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2xLP packaging features die-cut jacket and Side 4 phenakistoscope etching!

A lone pair of footsteps meanders down a street in Omaha, into the neighborhood bar and then into a near-imperceptible tangle of conversations - about wars, sleepless nights - a surrealist din pushing against the sound of ragtime. Then, as the background quiets, a line rings out clearly: "I think about how much people need - what they need right now is to feel like there's something to look forward to. We have to hold on. We have to hold on." Thus we enter the fitting, cacophonic introduction to Bright Eyes' tenth studio album and first release since 2011. Down in the Weeds, Where the World Once Was is an enormous record caught in the profound in-between of grief and clarity - one arm wrestling its demons, the other gripping the hand of love, in spite of it. The end of Bright Eyes' unofficial hiatus came naturally. Conor Oberst pitched the idea of getting the band back together during a 2017 Christmas party at Bright Eyes bandmate Nathaniel Walcott's Los Angeles home. The two huddled in the bathroom and called Mike Mogis, who was Christmas shopping at an Omaha mall. Mogis immediately said yes. There was no specific catalyst for the trio, aside from finding comfort amidst a decade of brutal change. Sure, Why now? is the question, but for a project whose friendship is at the core, it was simply Why not? The resulting Bright Eyes album came together unlike any other of its predecessors. Down in the Weeds is Bright Eyes' most collaborative, stemming from only one demo and written in stints in Omaha and in bits and pieces in Walcott's Los Angeles home. Radically altering a writing process 25 years into a project seems daunting, but Oberst said there was no trepidation: "Our history and our friendship, and my trust level with them, is so complete and deep. And I wanted it to feel as much like a three-headed monster as possible." As a title, as a thesis, Down in the Weeds, Where the World Once Was functions on a global, apocalyptic level of anxiety that looms throughout the record. But on a personal level, it speaks to rooting around in the dirt of one's memories, trying to find the preciousness that's overgrown and unrecognizable. For Oberst, coming back to Bright Eyes was a bit of that. A symbol of simpler times, vaguely nostalgic. And even though it wasn't actually possible to go back to the way things were, even though there wasn't an easy happy ending, there was a new reality left to work with. And here, there is a bleary-eyed hopefulness - earnest, emotive recommitments to love appear on "Dance and Sing" and "Just Once in the World." And throughout, Down in the Weeds features snippets of Oberst's loved ones speaking, in late-night conversations. The fleeting loveliness of intimate moments punctuates the bleakness of the record's existential crisis, crackling like lightning bugs illuminating the long night. Down in the Weeds is a distillation of a prolific, enduring canon. It's immediate and urgent, the product of its creators' growth across a decade apart, as well as the need to make a record together to find solace from loss. Through deliberate, fearless experimentation in process, the trio made the truest Bright Eyes sound: the sound of a deep bond, of a band coming home, but also a seamless continuation, like Bright Eyes never went away. It's the impossible, sprawling mess of human experience that Bright Eyes has always sought to put to tape, since the beginning - the sound of holding on. Why now? Why not?

4-panel digipak. Remastered by Kramer. Enhanced CD with access to stems. From the Spirit Phones of fall to the I Am Become Christmases of winter, the seasons change as ever and bring a new Lemon Demon release from Needlejuice Records.

The summer affords us all the opportunity to frolic in the splendor of nature. The beautiful sun, the chirping birds, and Neil Cicierega’s 2014 EP Nature Tapes. Containing such classics as Brodyquest, Two Trucks, Jaws, and Goosebumps*, this set of 8 catchy electro-pop songs showcases Neil’s signature blend of deft humor set to a memorable melody.

*Goosebumps is being retroactively added to the official track listing because Neil forgot about it in 2014.

Memes is John Meme and Paul Meme - a laptop rock duo from Glasgow, formed in February 2019.

"Nine months is what MEMES have taken to get together and release their first 7", " Blah Blah Blah ", whose vinyl will reach the buckets in less than a week through the French label Six Tonnes De Chair Records, happening everything so fast thanks also to Steve Lamacq on the BBC6, who praised the John and Paul hard work behind the eponymous single to the album, whose strategy is based on a saturated lo-fi that makes post-punk and garage go hand in hand before the strings end up taking the control in favour of the motivating rock, implanting also its lyrical message in 'Happy Shopper', which takes it to the Sleaford Mods ground while the instrumentation is approaching a Christmas dyed of BODEGA, getting noticed by the use of a megaphone with which they approach their lyrics to the people, causing the hips to not stop moving at any time, which well taken advantage of by 'Funny Man', means visiting the 70's, chanted by the 50's, generating a mosh whose limits are not yet defined."

“Hugh Masekela and Miriam Makeba’s double-bill Lesotho concert was a daring, defiant and ultimately dazzling act. For the first time since its limited release in South Africa in 1981, Matsuli Music is proud to re-issue this gem of a pan-African, funk-infused, extended audio double album with unpublished photographs and new liner notes from Atiyyah Khan.

The Christmas-weekend stadium-filled concert deeply challenged and disturbed South Africa’s apartheid regime. Makeba and Masekela were banned from entering South Africa, yet tens of thousands of their South African fans invaded Lesotho to party with their musical heroes.

Live in Lesotho documents an inspired Hugh Masekela and his stellar New York band putting a new spin on crowd favourites.

Another South African jazz gem from Matsuli Music’s growing catalogue of essential high-quality reissues. For an artist as prolific and famous as Hugh Masekela, it is a real surprise that this particular recording took so long to resurface.”

Blindbox set of Vince Guaraldi - 'A Charlie Brown Christmas'

What is a Blind Box?
A Blind Box is a Box or in this case a sleeve with a surprising content, because you don't know which song you will get. It's only one of the four mentioned songs, in any case.

- Christmas is here
- Hark, the Herald angels sing
- Linus & lucy
- Skating

The score for the classic half-hour Christmas TV special "a Charlie Brown Christmas" is a beautiful piece of festive magic. So magic in fact, that it was voted into the Grammy Hall of Fame.

Attention!
Runs only with 3" Record Player Crosley RSD3 Turntable. (HHV ID: 646800)

When hip-hop fans mention the Living Legends Crew - the 8 member collective from California that kicked open the doors for rap music that highlighted the everyday man - they often think of two members: Murs and The Grouch. While the two built a name for themselves within the crew, and as solo artists, they never collaborated on an official project with each other, until now.

The relationship between the two could be likened to college roommates who once shared living spaces together in their formative years, who went on to become successful in their own paths but remained rooted to their beginnings. After years of collaborating with other Living Legends crew members (The Grouch & Eligh, Three Melancholy Gypsies), and people outside of the crew (Atmosphere, Strange Music, Slightly Stoopid), the two decided to make a full project together - Thees Handz. They have both had success in the live space as well; Murs was the first rapper to have his own festival, Paid Dues, and The Grouch with his annual tour, How The Grouch Stole Christmas. While ruminating on who to tour with for the 12th and final year of the Grouch's Christmas Tour, a light bulb went off and The Grouch reached out to his brother, Murs. After discussing joining him on tour the two also decided to give their fans something they never knew they wanted - a joint album from Murs & The Grouch. Clocking in at 10 tracks - a reference to the title, by way of the number of fingers on two hands - the project is effective in it's succinctness. With tracks that run the gamut from braggadocious to introspective, Thees Handz will touch the listener one or another. The production is handled by The Grouch, Ant of Atmosphere, Eligh, DJ Fresh, DJ Rek, and Brady Watt. The album features Reverie, Rabbitt, Brady Watt, with scratches by DJ Abilities.

As Christmas 1969 beckoned, Jimi Hendrix, bassist Billy Cox, and drummer Buddy Miles (christened Band Of Gypsys by Hendrix) engaged in extensive rehearsals for their highly anticipated appearances at The Fillmore East in New York. To mark the occasion in his own inimitable fashion, Jimi readied this special medley of holiday favorites to celebrate both Christmas and the dawning of a new decade. This medley of “Little Drummer Boy,” “Silent Night” and “Auld Lang Syne,” along with “Three Little Bears,” a playful Electric Ladyland outtake from 1968, is now available on picture disc, featuring album artwork on one side and a photo of Jimi dressed as Santa Claus on the other.

On this collection of holiday songs, Austin chanteuse Molly Burch does Christmas with a twist. Quite an omnibus, the album features classics like "I'll Be Home for Christmas" and "Auld Lang Syne" alongside heartland hits like "Hard Candy Christmas" and "Snowqueen of Texas". "This is the most fun I've had making a record yet," Burch says. And you can hear that joy on tracks like ABBA's "Happy New Year" as well as a playful cover of Wham's "Last Christmas" with two special guests: actor / comedians John Early (Search Party, Wet Hot American Summer) and Kate Berlant (Sorry to Bother You) add a blithe intro and backing vocals throughout. Recorded by Will Paterson (RF Shannon, Jesse Woods) and Jarvis Taveniere (Woods, Martin Courtney, Purple Mountains), the album also features two beautiful originals penned by Burch to add to your holiday canon. "I hope it's a Christmas album for people who love Christmas music and people who don't love Christmas music. May these songs welcome in a fresh new year and many warm, happy nights."

Josh Rouse has recorded an album of original holiday songs, which all feel like a classic 60s jazz-influenced holiday album (think Vince Guaraldi, A Charlie Brown Christmas). This music should appeal to two audiences: Josh Rouse fans and holiday music fans. The First Edition release,on red vinyl, includes a bonus 12"featuring 3 Christmas classics performed acoustically + 3 demo versions of songs from the album.

Ultimate space-age exotica trip from Venezuela.
In the early 70s, well-known composer and arranger Chelique Sarabia (who penned the famous “Ansiedad” when he was just a kid) decided to register an album of traditional & folkloric songs from Venezuela but giving them a modern touch, using especially developed equipment (M.R.A.A.), based off of the principles of the Moog.
Chelique, helped by a team of gifted musicians, employed traditional instruments like the cuatro and the bandola llanera, filtering them through oscillators, playing with feedback, tape delay, synthesized frequencies, echoing sounds… The result was “Revolución Electrónica en Música Venezolana”, an album with a truly exotic, psychedelic, and ahead of its time sound.
Originally, the album was sponsored by the Shell Company in Venezuela, given away to customers, employees and friends of the company as a Christmas gift in 1973. It was titled “4 Fases del Cuatro - Música Venezolana desarrollada Electrónicamente por Chelique Sarabia” (“4 Phases of Four – Venezuelan Music Electronically Developed by Chelique Sarabia”). Once the exclusivity period with the petrol company was over, Chelique did a commercial release, this time under the name of “Revolución Electrónica en Música Venezolana” (“Electronic Revolution in Venezuelan Music”). Thanks to this, Chelique and his team were considered electronic music pioneers in Latin America.
“In the past five decades, there have been many attempts at modernizing the vast folkloric tradition of Venezuela, but nobody has reached the level of depth that CHELIQUE SARABIA did when he put his impeccable reputation as a composer and arranger at risk with this out-of-the-blue revolutionary musical manifesto in 1971. 47 years later, an album that remains ahead of its time.” - Alex Figueira (Fumaça Preta)

Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world?

That’s what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.

The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.

This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there.

Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge’s "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.

With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.

Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.

He says himself: “Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record”

Apalis Duo are questioning your Christmas party. You might have seen people going crazy in December and perhaps even your family was in a panic about this seasonal event. Illusions, illusions, illusions and big commercial interests.

Joseph Washington Jr.’s 1983 holiday LP puts a soulful, funky, suave ribbon on nine frosty Christmas cuts. In that season of music’s traditional descent into threadbare schmaltz, Merry Christmas to You restores joy and wonder to a blizzard of bland. Under this tree, find undiscovered classics for our cynical age: the buoyant “Jesus’ Birthday,” the hot and bothered soul of “Merry Christmas,” the ridiculously catchy wallet-opener “Shopping.” The world of records produces just a precious few yuletide keepers: Spector’s A Christmas Gift for You; Fahey’s The New Possibility; Guaraldi’s indelible Charlie Brown Christmas. Down another nog and file Joseph Washington Jr. comfortably next to those.

Random Colored Vinyl.

Daniel Miller created Mute Records to release his debut single (‘Warm Leatherette’/’T.V.O.D’), a pioneering electronic sound with a defiantly DIY attitude. Mute quickly established a reputation for releasing cutting-edge, chart-topping music and through the music of its community of artists – ranging from Fad Gadget, Moby, Can, Nick Cave and The Bad Seeds and Einstürzende Neubauten to Depeche Mode, Yazoo, Erasure, Laibach, Goldfrapp, Liars and Ben Frost – it has had an incalculable impact on popular music for four decades.

Mute: A Visual Document is packed with stunning artwork and photography – much of it previously unseen – from the Mute Archives and Daniel Miller’s personal archives, including photography and video stills from legendary photographers, conceptual artworks, rare ephemera and equipment.

Comprehensive discographies, a family tree of Mute artists, an extensive introduction and commentary by Daniel Miller, who has curated the materials for the book, plus anecdotal and photographic contributions from key figures in the label’s story, including Moby, Alison Goldfrapp, Anton Corbijn, Bleddyn Butcher, Brian Griffin, Jon Spencer, Barry Adamson, Ivan Novak, Angus Andrew, Adrian Shaughnessy, Tom Hingston, make this book the definitive chronicle of the label.

'The Book of the Year has arrived. Quite the treat … If there’s one book you need on the old Christmas list this year, make it this one'
Electronic Sound

'A beautifully crafted celebration of “the accidental label”'
Uncut

'Packed with artwork and photography – much of it previously unseen'
M magazine

'Visually stunning'
Buzz magazine

'Beautifully bound, this book is as iconic and dynamic as Mute’s musical past'
Rough Trade

'Highlights the unsung heroes – the artists, designers and photographers whose talent is often overlooked – and places them firmly in the spotlight'
Classic Pop

'Packed full of great imagery'
Sonicstate.com

About the Author:
Terry Burrows is an author, musician and producer. Best known as a cult performer under the alias Yukio Yung, Burrows has recorded with The Chrysanthemums, Asmus Tietchens and the duo Push-Button Pleasure. He is also a prolific author of more than 80 books relating to music history, tuition and technology, popular psychology and history.

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!

Having noticed that Christmas tends to be an annual event and that vinyl is suffering a resurgence, we here at Ace have put the two together and extracted 14 blues, R&B and doo wop sides from our Christmas R&B compact disc and turned them into a seasonal platter.

A mostly upbeat selection that will certainly help you and yours get through these fraught times.

Blues stars like B.B. King and Lowell Fulsom, with their ripping up-beat guitars join forces with the mellower mistletoe sounds of Hadda Brooks and Jesse Belvin.

This positive view of seasonal goodwill was probably down to the fact that all these sides were cut in Los Angeles in the warm California sun.

In 2018, Low will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker_the married couple whose heaven-and-earth harmonies have always held the band's center_have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music's most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: Double Negative, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low's career. To make Double Negative, Low reenlisted B.J. Burton, the quietly energetic and adventurous producer who has made records with James Blake, Sylvan Esso, and The Tallest Man on Earth in recent years while working as one of the go-to figures at Bon Iver's home studio, April Base. Burton recorded Low's last album, 2015's Ones and Sixes, at April Base, adding might to many of its beats and squelch and frisson beneath many of its melodies. This time, though, Sparhawk, Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds, to see what someone who is, as Sparhawk puts it, "a hip-hop guy" could truly do to their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, Wisconsin, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative cowriters, building the pieces up and breaking them down and building them again until their purpose and force felt clear. As the world outside seemed to slide deeper into instability, Low repeated this process for the better part of two years, pondering the results during tours and breaks at home. They considered not only how the fragments fit together but also how, in the United States of 2018, they functioned as statements and salves. Double Negative is, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive "Quorum." For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion. In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise. For Low, has there ever really been a difference?