 2022 / US – Original

Genre: Rock & Indie

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We've Been Going About This All Wrong Smoke Marbled Vinyl Edition

LP | 2022 | US | Original (Jagjaguwar)

24,99 €*

Release: 2022 / US – Original

Genre: Rock & Indie

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We've Been Going About This All Wrong Black Vinyl Edition

LP | 2022 | US | Original (Jagjaguwar)

24,99 €*

Release: 2022 / US – Original

Genre: Rock & Indie

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Magma

Solid Blaze Pack 120

219,00 €*

Never Meant To Be: 1988-1993

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A true packing backpack designed to carry what you need.

Made from 120 recycled 0,5l (16oz) plastic bottles, the SOLID BLAZE PACK 120 is an all-purpose travel backpack with modular interior layout crafted for versatility. Whether you are hauling DJ or production gear, photo or video equipment, or other electronics, the SOLID BLAZE PACK 120 enables you to easily and conveniently organize your gear. The spacious and expandable main compartment features removable EVA padding and multiple dividers for ultimate packing experience. The customizable padded interior ensures your gear travels with you safely. Loads of additional compartments, pouches and zippered pockets offer intuitive accessory management and quick access to your belongings. The SOLID BLAZE PACK 120 is crafted from only the highest quality materials, such as its water-repellent RPET 900D shell and YKK® AquaGuard® zippers to protect your laptop, tablet, timecode records and other expensive gear from the elements. Travel comfortably knowing your gear is safe inside the MAGMA SOLID BLAZE PACK 120.

FITS:

• Pioneer DJM-S11
• Pioneer DJM-S9
• Pioneer DJM-S7
• Pioneer S-1000
• Pioneer Toraiz SP-16
• Rane Seventy-Two
• Rane Seventy
• Rane Sixty-Two
• Reloop Elite
• Akai MPC Live,
• Akai MPC Live 2
• Ableton Push 2
• Roland SP404
• NI Maschine MK2
• NI Maschine+
• Denon Prime Go
• 12” vinyl
• Rodecaster Pro
• Laptops up to 17”
• Camera gear etc.

BASICS:

• Fabrics made from recycled PET plastic bottles (Global Recycling Standard certified)
• Outer material crafted from robust and water-repellent RPET 900D Polyester (with eco-friendly water-based PU-coating)
• Lining made from RPET TC Polyester
• Lockable dual PVC-coated YKK® AquaGuard® zippers (padlock not included)
• Expendable equipment storage compartment with EVA side walls and bottom padding
• Includes removable dividers to customize individual sections
• Separate padded laptop and tablet compartment fits up to 17” laptops
• Numerous internal pouches, compartments and zippered pockets to organize smaller gear
• Quick-access front-compartment with internal pockets to organize smaller gear
• Dedicated headphone-pocket (also holds cameras)
• Side-pocket with pen and key-holder
• Side-pocket with USB charger port (power bank not included)
• Side-pocket for bottle or tripod storage
• Comfortable air channel back padding with hidden document pocket
• Carrying-handle with magnetic closure
• Contoured and ergonomic riveted shoulder-strap with metal buckles
• Adjustable chest-strap
• Detachable hip-belt transfers heavy-loads to your hips
• Trolley-Sling
• Cabin luggage compatible

SPECS:

• Outer dimensions: (H/B/T): 52 x 35 x 23-26*cm / 20.5” x 13.75“ x 9“-10.25“* (*extended)
• Inner dimensions: 45 x 32 x 14 -17* / 17.75“ x 12.5“ x 5.5“-6.75“* (*extended)
• Weight: 2,3 kg / 5lb
• Color: black/grey (Item-No.: 47892 / EAN:4041212478924)

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Love Child

2LP | 2024 | US | Original (12XU)

45,99 €*

Release: 2024 / US – Original

Genre: Rock & Indie

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"At the very dawn of the 90s, Love Child's debut 7” made a splash on the burgeoning scene of shambolic bands and lo-fi recordings. Back then, they were mentioned in the same breath as Pavement, Sebadoh, or Beat Happening. But Love Child’s two great albums and sparkling singles have become the stuff of record collectors, unavailable vis streaming and out of print, until now. Never Meant to Be: 1988-1993 pulls from these releases and some unreleased radio sessions, unearthing a trove of lost gems by a band that could be the bestof all of the 90s buried treasures. Culled from their smashing debut 7-inch, their two full-length albums, another great single and some unreleased radio sets (including a Peel Session), Never Meant To Be has catchy hooks, gritty noise, sneakily-deft playing, brainy but blunt lyrics, and lots of other awesome stuff. Love Child were part of lo-fi’s beginnings, but also had the NYC pedigree to absorb predecessors like the Velvet Underground, the Voidoids and Teenage Jesus and the Jerks. (Their swirl of brightness, brains, and brawn led Byron Coley to liken them to a fantasy VU made up of Moe Tucker, Doug Yule, and Angus MacLise). Will Baum started Love Child while a student at Vassar College, bringing on classmates Rebecca Odes and Alan Licht. At first, Baum wrote the majority of the songs, bringing a Modern Lovers-like garage-pop attack to the band’s 19-song whirlwind debut album Okay? (Homestead, 1991) But Odes and Licht contributed songs as well, each with a distinct sonic fingerprint (One fan, Kurt Cobain, allegedly predicted Love Child would become the Fleetwood Mac of the 90s). All three members were happy to trade roles and instruments from song to song, but they also had some specific chops. Licht was a bit of a guitar prodigy, having taught himself how to tap like Eddie Van Halen, but versed enough in punk to know simplicity could be just as powerful. Odes’ bellowing bass was equally prominent, and her vocals could veer quickly from sweet to snarling, like Kim Deal or Georgia Hubley with a jagged edge. Take 'Asking for It' (taken here from a 1992 Peel Session), whose righteous slam makes it a proto-riot-grrrl anthem. Not long after Okay?, Baum left, replaced by drummer Brendan O’Malley. Love Child’s sound evolved too, toward a dronier zone not far from the bubbling haze of then-nascent shoegazers like My Bloody Valentine and Slowdive. On their next album Witchcraft (Homestead, 1992), smart hooks stretched into deeper ruminations, without any loss of brashness. 'Stumbling Block' turned a riff into a minimalist mantra, while 'Wait and See' took two melodies–one sung by Licht, one by Odes–and weaved them into the band’s most hypnotic moment on record. Love Child didn’t last long past Witchcraft, though it's not 100% sure that they're fully done (Alan and Rebecca have been rumored to be playing together again). But until that comeback emerges, Never Meant To Be should satisfy fans and newcomers for a long time."—Marc Masters

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Kleeny

MK2

655,00 €*

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Kleeny MK2 Premium Record Cleaning machine

Made and engineered in Germany from experienced designers and technicans. This are the features:
• Beautifully designed, very compact housing that takes up little space
• Housing sides made of aluminum with leather-look covering
• Low operating noise thanks to noise insulation
• Silicone feet provide a secure grip and minimize structure-borne noise
• Adapter for dry vacuuming singles and 10 inch LPs included
• Robust traditional switches
• Ergonomic puck (record weight) with magnetic fixation - no screwing or clamping!
• Label protection by rubber lip
• Powerful, reliable platter motor rotates clockwise and counterclockwise
• Plate mandrel made of polished stainless steel
• Suction turbine with 250W power - does the drying in 2 revolutions!
• Platter mat made of soft, antistatic rubber
• Internal dirty water tank with drain spout, easy to empty. No hose or clamp required.
• Dry blow function protects against residual moisture and musty odor.
• Suction arm holder made of CNC milled aluminum
• Easy swinging in and out of the suction arm without screws
• Classic switch design

The robust switches could also be found in a classic sports car. The gear motor is switched on with the left switch. During washing, the direction of rotation should be changed several times by flipping the switch. The right-hand switch switches on the powerful suction turbine. It only needs 2 revolutions of the turntable and the record is dry. A high-quality record brush is part of the delivery programme.The unit can be emptied easily with the help of an outlet spout.

Secure protection for the label
The beautifully shaped puck has a sealing lip on its underside that protects the label from moisture penetration all around. Powerful magnets pull the puck onto the record. So nothing needs to be clamped or screwed. It couldn't be simpler.

Washing with premium brush attached by one click
The DRAABE Premium brush is included in the delivery. With Kleeny MK2 you don't need to hold the brush in your hand. It is simply clicked onto the wash arm. It adapts to the slight unevenness of the surface because it is suspended so that it can move. When the washing process is finished, you simply remove the brush and switch on the suction. It couldn't be simpler!

Scope of delivery - gets you ready to wash!
• Unit including, clamp, suction arm and platter mat
• Kleeny Service station with adapters for Singles and 10 Inch LPs
• Housing in noble leather look colour: bordeaux
• 200 ml Nessie cleaning lotion - ready to use, in suirt bottle for cleaning up to 40 records
• Premium record brush with click technology
• Connection cable with Euro, Swiss or UK Plug
• Manual in English language

Technical data:
• Dimensions without turntable: 280 mm x 145 mm x 230 mm
• Weight : 2,7 kg
• Power consumption "Suction" : 250 W
• Power consumption "Washing" : 12 W
• Power consumption "Stand by" : 0 W
• Diameter of turntable : 24.5 cm
• Dimensions with attached turntable : 375 mm x 245 mm x 230 mm
• Electr. connection IEC cable with plug (Euro, Swiss, UK depending of your country)
• Electr. voltage : 230V / 50Hz.
• Extraction noise : 62 db(A)

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Another Side Black Vinyl Edition

LP | 2021 | US | Original (Light In The Attic)

Release: 2021 / US – Original

Genre: Organic Grooves

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“Things happen for a reason, man.” - Leo Nocentelli

At just fourteen, Leo Nocentelli was backing up Otis Redding. Soon after, he was playing on hits for Lee Dorsey, The Supremes, and The Temptations. As an original member of The Meters, Leo wrote instant classics “Cissy Strut” and “Hey Pocky A–Way,” but his greatest moment on record may be totally unknown, until now…

Recorded at Cosimo Matassa’s Jazz City Studio in New Orleans in the early ‘70s and then lost to the ages, Another Side is one of Leo Nocentelli’s most personal and definitive moments ever cut to tape. A mixture of funky folk and rootsy, raw emotion (think Bill Withers and James Taylor meeting Allen Toussaint at Link Wray’s Three Track Shack), this previously unheard album shines like the sun on a spring day on the New Orleans fairgrounds. Backing Nocentelli is an all-star line-up of New Orleans royalty, including Allen Toussaint (piano), James Black (drums), and both George Porter Jr. (bass) and Zigaboo Modeliste (drums) of The Meters. Deeply introspective, the album features nine original songs by Nocentelli, plus a soulful rendition of Elton John’s “Your Song.” Half a century later, these recordings sound just as fresh and engaging as the day they were recorded.

What makes Another Side even more extraordinary, however, is the fact that the album—which could have easily become a classic in the ‘70s singer-songwriter canon—sat untouched for decades; miraculously surviving the devastating blow of Hurricane Katrina, only to be found 2,000 miles away at a Southern California swap meet in 2018 by record collector Mike Nishita. The album’s incredible journey is documented in the liner notes by Sam Sweet (New York Times, Los Angeles Times), who spoke with Nocentelli and Nishita about the recording process and re-discovery of the tapes. Sweet’s full notes appear in the release’s accompanying booklet alongside hand-written lyrics by Leo Nocentelli. The first pressing of the vinyl edition will feature gold-foil treatment on cover and spine. Rounding out the package are original designs and layout by the multi GRAMMY®–winning designer Masaki Koike.

While Nocentelli was embedded in New Orleans’ R&B scene, he was also deeply inspired by the late 1960’s and early 1970’s rising singer-songwriters, and soon found himself exploring sounds that were miles away from his band’s hard-edged funk riffs. Whenever he had downtime from session work and shows, Nocentelli spent much of 1971 recording his newly-found, reflective, diaristic songs at Matassa’s Jazz City studio. Backed by longtime Meters bandmate George Porter Jr. on bass, Nocentelli crafted the lineups for his sessions to match the tone of the material. When he needed a pianist, he’d call Toussaint. For percussion on the slower songs, he used drummer Zigaboo Modeliste, but many of the tracks featured James Black—a frequent collaborator of Toussaint’s and a member of Ellis Marsalis’ jazz group, whom Nocentelli recalls as an “unbelievable” musician. The recording, which Nocentelli fondly refers to as his “country-and-western-album,” paints a picture of a young man yearning to find a sense of purpose. “I was going through some changes which were reflected in the songs that I wrote during that time,” he tells Sweet. Among them is the mid-tempo “Getting Nowhere,” in which he expresses a sense of frustration, as he watches others find success around him. Similarly, “Till I Get There” details a man who is struggling to persevere in his goals. In the soaring “Tell Me Why,” meanwhile, the singer contemplates the existence of God. Other songs center around fictional characters. “Pretty Mittie,” for instance, is sung from the perspective of a farmer who longs to give up his arduous life for the city. “You’ve Become a Habit” is about a man who falls for a sex worker named Fancy. “Riverfront” is based on stories that singer Aaron Neville shared, about his days working on the New Orleans waterfront. Nocentelli also chose to perform one cover: Elton John’s breakthrough hit, “Your Song.” The guitarist made the recently-released ballad his own—infusing it with a loping, head-nodding cadence, ever so tastefully “funkdafied” in true New Orleans fashion. By the time that the album was finished, The Meters were busier than ever. They had just signed a record deal with Warner Brothers and were now the official house band at Toussaint’s studio, Sea-Saint. There, they not only backed artists on Toussaint’s Sehorn label but had also become the go-to session musicians for every major artist that recorded in New Orleans. Rather than focus on a solo career, Nocentelli poured his energies into The Meters’ next album. Eventually, time moved on, as did Nocentelli, and he decided to store his unreleased solo album at Sea-Saint for safekeeping. In 2005, when Hurricane Katrina devastated New Orleans, Sea-Saint was among its victims. While Toussaint (who passed away in 2015) had sold the hallowed studio in the mid-90s, hundreds of his archived recordings remained in the building. The new owner salvaged what he could from the flooded building, shipping everything to a storage facility in Southern California. Boxes of tapes sat there for more than a decade before moving to another unit, which foreclosed a year later. The contents were purchased in a blind auction and, days later, sold at a swap meet. The fact that record collector Mike Nishita just happened to be there was pure kismet. Nishita, a DJ and brother to “Money Mark” Nishita (of Beastie Boys fame), recognized the Sea-Saint label on the boxes and purchased all 673 master tapes at the swap meet. He inspected the contents with his friend Mario Caldato Jr., the longtime audio engineer for the Beastie Boys. In addition to masters from Irma Thomas, Dr. John, Lee Dorsey, and Toussaint, there was a quarter-inch reel with Nocentelli’s name on it. As Caldato and Nishita played it back, they knew they had something special. “There was nothing else like it,” writes Sweet. “An acoustic album by the greatest funk guitarist who ever lived. It was the tape Mike would play for people to show them how special the collection was. The best album in the vault was something nobody knew existed.” Eventually, Nishita and Nocentelli connected, “He was so grateful, so sincere,” recalls Nishita. “I just kept thinking about how this music needs to be heard...Especially when you look at all the things that had to fall into place for these tapes to survive and be discovered this way.” As Nocentelli simply puts it, “Things happen for a reason, man.” And now, Light in the Attic is thrilled to give this remarkable record the spotlight it so rightly deserves. 50 years later, all is not lost.

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Tape | 2021 | US | Original (Light In The Attic)

Another Side

8,99 €*

Release: 2021 / US – Original

Genre: Organic Grooves

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*Available Nov. 19th, 2021*

“Things happen for a reason, man.” - Leo Nocentelli

At just fourteen, Leo Nocentelli was backing up Otis Redding. Soon after, he was playing on hits for Lee Dorsey, The Supremes, and The Temptations. As an original member of The Meters, Leo wrote instant classics “Cissy Strut” and “Hey Pocky A–Way,” but his greatest moment on record may be totally unknown, until now…

Recorded at Cosimo Matassa’s Jazz City Studio in New Orleans in the early ‘70s and then lost to the ages, Another Side is one of Leo Nocentelli’s most personal and definitive moments ever cut to tape. A mixture of funky folk and rootsy, raw emotion (think Bill Withers and James Taylor meeting Allen Toussaint at Link Wray’s Three Track Shack), this previously unheard album shines like the sun on a spring day on the New Orleans fairgrounds. Backing Nocentelli is an all-star line-up of New Orleans royalty, including Allen Toussaint (piano), James Black (drums), and both George Porter Jr. (bass) and Zigaboo Modeliste (drums) of The Meters. Deeply introspective, the album features nine original songs by Nocentelli, plus a soulful rendition of Elton John’s “Your Song.” Half a century later, these recordings sound just as fresh and engaging as the day they were recorded.

What makes Another Side even more extraordinary, however, is the fact that the album—which could have easily become a classic in the ‘70s singer-songwriter canon—sat untouched for decades; miraculously surviving the devastating blow of Hurricane Katrina, only to be found 2,000 miles away at a Southern California swap meet in 2018 by record collector Mike Nishita. The album’s incredible journey is documented in the liner notes by Sam Sweet (New York Times, Los Angeles Times), who spoke with Nocentelli and Nishita about the recording process and re-discovery of the tapes. Sweet’s full notes appear in the release’s accompanying booklet alongside hand-written lyrics by Leo Nocentelli. The first pressing of the vinyl edition will feature gold-foil treatment on cover and spine. Rounding out the package are original designs and layout by the multi GRAMMY®–winning designer Masaki Koike.

While Nocentelli was embedded in New Orleans’ R&B scene, he was also deeply inspired by the late 1960’s and early 1970’s rising singer-songwriters, and soon found himself exploring sounds that were miles away from his band’s hard-edged funk riffs. Whenever he had downtime from session work and shows, Nocentelli spent much of 1971 recording his newly-found, reflective, diaristic songs at Matassa’s Jazz City studio. Backed by longtime Meters bandmate George Porter Jr. on bass, Nocentelli crafted the lineups for his sessions to match the tone of the material. When he needed a pianist, he’d call Toussaint. For percussion on the slower songs, he used drummer Zigaboo Modeliste, but many of the tracks featured James Black—a frequent collaborator of Toussaint’s and a member of Ellis Marsalis’ jazz group, whom Nocentelli recalls as an “unbelievable” musician. The recording, which Nocentelli fondly refers to as his “country-and-western-album,” paints a picture of a young man yearning to find a sense of purpose. “I was going through some changes which were reflected in the songs that I wrote during that time,” he tells Sweet. Among them is the mid-tempo “Getting Nowhere,” in which he expresses a sense of frustration, as he watches others find success around him. Similarly, “Till I Get There” details a man who is struggling to persevere in his goals. In the soaring “Tell Me Why,” meanwhile, the singer contemplates the existence of God. Other songs center around fictional characters. “Pretty Mittie,” for instance, is sung from the perspective of a farmer who longs to give up his arduous life for the city. “You’ve Become a Habit” is about a man who falls for a sex worker named Fancy. “Riverfront” is based on stories that singer Aaron Neville shared, about his days working on the New Orleans waterfront. Nocentelli also chose to perform one cover: Elton John’s breakthrough hit, “Your Song.” The guitarist made the recently-released ballad his own—infusing it with a loping, head-nodding cadence, ever so tastefully “funkdafied” in true New Orleans fashion. By the time that the album was finished, The Meters were busier than ever. They had just signed a record deal with Warner Brothers and were now the official house band at Toussaint’s studio, Sea-Saint. There, they not only backed artists on Toussaint’s Sehorn label but had also become the go-to session musicians for every major artist that recorded in New Orleans. Rather than focus on a solo career, Nocentelli poured his energies into The Meters’ next album. Eventually, time moved on, as did Nocentelli, and he decided to store his unreleased solo album at Sea-Saint for safekeeping. In 2005, when Hurricane Katrina devastated New Orleans, Sea-Saint was among its victims. While Toussaint (who passed away in 2015) had sold the hallowed studio in the mid-90s, hundreds of his archived recordings remained in the building. The new owner salvaged what he could from the flooded building, shipping everything to a storage facility in Southern California. Boxes of tapes sat there for more than a decade before moving to another unit, which foreclosed a year later. The contents were purchased in a blind auction and, days later, sold at a swap meet. The fact that record collector Mike Nishita just happened to be there was pure kismet. Nishita, a DJ and brother to “Money Mark” Nishita (of Beastie Boys fame), recognized the Sea-Saint label on the boxes and purchased all 673 master tapes at the swap meet. He inspected the contents with his friend Mario Caldato Jr., the longtime audio engineer for the Beastie Boys. In addition to masters from Irma Thomas, Dr. John, Lee Dorsey, and Toussaint, there was a quarter-inch reel with Nocentelli’s name on it. As Caldato and Nishita played it back, they knew they had something special. “There was nothing else like it,” writes Sweet. “An acoustic album by the greatest funk guitarist who ever lived. It was the tape Mike would play for people to show them how special the collection was. The best album in the vault was something nobody knew existed.” Eventually, Nishita and Nocentelli connected, “He was so grateful, so sincere,” recalls Nishita. “I just kept thinking about how this music needs to be heard...Especially when you look at all the things that had to fall into place for these tapes to survive and be discovered this way.” As Nocentelli simply puts it, “Things happen for a reason, man.” And now, Light in the Attic is thrilled to give this remarkable record the spotlight it so rightly deserves. 50 years later, all is not lost.

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Another Side Clear Vinyl Edition

LP | 2021 | US | Original (Light In The Attic)

33,59 €* 41,99 € -20%

Release: 2021 / US – Original

Genre: Organic Grooves

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“Things happen for a reason, man.” - Leo Nocentelli

At just fourteen, Leo Nocentelli was backing up Otis Redding. Soon after, he was playing on hits for Lee Dorsey, The Supremes, and The Temptations. As an original member of The Meters, Leo wrote instant classics “Cissy Strut” and “Hey Pocky A–Way,” but his greatest moment on record may be totally unknown, until now…

Recorded at Cosimo Matassa’s Jazz City Studio in New Orleans in the early ‘70s and then lost to the ages, Another Side is one of Leo Nocentelli’s most personal and definitive moments ever cut to tape. A mixture of funky folk and rootsy, raw emotion (think Bill Withers and James Taylor meeting Allen Toussaint at Link Wray’s Three Track Shack), this previously unheard album shines like the sun on a spring day on the New Orleans fairgrounds. Backing Nocentelli is an all-star line-up of New Orleans royalty, including Allen Toussaint (piano), James Black (drums), and both George Porter Jr. (bass) and Zigaboo Modeliste (drums) of The Meters. Deeply introspective, the album features nine original songs by Nocentelli, plus a soulful rendition of Elton John’s “Your Song.” Half a century later, these recordings sound just as fresh and engaging as the day they were recorded.

What makes Another Side even more extraordinary, however, is the fact that the album—which could have easily become a classic in the ‘70s singer-songwriter canon—sat untouched for decades; miraculously surviving the devastating blow of Hurricane Katrina, only to be found 2,000 miles away at a Southern California swap meet in 2018 by record collector Mike Nishita. The album’s incredible journey is documented in the liner notes by Sam Sweet (New York Times, Los Angeles Times), who spoke with Nocentelli and Nishita about the recording process and re-discovery of the tapes. Sweet’s full notes appear in the release’s accompanying booklet, alongside handwritten lyrics by Leo Nocentelli. The first pressing of the vinyl edition will feature gold-foil treatment on cover and spine. Rounding out the package are original designs and layout by the multi GRAMMY®–winning designer Masaki Koike.

While Nocentelli was embedded in New Orleans’ R&B scene, he was also deeply inspired by the late 1960s and early 1970s rising singer-songwriters, and soon found himself exploring sounds that were miles away from his band’s hard-edged funk riffs. Whenever he had downtime from session work and shows, Nocentelli spent much of 1971 recording his newly-found, reflective, diaristic songs at Matassa’s Jazz City studio. Backed by longtime Meters bandmate George Porter Jr. on bass, Nocentelli crafted the lineups for his sessions to match the tone of the material. When he needed a pianist, he’d call Toussaint. For percussion on the slower songs, he used drummer Zigaboo Modeliste, but many of the tracks featured James Black—a frequent collaborator of Toussaint’s and a member of Ellis Marsalis’ jazz group, whom Nocentelli recalls as an “unbelievable” musician. The recording, which Nocentelli fondly refers to as his “country-and-western-album,” paints a picture of a young man yearning to find a sense of purpose. “I was going through some changes which were reflected in the songs that I wrote during that time,” he tells Sweet. Among them is the mid-tempo “Getting Nowhere,” in which he expresses a sense of frustration, as he watches others find success around him. Similarly, “Till I Get There” details a man who is struggling to persevere in his goals. In the soaring “Tell Me Why,” meanwhile, the singer contemplates the existence of God. Other songs center around fictional characters. “Pretty Mittie,” for instance, is sung from the perspective of a farmer who longs to give up his arduous life for the city. “You’ve Become a Habit” is about a man who falls for a sex worker named Fancy. “Riverfront” is based on stories that singer Aaron Neville shared, about his days working on the New Orleans waterfront. Nocentelli also chose to perform one cover: Elton John’s breakthrough hit, “Your Song.” The guitarist made the recently-released ballad his own—infusing it with a loping, head-nodding cadence, ever so tastefully “funkdafied” in true New Orleans fashion. By the time that the album was finished, The Meters were busier than ever. They had just signed a record deal with Warner Brothers and were now the official house band at Toussaint’s studio, Sea-Saint. There, they not only backed artists on Toussaint’s Sehorn label but had also become the go-to session musicians for every major artist that recorded in New Orleans. Rather than focus on a solo career, Nocentelli poured his energies into The Meters’ next album. Eventually, time moved on, as did Nocentelli, and he decided to store his unreleased solo album at Sea-Saint for safekeeping. In 2005, when Hurricane Katrina devastated New Orleans, Sea-Saint was among its victims. While Toussaint (who passed away in 2015) had sold the hallowed studio in the mid-90s, hundreds of his archived recordings remained in the building. The new owner salvaged what he could from the flooded building, shipping everything to a storage facility in Southern California. Boxes of tapes sat there for more than a decade before moving to another unit, which foreclosed a year later. The contents were purchased in a blind auction and, days later, sold at a swap meet. The fact that record collector Mike Nishita just happened to be there was pure kismet. Nishita, a DJ and brother to “Money Mark” Nishita (of Beastie Boys fame), recognized the Sea-Saint label on the boxes and purchased all 673 master tapes at the swap meet. He inspected the contents with his friend Mario Caldato Jr., the longtime audio engineer for the Beastie Boys. In addition to masters from Irma Thomas, Dr. John, Lee Dorsey, and Toussaint, there was a quarter-inch reel with Nocentelli’s name on it. As Caldato and Nishita played it back, they knew they had something special. “There was nothing else like it,” writes Sweet. “An acoustic album by the greatest funk guitarist who ever lived. It was the tape Mike would play for people to show them how special the collection was. The best album in the vault was something nobody knew existed.” Eventually, Nishita and Nocentelli connected, “He was so grateful, so sincere,” recalls Nishita. “I just kept thinking about how this music needs to be heard... Especially when you look at all the things that had to fall into place for these tapes to survive and be discovered this way.” As Nocentelli simply puts it, “Things happen for a reason, man.” And now, Light in the Attic is thrilled to give this remarkable record the spotlight it so rightly deserves. 50 years later, all is not lost.

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CD | 2021 | US | Original (Light In The Attic)

Another Side

21,99 €*

Count Basie With Jimmy Rushing, Lester Young, Jo Jones, Illinois Jacquet And Roy Eldridge

Release: 2021 / US – Original

Genre: Organic Grooves

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At Newport

LP | 1978 | JP | Reissue (Verve)

Frédéric Chopin - Maria-João Pires, Orchestre National De L'Opéra De Monte-Carlo, Armin Jordan

Release: 1978 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG+

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Les Deux Concertos Pour Piano (La Krakowiak, En Fa Majeur Op.14)

2LP | 1986 | PT | Reissue (Erato)

Jah Walton, Goody Gap, Rits Riddim Force & Megah Bass / Ras Ranger, Rits Riddim Force

Release: 1986 / PT – Reissue

Genre: Classical Music

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Used Vinyl

Medium: VG, Cover: VG

Vinyl close to VG+

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Ganja Man, I Smoke Weed, Fletchers Land Riddim / Ras To The Ranger, Dub, Melodica

10" (Room In The Sky)

14,99 €*

Genre: Reggae & Dancehall

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paper sleeve

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Turn X (Ortofon 2M Blue)

1.099,00 €*

CD | 2024 | EU | Original (Rrc Music)

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Premium HiFi turntable with Ortofon 2M Blue cartridge

DESIGNED WITH PRECISION FROM THE OUTSET
The Turn X's direct-drive DC motor offers incredibly accurate and consistent speeds. The high torque ensures lightning-fast start-up times and minimal variances of just +/-0.03%. The Turn X excels when operated in full manual mode, where its electronic brake and rotary switch for smooth starting and stopping, which also doubles as a speed selector (33, 45 and 78 RPM), shine.

BALANCE PERFECTION
A solid aluminium block supports the record player's precision-machined die-cast platter. Its hefty 2.1 kg, 332 mm diameter and 22.5 mm thickness ensure smooth, even movement. The damping rubber coating on the back of the turntable and the rubber mat provide excellent isolation properties and minimise vibrations.

AUDIOPHILE TONEARM
The statically balanced S-shaped tonearm can be adjusted in height to change the cartridge's azimuth (the angle at which the needle approaches the record) and the record's vertical tracking angle (VTA). The tonearm design guarantees free and fluid movement and optimum cartridge performance.

CRYSTAL CLEAR SOUND QUALITY
The Turn X has a high-quality Ortofon 2M Blue cartridge pre-installed, ensuring excellent dynamics and sound resolution to satisfy even the most discerning audiophiles. Another highlight: The universal SME connector enables a quick and easy cartridge system change if required.

SOUND AND NOTHING BUT SOUND
The turntable's solid MDF chassis is exceptionally sturdy and robust, keeping unwanted resonances at bay from the outset. As a bonus, the Turn X is effectively decoupled thanks to the height-adjustable isolator feet.

DESIGN WITHOUT COMPROMISE
In addition to meeting the exacting demands of vinyl enthusiasts, the Reloop Turn X is a true visual showpiece. The record player's sleek design, sophisticated one-button control, and classy piano lacquer finish make it a real eye-catcher.

ATTENTION TO DETAIL
Last but not least, the Turn X features a gold-plated high-resolution phono output and a gold-plated ground connector for optimum signal transfer and corrosion resistance. Interference is reduced even further by the power switch's ultra-low noise insulation.

FEATURES:
• Quartz-controlled, premium HiFi turntable
• Super high torque, direct drive DC motor with ultra-precise rotation speed
• Extra-heavy, CNC machined 22,5 mm thick aluminium platter with rubber damping
• Quick start-up and drift-off rotation speed less than +/-0.03%
• Full manual operation with motor control-switch to select three different speeds (33, 45 and 78 RPM)
• Precision machined, extra heavy aluminium die-cast platter for a perfectly balanced rotation (305 mm diameter, 22.5 mm thick, 2.1 kg)
• Deadening rubber covering rear platter surface & special 5 mm rubber mat for optimized resonance control and damping
• Sunk-in platter cavity construction
• Static-balanced S-shaped tonearm with VTA adjustment
• Adjustable anti-skating wheel for optimal pick-up tracking
• Pre-installed Ortofon 2M Blue cartridge for excellent dynamics and sound resolution
• Universal headshell connector (SME) provides added flexibility
• Counterweight supplied supports a wide variety of cartridges
• Premium, high-resolution audio phono outputs (with separate grounding connection)
• Gold-plated, corrosion-resistant audio connections (detachable power and RCA cables)
• Built-in switching power with ultra-low noise isolation design
• Rigid construction, with extra-heavy, solid MDF wooden plinth
• Height-adjustable, shock-resistant insulator feet for effective decoupling
• Timeless design with high-gloss, black piano finish
• Accessories included: Turntable platter, dust cover, 2x dust cover hinges, balance counterweight, Phono RCA cable with grounding cable, AC power cord, rubber mat, instruction manual, Ortofon 2M Blue cartridge & headshell

TECHNICAL DATA
Turntable Section:
• Type of turntable: Direct drive, fully manual
• Drive: Quartz driven upper-torque direct drive with precision rotation
• Motor: DC Motor, 16-Pole, 3-Phase, brushless
• Rotation speeds: 33 1/3, 45 & 78 RPM
• Starting Torque: More than 4500 g/cm
• Start-up time / rpm change: Less than 0.3 sec.
• Wow and Flutter: Less than 0.1% WRMS (JIS WTD)
• S/N Ratio: More than 60dB (DIN-B)
• Breaking System: Electronic brake

Turntable Platter:
• Turntable Platter: Aluminium die-cast
• 305 mm diameter
• Weight About 2.1 kg

Tonearm Section:
• Type: Static balanced S-Shape
• Effective Length: 230 mm
• Overhang: 15 mm
• Tracking Error Angle: Less than 3 degrees
• VTA Adjustment Range: 0-6 mm
• Applicable Cartridge Weight: 17 – 25 g (incl. Headshell)
• Anti-Skating Range: 0-3 g
• Terminals: 1x PHONO Out (gold-plated), 1x GND Earth Terminal

Cartridge:
• Type of cartridge: Ortofon 2M Blue
• Output voltage at 1000 Hz, 5cm/sec.: 5.5 mV
• Channel balance at 1 kHz: 1.5 dB
• Channel separation at 1 kHz: 25 dB
• Channel separation at 15 kHz: 15 dB
• Frequency response: 20-20.000 Hz + 2 / - 1 dB
• Tracking ability at 315Hz at recommended tracking force: 80 µm
• Compliance, dynamic, lateral: 20 µm/mN
• Stylus type: Elliptical
• Stylus tip radius: r/R 8/18 µm
• Tracking force range: 1.6-2.0 g (16-20 mN)
• Tracking force, recommended: 1.8 g (18 mN)
• Tracking angle: 20°
• Internal impedance, DC resistance: 1.3 kOhm
• Internal inductance: 700 mH
• Recommended load resistance: 47 kOhm
• Recommended load capacitance: 150-300 pF
• Cartridge colour, body/stylus: Black/Blue
• Cartridge weight: 7.2 g

General:
• Power Supply: AC IN 100~240V, 50/60 HZ
• Power consumption: 3W
• Dimensions: 460(W) x 367.3(D) x 172.6(H) mm
• Weight: 10.35 kg
• Incl.: dust cover + 2x hinge, rubber mat, power supply cable, RCA cable with grounding connection (gold-plated), Headshell with Ortofon 2M Blue (pre-installed), turntable platter, operation manual & counterweight

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Rakim

G.O.Ds Network - Reb7rth

CD | 1998 | EU | Reissue (Hip Hop Enterprise)

Release: 2024 / EU – Original

Genre: Hip Hop

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

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Paula Perry

Tales From Fort Knox

20,99 €*

I'll Answer You With Love/Your Love I Give It Up

Release: 1998 / EU – Reissue

Genre: Hip Hop

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"Paula rapped for the first time over the phone. I was impressed that she just rapped at the drop of a dime, no hesitation. She didn't explain what the rhyme was going to be about , she just rhymed!" Masta Ace recalls. "The female rappers who were out in rap at the time weren't really flowing as well -- on record or at shows -- as she did over the phone.”

Ace liked Paula's style and put her down with The INC., where she was featured on “Who u Jackin'" (from the LP Slaughtahouse) as well as doing background vocals for “What's Going On”, and "Eastbound." Paula also later appeared on the 1995 Sittin' on Chrome album tracks “This Ain't No Game" and "The 8-Side." While being a member of The INC. Paula toured the world with Ace, sharing the stage with the likes of Notorious B.I.G., Wu-Tang Clan, Warren G., Blackstreet, and Queen Latifah.

In getting a deal for Paula, Ace decided to create the music and get it out to the underground, instead of taking the customary route of shopping a demo tape to various record labels. They concocted "Paula's Jam (I Keep It Real Like That)" and after the song was completed, he pressed up some vinyl and shipped it to the top DJ’s all over the country. Once the record was serviced, it immediately became a mixtape staple and requests for the record came from all over including record stores, radio stations, clubs and college radio. Early supporters include New York DJ's Red Alert and Funkmaster Flex, mixtape kings Mister Cee and D.J. Clue, along with Wu-Tang's Method Man and rapper Redman. Record labels were bidding for Paula, but Loose Cannon won out.

"Paula Perry is one of the most talented rappers I've ever heard. She epitomizes what the label is looking for -- raw talent and in your face style. Paula's a true loose cannon and we look forward to blowing up the spot with her," says Lisa Cortes President of Loose Cannon Records.

All the info above are parts taken from an original press release issued by Loose Cannon Records after “Paula’s Jam” was released and in anticipation of the full album that would later become known as “Tales From Fort Knox”. Soon after in 1996 Polygram made the decision to discontinue “Loose Cannon Records” and from the entire label roster only Buju Banton was retained. Paula then shortly fell under the Mercury umbrella but after a lot of in-house changes she ended up at Motown, who planned to release the album on their “Mad Sounds Recordings” sublabel which was primarily focused on hip-hop. When it was time for “Extra, Extra!!” to be released, the label had shifted big chunks of Paula’s promotional budget to Queen Latifah and eventually the album ended up getting shelved.

The album contains production by Domingo, DJ Premier, Easy Mo Bee, Masta Ace (Ase One), Clark Kent, Fanatic, DR Period, Jesse West and features by Masta Ace, Jesse West, Lost Boyz, Kelly Price, Bahamadia, Heather B, Nikki D, Precious Paris & Rah Digga.

Limited to only 350 copies, including a 4 page booklet and all tracks have been remastered by Tradd. The CD version will also have an extra bonus track, the "Paula's Jam (Remix)" produced by Knobody.

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The Entertains

7" | 2022 | UK | Original (Soul Junction)

Vivian Copeland / The Poindexter Brothers

Release: 2022 / UK – Original

Genre: Organic Grooves

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The Entertains were a vocal group from Cleveland Ohio whose line up at different times varied between four to five members. Initially signed to Belkin Productions in Cleveland the group were persuaded by Nick Holiday to move to his Pittsburgh Steel Town Records Label. The group had already been working on two songs penned by C-Way Productions Richard Calloway who had strong links with Cleveland through his work with Jesse Fisher and Lester Johnson at Way Out Records. The two songs in question being “Love Will Turn It Around” and Why Couldn’t I Believe Them”, demo cuts of both songs where touted around to several major labels with 20th Century showing some serious interest, but the owner reputedly turned down 20th Century’s advances and instead chose to release the songs on his own Steel Town Label. Recorded at Jerree’s Studio in New Brighton P.A with the musical arrangements being provided by Don Groton, The Entertains 45 received limited local airplay reputedly due in part to Holiday’s refusal to provide a set of Dining Room furniture for an influential local radio promotion man. Greater radio play was eventually received with “Love Will Turn It Around” gaining air time on Wann, Annapolis Maryland’s largest Black radio station, courtesy of Disc-jockey Charles “Hoppy” Adams. For a time, a popular tune throughout Baltimore, Washington and Delaware without breaking out nationally. Wider appreciation of the Entertains 45 would come from foreign shores as copies of the 45 found their way in the UK. The effervescent dance side of the 45 “Love Will Turn It Around” was heavily championed by Legendary DJ Colin Curtis and became a firm favourite with the dancers within the Highland Room of the Blackpool Mecca and subsequent Northern Soul venues of the time. The Entertains line up on the Steel Town sessions where Donald Rice, Howard Rice (the cousin of Donald) Alfred Wilson and Andrew Wright the lead vocalist on all The Entertains songs. During 1978 Richard Calloway held a second recording session on The Entertains again at Jeree’s Studio’s which yielded a further two songs “I’ll Answer You With Love” and “Your Love I Give It Up” which due to lack of finance at the time of their conception remained in the can. These two songs have now been brought to life through Soul Junction’s licensing deal with C-Way Production’s in the format they originally intended for. The A-side of the release is the emotional charge stepper “I’ll Answer You With Love” with the opening monologue parts been performed by Howard Rice. While the B-side “Your Love I Give It Up” is a punchier up-tempo version of Richie Merrett’s earlier C-Way Records recording “I Gave It Up”, the flipside to “You’ll Always Have Yesterday Standing By” (C-way 103).

In later life Donald Rice would perform with Lonnie Turner Jr a former member of the Detroit groups The Mighty Lovers (Boo-Ga-Loo and Soulhawk) and Innervision (Private Stock and Ariola America) and his daughter Africa Turner in a vocal combo known as The Ambassadors Of Soul, sadly Donald has now passed. It is believed that the other members of The Entertains are still out there performing solo or as members of other different groups.

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Chaos (In My Heart) / What I Did In The Streets (I Should Have Done At Home)

7" | 2020 | EU | Original (Soul Junction)

Beaux Gris Gris & The Apocalypse

Release: 2020 / EU – Original

Genre: Organic Grooves

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Vivian Copeland was a budding young singer who was brought to the Poindexter Brothers attention by her husband. Vivian was to record several Poindexter compositions beginning with “I Don’t Care What He’s Done “ and “So Nice I Had To Kiss You Twice” which paired together gained a 45 release on the Bell distributed Amy (577) label in 1967. A further three 45 releases by Vivian would appear on Jeff Moore’s D’oro label. Firstly the now highly sought after “Chaos (In my Heart) b/w “Cushion The Blow (D’oro 1002) in 1968. Secondly A cover version of Maxine Brown’s “Oh, No Not My Baby b/w I Don’t Care” (D’oro 1006) another Poindexter song, and finally a version of the Billy Terrell and Ray Dahrouge penned song “He Knows My Key (Is Always In The Mailbox) b/w So Nice I Had To Kiss You Twice” there are two releases of this 45, the local D’oro release on a gold label and a subsequent blue label release which was distributed by Atlantic Records.
The Poindexter Brothers, Richard and Robert where raised in the city of Newport News, Virginia. Both brothers had been members of different high school groups, Robert the eldest, sang with The Swans and then ‘The Silvermoon quintet’ before joining the U.S Navy. While Richard performed as a member of ‘ The Rocketters’ and then later ‘The Gems’. Richard did travel to New York during 1963 with The Gem’s to appear at the renowned Apollo Theatre, where upon he was reunited with his brother. Robert, who following his discharge from the service had made the Big Apple his home.
Following the Apollo gig Richard returned home to Virginia before permanently joining his brother in New York during 1964. Richard leaving his wife and children behind vowing to send for then as soon as he scored a hit record, something he felt would happen in a matter of a few months. Following a three wait Richard was finally reunited with his family due to the success of Linda Jones’s 1967 hit “Hypnotized” which the Poindexter’s co-wrote. Following every high there usually comes a low (or two) so during 1969 and again being short of money the brothers decided to start their own production company choosing the very apt label name “Win Or Lose” the label’s first release was the brothers self produced, performed and co-written song with Jackie Members (Robert’s wife) “What I Did In The Street (I Should’ve Done At Home)”a very clever and intricate duet by the brothers with musical accompaniment provided by a group of local Bronx musicians, The Mapasiveyo Band. The b-side of the 45 is a cover version of the Johnny Ace Duke label standard “Never Let Me Go”. sadly this 45 fell by the wayside (although the song was latter covered by Florida artist Barbara King). ‘Win Or Lose’ Productions did later hit pay dirt through a plethora of Poindexter songs recorded on The Persuaders including the hit record “Thin Line Between Love And Hate” for Atco Records.

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Hot Nostalgia Radio Colored Vinyl Edition

2LP | 2024 | Original (Cadiz - Grow Vision)

55,99 €*

I Bet You've Got Some Good Stories

Release: 2024 / Original

Genre: Rock & Indie

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Beaux Gris Gris & The Apocalypse are happy to announce the release of their 3rd studio album, 'Hot Nostalgia Radio', alongside the release of the first single, 'Satisfy Your Queen', to digital platforms worldwide.The California-based Roots-Rock band have been gaining momentum across the UK and Europe for their acclaimed genre-bending music and epic one-of-a-kind live shows. Beaux Gris Gris expand their eclectic nature once again with this14 track album, celebrating and paying homage to classic songwriting and crossing the genre's that inspired their development as artists.Kicking the party off with a bang, BGG&TA presents their scorching rock single, 'Satisfy Your Queen'. A classic Rock n' Roll underpinning, bluesy riffs and an empowering chorus, the song kicks up a heavy fuss out of the gate, and doesn’t let up till the final note.True to form the album might be hard to categorize, but as the title suggests, it never strays away from being easily accessible. Front woman and songwriter, Greta Valenti explains: 'We've had over 4 years to write this album. The last album was recorded in 2019, pre-pandemic and then we had to sit on it for two years. I had over 100 song ideas waiting to go, but I really wanted this album to represent classic simple songwriting that strikes a chord within your soul. Every song should be a banger in some way, and these songs are really an evolution of who I am and who we are as a band. They're not complicated on the surface, but I hope these songs make you feel and are added to the soundtrack of your life - fitting seamlessly with the songs you already know and love.' Greta adds, 'So even though the songs may veer from Rock to Blues to Soul to Americana-Country to Singer-Songwriter, they are still essentially 3 to 4 minute pop songs. Our fans aren't genre-specific and neither are we. They just like good songs and wanna have a good time. And so do we.''I think our approach harkens back to when bands like the Beatles would write a bunch of different style songs, be it country, or psychedelic, or whatever they did they would always sound like the Beatles', guitarist Robin Davey adds. 'We certainly don't sound like the Beatles, but I hope that no matter what we do we are still easily identifiable as Beaux Gris Gris'.A deluxe double coloured vinyl set with LP sized booklet. Plays at 45rpm for higher fidelity! Side 1: 1. Oh Yeah (2:33) / 2. Wild Woman (2:47) / 3. Satisfy Your Queen (4:18) / 4. I Told My Baby (2:05). Side 2: 5. Middle Of The Night (3:21) / 6. Sad When I'm Dancing (3:21) / 7. All I Could Do Was Cry (3:22). Side 3: 8. The Runaway (4:36) / 9. Harder To Breathe (3:43) / 10. Don't Let Go (3:51). Side 4: 11. Penny Paid Rockstar (3:18) / 12. Marie (4:19) / 13. Let's Ride (3:23) / 14. Mama Cray (3:30)

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The Lloyd Pack

LP | 2022 | UK | Original (Low Company)

16,19 €* 17,99 € -10%

LP | 2022 | EU | Original (Astigmatic)

Release: 2022 / UK – Original

Genre: Rock & Indie

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Corrupt West loser Walker meets happiness undermine rock titan Melchior is useless album.

*

"Television star Martin Shaw last night said justice had been done after seeing his stalker convicted of a 5-year campaign of harassment. The Judge John Deed actor looked relieved as he left King's Lynn Magistrates Court and said he hoped Sandra Price would find peace following yesterday's guilty verdict. Shopkeeper Price, 66, also from Hingham, began writing to Mr Shaw after his marriage to TV presenter Vicky Kimm broke up in 2005. But the letters became increasingly offensive and Price began appearing outside the homes of Mr Shaw and his partner Karen da Silva. And delivering his verdict, district judge Tim Daber praised his onscreen counterpart's 'meticulous' evidence. Of Price, he added: 'I am not convinced that all these explanations are wholly truthful.'

"Price, who originally came from Settle, North Yorks, moved to the village in August 2006 and opened a craft shop. She hand delivered a 45-minute tape to the actor's house and left him a 120-page dossier detailing his movements, explaining her behaviour and threatening to kill herself in his garden. Yesterday she told the court that she wanted to help Mr Shaw by giving him 'healing'. When the trial opened on Tuesday she denied harassment but admitted causing criminal damage by pouring petrol through Ms da Silva's front door. But under cross examination, she admitted collecting and keeping personal information about the couple, including the Land Registry deed to Ms da Silva's house. And in the 120-page document, which she called The Chronicle, Price admitted she 'wanted to get under his skin enough for him to be curious about her'.

"In another extract read out in court, a person referred to in the third person as The Woman said she would drive to Hingham, go to Martin Shaw's Garden, wrap herself in a sleeping bag and take an overdose of painkillers. Price agreed she was The Woman. Robert Warner, prosecuting, told her: 'I suggest you have developed an unhealthy interest in Martin Shaw and his personal life and also the personal life of Ms da Silva.'

"Price was warned to stop contacting Mr Shaw after the actor complained to the police in November 2005. Police arrested her after petrol was poured through Ms da Silva's letterbox last July. PC Mark Bandrowski said when he searched her home in Chapel Street, Price showed him bottles which had contained petrol, oilskin clothing and a lighter. Price admitted pouring the petrol through the door. She told the court: 'Someone told me that she had been calling me a stalker, Martin's stalker. I've always complied with whatever I've been told to do and I thought my name was blackened in the village. I was angry. It's not a good thing to do I will admit but I became enraged.'

"Extracts from letters Price sent Mr Shaw were read out in court. One said: 'Please don't regard this letter as an invasion of your privacy (although it is).' She signed another from Sandra The Crackpot. Price said she had not deliberately set out to pass Mr Shaw's house or Ms da Silva's property, but she loved to walk long distances around the village."

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Eabs

2061

23,99 €*

The Hill District / Richie Merrett

Release: 2022 / EU – Original

Genre: Organic Grooves

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f one was to interpret the whole output of Eabs in general, an inquisitive listener would notice that each subsequent album stems from the previous one. The overtones are similar and they can be treated as variations on the same theme. The only thing that changes is the background of the story. It is all about life and death, the beginning and the end of the world, and the role of human beings entangled in all this existentially. Following the futurism lessons from Sun Ra, the band travels to the year 2061, continuing their mission in space in the company of a living legend, Jan Ptaszyn Wróblewski.

"all These Worlds ARE Yours – Except Europa. Attempt NO Landing THERE." – this was the ominous message from the mythical Monolith of Arthur C. Clarke's 2001: A Space Odyssey. The quote became a metaphor for the situation the Eabs crew found themselves in when the pandemic hit. It was not only Europe that became inaccessible, the whole world shut down. A reflection emerged that only empathy and cooperation could save humanity. We will not be able to face the greater threat that may come from the outside together by fighting wars among ourselves on Earth. A similar analogy can be seen in Arthur C. Clarke's book series, which was made even more famous by Stanley Kubrick with his iconic screen adaptation, 2001: A Space Odyssey. Released in 1986, the third part of the series has served as an inspiration for the fourth Eabs album titled 2061, a soundtrack to the film that hasn't been made yet.

Collaborative work has always been the domain of Eabs, which is even more audible with their new album as most of the instrumentalists brought their own compositions to the recording session. As a result, the album oscillates in orbits of many genres such as jazz, electronica and hip hop, in such mutations as Miami bass, trap and drill. It might come as a surprise that the role of the spiritual guide and mentor here is played by Jan Ptaszyn Wróblewski who has taken part in all the quests in the history of Polish jazz, just like Dr Heywood Floyd traversing the galaxy aboard the Universe spacecraft.

The year 1986 is symbolic for Eabs. Poland was then visited by Sun Ra with his Arkestra carrying a prophecy: "We are living in End Time, all right, but in the last daze. It’s after the end of the world. Don’t you know that yet?" – these words of the Saturnian alien were hovering over the group's previous project. That year Halley's Comet flew close to Earth, inspiring Arthur C. Clarke to write the third installment of A Space Odyssey. The next time we will be able to see this celestial body is not until the eponymous year 2061. In his book, the author envisioned the current decade as full of crises, scandals and disasters. Having been in space for years, Dr Heywood Floyd would observe cities in flames, a nuclear war outbreak, and all the other horrific events from his monitor window. With the nightmare unfolding on Earth, the cultural and linguistic differences that had arisen over the millennia began to disappear, and the appearance of a new sun named Lucifer only accelerated the process. The superpowers, destroyed by warfare against each other, achieved reconciliation and reunification, making the outbreak of further wars of this kind impossible. At last, the existing peace machinery began to choose life over death. The disintegration of the enormous parasitic military business resulted in the acceleration of world economic development. The moral equivalent of war has led to the undoing of centuries of damage and neglect caused by it. This latest Eabs album stands for the time when Halley's Comet will again fly by very close to Earth. We should hope that in the light of recent events, the utopian vision of the author of A Space Odyssey will come true and peace will come to our planet. Fortunately, there will be no need to wait another 40 years for the album.

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You're Scared Of Falling In Love / You'll Always Have Yesterday Standing By

7" | 2022 | UK | Original (Soul Junction)

Release: 2022 / UK – Original

Genre: Organic Grooves

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The Hill District were a group of working musicians assembled by bassist Walter “Sonny” Hughes who following one afternoon rehearsal session together the very same evening recorded their only ever 45 outing the somewhat elusive and now sort after amongst group harmony collectors “Your Scared Of Falling In Love”. The other group members were Sonny’s brother Richard Hughes (Lead Guitar), Anthony Law (Keyboards), William M. Standard Jr (Piano), Mark Smith (Drums) and Daniel S. Lee Jr (Lead Vocals). The groups name was taken from a grouping of African American neighbourhoods in the city of Pittsburgh P.A. locally referred to as ‘The Hill’. The recording session was held under the direction of record producer and song writer James Richard Calloway (A.K.A) Rich Calloway. Calloway would go on to release “Your Scared Of Falling In Love” on his own ‘C-Way Records’ label featuring a instrumental version on the flipside. Rich Calloway hailed from Uniontown P.A. with Uniontown being known affectionately by the local black community as ‘Oniontown’ the name which Calloway adopted for his publishing company. Unfortunately for the Hill District the final mastering of their song left something be desired (a scenario we’ve now rectified with our release) and as a result local Pittsburgh Disc jockeys refused to plug their song leaving their one and only 45 outing to fade into obscurity with the group members going their own separate ways to continue their careers as session musicians with other ensembles. Producer and lyricist Rich Calloway also continued with his own C-way Productions company later composing both sides of The Cleveland Ohio group ‘The Entertains’1975 outing for Steel Town records “Love Will Turn It Around/Why Couldn’t I Believe Them”. Calloway was no stranger to Cleveland having been earlier employed by Way Out Records owner Lester Johnson to compose the lyrics to Jesse Fisher’s “Your Not Loving A Beginner”, the songs arrangement’s being originally laid down by members of the Way Out group The Soul Notes, William Bell (A.K.A Bill Spoon), John Washington and Ricki Dannison under the working title of “I’ve Been Waiting For Your Love”. Prior to the Hill’s District release Rich Calloway had penned and released a 45 single on another local Pittsburgh artist Richie Merrett. The 1973 outing You’ll Always Have Yesterday Standing By” b/w “I Gave It Up” (C-Way 103). Merritt a professional singer who performed with several groups including The Electron’s on their 1968 outing “Turn On Your Lovelight (Shock 209) recorded his first solo outing on the Nashville Deltron label “Can I Get A Rebate/It’s Never Too Late” which he later released again on his own R.A.M label followed by two early 90’s outings, the modern soul favourite’s “Where Did I Go Wrong” and “You Got Problems”. Richie still performs today doing one off shows in between his solo performances aboard 7 Day Cruise ships travelling between Los Angeles and Sant Cabos, Mexico. “You’ll Always Have Yesterday Standing By” was later produced by Walt Maddox under the shortened title of “Yesterday’s Standing By” on his own group ‘These Gents’.

Therefore Soul Junction brings you two 70’s soul/Lowrider in demanders back to back for your delectation.

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We've Been Going About This All Wrong Maroon Insomnia Vinyl Edition

LP | 2022 | US | Original (Jagjaguwar)

26,99 €*

2LP | 2020 | EU | Original (L.I.E.S.)

Release: 2022 / US – Original

Genre: Rock & Indie

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“Maroon Insomnia“ Vinyl in gloss finish gatefold jacket with 4 color printed inner sleeves plus signed artprint.

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

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Teste

Graphic Depictions

22,49 €* 29,99 € -25%

Release: 2020 / EU – Original

Genre: Electronic & Dance

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The cult techno outfit "Teste" digs up and re-transmits sonic archives forming a new 2xlp for L.I.E.S. Full story below.....Artwork licensed from legendary NYC street photographer Richard Sandler in appropriate fashion....lp comes with a giant newsprint poster as well. Teste was still-born by the mid-90’s and with the ensuing Ptsd I had become a Shut IN working on the Amiga Computer for Audio and Video and completely immersed in grisly, depraved art-house cinema. This release pays homage to that time in NYC when I frequented Mondo Kims daily to rent the trashiest films I could find. Things like Richard Kern’s “Fingered”, Nick Zedds’s “They Eat Scum”, Makavejev “Sweet Movie”, Merhige “Begotten” all the classicks! The 42nd Street Mind forever! In retrospect I can’t believe they gave me a membership card! Wish I still had it! Micro Budget, Discontinued Formats. All of the tracks on this release are sourced from decaying tapes (vhs, 4-track, DAT, MD) some of which were encoded to early digital formats to add another layer of artefacts and grit. I can emphatically proclaim these ideas have taken three decades to come to fruition at my present Partner in Teste (Goner) Berlin Facility. One chapter closes and another unfolds! One day it’s 1992 playing absurd Teste gigs in a Sports Bar (Tailgate Charlie’s!) in scenic Hammer Onterrible opening up for Lil’ Ed and the Blues Imperials! You could just feel the love in that room! Referred to as the “Toilet Incident” by unsuspecting attendees. From that debacle another unfolded in an infamous “final” appearance at the Pure Party in Glasgow Barrowlands 1994 -which proved an unceremonious demise to the first incarnation of Teste… Details like most things from that era are foggy… No insta stories or tweets! Just instant cameras that didn’t always make it out of the rave! After the Teste fallout then embarking on another Techno adventure for an extended stint in NYC from ’95-97. This proved a pivotal time to say the least. Huren becoming a solo entity and the lasting shockwaves with Zhark which was a New York label in those days. Also in retrospect I can say I experienced the end of the NYC of old right when the “NO Dancing” by-laws were coming in. R.I.P Strange?, Sonic Groove (Manhattan),Liquid Sky/Temple, Save The Robots, Soundlab, Tunnel, Twilo, Limelight and others that slip the memory banks… All I knew of NYC when I got off that Greyhound the first time in Port Authority in 95 after an 11 hour drive was from movies. I thought the city was like what I had seen in Abel Ferrara films “Driller Killer”, “King of New York’ “Bad Lieutenant” or the Schoolly D, or Wu-Tang Clan videos! Turns out I wasn’t too far off in a way as this was the era of the Club Kids depravity. Upon reflection my formative clubbing years had an element of Crime in them as I’ve been in the proximity of two very well known serial killers. First in the 80’s when I attended a club Paul Bernardo used to Frequent in Ontario and later on the Limelight NYC with Michael Alig. Definitely casts a sinister tinge to some of the memories. Curious coincidence the party I performed at in NYC was called Killer… And I myself was almost murdered in 2012 but that’s another story…

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Turn 3 MK2 (Ortofon 2M Red)

499,00 €*

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Premium HiFi-turntable with digital USB-Audio Interface.

• Authentic HiFi turntable with digital USB-Audio Interface
• Pre-installed Ortofon 2M Red cartridge
• Low-vibration DC motor

Over 25 years experience
With over 25 years of experience in the DJ and pro audio industry, Reloop is one of the market leaders for DJ, HiFi turntables and accessories. Especially developed for music lovers and sound purists, Reloop presents the HiFi turntable TURN 3 MK2.

Quiet DC drive
The heart of the TURN 3 MK2 is a synchronous belt drive, powered by a low-vibration DC motor - motor noises are thus hardly perceptible.

Electronic speed control for 33, 45 & 78 rpm
The TURN 3 MK2 eliminates the need to change the drive belt. Depending on the choice of record, the desired speed can be conveniently set to 33, 45 or 78 RPM with the large speed control knob. Even shellac records can be played back when using a suitable pick-up system.

Revised tonearm construction
The redesigned tonearm, especially developed for the TURN 3 MK2, offers a remarkably good tracking performance for an outstanding sound experience.

Anti-skating wheel
The anti-skating adjustment of the tonearm can be conveniently set via a special wheel for perfect tracking adjustment.

Headshell connection
The headshell connection is equipped with a GM/SME mechanism. This allows the preferred headshells and systems to be individually mounted on the tonearm.

USB recording function
The integrated USB interface allows you to digitise your favourite records directly on PC/MAC in CD quality. Ideal for listening on the go or for archiving your cherished vinyl collection.

Semi-automatic stop
With the integrated semi-automatic control, the TURN 3 MK2 automatically stops at the end of a record. In addition, it is possible to deactivate the semi-automatic control in order to control the playback manually.

Shock-absorbing feet
Decoupled, shock-absorbing feet help to prevent any unwanted vibrations and guarantee a clean audio signal.

Precision-manufactured die-cast aluminium turntable
The turntable of the TURN 3 MK2 is made of a heavy aluminium die-cast construction, which provides a solid and consistent rotational performance. The heavy and precise fabrication also adds additional mass, helping to eliminate unwanted resonances for the best possible acoustic results.

Solid base with piano finish
The sturdy and solid MDF base, covered with a fine piano finish, ensures a detailed and warm sound image.

Immediate listening pleasure with hi-tech Ortofon cartridge
The TURN 3 MK2 is equipped with a pre-assembled, high-quality Ortofon 2M Red pick-up system.

Gold-plated connections
The gold-plated connections guarantee purest signal transmission and ensure maximum flexibility, all cables are detachable.

High-end pre-amplifier
Equipped with a high-end pre-amp, the Reloop TURN 3 MK2 can be easily and directly connected to an amplifier, even without a phono input. A separate pre-amplifier is thus not absolutely necessary.

A class of it's own
The Reloop TURN 3 MK2's improved construction and carefully selected components deliver exquisite sound characteristics at an extraordinary price that surprises and delights audiophiles in equal measure!

SPECIFICATIONS
FEATURES:
• Authentic HiFi turntable with precision belt drive
• Supplied with pre-assembled Ortofon 2M Red cartridge
• Optimised tonearm design for optimal tracking accuracy with flexible SME mounting
• Integrated high-quality preamplifier, can be switched on/off (phono/line output)
• USB recording function: recording and digitalisation of vinyl via simple USB connection for PC/Mac
• Semi-automatic stop function (can be activated optionally)
• Manual tonearm lift for analogue playback pleasure
• Low-vibration DC motor
• Integrated motor control with large speed selector switch (33/45/78 RPM)
• External DC power supply for trouble-free operation (100-230 V / 12 V / 500 mA)
• Precision-machined die-cast aluminium platter for resonance optimisation
• Infinitely adjustable anti-skating system with rotary wheel for optimum tracking accuracy
• Gold-plated, anti-corrosion connectors (all cables removable)
• Special turntable feet for effective decoupling
• High-gloss piano-finish cabinet
• On/Off switch on the back of the unit
• Incl. Ortofon 2M Red cartridge pre-mounted on headshell, counterweight, dust cover incl. hinges, felt mat, aluminium turntable, 7" aluminium adapter, RCA & USB cable and international power supply (UK/EU/US)

TECHNICAL DATA
TURN 3 MK2:
• Type of turntable: Belt drive
• Motor: DC Motor
• Rotation speeds: 33 1/3, 45 & 78
• Wow and Flutter: 0.2% WRMS
• Analogue Output: Phono / Line, switchable
• Connections: RCA Audio output (gold-plated), USB type B
• Phono Output Level: 4.0 mV (with Ortofon 2M Red)
• Line Output Level: 224 mV (with Ortofon 2M Red)
• Tone Arm type: Straight
• Effective Arm Length: 223.6 mm
• Effective tonearm mass: 21.4 g
• Overhang: 18.6 mm
• Tracking force Range: 18 mN
• Platter diameter: 300 mm
• Anti-Skating adjustment: Yes
• Type of cartridge: MM (Ortofon 2M Red)
• Power consumption: 6W
• S/N: >60 dB or higher
• USB Audio Output with 48 kHz / 16-Bit
• USB Funktion: USB rec. function
• Supported Operating System: Windows & Mac
• Dimensions: 450 x 352 x 138.7 mm (incl. Dust cover)
• Weight: 6.5 kg

ORTOFON 2M RED:
• Output voltage at 1000 Hz, 5cm/sec.: 5,5 mV
• Channel balance at 1 kHz: 1,5 dB
• Channel separation at 1 kHz: 22 dB
• Channel separation at 15 kHz: 15 dB
• Frequency range at - 3dB: 20-22.000 Hz
• Frequency response: 20-20.000 Hz + 3 / - 1 dB
• Tracking ability at 315Hz at recommended tracking force: 70 μMm
• Compliance, dynamic, lateral: 20 μMm
• Stylus type: Elliptical
• Stylus tip radius: r/R 8/18 μMm
• Tracking force range: 1,6-2,0g (16-20 mN)
• Tracking force, recommended: 1,8 g (18 mN)
• Tracking angle: 20°
• Internal impedance, DC resistance: 1,3 kOhm
• Internal inductance: 700 mH
• Recommended load resistance: 47 kOhm
• Recommended load capacitance: 150-300 pF
• Cartridge colour, body/stylus: Black/Red
• Cartridge weight: 7.2 g

Manual: https://www.reloop-hifi.com/media/productattach/t/u/turn3mk2_im.pdf

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RP-7000 MK2

555,00 €*

LP | 2022 | EU | Original (Never Sleep)

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RP-7000 MK2 SILVER

• NextGen Turntable for professional Club DJs and Turntablists
• Power-Torque Direct Drive with precise motor control and stable rotation
• Extra-heavy body design with high-rigidity for excellent damping, isolation and sound

PROFESSIONAL UPPER TORQUE TURNTABLE SYSTEM
With the RP-7000 MK2, Reloop has built a turntable that caters to the high demands of professional DJs and modern nightclubs. With its powerful direct drive motor and rugged construction we were able to develop a sturdy and indestructible turntable that can take on harsh everyday life with ease.

STURDY CASING CONSTRUCTION
By using a combination of metal, rubber and synthetic materials, the RP-7000 MK2's housing is more reinforced and heavy than ever before. This results in a turntable that is extremely resistant to vibrations that can be caused by heavy bass sounds in DJ booths and its shock-absorbing feet help to further improve isolation. The surface is coated with a scratch-resistant high-quality deep black or classic silver metalic finish.

BALANCED S-SHAPED TONE ARM WITH UPGRADED TONE ARM BASE
The RP-7000 MK2 features a statically balanced S-shaped tone arm with hydraulic lift and anti-skating mechanism. The newly developed tone arm base provides improved stability and adjustable height/vertical tracking angle (VTA). The low-resonance tone arm comes with a universal connection for pick-up cartridge systems (SME).

DUAL START/STOP BUTTONS, PRECISE MOTOR CONTROL AND REVERSE FUNCTION
As well as the above technical innovations, the RP-7000 MK2 is equipped with a few functions that will make any DJ's life much easier. The newly developed aluminium LED target light is freely moveable to help you find the stylus position in dark surroundings. The target light is also removable and easily exchanged. An additional start/stop button has also been integrated to facilitate a vertical setup (battle position) and by using the buttons on the RP-7000 MK2's top panel, you can switch between the three motor speeds (33 1/3, 45 & 78 rpm). Dedicated buttons for forward and reverse mode allow for further creativity in your mix.

HIGH-RESOLUTION PITCH SECTION WITH DIGITAL FADER
Using the high-resolution pitch fader you can adjust the platter speed in the classic turntable pitch range +/-8%. However, the RP-7000 MK2 is also cable of a wider, DJ-friendly +/- 16% pitch range and a massive +/-50% ultra-pitch. This allows for increased creativity when modulating the playing record's tone. If quartz lock is active, the platter speed will remain unaffected by the fader position and will spin at zero pitch (0%).

HIGH-QUALITY CONNECTIONS AND INTEGRATED PHONO PRE-AMP
Thanks to the recessed rear connection panel, the RP-7000 MK2 can easily be mounted in a flight case and seamlessly positioned next to other DJ gear. The switchable integrated phono pre-amp makes it is possible to use the gold-plated RCA connectors for both phono and line output signals. An optional ground terminal offers additional protection in club environments. All cable connections (RCA/mains) are detachable and easy to exchange, which also helps with transport and storage.

POWERFUL MOTOR WITH EXTENSIVE ADJUSTMENT POSSIBILITIES
The fine-tuned, quartz-driven motor with digital pitch correction operates at a starting torque of 2.8kg/cm, which can be adjusted up to a maximum of 4.5kg/cm. This makes it an extremely smooth running turntable with wow and flutter of just 0.01% WRMS*. Furthermore, the turntable break speed (platter stop) can be adjusted from 0.2 – 6 seconds and the precision-machined, heavy die-cast aluminium platter is lined with vibration reducing rubber to eliminate unwanted vibrations and resonance.

FEATURES
New features of the MK2 version:
• Built for the club: rigid chassis construction with an even heavier design with additional reinforcements made of metal, rubber and molding compound for high vibration damping and isolation
• More powerful starting torque (adjustable from 2.8 - 4.5 kg/cm)
• Fine-tuned motor control for further optimization of wow and flutter and rotation
• Newly developed, height-adjustable tone arm base (VTA) and anti-skating control
• Particularly lightweight and rigid, satin aluminium material used for tone arm pipe
• Pitch scale for precise adjustments
• Optional ground terminal offers additional protection in complex club & studio environments
• Easily replaceable, freely rotatable LED needle illumination in new unibody aluminium design
• High-quality and hard-wearing silver metallic finish
• Quartz driven DJ turntable with upper-torque direct drive
• Adjustable brake speed (0.2 - 6 sec.)
• Precise control of motor with 3 speeds (33 1/3, 45 & 78 rpm)
• Precision manufactured, die cast aluminium turntable
• Rubber inlays for reduction of vibrations and background noise
• Statically-balanced universal S-shaped tone arm with hydraulic lift and anti-skating mechanism
• Universal connection for pick-up systems (SME)
• Pitch range +/-8 %, +/-16 %, +/-50 % (ultra pitch)
• Quartz lock
• Additional start/stop button for vertical positioning
• Reverse function: switch for forward and reverse playback
• Recessed connection cavity for easy flight-case installation & seamless adjustment
• Phono and line out (no grounding required)
• Removable mains and RCA cables
• Safety mains switch
• Shock-absorbing feet against vibrations
• Incl. turntable, slipmat, LED needle light, counterweight, Phono RCA cable with earth, power cord, operating instructions, without cartridge

TECHNICAL DATA
Turntable:
• Type: direct-drive turntable
• Drive: quartz driven upper-torque direct drive
• Motor: 16-pole, 3-phase, brushless motor
• Turntable speeds: 3 speeds, manual (33 1/3, 45, 78 RPM)
• Starting torque: 2.8 – 4.5 kg/cm (adjustable)
• Adjustable stop time (0.2 - 6 sec.)
• Start-up time / change to RPM: <0.2 sec
• Wow and flutter: 0.01% WRMS*
• S/N ratio: > 55dB (DIN-B)
• Brake system: electronic brake
• Record weight: recommended 800g

Platter:
• Material: die cast aluminium
• Diameter: 332 mm
• Weight: approx. 1.5 kg

Tone arm:
• Type: universal, statically balanced, S-shaped
• Effective length: 230 mm
• Overhang: 15 mm
• Tracking error range: < 3°
• Offset Angle: 22°
• Stylus Pressure: 0 - 4 g
• VTA setting range: 0-6 mm
• Useable weight of pick-ups: 3.5~8.5 g (incl. headshell 13~18 g)
• Anti-skating range: 0 – 3 g
• Effective tone arm mass: 12.8 g (incl. headshell)

Connections:
• 1x Phono/Line Out (gold-plated), 1x GND earth connection

General:
• Power supply: AC 115/230 V, 60/50 Hz (EU/US), AC 100 V, 50/60 Hz (JP)
• Power consumption: 13 W
• Dimensions: 458 x 144.6 x 354 mm
• Weight: approx. 11.7 kg

Manual: https://www.reloop.com/media/catalog/product/pdf/2/3/8/238928_Reloop_IM.pdf

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Nziria

Xxybrid

22,99 €*

LP | 2022 | UK | Original (Total Refreshment Centre)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Nziria, the new experimental project by artist Tullia Benedicta, debuts on Gabber Eleganza’s imprint Never Sleep with a full-length titled Xxybrid. Recorded during a period of worldwide lockdown, the album represents the artist’s psychomagic act to redeem their Neapolitan origins and to reinterpret some of the topoi of the Neapolitan culture. Nziria integrates the main forms and themes of the Neomelodic song, while regenerating the cis-heteronormative scenario. Through a powerful and androgynous singing, they reinterpret the stereotyped, almost archetypal stories of the Neomelodic genre, welcoming narratives of the Lgbtqi+ community and singing of queer love and mercurial identities. Through the album, Nziria re-appropriates the Neapolitan dialect, which they learnt from their grandparents: the word itself, 'nziria, is an almost untranslatable dialect word, indicating the obstinate and unprovoked tantrum of children when they’re tired. Neomelodic music, a genre stemming in the mid-Seventies, became a distinctive sound of Southern Italy with the voices of artists such as Nino D’Angelo and Gigi D’Alessio. Being intrinsically linked to illegal practices of divulgation, this genre narrates social collapses and emotional possessivity through hyper-sentimental lyrics and lightweight pop atmospheres, mostly enacting standardised and discriminative patterns. Hard Neomelodic is the term chosen by the artist to describe their quest, generating a sonic space in which disruptive tonalities such as those of the Neomelodic and Hardcore are combined to celebrate hybridity as an arena for unrestricted self-determination. As a non-binary artist, Nziria draws from their experience to tackle borderless concepts such as those of otherness, diversity and inclusivity. Their quest in metamorphosing heteronormative and discriminative narratives of Neomelodic applies to the restless battle against genre discriminations, often rooted in Western society. Nziria coats the vivid Neapolitan realm populated by pagan symbols, theatrical characters, chimerical figures such as that of the Femminiello, sacred effigies, hyperbolic beliefs with sophisticated sonic avant-garde, inspired by the Hardcore Gabber, Trance and Italodance 2000 tonalities which characterised their adolescent clubbing experience in Ravenna. “I tried to encapsulate in this record that small symbolic universe which, for me at least, is Neapolitan culture. Some of these images are reminiscences of my childhood, while others are things I discovered a lot later, when I decided to look back at my origins and embrace them with pride. I chose to include references to history, beliefs, traditions, to celebrate the Tarantella in a different but somehow related key, and to start the record with a magical figure, the Femminiello, because I wanted this album to be like that: hybrid, mysterious and lucky." 1 Xxybrid shapes as a holy architecture, at times dense and visceral - as in the lovesick and nostalgic verses of Amam Ancora - at times suspended and jagged - as in the fragmented ravey crescendo of Hard Tarantella, a remake of the Neapolitan Tarantella, in which the artist included a conversation with a worshipper on the concept of faith, recorded inside a church in Naples. The sacred is one of the cornerstones of Nziria’s debut, being a distinctive element of Naples' magnetism intertwining absolute reverence for Christian icons with pagan superstitions, as for the Devil in ‘ E Riavule 77, which in the Neapolitan Tombola is associated with the number 77, around which a Femminiello tells a myth. Nostalgia is another central theme of the record, best represented in Pensiero, in which this feeling of nostalgia for a loved one overlaps with the one for a place, that is also a time, a golden past painful to return to; after all, nostalgia is etymologically "pain of return". Symbolism and spiritualism reach their peak in the final track, ‘O Dolor, conceived by Nziria as a moment of nirvana in which their voice, frantic arpeggios and granular synthesis reunite to then greet the listener with infinite meditative space. Xxybrid will be released on 20th May 2022 on Never Sleep in vinyl and digital format.

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Neue Grafik Ensemble

Foulden Road Part Two

16,99 €*

Visions Of Bodies Being Burned Black Vinyl Edition

Release: 2022 / UK – Original

Genre: Organic Grooves

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South London based producer and multi-instrumentalist Neue Grafik announces his new EP 'Foulden Road Part II' from his Neue Grafik Ensemble band, released 25th March on Total Refreshment Centre. The sequel to their impressive 2019 release 'Foulden Road', Neue Grafik continues to incorporate 100% live takes with the ensemble, as well as solo productions that reflect Neue Grafik's past work with both the Rhythm Section and 22a labels.

Neue Grafik explains, "This EP is a reflection of the social context which surrounds me" – created in a year of much social isolation as well as political unrest, 'Foulden Road II' explores the complex feelings that he found himself battling. He adds "In 2019, we released 'Foulden Road Part I', which was a transitional album, exploring a new culture and navigating between two worlds: Paris and London. 'Part II' is a bit darker, closer to realness with a sprinkle of hope. I couldn't have predicted that I'd finish it encased in my flat, between four walls, in December 2020 after a year of lockdown, Brexit, George Floyd protests, and without London's brilliant culture mesmerising my mind. Everything was sad and closed. Hills were difficult to climb. But it also gave me the time to work hard and deliver this second part of Foulden Road, pushing it forward".

Combining an array of influences — from London, to Paris via New York, Nigeria and Cameroon — with well-measured confidence, ' Foulden Road II' allows you to reflect on the complexities of the last year, whilst braced with energy and hope to move forward positively. Heavy horns and hypnotic poetry form the backbone record, which will ignite any room. 'Foulden Road II' begins with the grounding poetry of MA.MOYO on 'Black Bodies'. The EP is dedicated to Adama Traoré, a black man who died in police custody in Paris. Neue Grafik explains "His name is not well known outside of France. I was shocked, devastated even, to learn that his story didn't cross the Channel". 'Queen Assa' is a heavily percussive dancefloor-hitter which honours French activist Assa Traoré, (Adama's sister) her family, and her struggle to support all families hurt by police brutality. Broken beat elements flow through the horn accompanied 'Officer, Let Me Go To School', while West London rapper Lord Apex offers an unapologetic and poignantly personal perspective on 'Step To It'.

Released on the Total Refreshment Centre label, based out of Stoke Newington's Foulden Road, the EP is a testament to his versatility as an ever-shifting figurehead. Engineered by Capitol K, recorded at Total Refreshment Centre, mixed by Marcus Linon at Greasy Records and mastered by Guy Davie at Electric Mastering – a significant pillar in Neue Grafik's musical career. Having played a DJ set there in 2017, he was convinced by TRC founder Lex Blondin to start a band after he was heard playing some compositions on the communal piano. After spending a couple of sleepless nights on the living room couch, his first gig was booked in the venue space downstairs a week later. The ensemble was established and he has remained in London ever since.

Neue Grafik Ensemble's musicians include; Matt Gedrych, Benjamin 'The Chief' Appiah, Jack Banjo Courtney, Chelsea Carmichael, Dougal Taylor, Yahael Camara-Onono, Xvngo, Rebekah Reid, Dan-Iulian Drutac, Jamie-lee Glinsman and Zara Hudson-Kozdój.

Neue Grafik hosts The Orii Jam Sessions, an energising weekly jam night at Hackney Wick's Colour Factory, which has become a pivotal weekly gathering, inspired by the likes of Unit 31 and Steam Down.

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Clipping.

2LP | 2020 | US | Original (Sub Pop)

30,99 €*

Visions Of Bodies Being Burned

Release: 2020 / US – Original

Genre: Hip Hop

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In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best Lgbtq SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (aka Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

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Clipping.

Tape | 2020 | US | Original (Sub Pop)

More Than One, Less Than Zero

Release: 2020 / US – Original

Genre: Hip Hop

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Surveillance

LP | 2023 | US | Original (Celluloid Lunch)

29,99 €*

LP | 2023 | EU | Original (La Agonia De Vivir)

Release: 2023 / US – Original

Genre: Rock & Indie

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News came through while getting comfortable with the sounds of Surveillance’s debut album Less Than One, More Than Zero that guitarists/vocalists Dave Burns and Rachel Fry were to be married later that week. Not having access to their registry, I suppose I could send a chafing dish, though to be fair their record is burning brightly enough to heat up whatever canapes might await in their ostensibly long life together. After an initial blast of activity in the mid-‘10s, which produced a 7” single that I found quite fetching, and a number of cassettes that I hadn’t the good fortune to hear, activity around Surveillance proved sporadic, as did information about them (here I was in Chicago, here they were in Halifax). I was delighted to find their Planet Serum tape through an American punk distro during the pandemic pause (hey, what better time to unearth forgotten studio recordings, right? Also, how many other musical acts named Surveillance would trickle down that path?) and with it came some weird close-talkin’ vibes couching top-flyte buzzsaw song-based material—the band I really liked before was still in there, plowing away, intact in the presence of hard-hitter Tri Le on the drums and eventual addition of Ben Brennan in the pocket on bass. Which leads us to this album, a purity test of sorts that hearkens, for some, back to a time of greater innocence, tempered with the expectations of now. There’s grunge, there’s flyin’ the flannel, and the piney, open-air, guitar-stacks-to-the-bluest-skies approach Surveillance takes on this one that’ll instantly touch a gritty nerve to a lot of listeners—both Amherst Dinosaur before the Jr and Donna Dresch hair-windmill era, that Solomon Grundy LP on New Alliance, the top layer of pop iceberg-bobbing in the violent diagonals of Eastern seaboard shoegaze, patchouli, your aunt’s surprisingly deep cabinet of folk records, the leftover gear of uncles and burnouts to rattle the windows with, chain smoking over a bottomless cup of coffee in an all night diner with somebody elses and everything to talk about between you, artificially cheap fossil fuels and one car/maybe one license between all of you. I don’t know where these folks fall in the age range to have experienced this sort of thing, what the rituals were in their adolescence and the early years of underemployed freedom, but something’s been activated here in these 11 songs, like a smell or sense memory, a match lit, a breath visible in the chilly air, that’s bringing it all back. I’m especially taken with Rachel Fry’s vocals—not gonna mention whose they remind me of, as I’ve done enough extrapolating here already. The words she’s singing on songs like 'On My Way,' 'Iron Rose' and 'Last Breath' offset Burns’ righteous anger with a defiance of her own. There’s a big goddamn difference between aching teenage lovage and the questions asked in these songs, but they come from the same place—an overwhelming feeling of deep emotions, and the innate desire for trust beyond those feelings to protect it and the people it touches. Love is great and all, but some of us need to be sure, and these songs represent the challenge of a commitment: to unite and stay together, through lives lived, projects started and reconvened to make certain that magic is true. Surveillance started something and are sticking around to continue it. In an era of woeful impermanence, that’s gotta be worth something."—Doug Mosurock, a fan

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Wud

Meant To Collide

18,99 €*

Release: 2023 / EU – Original

Genre: Rock & Indie

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Limited to 300 black copies. A few weeks ago, the first planetary defense test was successfully carried out: the Dart probe diverted the orbit of the asteroid Dimorphos. With this Nasa operation we know, once again, that when we humans play god we are unstoppable, that we are not going to become extinct like the dinosaurs as long as progress makes us move. However, while this space shock was brewing 11 million kilometers away, here, more specifically in Torelló (Barcelona), a disc was being created that is like the Trojan horse of asteroids. Sin has made a crater or is going to do so; we are talking about Meant to collide of Wud. The second album of the band arrives three years after the debut Okeanos (2019), three are also the nuclear components that currently form it (and not the five before) and, again, three are the letters with which the name of the band remains (wud), previously they were called Wood. It seems that many things have changed in three years and that's right, the group has grown while it has been reduced and this new album testifies to that. The eight songs concisely concentrate the soul of the project. Although what they continue to love is the structured edginess of math-rock, they want the work to have punk-rock and pop constantly on the horizon, which makes the computation more digestible for all kinds of ears that like sharp-guitars music. Behind the songs we find Marc Fernández, Aleix 'Jimmy' Vilarrasa and Rai Costa, three friends of Torelló who for the last, almost, two years have been carrying out the recording. A long and arduous process that has gone through different studios, such as Fontderola by Jordi Casadesús and Jordi Torrents, or Lluerna by Èric Fuentes, but above all it has been hatched in their rehearsal room where they themselves have persevered in the attack to record a good part of the instrumental. The trio's bizarre ideas have been grounded with millimeter precision, faithfully capturing the centennial hyperactivism that accompanies them wherever they go. On the one hand, the songs trot lively and directed with a hardcore soul and rounded pop, on the other, if we look a little, we notice how the details of each cut are infinite, that the structures could be applied to the Sagrada Familia, that, in definitely, there is a lot of hard work. That the process has been laborious is also noticeable in the guitarist's lyrics, words spat out with the impatience of someone who doesn't want to waste another minute in the loop of self-destructive thought. Meant to collide is a fight between the two opposite and complementary parts of oneself, and I say two to simplify. Between the adrenaline side that wants to end everything through romantic escape and the other, the one that wants to reconstruct the fragments of memory to heal from serenity. From this very personal dispute comes a more than possible collision which, deep down, is what makes the group's creative drive advance and, above all, what makes the feeling that the songs are alive because they are lived intensely. Are we talking about emotions? Yes, thank God, because there such of this on the album, all the time, even in the instrumental interludes. The dreamy piano of “Barnum’s Circus”, the spectral autotune of “Lost Stars” or the Queens-of-Stoneagian guitar solo of “Cul-de-Sac” are at the service of the emotional magma of the musicians. The influence of highly emotional groups such as Delta Sleep (the English band performed one of the most memorable concerts for the wud crew at Torelló’s Arundo Fest in 2018), Algernon Cadwallader or Faraquet is noticeable. Over the years we are discovering where exacerbated technological progress is leading us: that's right, to collapse. Meanwhile, but, this band warns us that they have already arrived there and that humanity can be taken in abundance from there, in fact, there is nothing more human than collapsing.

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2M Red Verso MM-Tonabnehmer

119,00 €*

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The 2M Series is developed in conjunction with the Danish Industrial designer Møller Jensen Design – the same designer who designed the award winning MC Jubilee and Kontrapunkt series. Inspired by the facets of a diamond, whose contours gracefully trace the grooves on a record’s surface, the 2M’s handsome elegance establishes a great combination of form and functionality.

The name 2M was selected from among several ideas. We wanted a modern name that would be easy to pronounce and remember, and therefore an alphanumerical name was chosen. 2M means MM, which is the abbreviation for moving magnet.

Of course the 2M isn’t just another pretty face. It has been engineered to the highest standards and is congruent with Ortofon’s unrelenting commitment to providing the most precise and accurate reproduction possible without coloration.

The 2M series of cartridges features Ortofon’s trademark split pole pins, an invention that enables moving magnet cartridges to have a flat frequency response, as with a moving coil cartridge. Split pole pins were invented by Ortofon, and were originally presented in the 500 series and Super OM series.

We have optimized the design for ease of mounting the cartridge, and the weight and size to fit the most common turntables on the market today. The 2M Series provides excellent compatibility when used in an assortment of playback systems and with a wide variety of phono preamps.

2M Red features:

• an improved engine, which provides an increased output of 5.5mV and an optimized sound reproduction and a high level of sonic accuracy

• Nude Elliptical diamond and split pole pins with a copper wire

• The cartridge body is manufactured from Hopelex, which ensures high rigidity while eliminating unwanted resonances.

2M Red is an all-purpose cartridge that delivers open, dynamic sound with a slight touch of warmth.

Output voltage at 1000 Hz, 5cm/sec. - 5.5 mV
Channel balance at 1 kHz - 1.5 dB
Channel separation at 1 kHz - 22 dB
Channel separation at 15 kHz - 15 dB
Frequency response - 20-20.000 Hz + 3 / - 1 dB
Tracking ability at 315Hz at recommended tracking force - 70 µm
Compliance, dynamic, lateral - 20 µm/mN
Stylus type - Elliptical
Stylus tip radius - r/R 8/18 µm
Tracking force range - 1.6-2.0 g (16-20 mN)
Tracking force, recommended - 1.8 g (18 mN)
Tracking angle - 20°
Internal impedance, DC resistance - 1.3 kOhm
Internal inductance - 700 mH
Recommended load resistance - 47 kOhm
Recommended load capacitance - 150-300 pF
Cartridge colour, body/stylus - Black/Red
2M standard and 2M Verso cartridges weight - 7.2 g
Replacement stylus unit - 2M Red (interchangeable with 2M Blue and 2M Silver)

Each of the 2M Series cartridges has its own individual sonic expression, and all five models together represent the ensemble of five classic variations:

• 2M Mono SE, 2M Mono and 2M 78 are a true mono cartridges for playing mono vinyl records
• 2M Red is an all-purpose cartridge that delivers open, dynamic sound with a slight touch of warmth
• 2M Blue adds more dynamics and resolution, sounds more open and reproduces more details
• 2M Bronze adds even more details and resolution but in a very evenhanded way that pays respect to all elements
• 2M Black is the best of everything, true to the groove with resolution and accurate insight into each recording

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2M Blue Verso MM-Tonabnehmer

219,00 €*

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The 2M Series is developed in conjunction with the Danish Industrial designer Møller Jensen Design – the same designer who designed the award winning MC Jubilee and Kontrapunkt series. Inspired by the facets of a diamond, whose contours gracefully trace the grooves on a record’s surface, the 2M’s handsome elegance establishes a great combination of form and functionality.

The name 2M was selected from among several ideas. We wanted a modern name that would be easy to pronounce and remember, and therefore an alphanumerical name was chosen. 2M means MM, which is the abbreviation for moving magnet.

Of course the 2M isn’t just another pretty face. It has been engineered to the highest standards and is congruent with Ortofon’s unrelenting commitment to providing the most precise and accurate reproduction possible without coloration.

The 2M series of cartridges features Ortofon’s trademark split pole pins, an invention that enables moving magnet cartridges to have a flat frequency response, as with a moving coil cartridge. Split pole pins were invented by Ortofon, and were originally presented in the 500 series and Super OM series.

We have optimized the design for ease of mounting the cartridge, and the weight and size to fit the most common turntables on the market today. The 2M Series provides excellent compatibility when used in an assortment of playback systems and with a wide variety of phono preamps.

2M Blue features:

• an improved engine, which provides an increased output of 5.5mV and an optimized sound reproduction and a high level of sonic accuracy

• Nude Elliptical diamond and split pole pins with a copper wire

• The cartridge body is manufactured from Hopelex, an environment-friendly material which ensures high rigidity while eliminating unwanted resonances

2M Blue adds more dynamics and resolution, sounds more open and reproduces more details than 2M Red

Output voltage at 1000 Hz, 5cm/sec. - 5,5 mV
Channel balance at 1 kHz - 1,5 dB
Channel separation at 1 kHz - 25 dB
Channel separation at 15 kHz - 15 dB
Frequency range at - 3dB - 20-25.000 Hz
Frequency response - 20-20.000 Hz + 2 / - 1 dB
Tracking ability at 315Hz at recommended tracking force - 80 µm
Compliance, dynamic, lateral - 20 µm/mN
Stylus type - Nude Elliptical
Stylus tip radius - r/R 8/18 µm
Tracking force range - 1,6-2,0g (16-20 mN)
Tracking force, recommended - 1,8 g (18 mN)
Tracking angle - 20°
Internal impedance, DC resistance - 1,3 kOhm
Internal inductance - 700 mH
Recommended load resistance - 47 kOhm
Recommended load capacitance - 150-300 pF
Cartridge colour, body/stylus - Black/Blue
Cartridge weight - 7,2 g
Replacement stylus unit - 2M Blue (interchangeable with 2M Red and 2M Silver)

Each of the 2M Series cartridges has its own individual sonic expression, and all five models together represent the ensemble of five classic variations:

• 2M Mono SE, 2M Mono and 2M 78 are a true mono cartridges for playing mono vinyl records
• 2M Red is an all-purpose cartridge that delivers open, dynamic sound with a slight touch of warmth
• 2M Blue adds more dynamics and resolution, sounds more open and reproduces more details
• 2M Bronze adds even more details and resolution but in a very evenhanded way that pays respect to all elements
• 2M Black is the best of everything, true to the groove with resolution and accurate insight into each recording

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2M Red MM-Tonabnehmer

99,00 €*

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Audio-Technica

VM510CB

94,99 €*

Le Corbusier: Ideas And Forms

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VM510CB
DUAL MOVING MAGNET STEREO CARTRIDGE WITH CONICAL STYLUS
Conical Bonded stylus
VM type dual magnet system
Para-toroidal coils improve generating efficiency
Aluminium cantilever
Centre shield plate between stereo channels
Durable low resonance polymer housing

Conical Bonded stylus for less critical tilt angle adjustment allowing more flexible use on various tonearms.
VM type dual magnet design ensures outstanding channel separation, extended frequency response and superb tracking
Lightweight tapered aluminium cantilever allows for faithful reading of the record groove
Centre shield plate enables the effective separation of left and right channels, suppressing electrical crosstalk to below 40dB
Durable low resonance polymer housing

Entry-level VM cartridge model equipped with a conical bonded stylus. The round stylus is less likely to be affected by placement and boasts stable tracing performance.

Aluminium cantilever
Para-toroidal coils improve generating efficiency
Centre shield plate between the left and right channels reduces crosstalk
Durable low resonance polymer housing

AUDIO-TECHNICA’S INTERNATIONALLY-PATENTED DUAL MAGNET DESIGN REPLICATES THE STRUCTURE OF THE CUTTER HEAD.
Instead of using a single, large magnet, the two magnets are arranged in the shape of a "V". The two magnets are positioned precisely to match the positions of the left and right channels in the stereo groove walls. Consequently, the VM design ensures outstanding channel separation, extended frequency response and superb tracking.

Para-toroidal generating system

Para-toroidal coils improve generating efficiency and offers superb linearity, since leakage of magnetic flux in this continuous and unitised magnetic circuit is low. Permeability of the cores is also optimised through the use of laminated cores.

Centre shield plate reduces crosstalk

A permalloy centre shield plate enables the effective separation of left and right channels, suppressing electrical crosstalk to below 40dB. This is similar to the actual crosstalk value found in the grooves of the record itself.

500 SERIES
Standard cartridge body fitted with the para-toroidal coils, centre shield plate, and 6N-OFC coil wire which is the same as 700 series.

CONICAL BONDED STYLUS
The benefit of conical styli, even if the cartridge is "lean", is the ball surface of the stylus touches the groove of vinyl records precisely. Due to its stability, it has been used widely at radio stations.

Type VM Type
Mounting 1/2” centres
Frequency Response 20 - 20,000Hz
Channel Separation 25dB (1kHz)
Output Channel Balance 1.5dB (1kHz)
Output Voltage 5.0mV (1kHz, 5cm/sec.)
Vertical Tracking Angle 23˚
Vertical Tracking Force Range 1.8 – 2.2g (2.0g standard)
Stylus Shape Conical Bonded
Stylus Size 0.6 mil
Stylus Construction Bonded Round Shank
Cantilever Aluminium Pipe
Coil Impedance 2,700Ω (1kHz)
Static Compliance 35 x 10-6 cm/dyne
Dynamic Compliance 8 x 10-6 cm/dyne (100Hz)
Recommended Load Impedance 47,000Ω
Recommended Load Capacitance 100 – 200pF
Weight 6.4g
Dimensions 17.3 (H) x 17.0 (W) x 28.2 (L) mm
Replacement Stylus VMN10CB
Accessories Included Cartridge installation screws 5mm ×2 and 10mm ×2, Washer ×2, Hexagon nut ×2

VM Cartridges: https://eu.audio-technica.com/resources/VM_Cartridges_EN.pdf

Manual: https://eu.audio-technica.com/resources/VM/VM510CB_UM_V2_11L_web_161011.pdf

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William J R Curtis

Phaidon

125,00 €*

FLUX-Turbo 2.0 Vinyl Staubsauger

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An expanded edition on the master of Modernism, Le Corbusier, by award-winning architectural historian William J. R. Curtis.

Originally published in 1996 to critical fanfair, scholar William J.R. Curtis has re-issued his classic text with extensive new scholarship and contemporary research that continues the high standard of the original. Presented chronologically with a clear narrative, Curtis has worked tirelessly not only to document Le Corbusier's key projects in detail but to contextualize them within the architect's overarching philosophy of urbanism and art and the pervading culture of Le Corbusier's time. With full access to the renowned Le Corbusier archive, Curtis' text is lavishly illustrated with new photographs, plans and original sketches and a fresh new design.

Praise for the first edition:

"This is not only the best single work on Le Corbusier - a model of scholarship, erudite yet eminently readable - it is also an invaluable analysis of the creative architectural process. It should be read and re-read by every student of architecture." - Building Design

"William J. R. Curtis is the best architectural historian writing in the English language." - Chicago Tribune

About the author: William J R Curtis is an award-winning historian, critic, writer, curator, painter and photographer. Educated at the Courtauld Institute of Art, London, and at Harvard University, he has taught the history of art, theories of design and architecture at several universities worldwide: among others, Harvard University; the Architectural Association, London; Unam, Mexico City; Etsab, Barcelona; Helsinki Institute of Technology; the Accademia di architettura, Mendrisio, Switzerland; and the University of Cambridge where he was Slade Professor of Fine Art 2003-4. In addition to teaching history and theory, Curtis has been directly involved in architectural education in the studio and in juries. He has written historical, critical and theoretical texts on subjects as varied as modern architecture, landscape design, the history of everyday objects, the process of design, historiography, visual education and criticism. His best known books include: the best-selling Modern Architecture Since 1900 and Le Corbusier: Ideas and Forms (both published by Phaidon).

Reviews: "The most lucid and complete chronicle yet available of Le Corbusier’s achievement and (in the words of his title) the 'ideas and forms' which successively and cumulatively account for its significance. It is, then, as incise narrative... Illuminated by penetrating critical commentary that this book excels."—Times Literary Supplement

"This book is an admirable as well as well-timed introduction to Le Corbusier. In it much recent scholarship has been pulled together and presented in a lively account of Le Corbusier’s life and work... It is also a record of personal observation and synthesis by an informed and shrewdly sensitive author which will remain valid and fresh in the long term."—Architectural Review

"William J R Curtis is the best architectural historian writing in the English language, and that alone makes this book something of an event. Unsurprisingly, Curtis has turned out what is probably the most comprehensive, well balanced and interesting narrative yet produced about one of the giants of 20th century architecture."—Chicago Tribune

"As a study of the life and work of possibly the most erudite, probably the most gifted, and certainly the most disturbing architect of the present century, it is unlikely to be superseded."—The Architect, Royal Institute of British Architects' Journal

"...A much expanded version of an earlier monograph... Definitive, chronological, sumptuously illustrated... Curtis is [...] balanced and inclusive, offering excellent discussions of all the Indian work, of many unexecuted projects, and of the vast influence Corbusier has exercised... I think there is no better introduction to the man and his work."—Architects Journal

"Just as Le Corbusier is a 'classic' of modern architecture, Curtis's monograph is a 'classic' of the Corbusian bibliography. And with this new edition - substantially enlarged, both in text and illustrations - the book will become indeed the main reference for understanding Le Corbusier's contribution to universal architecture."—Arquitectura Viva

Specifications: Format: Hardback Size: 305 × 238 mm (12 × 9 3/8 in) Pages: 512 pp Illustrations: 500 illustrations

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Flux Hifi

239,00 €*

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The FLUX-Turbo is a unique, completely newly developed device to quickly and easily free the record from dust and dirt. The Vinyl Turbo combines a carbon brush with an integrated, extremely powerful suction system.

After more than a year of development, we at Flux HiFi are now presented with the FLUX-Turbo. A plate brush with integrated suction. Sounds simple, but it isn’t.

The enemy of record reproduction is dust. This consists of many components. Silicates, polymers, organic substances, everything is contained. With a plate washing machine that works with a fluid, I get most of it cleaned, even release agent residues are removed. But what then? As soon as the valuable disc is put on, the dust falls on the record like snow. This creates some problems. Particles and hair settle on the needle, making scanning virtually impossible. For this purpose, the dust particles on the plate constantly cause enormous crackling noises, which lead to considerable distortions.

With a commercially available plate brush, the dust is collected, but with the exception of a few coarse particles that the brush absorbs, it is rather pressed into the groove floor and distributed, the Flux Turbo quickly provides a remedy. The suction force is so strong that almost all particles are sucked in, already in 1-2 revolutions.

The interior of the turbo is very complex. In order to achieve a well-usable suction force in this small, lightweight housing, each item had to be specially developed. From the fan wheel geometry to the shape of the suction channel, it has been optimized where it went. At the slightly inclined suction channel end you can easily see the integrated guidelines, which ensure that the whole surface is evenly extracted. An elaborate filter construction, the cartridge of which can be easily replaced, absorbs the dirt. The capacity ranges far beyond 100 applications, as well as the durability of the batteries.

Everything was thought of here. Even the velvet skids, which ensure that the surface of the record is not damaged, are easy to replace.

The brush insert made of real carbon fibers is additionally grounded, so that the sound patter is removed from the static charge, which attracts even more dust. The large contact strip under the switch is responsible for this. This is electrically connected to the conductive brush fibers.

The effect on playback is surprisingly strong. The sound seems liberated. Even complex music with strong controls is played back much less distortionally. Scanning noises, previously characteristic of analogue playback, are reduced by up to 50 by the suction before hearing. This is not about achieving clinically pure reproduction, but to get everything that is contained on the record out optimally. And that’s a lot. More than one dared to hope !

Simplicity is crucial when using the Flux Turbo. Quickly sucked over the plate and the pleasure can start. Hearing better records than ever before !

The FLUX-Hifi Vinyl-Turbo is a unique, completely newly developed device to quickly and easily free the record from dust and dirt. The Vinyl Turbo combines a carbon brush with an integrated, extremely powerful suction system.
For this purpose, a special cyclone with replaceable filter was developed, which makes it possible to realize a strong suction performance despite the small housing size (dimension 125 x 122 x 64mm).
Surface dust, as well as the dirt that sits deep in the groove, is extracted without residue within a few revolutions.

Only when the LP is free of dust can the pickup system scan the record without interference and distortion.

With the Turbo, a new era in record maintenance has begun.

• cleans and maintains your valuable records
• works without liquid and without additives
• quick and easy to use on the turntable
• increases the life of the plate and needle
• increases sound quality
• Filter cartridge and sliding skids available in a cheap double pack
• MADE IN GERMANY
• 3-year warranty
• Weight 229 g
• Size: 11,5 x 14 x 6 cm

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Super OM 5E

85,00 €*

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The Super OM 5E major improvements:
1. By means of computer simulations it has been possible to define the natural pivot point of the system with unprecedented accuracy while achieving an optimum oscillation balance. The result: improved linearity, higher channel separation and reduced distortion.

2. OM Super cartridges models have split pole PINs which reduces magnetic losses at the treble end. This technology extends the frequency range and improves phase linearity.

3. OM Super 5 cartridge body is manufactured from a Noryl (plastic & glass compound) which ensures high rigidity and freedom from resonances.

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.

Super 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.

Super OM 5 Technical data:
• Output voltage at 1000 Hz, 5cm/sec. - 4 mV
• Channel balance at 1 kHz - 1.5 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 - 1 kOhm
• Internal inductance - 580 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 5 E, Stylus 10

Styli types and interchangeability
The OM 5s features a Spherical diamond. Spherical diamonds are the simplest and most robust diamonds. The OM 5E and Super OM 5E feature an Elliptical diamond.

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.

The new Ortofon OM 5 series encompasses three basic cartridges: OM 5S, OM 5E and Super OM 5E.
• The series is the lowest-mass range of moving magnet cartridges offered by Ortofon.
• The OM cartridges bodies have been designed to provide easy mounting and alignment on both top mount and bottom mount headshells.
• The OM 5 Series provides excellent compatibility when used in an assortment of playback systems and with a wide variety of phono preamps.

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Goldring

G1006 Cartridge

279,00 €*

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The Goldring 1006 is designed for owners who want to get the very best from their systems at a budget price. This cartridge has an elliptical tip for improved high frequency clarity and a powerful magnet to ensure high sensitivity.

This hand-built cartridge features an elliptical stylus; its shape enables it to more accurately trace the highest frequency record grooves giving it the advantage over ordinary spherical types. The lightweight shank also gives the stylus a lower tip mass than cheaper metal bonded types lending the cartridge an improved transient response.

Low Mass Pocan® Body
The 1000 series uses a strong one piece body which holds the fixed parts securely in place. Made from a special type of ultra-rigid, glass reinforced polyester called Pocan, the body can be tightly bolted to the head shell for maximum efficiency and optimum sound quality. The user replaceable stylus carrier slots tightly into the body with a locating pin preventing unwanted vibrations which would otherwise colour the sound. An integral mu-metal can keeps the generator parts shielded from hum-inducing stray magnetic fields. Because Pocan has a high strength-to-mass ratio, the overall mass of the G1000 series cartridges is kept below 6.5 g. Low mass and moderate compliance keep the natural arm/cartridge resonance within safe limits for easy matching to a wide range of tonearms.

High Efficiency Magnetic Circuit
Finely etched mu-metal is laminated to form the pole pieces around which are fitted two formerless coils of four thousand turns each. This unique design reduces mass and also makes for a very efficient magnetic circuit producing a higher than average output. This construction also reduces the loss at high frequencies inherent in conventional designs, making for a smooth and extended frequency response.

Reduced Moving Mass
The 1000 series uses a unique ultra-low-mass, micro-miniature Alnico V magnet made to a tolerance that can be achieved by no other manufacturer worldwide. Welded to the magnet is a gold plated nickel tie-bar which provides an earth path for vinyl static charge build up and stabilses the cantilever in unwanted vibrational modes. The whole ultra-low-mass assembly is then mounted in a special butyl rubber polymer with optimised damping characteristics.

Expert Adjustment
The correct setting of stylus azimuth (or horizontal tracking angle) is essential for the maintenance of a proper stereo sound stage. Azimuth is the term used to describe the angle that the vertical centre-line of the stylus makes with the record surface and this must be exactly perpendicular to the record groove. This is not usually a user adjustable parameter on most budget decks and so it is vital that the cartridge leaves the factory with the azimuth precisely set. Badly adjusted azimuth can cause uneven channel balance and increased crosstalk between channels which would severely degrade the stereo image.

Specifications:
• Frequency Response: 20 Hz -20 kHz ±3 dB
• Channel Balance: within 2 dB @ 1 kHz
• Channel Separation: better than 25 dB @ 1 kHz
• Sensitivity: 6.5 mV ±1.5 dB, 1 kHz @ 5 cm/sec
• Static Compliance: 24 mm/N (lat); 16 mm/N (vert)
• Equivalent tip mass: 0.45 mg
• Vertical Tracking Angle: 24°
• Stylus Radius: Elliptical
• Stylus Type: Replaceable
• Load Resistance: 47 kΩ
• Load Capacitance: 150-200 pF
• Internal Inductance: 570 mH
• Internal Resistance: 660 Ω
• Cartridge Mass: 6.3 g
• Cartridge Mass (inc. fixings): 7.6 g
• Fixing Centre: 0.5" (12.7 mm)
• Playing Weight: 1.5 - 2.0 g (1.7 g nom.)
• Replacement Stylus: 1006 - D0

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2M Blue Premounted

259,00 €*

LP | 2023 | EU | Original (Be With)

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Next level authenticity with the 2M Blue
The goal for any cartridge should be to reproduce the sound as close to the artists vision as possible, and the 2M blue takes you further on this journey of authenticity. With the 2M Blue, you get serious about listening to vinyl.

Features:
The 2M Blue features a Nude Elliptical diamond and split pole pins with a copper wire.

Designed for easy mounting of the cartridge, and for the weight and size to fit the most common turntables on the market today. The 2M Series provides excellent compatibility when used in an assortment of playback systems and with a wide variety of phono preamps.

The 2M Blue adds more dynamics and resolution, sounds more open and reproduces more details compared to the 2M Red model.

2M Blue Technical data:
• Output voltage at 1000 Hz, 5cm/sec. - 5.5 mV
• Channel balance at 1 kHz - 1.5 dB
• Channel separation at 1 kHz - 25 dB
• Channel separation at 15 kHz - 15 dB
• Frequency response - 20-20.000 Hz + 2 / - 1 dB
• Tracking ability at 315Hz at recommended tracking force - 80 µm
• Compliance, dynamic, lateral - 20 µm/mN
• Stylus type - Nude Elliptical
• Stylus tip radius - r/R 8/18 µm
• Tracking force range - 1.6-2.0 g (16-20 mN)
• Tracking force, recommended - 1.8 g (18 mN)
• Tracking angle - 20°
• Internal impedance, DC resistance - 1.3 kOhm
• Internal inductance - 700 mH
• Recommended load resistance - 47 kOhm
• Recommended load capacitance - 150-300 pF
• Cartridge colour, body/stylus - Black/Blue
• Cartridge weight - 7.2 g
• Premounted cartridge weight - 16.7 g
• Replacement stylus unit - 2M Blue (interchangeable with 2M Red and 2M Silver)

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

2M Series styli interchangeability:
The 2M Series' engines, coils and magnets configurations are not identical: Red and Blue are identical, so are the Bronze and Black and so are the true mono variants 2M Mono and 2M 78. Likewise, 2M series styli are interchangeable within the below combinations:
- 2M Red, 2M Blue and 2M Silver
- 2M Bronze, 2M Black and 2M Black LVB 250
- 2M Mono and 2M 78

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

With the 2M Premounted, it’s never been easier to experience
The 2M Premounted is a practical and elegant solution for our customers who wish direct and easy mounting and replacement on their S-shaped tonearm. The quality of the SH-4 headshell is sturdy and rigid, yet the design emphasizes a slim and delicate form factor. The strong, lightweight headshell has an ergonomic design with a long finger lift that is easy to pick up.

Features:
- Premounted on our popular SH-4 Black headshell.
- Easy and direct mount on S-shaped tonearms with universal mount.
- Correct Baerwald alignment with tonearms with universal mount.

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Lovelock

Washington Park

27,99 €*

2LP | 2022 | EU | Original (FKJ)

Release: 2023 / EU – Original

Genre: Organic Grooves

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Steve Moore's Lovelock is back with Washington Park, a gorgeous suite of instrumental lounge music that can only be described as synth exotica. A real departure for Steve, this is a more mellow, soothing sound and can be regarded as Lovelock's response to these dystopian times.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. Yet his Lovelock alias has been quietly blowing minds and warming hearts for a decade plus now. His latest effort, Washington Park, was not initially meant to be a Lovelock album. But Steve was posting little snippets of his work on Instagram and people started asking him: "is this new Lovelock?" It was at this point that Steve had an epiphany, of sorts. "It occurred to me that Lovelock can be whatever I want it to be. So yeah, maybe this new lounge/exotica record is, in fact, Lovelock."

Washington Park creeped out in a very low-key, early lockdown fashion and there wasn't much of a reaction. Says Steve, "I just self-released it and all my usual suspects were down with it, but it didn't really make it outside of my own circle." Yet many of the Balearic heads in Europe were indeed on it and Be With were most certainly listening. So, when we struck a deal to do the vinyl version of Burning Feeling, we couldn't resist asking about Washington Park.

Gentle opener "It Means Love" grooves along in the laconic style, conjuring carousel innocence and complimented by dreamy, spiritual sax and syrupy synth strings over a digi-soul beats. Title-track "Washington Park" glides smoothly in much the same vein, almost like a slightly more acidic, squelchier version of the preceding track with more insistent organ. Swoon. Closing out Side A, steady ambient gem "We'll See" is all gorgeous, soft pads with plaintive guitar and organ giving way to soaring digital strings over that metronomic drum machine soul.

Flip for the eerily brilliant "Seduction", a track which starts like a minimalist slice of Tommy Guerrero-esque guitar and drum machine soul but soon takes on a more menacing bent as Steve leans into his long-held predilection for horror by creating a slow-mo haunted house jam. The tempo (and temperature) rises with "Center Square", a Latin rhythm section and a sensual sax rubbing up against hot and heavy organ and string action. Steamy! To round things off, the ominous creeping groove of "Rhythm 77" feels like exotica-in-excelsis.

Washington Park was recorded over the first few months of the pandemic, during the spring of 2020, against the backdrop of his kids being out of school which meant daily walks and bike rides through Washington Park in Albany. It was during these moments of family activity and gentle movements, trying to make sense of the chaos engulfing his world, that Steve formed the ideas that led to this album. To make it manifest, he used all his old Roland beat boxes (CR-78, Rhythm 77 and Rhythm 330, Rhythm Arranger) plus a Chamberlin Rhythmate for all the percussion. Basslines were usually performed with his Moog Source or Minitaur and for pads and brass he used his Sequential Prophet 600 and Roland Juno 60. Strings came via a variety of old stringers - Korg Polysix, Elka Rhapsody, Crumar Orchestrator and Solina String Ensemble - and he also used his Fender Strat and Yamaha Custom saxophone.

Steve is a huge fan of exotica and that's clearly where this album is coming from. The likes of Martin Denny, Les Baxter and Henry Mancini can all be discerned here. As Steve explained, "I spent a lot of time listening to that stuff in the 90s and I figured it was time to let those influences show." You're going to be glad he did.

Mastering for the Washington Park vinyl edition was overseen by Be With regular Simon Francis before being cut by Cicely Blaston of Alchemy Mastering at AIR Studios and pressed in the Netherlands by Record Industry.

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FKJ

V I N C E N T

32,99 €*

Release: 2022 / EU – Original

Genre: Pop

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„V I N C E N T“ ist FKJs zweites Album. Es markiert den Beginn eines neuen Kapitels für FKJ, der damit nach seinen Arbeiten als gefragter Produzent und zentrale Remix-Adresse für andere Künstler:innen wie PinkPantheress und Moses Sumney das nächste künstlerische Solo-Statement macht – nachdem er zuletzt schon ausverkaufte Konzerte in aller Welt mit seinen gefeierten „One-man-Shows“ verbuchen konnte. Kombiniert liegt auch die Zahl seiner Streams inzwischen im Milliardenbereich.

Das Konzept des „V I N C E N T“-Albums entstand während eines Soloabstechers nach Los Angeles, den er schon vor dem Jahr 2020 antrat. „Ich wohnte dort dann ganz allein in so einem Haus … und schaltete auch mein Telefon ab, um wirklich runterzukommen. Ich brauchte einfach etwas Abstand und Zeit für mich, weil ich herausfinden wollte, was ich eigentlich als nächstes machen wollte.“ Schon bald wurde ihm klar, dass er demjenigen Freiheitsgefühl nachspüren wollte, das man als Teenager hin und wieder spürt. „Damals habe ich einfach nur gespielt, es ging beim Musikmachen um nichts anderes. Ich hab über nichts nachgedacht“, so FKJ. Genau dieses Gefühl kommt schon im Eröffnungs- und dem Abschlusstitel der neuen LP durch: einerseits der Future Jazz von „Way Out“ – eigentlich ein verspielter Mini-Soundtrack: eine anmutige Pianomelodie, unterfüttert mit wilden Trap-Beats und ruhigen Streichern – und das fast wie ein Schlaflied wirkende „Stay A Child“. „Ich wollte einen Teil von dieser verlorenen Unschuld zurückholen … diesen Augenblick, wenn man einfach nur aus purem Vergnügen Musik macht.“

Wieder zurück im eigenen Home Studio auf den Philippinen angekommen, dort sogar ohne Wlan und zunehmend abgeriegelt durch internationale Lockdown-Maßnahmen, war FKJ nun tatsächlich abgeschnitten vom Rest der Welt. Was auch bedeutete: noch weniger Ablenkungen. Es war die ideale Gelegenheit, um ganz allein die endlosen Möglichkeiten der Musik zu erkunden. „Manchmal habe ich die ganze Nacht durch an den Songs gesessen und bin erst ins Bett gegangen, als schon wieder die Sonne aufging.“ Dieser unbefangene Ansatz war entscheidend: Basierend auf dieser Freiheit ist ein expressionistisches, wirklich berührendes Album entstanden, das man unmöglich einordnen kann. Auch versteckt sich FKJ nicht mehr hinter irgendwelchen grünen Zweigen, wie er es auf dem Cover seines Solodebüts getan hatte: Mit „V I N C E N T“ tritt FKJ heraus aus dem Schatten und zeigt sich, seine Stimme als Musiker, seinen Sound. Indem er Saxophon und Klavier aus Late Night Jazz-Sessions mit geerdetem Flüstergesang (à la Bon Ivers Frühwerk) und Gitarren à la Santana zusammenbringt, gibt er sogar dem schwierigen Begriff Chillout Music eine ganz neue Bedeutung.

Während weite Teile von „V I N C E N T“ vor allem romantisch klingen, geht’s ab und zu auch richtig sexy zu, dann wieder verträumt, den Kopf hoch oben in den Wolken – wie etwa bei „Us“, den er seiner Frau June widmet. „ihm“ kommt mit Nineties-Hip-Hop-Einschlag daher, wobei er jedoch immer weiter das Tempo drosselt und das Licht dimmt. Genau genommen doch nicht 100% solo eingespielt, hilft ((( O ))) schließlich beim Song „Brass Necklace“ aus – was ähnlich eindringlich klingt wie The Internet oder die Keys, wenn Stevie Wonder sie spielt. Zusammen mit Toro Y Moi setzt er für die Leadsingle „A Moment of Mystery“ auf astreine Space-Trip-Vibes, die tatsächlich aus nicht ganz nüchternen Parallelwelten stammen: Während der Arbeit in San Francisco tranken FKJ, Toro und dessen Keyboarder Tony eine Flüssigkeit, die Tony als „heiliges Wässerchen“ bezeichnete … „Wir teilten uns dann die ganze Flasche, was in einen ziemlichen Trip mündete“, erzählt FKJ und lacht. Zurück in der Realität, ist das Ergebnis dieses Trips eine sanfte Electro-Ode auf dauerhaftes Liebesglück. Vor allem ist es ein Track, der in Sachen Eingängigkeit und dezentem Prog-Faktor selbst Tame Impala in nichts nachsteht.

Auch Yukimi Nagano (Little Dragon) ist am Mikrofon zu hören – auf dem umwerfenden „Can’t Stop“ –, und mit „Let’s Live“, einem treibenden Technopop-Song, in dem Handclaps, Klavier und Vocals perfekt miteinander verschmelzen, besinnt sich FKJ noch einmal auf seine Anfangstage zurück, als seine Produktionen noch größtenteils ins Dance-Genre passten. Obwohl er immer wieder Kategorien aufsprengt und seine Stücke kontinuierlich mit neuen Ideen erweitert, wirken die Tracks nie aufgeblasen, nie zu dick aufgetragen. Trotz der Vielschichtigkeit wird einem nie schwindelig.

Insgesamt ist „V I N C E N T“ ein kleines Wunder. Es ist der Beweis, welche Magie entstehen kann, wenn man nur tief genug gräbt, Inspirationen lange genug reifen lässt. „Das war schon eine echte Herausforderung, diese Platte aufzunehmen“, sagt er abschließend. „Ich bin nun mal eigentlich ein Perfektionist – und das kann man nicht einfach so abschalten. Als ich es dann jedoch geschafft hatte und die Musik selbst tonangebend war, fühlte ich mich mit einem Mal vollkommen frei.“

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Teac

TN-4D-SE

499,00 €*

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New motor, developed exclusively for direct-drive turntables

The TN-4D-SE uses a sleek, brushless DC motor, offering crystal-locked speed accuracy, regulated by a computer-controlled feedback circuit and achieving low wow-and-flutter levels for a direct drive turntable, especially one with such a stylish, low-profile design.

Knife-edge, pivot-point tonearm bearings

In collaboration with SAEC Corporation, a world-famous, high-end tonearm manufacturer, the TN-4D's tonearm employs a knife-edge, pivot-point bearing. Unlike the case for tonearms with conventional bearings, any fine vertical movements encountered by this tonearm actually help in delivering a more dynamic sound with excellent resolution. The S-shaped tonearm also employs a universal headshell fitting, allowing users to quickly and easily swap cartridges/headshells, and supports a wide range of cartridge weights (from 14 - 23g).

Precision anti-skating and stylus-pressure adjustment

As you might expect, the tonearm is equipped with a counterweight, for precise stylus-pressure adjustment, and an anti-skating mechanism.

Pre-installed Oyster cartridge by SUMIKO

The TN-4D-SE comes with a well-regarded Oyster MM cartridge from SUMIKO – a legendary American cartridge manufacturer. Regardless of the type of music, the Oyster cartridge delivers a powerful but insightful performance.

Built-in PHONO EQ amplifier supporting MM cartridges

The TN-4D-SE comes with a built-in PHONO EQ amplifier that allows you to directly connect the turntable to the line-level inputs of your existing hi-fi system. The NJM8080 IC from New Japan Radio Corporation is employed for op-amp duties, bringing up the level of the tiny signals received via the cartridge up to LINE level strength without any loss of quality.

Die-cast aluminium platter

In conjunction with the newly-developed motor, the high inertia, die-cast aluminium platter helps to achieve better speed stability.

Insulating feet with excellent shock absorption

The insulating feet comprise a machined aluminium shell topped with a rubber cushion that is fixed to the high-density MDF plinth. Thanks to their excellent shock absorption characteristics the TN-4D-SE is very resistant to acoustic feedback.

2-speed turntable for 33-⅓ and 45 rpm

The TN-4D-SE supports 33-⅓ and 45 rpm for LP and EP records. Our insistence on quality engineering can even be seen in the construction of the rotary control for start-up/speed selection, formed of machined aluminium.

Features at a glance:
• Direct-drive analog turntable
• Crystal-locked speed stability, thanks to a new brushless DC motor with feedback control
• Die-cast aluminium platter
• Knife-edge, pivot-point tonearm base, designed by high-end tonearm manufacturer SAEC
• Multi-layer piano black or natural walnut veneer finish
• Built-in PHONO EQ amplifier for high-quality sound (PHONO/LINE switchable)
• Audiophile-grade NJM8080 op-amp used in PHONO EQ stage
• 2-speed drive offering 33-⅓ and 45 rpm
• Gold-plated oxidation-resistant output connectors
• Oyster MM cartridge by SUMIKO
• Shock-absorbing insulating feet
• GND terminal
• RoHS compliant
• Included Accessories
• Felt Mat
• EP Adapter
• Counter Weight
• Head-shell (SUMIKO Oyster installed)
• Platter
• Dust Cover
• Hinges × 2
• RCA Audio cable with GND terminal
• AC Adapter (GPE036W-24015)
• Owner's Manual (including Warranty Card)

TURNTABLE FEATURES
• Type: Manual
• Drive method: Direct-drive
• Speed: 33 rpm, 45 rpm
• Wow & flutter: ≤ 0.1%
• Built-in preamp: Yes
• S/N ratio: 67dB
• Cartridge: SUMIKO Oyster
• Cartridge type: MM
• Cartridge output: 4.0mV (1kHz)
• Tracking force: 2.3g
• Cartridge weight: 5.3g
• Including headshell: 15.3g
• Rec. cartridge weight: 4-13g
• Rec. cartridge weight (incl. headshell): 14-23g

AUDIO OUTPUTS
• Output level & impedance phono (MM): 4.0mV (1kHz)
• RCA: 1
• Output level & impedance RCA: 224mV (–13dBV)

ENERGY MANAGEMENT
• Power consumption (standby): 0.5W
• Power consumption: 2W
• AC adapter power
- Input: AC 100 V – AC 240 V, 50/60 Hz
- Output: DC 24 V, 1500 mA

DIMENSIONS AND WEIGHT
• Product height: 11.7cm
• Product width: 42cm
• Product length: 35.6cm
• Product weight: 6.1kg
• Packsize height: 24cm
• Packsize width: 52.5cm
• Packsize length: 43.8cm

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Teac

TN-4D-SE

499,00 €*

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RMX-95

949,00 €*

LP | 2023 | EU | Original (Man)

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STANDARD REDEFINED
The professional RMX-95 4+1 channel club mixer blurs the lines between analogue workflow and digital technology. The RMX-95 is a cutting-edge, extraordinarily versatile creative tool thanks to its dual-USB 2.0 interface, redesigned effects section, optional MIDI mapping of all controls, and smooth integration of the djay PRO AI DJ software. The club mixer has a familiar and user-friendly interface, making it suitable for both professional and hobby DJs.

SURGICAL SOUND MANIPULATION IN EVERY DETAIL
Will you go for "Classic" or "Kill"? The RMX-95's 3-band EQ can be adjusted to allow maximum sound control for unique results.
Echo, Reverb, Flanger, Phaser, Vinyl Brake, Loop Roll, Noise, Pitch Shift, Delay, Ping Pong Delay, Tape Delay, Bit Crusher and Transformer are just some of the many studio-quality effects included in the brand-new Beat FX unit. The dedicated FX frequency control (LPF/HPF) lets you apply the effects to a specific frequency range for a more unique sound.
And that's not all: Each channel also features a bipolar filter unit (LPF and HPF) with real-time resonance adjustment. This allows for even more complex sound productions.
Two digital displays show parameter changes in real time for precise control that goes beyond hearing.

CONNECTIONS GALORE
The RMX-95 also excels in terms of connectivity: Four CD, two line, and two phono inputs are available on the four input channels. The separate microphone channel has two microphone connections (1 x jack, 1 x jack/XLR combination jack) and an additional AUX input. The master output offers RCA or balanced XLR cable connections. The booth output has two jack connections for stereo operation. However, it can also be used in mono mode. A recording device can be connected to the Rec output via RCA jacks to record DJ sets – regardless of the master output level. Last but not least, the DJ mixer has two jacks for headphones.

MAXIMUM FLEXIBILITY: DUAL-USB AUDIO INTERFACE
Superior 24-bit sound quality is provided by the ten inputs and outputs of the high-quality dual-USB 2.0 interface. The two USB ports allow smooth transitions between DJs and maximum flexibility when using different setups in a single club night. In addition, the active USB hub enables the connection of additional USB devices.

FULLY DIGITAL ARCHITECTURE
The RMX-95's digital architecture transforms the DJ mixer into an individually mappable MIDI controller. As part of this, the setup menu provides a wealth of customisable options, such as EQ frequency range, Neural Mix™ EQ mode, audio interface routing, and zone routing for the booth output.

DVS-ENABLED FOR DJAY PRO AI & NEURAL MIX™
The RMX-95 works with Algoriddim djay PRO AI via plug and play. The DJ app's ground-breaking Neural Mix function lets you isolate beats, melodies, and vocals in the mix in real time. The RMX-95 supports djay PRO AI's advanced DVS integration with Mac, PC, iPhone and iPad. The DJ software is also compatible with streaming services like Tidal¹, Soundcloud¹, Beatport Link¹ or Beatsource Link¹.

CRISP CUTS AND SMOOTH BLENDING
The adjustable curve of all faders provides DJs with the creative flexibility they want while mixing. Turntablists and scratch wizzards can also upgrade the crossfader with the contactless RMX innoFADER.

INDESTRUCTIBLE DESIGN
The club mixer's sleek black metal surface is not only eye-catching but also highly durable. The solid metal housing and hard-wearing metal shafts in all of the built-in potentiometers and switches provide a long service life, even with heavy club use.

FEATURES:
• Professional 4+1-channel DJ club mixer
• DUAL 10 In/Out USB 2.0 audio interface with superb, 24-bit sound quality
• New Beat FX unit with multiple effects in studio quality: Echo, Reverb, Flanger, Phaser, Vinyl Brake, Loop Roll, Noise, Pitch Shift, Delay, Ping Pong Delay, Tape Delay, Bit Crusher,Transformer
• FX frequency control (LPF/HPF) for manipulating effects in selected frequency band
• Sound filters: Bi-polar filter unit with LPF and HPF
• Realtime resonance control for channel filters
• Active USB hub to connect USB accessories
• 3-band EQ with adjustable behaviour (classic/kill)
• Two digital displays showing real-time information of parameter changes
• Digital mixer architecture with extensive adjustment options
• Extensive setup menu, including:
• EQ frequency range (low, high)
• Neural Mix™ EQ mode
• Audio interface routing
• Booth output zone routing (matrix)
• CUE solo option
• RMX innoFADER compatible
• Adjustable linefader and crossfader curves
• MIDI-compatible control elements
• 2x High-retention USB 2.0 port, especially durable
• 2x Mic inputs with dedicated MIC ON button
• 2x Headphone outputs via 6.3/3.5 mm stereo jack with split cue
• 2x Mic inputs with dedicated MIC ON button
• Booth output in stereo or mono
• High-quality and hard-wearing, pure black metallic finish
• Sturdy construction in a metal housing with bolted metal shafts
• Kensington lock to secure the device
• Incl. manual, power cord, and USB cable

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Daniel Haaksman

Sonido Lava

17,24 €* 22,99 € -25%

Hermanas Padilla, Mariachi Azteca, Gilberto Valenzuela, Mariachi Chapala, Dueto Azteca, Mariachi Los Tecolotes, Martin Y Malena, Mariachi Zapopan, Los Dos Palomos, Mariachi Los Compadres

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Der Berliner Tropical-Bass-Pionier Daniel Haaksman ist zurück mit seinem neuen Album "Sonido Lava", spanisch für "Lava Klang". Dieser wird verkörpert durch die zehn Tracks des Longplayers und eine brodelnde, brennend-heiße Mischung aus Pan-Latin-Sounds, die von karibischen Dembow-Rhythmen über brasilianische Guitarada-Surf-Sounds, Rasteirinha-Beats aus Rio de Janeiro bis hin zu transglobalen Rumbas und Salsa-RaveBomben reichen. Das Album klingt wie einen lodernden Lavasee aus diversen Musikstilen des süd- und mittelamerikanischen Kontinents, interpretiert durch Daniel Haaksman. Mit seiner vierten Albumveröffentlichung (nach "Rambazamba" im Jahr 2010, "African Fabrics" im Jahr 2016 und "With Love From Berlin" 2019) reflektiert Daniel Haaksman auf "Sonido Lava" inhaltlich und visuell die turbulenten Zeiten, in denen wir derzeit leben – denn man kann als Künstler heute nicht einfach so tun, als würde die Welt sich nicht drastisch verändern. Das Artwork des Albums (und seiner vorherigen Singles) zeigt einen Vulkan in verschiedenen Zuständen. Sowohl Vulkane als auch Lava werden in den Künsten häufig als Symbole für Krisenzeiten verwendet und stehen für die zerstörerische Kraft von Naturkatastrophen und die Unberechenbarkeit der geologischen Aktivität der Erde. Der explosive Ausbruch eines Vulkans und der langsame, unaufhaltsame Fluss von Lava symbolisieren beide die überwältigende Kraft der Natur, die in der Lage ist, ganze Gemeinschaften auszulöschen und die Landschaft für immer zu verändern. Gleichzeitig symbolisieren die Schaffung von neuem Land und die Erneuerung der Erde durch vulkanische Aktivität auch das Potenzial für Wiedergeburt und Wachstum, das oft auf eine Krise folgt. Vulkane verbinden außerdem die Welt durch ihre Auswirkungen auf die Umwelt, die Wirtschaft, die Geologie, die Kultur und die Gesellschaft und erinnern daran, dass unser Planet und alle seine Bewohner miteinander verbunden sind. Ein Bewußtsein, daß auch in der global ausgerichteten Musik von Daniel Haaksman widerhallt. "Sonido Lava" wird angeführt von den Gesangsbeiträgen der chilenischen Künstlerin Malagüera, die auf Tracks wie "La Mujer Dormida", "Bruja", "Takekema" und "Momomotombo" singt. Weitere Gastbeiträge kommen von Çantamarta aus Andalusien in dem Song "Supervivencia". Mit Çantamarta hatte Daniel bereits 2020 im Rahmen der sehr erfolgreichen Single "Lluvia" (+1 Million Mal auf Spotify gestreamt) zusammengearbeitet. Weitere Gastkünstler sind die kolumbianischen Los Bulldozer, Meister der von Zoukous inspirierten Gitarren, mit denen Daniel bereits auf seinem Album "African Fabrics" bei Songs wie "Sabado" und "Akabongi" zusammengearbeitet hat. Und dann ist da noch der brasilianische Gitarrist Felipe Cordeiro aus Belém, bekannt für seine brasilianische Interpretation von Surf-Sounds und Musikstilen aus dem Amazonaswald. Das Album beginnt mit "Vidrio", spanisch für "Glas". Der Opener-Track fungiert dabei wie eine Linse, die einen Einblick in das vielschichtige Tonuniversum des Albums ermöglicht. Die Klänge von Flaschenhälsen, die als Flöten verwendet werden, sind eine Reminiszenz an Hermeto Pascoals Song "Musica Lagoa", in der Interpretation von Daniel Haaksman aber mit einem Diwali-Riddim-Feeling gespielt. Live-Instrumente, die nahtlos in elektronische Rhythmen und schwere Bässe übergehen, sind ein Markenzeichen des gesamten Albums. Neben den Sounds stehen bei Sonido Lava vor allem aber auch die Lyrics im Zentrum. In den Texten ihrer vier Gesangsbeiträge auf "Sonido Lava" singt Malagüera über Frauen im Zustand der Verwandlung, mit Lava und Vulkanen als wiederkehrende Symbole ihrer Metamorphose, die den Prozess der Veränderung und des Wachstums sowie die zyklische Natur von Leben, Tod und Wiedergeburt darstellen. "La Mujer Dormida" ("die schlafende Frau"), ist inspiriert von dem mexikanischen Vulkan Iztaccíhuatl, der zwischen den Bundesstaaten Mexiko und Puebla liegt. Dieser Vulkan erhielt auch den Namen "Die schlafende Frau", weil seine Form der einer auf dem Rücken liegenden Frau ähnelt. Der Liedtext von "La Mujer Dormida" basiert auf dem Gedicht "Volcán Osorno" der chilenischen Dichterin Gabriela Mistral, in dem sie den Vulkan Osorno bewundert. Im Text des Liedes spricht Malagüera, als sei sie in den Flammenberg verliebt, bewundere und verehre ihn, sei berauscht von seiner Schönheit, seiner Landschaft und seiner gewaltigen Kraft. Der Text von "Bruja" ("Hexe") handelt von einer Hexe, die ihre Seele durch Tanz und Feuer läutert und wird von Los Bulldozer aus Kolumbien an der Gitarre begleitet. Der oft negativ konnotierte Begriff der “Hexe” wird in “Bruja” positiv, emanzipatorisch umgedeutet. "Surto De Amor" mit Felipe Cordeiro ist der Soundtrack zu einer Liebeseruption (portugiesisch für "Ausbruch der Liebe") und geprägt vom charakteristischen Surfgitarren-Sound des nordostbrasilianischen Musikers, der zu einem der gefragtesten "Guitarrada"-Spieler Brasiliens geworden ist, der nordöstliche Klänge des Amazonas mit denen der Karibik verbindet. "Takekema" ist spanisch für "It's About To Burn" und der Song handelt von der feurigen Atmosphäre, die man spürt, wenn man in einem Club ist, alle tanzen, es ist sehr heiß und man hat das Gefühl, als würde gleich etwas explodieren, man könnte es auch mit dem Ausbruch eines Vulkans vergleichen. In Malagüera´s Text in “Taekekema” geht es um dieselbe Frau, die wir zuvor kennengelernt haben, aber sie ist jetzt voll leistungsfähig, genießt sich selbst und akzeptiert, wer sie ist, ohne jegliche Einschränkungen. "Magma" ist der Höhepunkt des Albums - der Name des Stücks sagt alles. Es ist der eruptivste und kraftvollste Track mit einem überraschenden Breakdown in der Mitte des Tracks, der in einen Bossa Nova-Rhythmus übergeht und bald darauf von einem rollenden, clubfreundlichen UK-Funky-Beat wieder angeheizt wird. Wenn der Marathon der Leidenschaft von “Magma” vorbei ist, wird es Zeit, sich abzukühlen, und da erklingt "Supervivencia" ft. Çantamarta aus Andalusien. Ein weiteres Lied über Leidenschaft und Liebe, aber diesmal melancholischer und tiefgründiger, mit Texten, die vom Überleben bzw dem Neuanfang einer gescheiterten Liebe in härtesten Zeiten handelt. Auf "Supervivencia" folgt "Bronces" mit mutigen Bläserkaskaden, und einem Reggae-Skank, der auf brasilianischen Rasteirinha trifft. Das Vulkanische wird mit "Danza De Fuego" ("Der Feuertanz") wieder entfacht, einem akkordeongetriebenen Stück, das den Diwali-Riddim aus dem Opener wieder aufgreift, diesmal aber mit rollenden 808-Snares und einem wiehernden Cuica-Break, inspiriert von Gal Costa´s “Relanc”. Schließlich gibt es noch "Momotombo" ft. Malagüera, der Name eines Vulkans in Nicaragua. Der Song fühlt sich eher wie ein Ritual an, angetrieben von den Drums, und er handelt von der gigantischen Naturgewalt, die dieser Vulkan verkörpert, wie er sich anhört, wenn er kurz vor dem Ausbruch steht, wie der Boden bebt und wie majestätisch er ist. Es ist das letzte Kapitel der Geschichte von “Sonido Lava”, welche die Demut vor der Schönheit und Macht der Natur zeigt.

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Music from Mexico: 50 Mariachi Hits

5LP | US | Original (Budget Sound, Inc.)

21,99 €*

Release: US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: G+

Vinyl close to VG+. Box with damage on the sides

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Audio-Technica

AT-LP70XBT

249,00 €*

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Fully Automatic Wireless Belt-Drive Turntable

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

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

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

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

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

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

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

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

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

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

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Headliner

499,90 €*

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Preorder shipping from 2024-11-22

Introducing the Headliner R4, a 4-channel analog rotary mixer designed to elevate your DJ experience. Continuing the tradition of precision, warmth, and affordability, the R4 is packed with enhanced features and top-notch components, including genuine ALPS potentiometers, ensuring an unparalleled mixing experience.

Crafted with four Line inputs, three Phono inputs, and one Mic input on four stereo channels. Each channel boasts essential features like gain control with peak LED, a 3-band isolator EQ, headphone cue selector, generous channel volume knob, and a filter activation switch, granting DJs precise control over their sound.

At the heart of the R4 lies the Master channel, equipped with an analog filter, headphone monitoring, and a comprehensive output control section.

Seamlessly toggle between High Pass / Low Pass Filter modes with Frequency and Resonance controls to shape your signature sound.

Empowering DJs with absolute control, the headphone Cue control section offers headphone volume control, headphones mix control (Cue/Master), and a split monitor switch for smooth transitions between outputs.

Featuring independent Master and Booth outputs, both equipped with volume controls and balanced XLR and unbalanced RCA connectors, the R4 ensures seamless connectivity across various sound systems. Dual LED level meters for the Master output facilitate precise monitoring and adjustment of audio levels. Additionally, the mixer boasts a dedicated Record output with unbalanced RCA jacks, and an additional microphone input with level control located on the front panel.

Sporting genuine ALPS potentiometers, a robust metal enclosure, and stained wood side panels, the R4 exudes a classic aesthetic that complements any DJ setup. Its modular internal construction and an external power supply connected via a locking Mini XLR guarantee superior audio performance.

The Headliner R4 stands as a testament to precision and warmth in the DJ realm. Whether spinning house, techno, or the timeless funk/soul/disco beats, this versatile mixer elevates your setup, ensuring your mixes stand out with exceptional quality and control.

Highlights:
• 4 Channel analog rotary DJ mixer with built-in Filter.
• Analog High Pass / Low Pass filter with frequency and resonance controls to shape your signature sound.
• Four stereo channels featuring gain control with peak LED, 3-band isolator EQs, headphone cue selector, generous channel volume knob, and a filter activation switch, granting you precise control over your sound
• Four line inputs, three phono inputs, and two mic inputs connecting a wide variety of devices including turntables, media players, and microphones.
• Independent Master and Booth outputs equipped with volume controls, balanced XLR and unbalanced RCA connectors, ensures seamless connectivity across various sound systems.

Features:
• Three stereo channels with selectable Line and Phono RCA inputs and one channel with selectable stereo Line and mono Microphone.
• Each channel features Gain control with Peak LED, 3-Band Isolator EQ, Headphones Cue selector with LED, channel volume control and filter activation switch with LED.
• Master channel features analog filter, headphone monitoring and output control section.
• Analog filter features selectable High Pass / Low Pass Filter modes with Frequency and Resonance controls.
• Genuine ALPS potentiometers.
• Headphone Cue control section features headphones volume control, headphones mix control (Cue/Master), and split monitor switch.
• High current headphone amplifier with dual 1/4” and 1/8” jacks.
• Independent Master and Booth outputs with volume controls, balanced XLR outputs and unbalanced RCA outputs.
• Additional Record output with unbalanced RCA jacks.
• Dual LED level meters for the Master output.
• Microphone input with level control on front panel.
• Sturdy metal enclosure with stained wood side panels for a classic look
• Modular internal construction for superior audio performance.
• External split rail power supply connected via locking Mini XLR connector.
• Push-button power switch on rear panel.
• Measurements: 12.6” x 12.2” x 4.2” (320 x 310 x 106 mm)
• Weight: 7.7lbs (3.5Kg)

Specifications:
Microphone Inputs
• Nominal Input Level: -50dBu
• Frequency Response: 20Hz – 20kHz (+/- 0.1dB)
• THD + N: < 0.1%
• Input Impedance: 1.2 kOhm

Line Inputs
• Nominal Input Level: -10dBV (-7.8dBu)
• Gain Range: -12dB to +12dB
• Frequency Response: 20Hz – 20kHz (+0/- 0.5dB)
• THD + N: < 0.05%
• Input Impedance: 10 kOhm

Phono Inputs
• Nominal Input Level: -40dBu (@1kHz)
• Gain Range: -12dB to +12dB
• Active RIAA equalization
• THD + N: < 0.05%
• Input Impedance: 47 kOhm
• Input capacitance: 100pF
• Single stage Phono Preamp
• Ceramic capacitors

Main Outputs
• Nominal Output Levels, balanced: +4dBu
• Maximum Output Level, balanced: +20dBu
• Nominal Output Levels, unbalanced: -10dBV (-7.8dBu)
• Maximum Output Level, unbalanced: +12dBu
• Frequency Response: 20Hz-20kHz (+0/-1.5dB)
• Residual noise: <-86dBu (Line to Master)(A-Weighted)
• Dynamic Range: > 100dB (A-Weighted)
• Crosstalk: < -65dB
• THD + N: < 0.05%

Headphone Output
• Maximum Output Level: 70mA/channel into 150Ω
• Minimum Load Impedance: 32 Ohms/channel

Power Supply
• Type: External with locking mini-XLR connector
• Input Voltage: 100-240v ~ 50/60Hz
• Output Voltage: +/-15V; 500mA

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Audio-Technica

AT-LP70XBT

249,00 €*

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Go to Item

EAH-AZ40M2

149,00 €*

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True Wireless Noise Cancelling Earphones with Multipoint Bluetooth®

Intuitive Smart Features and Elegant Design

Compact yet powerful 6mm drivers and a special acoustic structure with active noise cancellation deliver clear sound wirelessly — wherever your busy day takes you. Seamless device switching and crisp call clarity in a comfortable design – you won't miss a beat.

Elegant & All-Day Comfort Design
Built to last, with a pleasing and reassuring tactile quality for both earphones and charging case.
Low-profile design for comfort throughout the day, and balanced to stay put – even when you're on the go.

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

Signature Technics Clear Sound
Clear and detailed sound delivered wirelessly through the unique acoustic chamber, harmoniser, and compact 6mm drivers. Compatible with LDAC™ high-res wireless audio.*
*Delivered in 96 kHz/24-bit LDAC, when connected by Bluetooth® to a compatible device.

Pure Sound Clarity
Enjoy pure sound. The Feed Forward Mic captures environmental sound and Digital Processing removes noise in addition to Passive Noise cancelling with the earplug effect.

Never miss a beat.

Intuitive Smart Features

Beamforming Technology
Clear calls using Beamforming Technology to capture and transmit your voice clearly despite surrounding noise.
*Performance may be affected by external factors.

Long Battery Life
Up to 5.5 hours* playback with ANC on, 18 hours back-up with the case. Quick charge for 15 minutes will give you 60 minutes of playback.
*After a full charge, subject to playback volume and other factors.

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

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

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

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

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

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

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

Specs:
• Clear rich sound from a unique acoustic chamber, harmonizer, and 6mm drivers.
• Pure Sound from Active Noise Cancelling with a Feed Forward Mic.
• Seamless switching for up to 3 devices (e.g. PC, smartphone & tablet).
• Clear calls using Beamforming Technology to capture and transmit your voice.

Technical Data:
GENERAL
• Driver Unit (mm): 6 mm (1/4 in)
• Frequency Response: 20 Hz - 40 kHz (LDAC 96 kHz/990 kbps)
• Mic: Monaural, MEMS Mic

• Playback Time with Battery (LDAC)
Earphones:
- Approx. 3.5 hours (NC ON)
- Approx. 4.0 hours (NC OFF)
Earphones with Charging case:
- Approx. 12 hours (NC ON)
- Approx. 14 hours (NC OFF)

• Playback Time with Battery (AAC)
Earphones:
- Approx. 5.5 hours (NC ON)
- Approx. 7.0 hours (NC OFF)
Earphones with Charging case:
- Approx. 18 hours (NC ON)
- Approx. 24 hours (NC OFF)

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

• Quick Charge (15 minutes, AAC)
Earphones:
- Approx. 60 minutes (NC ON)

• Standby Time
Earphones:
- Approx. 9.5 hours (NC ON),
- Approx. 20 hours (NC OFF, Auto power off does not work)

• Dimensions (W x H x D)
Earphones *with Earpiece M size:
- Approx. 22 mm x 26 mm x 24 mm
- Approx. 7/8 inch x 1 inch x 15/16 inch
Charging case:
- Approx. 68 mm x 33 mm x 28 mm
- Approx. 2-11/16 inch x 1-5/16 inch x 1-1/8 inch

• Weight
- Earphones (one side only: L and R are the same): Approx. 5 g (0.18 oz)
- Charging case: Approx. 35 g (1.2 oz)

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

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

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EAH-AZ40M2

149,00 €*

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EAH-AZ40M2

149,00 €*

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EAH-AZ60M2

229,00 €*

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True Wireless Noise Cancelling Earphones with Multipoint Bluetooth®

From Work to Life, and Everything in Between.

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

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

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

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

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

Never miss a beat.

Superior Uninterrupted Sound & Smart Features

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Go to Item

EAH-AZ60M2

229,00 €*

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Go to Item

EAH-AZ60M2

229,00 €*

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

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EAH-AZ80

299,00 €*