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Things Fall Apart Alternate Cover Artwork Number 1

52,99 €*

Release: 1999 / CA – Reissue

Genre: Hip Hop

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Originally released in 1999, The Root's fourth studio album reissue will be a limited edition 2LP featuring 4 alternate cover variations. The album, named after the W.B. Yeats poem ‘The Second Coming,’ was art directed by the legendary Kenny Gravillis, who chose five different designs for the cover; each one is a striking image that represents moments in history when humanity was at a breaking point. Things Fall Apart is widely considered The Legendary Roots Crew most ambitious masterpiece. The album features urban legends Erykah Badu, Common, Mos Def, and more.

Things Fall Apart is the fourth studio album by The Roots, released on February 23, 1999. Widely regarded as one of the group’s masterpieces, the album helped solidify The Roots' position as one of the most important and innovative acts in hip-hop. Its title is a reference to the classic 1958 novel "Things Fall Apart" by Chinua Achebe, which explores themes of societal disruption and cultural conflict.

The album was released at a pivotal moment in hip-hop, during the late '90s “conscious rap” movement, and addresses a wide range of social, political, and personal issues, including racism, violence, love, and the commercialization of hip-hop.
The overall tone of the album is dark and introspective, with a sense of urgency as it reflects on the state of both hip-hop culture and society at large.
The title and themes suggest a world on the verge of collapse, with lyrics that critique the impact of consumerism, poverty, and systemic oppression, but also explore more intimate personal struggles.

Things Fall Apart is a sonic blend of hip-hop, jazz, neo-soul, and funk, featuring live instrumentation, complex rhythms, and eclectic samples, which set it apart from the more sample-heavy production styles of its time.
Questlove's drumming provides the backbone of the album’s live instrumentation, with a laid-back, jazzy feel, while Black Thought's rap style delivers hard-hitting, reflective, and often politically charged lyrics.
The album also features collaborations with notable artists from the Soulquarians collective, including Erykah Badu, Common, D’Angelo, Mos Def (Yasiin Bey), and Jill Scott (though Scott was replaced by Erykah Badu on the album's hit single "You Got Me").

Key Tracks and Highlights:
"Act Too (The Love of My Life)" (featuring Common) – A soulful, reflective track about hip-hop itself, discussing the culture’s origins and the artists' deep connection to it.
"The Next Movement" – One of the album’s lead singles, it features a funky, upbeat sound and showcases Black Thought’s lyrical agility, with commentary on the evolving music industry and staying true to one’s artistic vision.
"You Got Me" (featuring Erykah Badu and Eve) – This is one of The Roots’ most popular songs, blending hip-hop, neo-soul, and R&B. The song tells the story of a long-distance relationship and features soulful vocals by Badu, with Eve providing a brief rap verse.
This track earned The Roots their first Grammy Award for Best Rap Performance by a Duo or Group in 2000.
"Dynamite!" – A raw, high-energy track with Black Thought delivering rapid-fire verses over an aggressive beat.
"Adrenaline!" (featuring Beanie Sigel) – A harder, more street-oriented track, with intense lyrical deliveries from Black Thought, Malik B, and a guest verse by Beanie Sigel.
"100% Dundee" – Known for its relentless, battle-ready verses and intricate wordplay from Black Thought and Malik B.
"Double Trouble" (featuring Mos Def) – This track has Black Thought and Mos Def trading verses, showcasing lyrical dexterity in a playful, competitive way.

The album is produced mainly by Questlove and The Roots, with additional contributions from D’Angelo, James Poyser, and other members of the Soulquarians, a collective of artists who blended hip-hop, R&B, and neo-soul in the late 1990s and early 2000s.
The album’s sound is distinguished by its organic production, combining live instrumentation with layered samples and intricate drum patterns, creating a more textured and atmospheric backdrop for the group’s lyrical content.

The central themes of Things Fall Apart include the disillusionment with mainstream hip-hop, reflecting on the genre's shift toward materialism and commercialism, and broader issues like social injustice, racial tension, and urban decay.
Black Thought and Malik B delve into personal struggles with identity, success, and the pressures of staying true to one’s roots in an increasingly superficial world.
The record also meditates on the role of artists in times of social upheaval, with many tracks expressing a sense of frustration and uncertainty, yet also resolve and hope for change.

Things Fall Apart was a critical and commercial success, marking The Roots' breakthrough into mainstream consciousness while retaining their underground credibility.
It received widespread critical acclaim for its lyrical depth, innovative production, and willingness to tackle tough, socially conscious topics at a time when much of mainstream hip-hop was focused on more materialistic themes.
The album is frequently cited as one of the greatest hip-hop albums of all time, and it helped to cement The Roots' status as pioneers of the alternative rap movement, alongside artists like Common, Mos Def, and Talib Kweli.
It was nominated for multiple awards and is now considered a landmark in hip-hop and neo-soul, influencing both genres in the years to come.

Things Fall Apart became The Roots' first platinum-selling album, and the success of singles like "You Got Me" introduced the band to a broader audience.
It paved the way for their future albums, including Phrenology (2002) and The Tipping Point (2004), where they continued to experiment with their sound and push boundaries in both musicality and lyricism.
This album is considered a cultural milestone not just for The Roots, but for hip-hop as a whole, reflecting both the possibilities of the genre and the depth of artistry that The Roots have consistently brought to their work.

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Things Fall Apart Alternate Cover Artwork Number 3

50,34 €* 52,99 € -5%

Nat Birchall Unity Ensemble

Release: 1999 / CA – Reissue

Genre: Hip Hop

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Spiritual Progression

LP | 2022 | UK | Original (Ancient Archive Of Sound)

34,99 €*

Release: 2022 / UK – Original

Genre: Organic Grooves

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merch community Spiritual Progressions by Nat Birchall Unity Ensemble

Share / Embed Wishlist supported by Stephen Shade thumbnail Stephen Shade Nat's music always oozes feeling, but with this band it's gone up a notch, if that's possible. Tristan thumbnail Franklin Lewis thumbnail stevethehat thumbnail spiritnitro thumbnail Sonar loves Vinyl thumbnail mrjohn23 thumbnail maarten okkersen thumbnail Michael Schumann thumbnail Withnail thumbnail Peter Tush thumbnail vincerocker thumbnail kroket58 thumbnail nick0137 thumbnail Rich Moth thumbnail DrBob Jones thumbnail twelvestones thumbnail mikeyrhymes thumbnail Neil Hobkirk thumbnail Simon Stacey thumbnail imagitam thumbnail Vikrant Kumar Thomas Junk thumbnail F Guimaraes thumbnail notesmatter thumbnail cmac2 thumbnail Anders Bengtsson thumbnail sisterraysaid thumbnail I S thumbnail Christian Stachel thumbnail andyo57 thumbnail Tee Harris thumbnail roan thumbnail ukvibe thumbnail francka thumbnail drcharvey thumbnail marcusooo thumbnail Tenroh thumbnail John Angus thumbnail ibr thumbnail bryndaff thumbnail Gentlearwig thumbnail Simon Rinaldi thumbnail itesitesites thumbnail David Willemsen thumbnail Karl thumbnail bornunderabadsign thumbnail j_Laav thumbnail stewart kendrick thumbnail aguycalledsimon thumbnail Jason Boucher thumbnail jazzy111s thumbnail James Agar thumbnail Daniel Karrer thumbnail felegy98 thumbnail Adrian Jennings thumbnail more... Unity 00:00 / 08:47 12" black vinyl LP Record/Vinyl + Digital Album package image package image 12" black vinyl LP

Includes digital pre-order of Spiritual Progressions. You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, Flac and more), plus the complete album the moment it’s released. shipping out on or around August 26, 2022 edition of 250 45 remaining Pre-order Record/Vinyl £20 GBP or more Send as Gift Digital Album Streaming + Download Pre-order of Spiritual Progressions. You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, Flac and more), plus the complete album the moment it’s released. releases August 26, 2022 Pre-order Digital Album £6 GBP or more Send as Gift Full Digital Discography 16 releases Get all 16 nat birchall releases available on Bandcamp and save 30%.

Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Spiritual Progressions, Afro Trane, Ancient Africa, Exaltation - Live In Athens Vol. 1, Upright Living - Nat Birchall meets Al Breadwinner, Mysticism Of Sound, Tradition Disc In Dub - Nat Birchall Meets Al Breadwinner, Live In Larissa double album, and 8 more. Buy Digital Discography £69.13 GBP or more (30% Off) Send as Gift 1. Unity 08:47 2. Lokumbe 3. Nile Valley 4. Sun In the East about Following on from his recent string of exceptional all-solo albums, Mysticism of Sound, Ancient Africa and Afro Trane, Nat Birchall releases his first new studio recording, Spiritual Progressions, with his current working group, Unity Ensemble. This group consists of long time musical partner Adam Fairhall on piano, plus the bassist in Nat’s group for several years and albums, Michael Bardon, and a welcome return on drums by Paul Hession who recorded on the legendary Live In Larissa double album. Rounding out the five-piece ensemble is percussionist Lascelle Gordon, a mainstay of the London music scene for many years. Nat says he chose the name for the group because “This particular group of musicians has a very unified sound, each player has a very individual sound and concept but they all come together in this group and blend incredibly well. Making music with this band is pure joy.” The album features four tracks, all composed by Nat, which beautifully illustrate Nat’s comments. The first track, Unity, speaks for itself and the cohesion of the group sound, each instrument adding to the overall vibe with no hint of grandstanding or musical one-upmanship. Lokumbe is named for the legendary trumpeter and composer/bandleader, Hannibal Lokumbe, formerly known as Marvin Peterson, who is one of Nat’s musical heroes, keeping the flame of soulful, spiritual and far-reaching music alive for many decades and still going strong. Nile Valley is so titled because, as Nat explains “This song made me think of an ancient Egyptian Royal barge moving along the river Nile, in a slow and stately fashion.” The unhurried pace of the song and genuinely colourful sounds from all the instruments really bring this image to life in the mind of the listener.

The final track, Sun in the East, is about “new beginnings, figuratively speaking, like the sunrise in the East every morning, each day bringing a fresh opportunity to renew our resolve to progress in different ways, or even to start again from scratch. It’s never too late to make a change or to begin a journey.”

The album was recorded live in the studio in Manchester, then Nat overdubbed some percussion and other instruments, mbira, balaphon, wood flutes etc, to add some extra textures to the musical canvas. As Nat says “Music and painting have many things in common, and I tend to think in terms of musical colours and textures when composing or arranging songs. As with a painting, balance is very important when making music, and this group is the most beautifully balanced group I’ve ever had the pleasure of working with.”

Nat Birchall Unity Ensemble – Spiritual Progressions (Ancient Archive of Sound Aaos 221) 140g black vinyl LP pressed in the UK at Vinyl Factory

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Things Fall Apart Alternate Cover Artwork Number 2

50,34 €* 52,99 € -5%

Release: 1999 / CA – Reissue

Genre: Hip Hop

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Things Fall Apart Alternate Cover Artwork Number 4

50,34 €* 52,99 € -5%

Release: 1999 / CA – Reissue

Genre: Hip Hop

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Audio-Technica

AT-LP120XBT

359,00 €*

LP | 2021 | EU | Original (Ekleroshock)

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This fully manual turntable is modeled after the AT-LP120XUSB, but adds the convenience of Bluetooth® wireless connectivity to the existing analog and USB outputs.

Featuring a specially designed DC servo direct-drive motor and adjustable dynamic anti-skate control, the AT-LP120XBT-USB plays 33-1/3, 45, and 78 RPM records and outputs the high-fidelity audio to the device of your choice. Use the included RCA output cable along with the built-in selectable phono preamp to connect to your home stereo or powered speakers. Use the USB cable to connect to your computer and then download the free Mac- and PC-compatible Audacity recording software, or software of your choice, to start converting your records to digital audio files. Or use the Bluetooth wireless technology to pair the turntable with wireless speakers, headphones or other devices, including those that support the high-quality Qualcomm® aptX™ audio codec.

The turntable also features an S-shaped tonearm with adjustable tracking force and an AT-HS6 universal ½"- mount headshell with an AT-VM95E Dual Moving Magnet™ phono cartridge. Audio-Technica has been a leader in phono cartridge design for more than 50 years, and that expertise shows in the versatile, high-performance AT-VM95E. The cartridge comes with a 0.3 x 0.7 mil elliptical stylus, but is also compatible with any VM95 Series replacement stylus, offering a wide choice of options for every budget and application.

Additional professional features include a die-cast aluminum platter with felt mat; a start/stop button; selectable high-accuracy quartz-controlled pitch lock and pitch change slider control with +/-10% adjustment range; a stroboscopic platter with speed indicator; a removable plug-type stylus target light; external power supply; and a removable hinged dust cover.

High-fidelity audio with Bluetooth® wireless technology

Direct-drive, DC servo motor

Fully manual operation

Adjustable dynamic anti-skate control

Selectable 33/45/78 RPM speeds

Anti-resonance, die-cast aluminum platter with felt mat

AT-HS6 universal ½"-mount headshell and AT-VM95E Dual Moving Magnet™ phono cartridge with 0.3 x 0.7 mil elliptical stylus

AT-VM95E cartridge is compatible with any VM95 Series replacement stylus, offering a wide choice of options for every budget and application

Balanced S-shaped tonearm with hydraulically damped lift control and lockable rest

Connects wirelessly to speakers and other devices equipped with Bluetooth wireless technology, to wired audio systems and powered speakers via included dual RCA output cable, or to computers via included USB cable

Compatible with the high-quality Qualcomm® aptX™ audio codec

Built-in switchable phono preamplifier for phono- or line-level output

Stroboscopic platter with speed indicator

Variable pitch control with quartz speed lock

Removable plug-type target light for easier cueing in low light

Damped base construction for reduced low-frequency feedback coloration

AC adapter handles AC/DC conversion outside of the chassis, reducing noise in the signal chain

Convert your vinyl records to digital audio files by downloading and using the free Mac- and PC-compatible Audacity recording software (or software of your choice)

Includes: USB cable, detachable RCA output cable (dual RCA male to dual RCA male), AC adapter, 45 RPM adapter, counterweight, felt mat, and removable hinged dust cover

Turntable
Bauart 3-speed, fully manual operation
Motor DC servo motor
Antriebsart Direct drive
Geschwindigkeiten 33-1/3 RPM, 45 RPM, 78 RPM
Plattenteller Die-cast aluminum
Anlaufmoment >1.0 kgf.cm
Bremssystem Electronic brake
Gleichlaufschwankung <0.2% (WTD) @ 3 kHz (JIS)
Rauschabstand >50 dB
Output Level Pre-amp “PHONO”: 4 mV nominal at 1 kHz, 5 cm/sec
Pre-amp “LINE”: 240 mV nominal at 1 kHz, 5 cm/sec
Phono-Vorverstärkung 36 dB nominal, RIAA equalized
USB-Funktionen A/D, D/A – 16-bit/44.1 kHz or 48 kHz USB selectable; Computer interface – USB 2.0 Compliant Windows 7 or above, or MAC OS X or above
Betriebsspannung 100 to 240 V, 50/60 Hz, 1.5A Max
Power Consumption 2.75 W
Abmessungen 452.0 mm (17.80") W x 352.0 mm (13.86") D x 141.6 mm (5.57") H
Gewicht 8 kg (17.6 lbs.), without dust cover
Accessories Included AT-VM95E phono cartridge; AT-HS6 headshell; 1.9 m (6.2') USB cable; dual RCA (male) to dual RCA (male) cable with ground wire; counterweight; felt mat; dust cover; 45 RPM adapter; plug-type stylus target light
Tonearm Type Balanced S-shaped tonearm with detachable headshell
Effective Arm Length 230.5 mm
Overhang 16 mm
Tracking Error Angle Less than 3 degrees
Applicable Cartridge Weight 3.5-8.5 g
Anti-skating Range 0-4 g
Replacement Stylus AT-VMN95E
Communication System Bluetooth Version 5.0
Maximum Communication Range Line of sight - approx. 10 m (33')
Compatible Bluetooth Profile A2DP
Support Codec SBC, Qualcomm® aptX™ audio

Manual: https://www.audio-technica.com/media/wysiwyg/product/pdfs/eu/AT-LP120XBT-USB_UM_162501910_V2_EN_web_200826.pdf

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Andrea Laszlo De Simone

Uomo Donna

26,99 €*

Release: 2021 / EU – Original

Genre: Rock & Indie

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Andrea has his roots in the independent musical scene in the first decade of the 2000s. In addition to his compositional and live experience as the first Nadàr Solo drummer, he is one half of the Turin duo Anthony Laszlo with Anthony Sasso, ex guitarist and singer of Milena Lovesick. Andrea Laszlo De Simone made his debut in 2012 when he released his first homemade album, Ecce Homo. Recorded at home by makeshift means and accompanied by the following videos: Solo un uomo, 11:43, I nostri piccoli occhi, Perdutamente.

At the beginning of 2014, he met some experienced musicians from Turin’s underground scene that later, after a few months in a rehearsal room, became his band: Damir Nefat (guitar/backing vocals), Dani C (bass guitar/backing vocals), Filippo Cornaglia (drums/backing vocals), Zevi Bordovach (keyboards/backing vocals) and Anthony Sasso (keyboards/backing vocals/percussions).

Anticipated by the individual tracks Uomo Donna, Vieni a salvarmi and La guerra dei baci on June 9, 2017 - for 42Records - Uomo Donna came out. It’s Andrea Laszlo De Simone’s first real album, a well received work by both audience and critics. It also was pointed as one of the best albums of 2017 by several national music magazines.

Uomo Donna is a complex, articulate and vital album that lives in its own time - where past, present and future coexist. It’s a time in which a sonic world takes shape blending classic and modern, Italian songs with psychedelia, Battisti and Radiohead, Modugno and Verdena, the Beatles and Tame Impala, the magical flight of Claudio Rocchi and the earthly flight of Iosonouncane.

The album was self-produced and then post-produced by Andrea in collaboration with Giuseppe Lo Bue, a sound engineer from Bologna. The recordings were made between October 2014 and the end of 2016 with experimental techniques straddling digital and analogic.

After playing in some important Italian festivals as Siren Festival and TOdays -- that earned him a special mention in the live scores by Rolling Stones -- on October 28, 2017 the first Uomo Donna album tour started in the clubs of the major Italian cities.

On November 30th 2017, Andrea Laszlo De Simone presented his video, Sogno l'amore, during the Torino Film Festival as a short film, shot in Sicily and directed by Francesca Noto and Andrea Laszlo De Simone.

On March 15th 2018 the music video of Gli uomini hanno fame was released, the most political song of the album, an overlook through ferocious human emotions, an eleven and fifty minutes trip within human nature portrayed even in its most ferocious instincts. The music video was directed by Andrea Laszlo De Simone and the mysterious duo Sans. The official cycle of Uomo Donna ends on 31 December 2018 with the music video of Sparite Tutti created by the creative collective Irene&Irene.

2019 was a year of new goals for Andrea, in fact, the album Uomo Donna leaves national borders and got a special mention on social media by the famous American band The Lumineers which included Andrea Laszlo De Simone and Uomo Donna among the most interesting discoveries of the international musical underground and inserts Solo un Uomo in the Spotify playlist “Inspirations”. A few days later, Solo un Uomo was broadcasted by Kexp Radio. On November 4th Andrea and his band were chosen to open for The Lumineers’ only Italian show at Alcatraz, in Milan.

On November 8th Andrea released a brand new work, digitally and on vinyl for 42Records, Immensità, a ‘suite’ of four singles: Immensità, Conchiglie, Mistero and La Nostra Fine. Turned into a medium-length film using Immensità as the soundtrack.

Immensità was presented with four special sold out concerts in Rome, Turin, Padua and Milan. For these shows Andrea Laszlo De Simone was accompanied on stage by a mixed orchestra composed of synths, electronics, choirs, strings and woodwinds. Classic and modern instruments that are intertwined in a nine elements formation: an immersive concert, a contemporary version of chamber music.

In March 2020 Immensità was released also in France, UK, Canada, Belgium and the United States with Ekleroshock/ Hamburger Records (Roster: Benjamin Clementine, Polo & Pan, Limousine and many others). The response of the transalpine press and media, sector and not, was unexpected: major French newspapers and magazines - from Le Monde to Liberation, Vanity Fair and Les Inrockuptibles - dedicated entire pages and rave reviews to Immensità and Andrea Laszlo De Simone. The track Immensità entered, after a few days, at the fourteenth rank of Spotify’s Top viral 50 playlist and broadcasted on France Inter and Radio Nova.

“Immensità” is a complex cross media work of music and images. A project divided into four chapters (the songs) for nine tracks (each chapter has a prologue or a conclusion). A true suite, using the classic term that best describes an instrumental composition in several stages, that can be enjoyed in its entirety only by listening to vinyl or digitally in the innovative single track format, without pauses: a single symphony of 25 minutes and 6 seconds.

In September 2020, Dal giorno in cui sei nato tu was released on all italian platforms, a song dedicated to Andrea’s children, a real love letter in the form of a small speech, where he tries to give them the three keys to approaching life: fantasy, music and irony. Martino, 8 years old, replies to his father’s love letter by making the video accompanying the song, created in Super 8. It's the story of the world through the eyes of the child. It is also an homage to the new little girl in family, Lucia.

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Nancy & Lee Again Big Red Balloon Swirl Vinyl Edition

30,99 €*

Release: 1972 / US – Reissue

Genre: Rock & Indie

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* LP available on Standard Black Wax plus Special Limited Color Editions
* First ever reissue of Nancy & Leeâ€™s 1972 classic
* Includes bonus tracks â€œMachine Gun Kellyâ€ and the previously unreleased â€œThink Iâ€™m Coming Downâ€
* Newly remastered from the original analog tapes by GRAMMYÂ®-nominated engineer John Baldwin
* Vinyl pressed at RTI
* Beautifully packaged and expanded gatefold LP featuring a 20-page booklet
* Q&A with Nancy & GRAMMYÂ®-nominated reissue co-producer Hunter Lea
* Never-before-seen photos from Nancy Sinatraâ€™s personal archive
* CD housed in a digipak and featuring a 28-page booklet
* 8-track also available
* Actual LP pressing color may differ from mock-up image

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pairâ€™s most enduring and ambitious duets including the epic â€Arkansas Coal (Suite),â€ the sensual â€œParis Summerâ€ and the incredibly powerful Dolly Parton-penned â€œDown From Dover.â€ Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activistâ€™s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissueâ€™s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, â€œMachine Gun Kellyâ€ (first time on vinyl) and the previously unreleased â€œThink Iâ€™m Coming Down.â€

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancyâ€™s Bootique at *NancySinatra.com*.

Nancyâ€™s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the weekâ€™s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972â€™s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with â€œThese Boots Are Made For Walkinâ€™.â€ Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancyâ€™s solo hits. Soon, the duo found success with a series of duets, including â€œSand,â€ â€œSummer Wine,â€ and â€œSome Velvet Morningâ€ â€“ all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. â€œTrivial music and not profound music became unimportant,â€ recalls Nancy, speaking to Hunter Lea. â€œIt was a tough time.â€ And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood â€“ who reprised his role as producer â€“ chose to take a new direction with the duoâ€™s sophomore album. Nancy recalls, â€œIt was more dramatic; it was more fun to do, more challenging to doâ€¦. It was more grandiose.â€ For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presleyâ€™s TCB band, whose early â€˜70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewoodâ€™s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the albumâ€™s cinematic opener, â€œArkansas Coal (Suite).â€ Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the minerâ€™s daughter and his wife. Hazlewoodâ€™s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in â€œParis Summer,â€ which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, â€œDid You Ever,â€ which was released as the albumâ€™s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Partonâ€™s â€œDown From Dover.â€ The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Partonâ€™s 1970 version was sung from the teenagerâ€™s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the manâ€™s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is â€œCongratulations,â€ which describes a soldier coming home from Vietnam. â€œHis face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,â€ Hazlewood sings, pointedly. Nancy, who performs as the vetâ€™s wife, argues that the song had a deeper meaning for her duet partner. â€œLee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didnâ€™t talk about it, but at some point, he changed radically. â€˜Congratulationsâ€™ was almost like an apology from him. I donâ€™t want to put words in his mouth, but it was as though he was saying â€˜Iâ€™m really sorry.â€™â€

The song â€œFriendship Trainâ€ could also be interpreted as an apology of sorts â€“ this time to Nancy. â€œYou've been hurt and I've been hurt/Now we're living pain,â€ the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. â€œI felt pretty betrayed. I mean, who does that? Who just up and disappears like that? Iâ€™ll never understand it,â€ she reveals. But the uplifting duet â€“ a slice of â€˜70s pop perfection â€“ offers reaffirming words of love between friends. â€œ[Lee] felt things very deeply and tended to express his feelings in song instead of in real life,â€ explains Nancy.

The 10-track album closes with the stripped-down â€œGot It Together.â€ Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. â€œI wish that weâ€™d quit getting so old,â€ laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings â€“ this time asking his partner, â€œCan I go back to Sweden?â€ With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo â€“ but fit right in with the psychedelic pop of the era. The first one, â€œThink Iâ€™m Coming Down,â€ is a harmony-filled reflection on a toxic relationship. â€œI think that was one of [Leeâ€™s] drug things. I donâ€™t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,â€ explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is â€œMachine Gun Kelly,â€ penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed â€œMachine Gun Kellyâ€ during their residency at Las Vegasâ€™ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancyâ€™s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. â€œWe didnâ€™t have label support at all in those days,â€ recalls Nancy. â€œWithout the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. Itâ€™s a very ageist kind of business.â€ Nevertheless, she adds, â€œI think itâ€™s a very good album. I think itâ€™s timeless.â€ Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancyâ€™s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums â€“ her duets with Hazlewood among them â€“ and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when â€œThese Boots Are Made For Walkinâ€™â€ was inducted into the Grammyâ® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkinâ€™ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatraâ€™s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

Go to Item

Nancy & Lee Again Fanclub Edition pressed on Got It Together Again Gold Vinyl Edition

31,49 €* 41,99 € -25%

Release: 1972 / US – Reissue

Genre: Rock & Indie

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Go to Item

Nancy & Lee Again Nancy’s Bootique Edition pressed on Tippy Toes Teal & White Swirl Vinyl Edition

31,49 €* 41,99 € -25%

Release: 1972 / US – Reissue

Genre: Rock & Indie

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Nancy & Lee Again Black Vinyl Edition

27,99 €*

Be With 10 Years : Joyride + Labour Of Love

Release: 1972 / US – Reissue

Genre: Rock & Indie

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* LP available on Standard Black Wax plus Special Limited Color Editions * First ever reissue of Nancy & Leeâ€™s 1972 classic * Includes bonus tracks â€œMachine Gun Kellyâ€ and the previously unreleased â€œThink Iâ€™m Coming Downâ€ * Newly remastered from the original analog tapes by GRAMMYÂ®-nominated engineer John Baldwin * Vinyl pressed at RTI * Beautifully packaged and expanded gatefold LP featuring a 20-page booklet * Q&A with Nancy & GRAMMYÂ®-nominated reissue co-producer Hunter Lea * Never-before-seen photos from Nancy Sinatraâ€™s personal archive

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pairâ€™s most enduring and ambitious duets including the epic â€Arkansas Coal (Suite),â€ the sensual â€œParis Summerâ€ and the incredibly powerful Dolly Parton-penned â€œDown From Dover.â€ Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activistâ€™s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissueâ€™s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, â€œMachine Gun Kellyâ€ (first time on vinyl) and the previously unreleased â€œThink Iâ€™m Coming Down.â€

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancyâ€™s Bootique at *NancySinatra.com*.

Nancyâ€™s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the weekâ€™s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972â€™s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with â€œThese Boots Are Made For Walkinâ€™.â€ Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancyâ€™s solo hits. Soon, the duo found success with a series of duets, including â€œSand,â€ â€œSummer Wine,â€ and â€œSome Velvet Morningâ€ â€“ all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. â€œTrivial music and not profound music became unimportant,â€ recalls Nancy, speaking to Hunter Lea. â€œIt was a tough time.â€ And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood â€“ who reprised his role as producer â€“ chose to take a new direction with the duoâ€™s sophomore album. Nancy recalls, â€œIt was more dramatic; it was more fun to do, more challenging to doâ€¦. It was more grandiose.â€ For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presleyâ€™s TCB band, whose early â€˜70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewoodâ€™s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the albumâ€™s cinematic opener, â€œArkansas Coal (Suite).â€ Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the minerâ€™s daughter and his wife. Hazlewoodâ€™s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in â€œParis Summer,â€ which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, â€œDid You Ever,â€ which was released as the albumâ€™s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Partonâ€™s â€œDown From Dover.â€ The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Partonâ€™s 1970 version was sung from the teenagerâ€™s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the manâ€™s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is â€œCongratulations,â€ which describes a soldier coming home from Vietnam. â€œHis face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,â€ Hazlewood sings, pointedly. Nancy, who performs as the vetâ€™s wife, argues that the song had a deeper meaning for her duet partner. â€œLee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didnâ€™t talk about it, but at some point, he changed radically. â€˜Congratulationsâ€™ was almost like an apology from him. I donâ€™t want to put words in his mouth, but it was as though he was saying â€˜Iâ€™m really sorry.â€™â€

The song â€œFriendship Trainâ€ could also be interpreted as an apology of sorts â€“ this time to Nancy. â€œYou've been hurt and I've been hurt/Now we're living pain,â€ the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. â€œI felt pretty betrayed. I mean, who does that? Who just up and disappears like that? Iâ€™ll never understand it,â€ she reveals. But the uplifting duet â€“ a slice of â€˜70s pop perfection â€“ offers reaffirming words of love between friends. â€œ[Lee] felt things very deeply and tended to express his feelings in song instead of in real life,â€ explains Nancy.

The 10-track album closes with the stripped-down â€œGot It Together.â€ Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. â€œI wish that weâ€™d quit getting so old,â€ laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings â€“ this time asking his partner, â€œCan I go back to Sweden?â€ With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo â€“ but fit right in with the psychedelic pop of the era. The first one, â€œThink Iâ€™m Coming Down,â€ is a harmony-filled reflection on a toxic relationship. â€œI think that was one of [Leeâ€™s] drug things. I donâ€™t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,â€ explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is â€œMachine Gun Kelly,â€ penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed â€œMachine Gun Kellyâ€ during their residency at Las Vegasâ€™ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancyâ€™s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. â€œWe didnâ€™t have label support at all in those days,â€ recalls Nancy. â€œWithout the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. Itâ€™s a very ageist kind of business.â€ Nevertheless, she adds, â€œI think itâ€™s a very good album. I think itâ€™s timeless.â€ Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancyâ€™s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums â€“ her duets with Hazlewood among them â€“ and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when â€œThese Boots Are Made For Walkinâ€™â€ was inducted into the Grammyâ® Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkinâ€™ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatraâ€™s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

Go to Item

V.A.

LP | 2024 | EU | Original (Be With)

59,99 €*

2LP | 2009 | UK | Reissue (Be With)

Release: 2024 / EU – Original

Genre: Organic Grooves

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Preorder shipping from 2024-11-15

Housed together in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With logo, we proudly present the Be With 10 Years record and book package.

Record contains 10 exclusive never-before-on-vinyl tracks from 10 Be With family members. 310mm square softcover book printed on a 350gsm woodfree uncoated board. Book block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. 140gram vinyl with a 380gsm jacket. 1000 copies only for the world, no repress!

THE RECORD: JOYRIDE

10 tracks for 10 Years of Be With from 10 of our favourite artists we've ever worked with over the past decade. As a happily "all over the place" label, the music, accordingly, had to be varied in vibe and style.

We start with a gorgeous acoustic folk track from Thomas Almqvist. I first heard this when our dear friend Andre Allday - who first suggested and then facilitated the Nyanser reissue - played it during our release party for the record at the amazing Hosoi in Stockholm. As something to grab your attention from the off, it's a pretty good opener, I reckon - it'll stop you in your tracks.

We move into an almost totally "lost" Lewis Taylor track, known to and beloved by only his hardest of hardcore fans. Before now, it has only ever seen the light of day on some obscure late 90s CD of "lullabies" compiled by Joan Armatrading. Us neither!

Mic Murphy from Sass/The Mighty Soulmates/The System (!!!) allowed us to use an unreleased track from his mysterious late 90s period. He sent over 7 stunning tracks and, over breakfast one winter morning with my two sons, Rocco and Bruno, the 3 of us selected the track that made us bounce the most while chomping on our cereal.

In deep fall of 2023, myself and Steven (The Funky Paramedic™) had the great pleasure of visiting Tony Henry, leader of the legendary Manchester 80s soul-funk act 52nd Street (those who "put the dance into Factory") to speak some more about a forthcoming retrospective that's been in the works for 5 years now. Fear not - it's coming! Anyway, we went into Tony's amazing studio and he played us the track you hear, here. A demo originally meant for Phyllis Hyman (I mean, come on!), he's very kindly let us use it for this record. A thousand thank yous. It's sensational.

Side A closes out with an elegant exclusive from our favourite Japanese duo, Coastlines, a tropical jazz-funk-fusion track that only they can so effortlessly craft. Sublime.

Side B opens with another total exclusive, and the title track of this compilation. "Joyride" is like some kind of swinging, G-Funk library from the Californian master of modern cinematic soul - Maston. We love everything about this dude. Speaking of California, next up is possibly the coolest ex-pat Manc in all of the Golden State.

Kenny Dickenson's instant classic "Stupid Rain" knocked me out the first time I heard it. The way it starts as a beautifully ornate ambient piece before introducing the barest of pulses to then segue into a full slo-mo cosmic chugger just gets me every time. Man's a genius.

Our great friends from Wilco, Pat and John, comprise The Autumn Defense. Two of the nicest humans in the game and "Bluebirds Fall" is chiming folk-rock at its finest. What they do best and, beyond a tiny-run CD EP decades ago, this is the only way to own this majestic stunner.

Stimulator Jones is a Stones Throw artist who we've loved ever since the epochal "Soon Never Comes" graced our ears. We're putting out his archive beats and when I asked if he had anything fresh that hadn't yet found a home, he sent over a modern / spiritual jazz movement that just blew me away. It's here.

We round out the compilation with a staccato funk-rock track from a Prince alumnus, the one and only Andre Cymone. If this track isn't blasting from radio stations from Dublab to Gilles to NTS then there's no justice in the world.

Of course, as is our way, none of these tracks have ever appeared on vinyl before. This is the only way to own them on wax. Pretty cool. As ever, all we ever want to hear is music with soul and personality. And that's what's contained here. We think we've nailed it. We think you'll like it too.

THE BOOK: LABOUR OF LOVE

Created in conjunction with the editor and design team behind Disco Pogo, Labour Of Love is our first ever book and serves as a brilliantly rich and varied document of Be With's first 10 years. It surveys our entire catalogue with the artwork for every single release faithfully reproduced in full colour accompanied by Rob's inimitable reviews.

The book contains fresh, exclusive interviews with Ned Doheny, Leon Ware, Lewis Taylor, Tommy Guerrero, Wally Badarou, Steve Moore, Pete Fowler, Kimiko Kasai, Tony Henry (52nd Street), The Autumn Defense, Coastlines and The Mighty Soulmates.

There's also fantastic contributions from a whole host of well regarded fans of the label. We have Gilles Peterson on Ned, Trevor Jackson on Nucleus, Efficient Space on Steve Hiett and the joy of collaboration in a competitive industry, Bill Brewster on Marti Caine, Balearic Mike on Kylie and Lou Hayter on her beloved Air.

We explore the development of the Be With logo and also take an insider's look at the journey of a typical Be With record; from the mastering stage with Simon Francis, cutting it up with Cicely Balston, the artwork ordeals with Chris Stevenson, pressing matters with Record Industry, slinging product with ace distributors Word And Sound, stocking product with our favourite London record shop When Spaceships Appear and even packing records for direct orders with our very own Funky Paramedic.

There's also an irreverent look at the legendary Reissue Request Line over on Facebook, with many hints at things to come.

Beautifully designed and printed, the book is a large format (310mm square) softcover gem, printed on a 350gsm woodfree uncoated board. It's been block printed on 120gsm Dadong Lucky Bird woodfree uncoated paper. It's housed in a stunning 380gsm board slipcase with a matt laminate soft touch finish and a UV spot varnish on the beloved Be With full colour logo.

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Superstar Quamallah

Invisible Man

34,99 €*

Release: 2009 / UK – Reissue

Genre: Hip Hop

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Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time. Cut across double vinyl, it’s exceedingly limited, with just 500 pressed for the world.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this. It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.

Go to Item

CD | 2004 | EU | Original (Geffen)

The Tipping Point

10,79 €* 11,99 € -10%

Release: 2004 / EU – Original

Genre: Hip Hop

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The Tipping Point is the seventh studio album by The Roots, released on July 13, 2004. Named after Malcolm Gladwell's 2000 book "The Tipping Point", which explores how small events can create a significant change in society, the album reflects on similar themes, particularly focusing on pivotal moments in personal and social contexts. The album stands out in The Roots' discography for blending their signature live instrumentation with a more mainstream sound, while still retaining their thought-provoking lyrics and genre-blending approach.

The Tipping Point represents a more commercially oriented sound for The Roots, with a balance of socially conscious lyrics and tracks that experiment with more accessible, radio-friendly production.
The album was a response to pressures from their record label, which wanted more hits, yet it still maintained the group's focus on lyrical depth and musicality.
The album’s production incorporates a mix of live instruments, samples, and digital production, with a stronger emphasis on funk, soul, and rock influences compared to their earlier, more jazz-heavy works.

The album contains a wide range of musical styles, combining live instrumentation with soul, funk, and R&B elements, but also introduces more polished and radio-friendly production than previous albums like Phrenology or Things Fall Apart.
Despite its more polished sound, Questlove's signature drumming and The Roots' musicianship are still prominent, especially in the live instrumentation, which is a hallmark of their music.
Black Thought (Tariq Trotter) remains the lyrical centerpiece, delivering complex, socially aware verses that delve into issues like racial identity, inequality, the commercialization of hip-hop, and personal reflections on fame and success.

Key Tracks and Highlights:
"Star/Pointro" – The album opens with a meditative introduction, blending Marvin Gaye's classic "Everybody’s Gotta Learn Sometime" with Black Thought’s reflective lyrics. The song transitions into a brassy, upbeat rhythm, setting the tone for the album’s experimental approach.
"I Don't Care" – A funky, groovy track where Black Thought tackles the pressures of staying relevant and true to his roots in an industry that often prioritizes commercial success over artistry.
"Don't Say Nuthin'" – One of the album's lead singles, driven by a minimalist beat and a dark, hypnotic atmosphere. Black Thought delivers a smooth, almost detached flow, commenting on the challenges of staying silent in a world full of noise and pressure.
"Guns Are Drawn" – A politically charged track with a heavy bassline and a haunting, reflective hook. Black Thought and guest MCs explore themes of social injustice, gun violence, and the struggles faced by Black communities in America.
"Stay Cool" – Built around a playful and funky beat, this track features smooth production with a retro feel, reflecting on maintaining composure and self-awareness in the face of societal pressures and distractions.
"Web" – A standout track, with Black Thought delivering a rapid-fire, no-hook lyrical performance. It's one of the most lyrically dense songs on the album, showcasing Black Thought’s verbal agility and intricate wordplay.
"Boom!" (featuring DJ Jazzy Jeff) – A tribute to classic hip-hop, with Questlove and Black Thought taking listeners back to the days of boom-bap, reminiscent of earlier hip-hop production styles, but with a modern twist. DJ Jazzy Jeff’s scratches add an old-school flavor.

Commercialization of Hip-Hop: Many tracks, such as “Don’t Say Nuthin'” and “I Don’t Care,” reflect The Roots' critique of the way mainstream hip-hop has evolved, focusing more on materialism and less on the artistry that originally defined the genre.
Socio-Political Commentary: The album delves into various social issues, such as gun violence (“Guns Are Drawn”) and racial inequality, exploring the frustrations of systemic problems that plague society.
Personal Reflection and Artistic Integrity: Black Thought explores his role as an artist in the modern music industry, balancing the need to create commercially viable music while staying true to his roots and values. This tension is a recurring theme throughout the album.

Questlove and Richard Nichols handled the bulk of the production, while Scott Storch and Damon Bryson (aka Tuba Gooding Jr.) contributed to various tracks.
DJ Jazzy Jeff made an appearance on “Boom!”, providing turntablism that adds an old-school hip-hop feel to the track.
The production on The Tipping Point is a blend of organic and digital sounds, with live instruments meshing with sampled beats, reflecting The Roots' ability to navigate both the hip-hop underground and the mainstream.

The Tipping Point received generally positive reviews from critics, though it was sometimes viewed as less groundbreaking compared to previous works like Things Fall Apart or Phrenology.
While some critics praised the album’s production and the lyrical depth of Black Thought, others felt that the more commercial sound detracted from the experimental, genre-pushing elements that had characterized The Roots’ earlier work.
The single “Don’t Say Nuthin'” became one of the group’s more successful radio hits, though it was seen as a departure from the soulfulness and live instrumentation of their previous albums.
Commercial Performance:
The album debuted at #4 on the Billboard 200, making it one of The Roots' highest-charting albums at the time, driven by the popularity of singles like “Don’t Say Nuthin'” and “Stay Cool.”
The Tipping Point did not reach the same commercial success as some later albums, but it represented a pivotal moment where The Roots began to bridge their underground sound with broader mainstream appeal.
Legacy and Impact:
The Tipping Point marked an important transition in The Roots’ career, showcasing their ability to adapt to the changing landscape of hip-hop while still maintaining their identity as a live band.
Though not as critically acclaimed as some of their other albums, it remains an important work in The Roots' discography, as it captures a moment where the group was negotiating their place within an increasingly commercialized industry.
Following The Tipping Point, The Roots would take their music in even more experimental and socially conscious directions with albums like Game Theory (2006) and Rising Down (2008), reinforcing their reputation as hip-hop innovators with a distinct voice.
In summary, The Tipping Point is a pivotal album in The Roots' evolution, blending commercial ambition with their trademark musicality and lyricism, and showcasing their ability to balance mainstream appeal with artistic depth.

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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)

Go to Item

EAH-AZ40M2

149,00 €*

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Go to Item

EAH-AZ40M2

149,00 €*

LP | 2020 | EU | Original (Funkiwala)

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Lokkhi Terra

Cubangla

22,99 €*

Madvillain (MF DOOM & Madlib)

Release: 2020 / EU – Original

Genre: Organic Grooves

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Funkiwala Records presents Cubangla - the sixth album by London fusionistas LoKkhi TeRra. Following on from their hugely successful collaboration with UK afro-beat ambassador Dele Sosimi on 2018's "Cubafrobeat"(mixing afrobeat and Cuban Rumba/Timba), this album sees them return to their Bangla-Afro- Latin-Jazz-Roots. 8 tracks of 21st century London groove â€“ from Sufi Samba to Baul Blues to Bengali folk-Son to Bangla Roots Reggae to London Descargas - recorded in between tours, sessions and collaborations â€“ a true celebration of traditions taking on new forms as they travel and co-exist. In these divided times, their collective musical journey has never been so relevant.
Background Kishon Khan's Lokkhi Terra have been blending the musical traditions that surround them in London, for many years now. "Stunning Headliners... A majestic multi-cultural blend of sounds... effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London).

The band is composed of musicians who take seriously the different languages of the different genres they mix. Each in their own right play with calibre purist outfits. Members have collaborated with the likes of Hugh Masekela, Tony Allen, Ibrahim Ferrer, Johnny Clarke, Orlando Poleo, Africa Express, Jazz Jamaica, Ska Cubano, Giles Peterson's Havana Cultura, Kyle Eastwood, Bellowhead, Akram Khan to name a very few. The tracks on this album were gigged for a number of years before being recorded, with the exception of the last 2 tracks which were recorded in 2015 just before performing at Womad and Songlines Encounters. With Cubangla the band has come round full circle â€“ a journey that started a decade ago with their debut No Visa Required (2010). An urban London view on the musical world.
Songlines Review
"Acclaimed groovesters Lokkhi Terra continue their creative roll, returning to their Bangla-Afro-Latin-Jazz roots after a wildly successful colaboration with Afrobeat keyboardist Dele Sosimi. Featuring a who's who of London based players from, variously, Bangladesh, Brasil, Cuba, Spain and Nepal, Cubangla offers more sparkling genre crossing. Its eight tracks veer from fresh takes on traditional Bengali folk tunes to unlikely but sophisticated pairing including Baul blues, Sufi Samba and Cubangla funk. Keys player and main man Kishon Khan â€“ here on piano, Fender Rhodes, microKORG and (on root-reggae remake "Bhandari Revisited") wah-wah harmonium â€“ has written and/or arranged a clutch of tunes that respect tradition while forging new pathways. "Badaam"jumps off the Cuban standard "El Manisero" into a suhg conversatio between Cuban sonero Javier Camilo and Bangladeshi songbirds Sohini Alam and Aanon Siddiqua.
The albums title-track is a glorious descarga jam riffing on themes Cuban and Bengali, stoked by piano, percussion, trumpet and Jalal Ahmed's snaking Bansuri (flute). An upbeat variation on a legendary Sufi song, "Lal Mere" finds Alam and Siddiqua in powerful form and Khan deploying a fiery Rhodes solo. Originally performed at a Songlines Encounters festival, "Kon Kole Revisited" features the rough-hewn voice of the late Baul musician Rob Fakir, his lyrics celebrating Bengali philosopher Lalon and his attitude of religious tolerance. Deep, laced with joy and a masterly lightness of touch, Cubangla rewards repeated listening"
John Armstrong review
Despite Latin and Afro-Cuban music's longstanding popularity in the UK, there have been relatively few UK based artists who have pushed the limits of convention, adding novel elements whilst remaining (more or less) 'en clave' . Alex Wilson is one, and another is the formidably talented pianist, keyboardist, arranger and producer Kishon Khan with his band Lokkhi Terra. Kishon can play straight afrobeat, timba and Afro-Cuban descarga with the best, but his musical curiosity leads him in other directions, too- most specifically, to Bangladeshi music. To these ears, Lokkhi Terra's third (fourth?) outing, Cubangla, is their crowning glory to date. Lazy reviewers will call this a 'fusion' album: i don't know about you, but I find the term 'fusion' as meaningless as the term 'world music': all modern music is a fusion of something or other. This is Afro-Cubano-Bangladeshi music, please don't call it 'fusion'.
Khan's real arranging achievements here can be heard immediately in one of the shortest tracks, 'Bhromor' - described as a 'son cubangla'. The melancholy traditional Bangla song is subjected to the strict conventions of the Eastern Cuban son format, but nevertheless finds space and time for the strong improvisational elements in Bangla singing, a space that the singer Aneira Khan fills to perfection. The rest of the album is equally arresting, with a couple of instrumental descargas and more of that beautiful Bangla melody and vocal impro rising above the Afro-Cuban bedrock. Almost thirty musicians and singers...studios in London, Dhaka, Brooklyn..this must have been a helluva logistical feat (well done Kishon!), as well as being one of the outstanding albums of the year so far for me."
Jazzwise Review
London-based collective Lokkhi Terra have been blending sounds from around the globe since 2010. They describe their music as Bangla-Afro-Latin-Jazz, but even that doesn't do justice to the range of traditions that find their way onto Cubangla, which weaves in everything from funk grooves and Afrobeat hornlines to bluesy guitar and the music of the Bauls, a group of musician-mystics from Bengal. Lots of bands mix African and Latin sounds with jazz and it's these Indian influences that really set Lokkhi Terra apart. Among the highlights is 'Bhromor', a traditional Bengali song about the love between Radha and Krishna that drifts over lilting Cuban guitar, fluttering tabla and delicate flutes. 'Lal Mere' sets a traditional Sufi song to breezy samba percussion and 'Badaam' has an easy-going reggae feel with both Spanish and Bengali vocals. Remarkably, the blend of styles always sounds natural, never forced or cluttered, which is testament to the ingenuity of the arrangements and the standard of the playing. Flautist Finn Peters and trumpeter Graeme Flowers are on particularly good form.
John Warr Review (AfroBase)
"Tracks like Como with its Cachao phrasing, hats off to Graeme Flowers and Justin Thurgur for some stunning solos, the Spanish/Bangla tinges, not forgetting your inspiring piano work and arrangements. Love the percussion throughout and especially on Cubangla, the beautiful Banzuri flute solos from Jalal Ahmed, the joyous vocals on Kalare, and not forgetting the very radio friendly Bandari although I really want to play Como!
This album is a true high point in the work of Lokkhi Terra and its worldly mix of influences. I hope I get to see the band play this live whenever that is."

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Madvillainy Black Vinyl Edition

2LP | 2004 | US | Reissue (Stones Throw)

34,99 €*

Madvillain (MF DOOM & Madlib)

Release: 2004 / US – Reissue

Genre: Hip Hop

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Madvillainy is the debut and only studio album by Madvillain, a collaboration between legendary rapper MF DOOM (Daniel Dumile) and acclaimed producer Madlib (Otis Jackson Jr.), released on March 23, 2004 by Stones Throw Records. The album is often hailed as a masterpiece of underground hip-hop, characterized by its unconventional structure, eclectic production, and MF DOOM’s intricate, surreal lyrics.

Madvillainy was a highly anticipated project in the underground hip-hop scene, bringing together two of its most respected figures. MF DOOM, known for his complex wordplay and villainous persona, and Madlib, celebrated for his experimental and sample-heavy production, combined to create a dense, atmospheric album.
The project was recorded over several years, with Madlib working on beats while traveling and MF DOOM crafting his lyrics with a stream-of-consciousness style.
The album has a lo-fi aesthetic, featuring short, fragmented tracks, many of which do not follow traditional song structures like verses and hooks. Instead, Madvillainy is more of a collage, with some tracks acting as interludes or musical sketches.

Madlib’s production is eclectic and layered, drawing from jazz, soul, Brazilian music, obscure soundtracks, and 1970s psychedelia, creating a moody and experimental backdrop for MF DOOM’s vocals.
The album’s beats are sample-heavy, often gritty, and feature unorthodox tempos and time signatures. Madlib also uses interludes and vocal samples from obscure sources, giving the album a cinematic, almost comic book-like feel.
MF DOOM delivers his signature abstract and multi-syllabic rhymes, filled with internal rhyme schemes, pop culture references, and complex wordplay. His delivery is intentionally offbeat, which complements the nontraditional structure of the production.

Lyrically, Madvillainy is a blend of surrealism, humor, and complex storytelling. MF DOOM’s persona as the masked supervillain is ever-present, with much of the album reflecting his mischievous, sardonic view of the world.
His lyrics often appear cryptic, with layers of meaning that reward close listening. He plays with words in ways that defy conventional hip-hop norms, eschewing clear narratives in favor of dense, puzzle-like rhymes.
Themes in the album include betrayal, paranoia, and the villain’s perspective, often narrated from a detached, almost nihilistic point of view. However, DOOM’s approach is often playful, filled with irony and wit.

Key Tracks and Highlights:
"Accordion" – A minimalist, standout track where MF DOOM delivers one of his most well-known verses over a sparse accordion loop. The track captures DOOM’s style perfectly, with cryptic, tightly-packed bars and Madlib’s minimalist approach.
"Meat Grinder" – A haunting, jazz-infused beat serves as the backdrop for MF DOOM’s dense wordplay, as he raps with a stream-of-consciousness flow, dropping surreal imagery and twisted humor.
"America’s Most Blunted" (featuring Quasimoto) – A playful, weed-themed track featuring Madlib’s alter ego, Quasimoto. The track is both funky and chaotic, with vocal samples interspersed between DOOM and Quasimoto’s verses.
"Curls" – One of the shorter tracks, with a smooth, almost nostalgic beat. DOOM’s verses are filled with detailed, vivid descriptions, encapsulating his ability to turn everyday observations into poetic rhymes.
"All Caps" – Perhaps the most iconic track on the album, known for its booming beat and DOOM’s punchy, comic book-inspired verses. The title refers to MF DOOM’s alias, urging fans to spell it in all capital letters, reinforcing his larger-than-life persona.
"Rhinestone Cowboy" – The album’s closer, featuring a soulful, downtempo beat and some of DOOM’s most introspective and reflective lyrics. It’s a contemplative end to an otherwise chaotic and fragmented album.

Madvillainy is a nonlinear album, with many of the tracks flowing directly into each other without clear transitions. It’s constructed more like a sonic collage, making the album feel like a continuous, abstract narrative rather than a collection of separate songs.
The album contains numerous interludes and brief tracks, some less than a minute long, but all contributing to the overall mood and atmosphere. Tracks like "Sickfit" and "Do Not Fire!" are instrumental breaks that give Madlib’s production room to shine.

Upon release, Madvillainy was met with widespread critical acclaim. It was praised for its innovation, lyrical complexity, and cohesive production, with critics noting its departure from conventional hip-hop formulas.
It quickly became regarded as one of the most important and influential underground hip-hop albums of all time, with its influence extending beyond just hip-hop into broader experimental music.
MF DOOM’s and Madlib’s artistic approach on Madvillainy helped solidify their reputations as avant-garde artists, unafraid to push the boundaries of the genre.
The album is frequently included in lists of the greatest hip-hop albums of all time and is particularly beloved by fans of alternative and underground hip-hop. It has been noted for its lasting influence on the sound and style of future hip-hop artists, especially in the abstract, lo-fi, and experimental spaces.
Impact on MF DOOM and Madlib's Careers:
MF DOOM further cemented his legacy as one of hip-hop’s most enigmatic and talented lyricists. His use of the supervillain persona, combined with his intricate rhyming style, made him a cult figure in the genre.
Madlib also gained widespread recognition for his unique production style, which merged elements of hip-hop, jazz, and experimental music. His ability to create deeply layered and textured beats without sacrificing their lo-fi charm became a hallmark of his production style.
Madvillainy’s success paved the way for other projects in the underground scene and inspired a new wave of artists who saw hip-hop as a medium for abstract, avant-garde expression.

Madvillainy continues to be revered as a benchmark in underground hip-hop. Its influence can be heard in the work of countless artists, from Earl Sweatshirt and Tyler, The Creator to more experimental producers and MCs who were inspired by Madlib's and MF DOOM’s fearless approach to crafting an album.
The mystique surrounding MF DOOM, especially after his untimely death in 2020, only added to the album’s legendary status, with Madvillainy often considered his definitive work.
The album’s blend of complex lyricism, unorthodox production, and nontraditional structure helped redefine what could be done in the hip-hop genre, making it a timeless work of art.
In summary, Madvillainy is a landmark album in hip-hop, pushing the boundaries of both lyricism and production. Its influence is far-reaching, and its status as one of the greatest underground albums remains unchallenged. The partnership between MF DOOM and Madlib resulted in a project that is as dense, surreal, and captivating as it is groundbreaking.

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Madvillainy

Tape | 2014 | US | Original (Stones Throw)

12,99 €*

Release: 2014 / US – Original

Genre: Hip Hop

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Another Side Black Vinyl Edition

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

12,99 €*

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.

Go to Item

Cambridge Audio

Alva ST

599,00 €*

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Preorder shipping from 2024-12-06

Belt Drive Turntable with Bluetooth® aptX HD

• Bluetooth aptX HD – Switchable Hi-Res wireless streaming. Place the turntable on a flat-surface that suits you.
• Built-In Phono Stage – Switchable phono pre-amp, direct connection to amp – keep your setup simple.
• Belt Drive – With simple electronic push button speed control.
• Pre-installed Moving Magnet Cartridge – A well-regarded choice, play records in minutes.
• New Tonearm with Removable Headshell – Lightweight and strong. Tracks your records flawlessly.

Just Add Vinyl
There’s nothing quite like vinyl: the tactile pleasure of removing a record from its sleeve and carefully placing it on a deck is unique. We designed the original Alva TT to honour that tradition, and Alva ST to share that pleasure with more people.
With a pre-fitted cartridge –so you’ll be playing records in minutes – the belt-drive Alva ST also features switchable Hi-Res Bluetooth streaming and integrated phono stage.
Everyone should be able to enjoy the freedom Alva brings.

King of Convenience
Alva ST is for people who want to listen to records at exceptional quality – without the need to choose or fit extra components. Alva ST keeps it simple with perfectly matched cartridge pre-installed. Alva ST connects to pretty much any audio system too, as it has a switchable integrated phono-stage. It even works wirelessly with Bluetooth speaker systems.

Hi-Res Bluetooth
Built-in Bluetooth aptX HD liberates Alva from the rest of your hi-fi. With the freedom to place an Alva deck on any flat surface, your records take centre-stage. Music can be streamed to any compatible Bluetooth kit, including headphones, at up to 24bit/48kHz Hi-Res quality. Or, you can deactivate it and simply use phono cables – it’s your call.

Integrated Phono Stage
Alva ST has an integrated phono stage (phono pre-amp), derived from our award-winning Alva Duo – to reveal incredible detail from your records. It means you can connect Alva ST to any amp or compatible speaker system. You can deactivate the deck’s phono stage, too – ideal if your amp already has one or to keep upgrade options open.

MM Cartridge Pre-installed
After hours of listening, we selected an Audio Technica Moving Magnet cartridge to be ready fitted on Alva ST. With no fiddly set-up you’ll be playing records in minutes. The elliptical stylus provides a greater contact area with your records’ grooves, producing accurate tracking of information and, of course, great sounding music.

Belt Drive
Alva ST uses the proven belt-drive method, supplemented with electronic motor speed control. After connecting the belt for the first time, you won’t need to look under the platter again. Rotation speed selection is made by 2 neat electronic buttons on the ST’s aluminium top surface – so you can effortlessly switch between playing albums and singles.

Aluminium, Tuned
Alva ST’s platter is aluminium die-cast, finished by CNC to ensure a totally level and smooth surface. The 17mm high aluminium platter is finished with a 5mm rubber mat – a combination proven to reduce unwanted resonance.

All-New Tonearm
After hours of testing, our engineers selected a new high-mass, low-resonance tonearm for Alva TT V2 and Alva ST. By minimising resonant frequencies, and in combination with the cartridge, it helps retrieve the maximum detail from your records. A detachable die-cast aluminium headshell makes swapping cartridges easy – then fine-tuned with greater precision thanks to a new anti-skating dial.

Designed for Life
A record collection can last a lifetime, so why shouldn’t a turntable? We built Alva ST to do just that, with a 1mm aluminium top plate, and a layer of EVA to absorb vibration sitting on top of MDF. It’s cradled in a composite chassis and weighs 9kg. Reassuring solid, and with great sound absorption qualities too.

Timeless Style, from London
Finished with a lunar-grey aluminium top plate and matt black plinth, tapering to our trademark floating wedge base, Alva ST shares our minimalist house style. It’s the perfect match for our best-selling Evo and CX Series hi-fi separates. Designed and engineered in London with the emphasis on classic timeless style.

Dust Never Sleeps
Keep your new Alva turntable’s finely balanced tonearm and aluminium top-plate pristine when you’ve finished spinning discs for the day, with the hinged dust-cover. It’s easy to raise, lower, remove and re-attach – the choice is yours.

Technical specifications:
• TYPE: Belt Drive
• TURNTABLE SPEEDS: 33.3, 45rpm
• WOW & FLUTTER: <0.12%
• TURNTABLE PLATTER: Die Cast Aluminium
• PLATTER DIAMETER: 305mm
• PLATTER WEIGHT: 645.3g (930.5g inc. rubber mat)
• AUDIO OUT: RCA Phono/Line Level (Switchable)
• BLUETOOTH: SBC/aptX/aptX HD
• POWER SUPPLY: AC 100-240V, 60/50Hz
• POWER CONSUMPTION: 6W
• MAX POWER CONSUMPTION: 20W
• STANDBY POWER CONSUMPTION: <0.3W
• DIMENSIONS (W X H X D): 435 x 139 x 366.7mm
• WEIGHT: 9kg
• PHONO STAGE GAIN @1KHZ: 42dB
• PHONO STAGE NOMINAL OUTPUT: 250Vrms
• PHONO STAGE INPUT NOISE (A-WEIGHTED): 0.1u Vrms
• PHONO STAGE RIAA CURVE ACCURACY: *+/- 0.3dB 30Hz-20kHz
• PHONO STAGE SIGNAL/NOISE RATIO: >90dB
• PHONO STAGE THD+N 1KHZ: 0.0025%
• PHONO STAGE INPUT IMPEDANCE: 47Ω
• PHONO STAGE INPUT CAPACITANCE: 100pF
• TONEARM TYPE: Static Balanced Tonearm w/ detachable Headshell
• TONEARM EFFECTIVE LENGTH: 221.5mm
• TONEARM OVERHANG: 19mm
• TONEARM EFFECTIVE MASS: 19.6g
• TONEARM COMPATIBLE CARTRIDGE WEIGHTS: 4.5-12g
• CARTRIDGE: Moving Magnet
• CARTRIDGE FREQUENCY RESPONSE: +/- 0.5dB 30Hz-20kHz
• CARTRIDGE STYLUS: Elliptical
• CARTRIDGE CANTILEVER: Alloy Tube
• CARTRIDGE OUTPUT LEVEL: 1.8~3.6mV @1kHz
• CARTRIDGE TRACKING FORCE: 2g
• CARTRIDGE RECOMMENDED LOAD: 47Ω

Manual: https://manuals.cambridgeaudio.com/en/alva-st

Go to Item

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

Another Side

8,99 €*

Empty Country II Pink Vinyl Edition

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.

Go to Item

Empty Country

2LP | 2023 | UK | Original (Tough Love)

31,99 €*

LP | 2022 | CA | Original (Telephone Explosion)

Release: 2023 / UK – Original

Genre: Rock & Indie

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As the front person of celebrated indie band Cymbals Eat Guitars, guitarist and singer Joseph D’Agostino spent over a decade setting autobiographical, emotionally vivid lyrics against a backdrop of soaring and compositionally ambitious rock. After four critically acclaimed LPs that solidified D’Agostino’s reputation as a gifted songwriter, he chose to break from his long-term band and debut a new project: Empty Country. On 2020’s self-titled debut, D’Agostino’s storytelling lens shifted away from personal narrative and toward fiction; psychopaths, apparitions and deplorables populated a bleak and uncanny parallel version of American dystopia. Empty Country’s sprawling and sonically adventurous arrangements—filled out by collaborating musicians including Rachel and Zoë Browne (Field Mouse), Kyle Gillbride (Swearin’), Zena Kay (Angel Olsen), and former CEG drummer Charlotte Anne Dole—ranged from luminous jangle-pop to scorching emo-punk to narcotized Americana. Though the pandemic curtailed planned touring, a seven-piece iteration of the band played one packed Brooklyn show in May 2022, supported by Charles Bissell (The Wrens) and Field Mouse; Empty Country also backed Bissell on several classics from The Meadowlands. “It was a wonderful return to live music for all of us,” says D’Agostino. “So many folks reached out to me and told me how Empty Country offered them comfort during those first several months of being stuck inside. I’m happy that it came out and connected with some people and that I was able to establish this universe I could continue to build on.”

Empty Country II, the project’s second full-length, is a thrilling expansion of that world. D’Agostino pushed himself to new places as a songwriter, crafting a collection of short stories set to music that grapple with the biggest questions now hanging over America—gun violence, the addiction epidemic, and generational hopelessness among them. In 2020, he’d moved from Philadelphia to small-town New England to be closer to family, and his new locale, coupled with the dread of lockdown, inspired him to return to the haunted world from the first LP. “It’s pretty jarring to leave a city—where you can safely assume you’re aligned with your neighbors on many political and social issues—for somewhere more rural and conservative,” says D’Agostino, noting the Trump flags and Blue Lives Matter hood wraps that dot his new dirt road residence. Across the new album’s nine tracks, D’Agostino introduces us to a bevy of characters: three generations of West Virginia clairvoyants, crushed by the weight of their secret knowledge; a group of drag queens and misfits in early ‘80s New York City; a pill mill doctor’s daughter who dabbles in necromancy; a convicted killer; a bullied kid injured and alone in the forest as night falls. Through the stories of these characters, Empty Country II delivers an engaging and deeply moving rumination on time, family, and the disintegration of America.

Despite the stoicism of its storytelling, Empty Country II cuts the darkness with beauty, humor, and an earnest belief in the transcendent power of rock music. It was recorded over two weeks at Fidelitorium, the renowned studio in Kernersville, NC, belonging to R.E.M. producer Mitch Easter. Legendary recording engineer John Agnello, whose previous collaborations with Cymbals Eat Guitars resulted in their 2014 high-water mark, Lose, brought his trademark clarity and nuance to the process, helping Empty Country II crackle with a vital energy that imbues these stories with genuine lifeforce. Dole returned on drums for the record, her virtuosic performances lending raw power and immediacy; her twin brother Patrick joined on bass, his decades of experience uplifting the songs with subtle melodicism and formidable technicality. The group's chemistry and deep personal history are palpable, allowing them to approach the record’s complex story with subtlety and dynamism. “Mitch has collected an astounding array of weird mics, amplifiers, and oddball orchestral instruments: organs, Buddhist temple bells, bar chimes, tubular bells,” enthuses D’Agostino about the studio. “FLA,” a gripping portrait of a queer tour boat pilot in the Florida Keys pining for their absent lover, was arranged from the ground so the group could incorporate Easter’s timpani. D’Agostino considers it a high point of his lengthy discography and lauds that song’s harmonica solo as “my favorite 30 seconds of music that I’ve ever been a part of.”

Empty Country II also features some of D’Agostino’s most danceable songs—like “David,” a tribute to D’Agostino’s late friend David Berman. Featuring a lyrical tapestry of Silver Jews references and surreally beautiful images, head-nodding Philly soul grooves collapse into cosmic freeform jazz-inspired sections, ornamented with inventive hand percussion, marimba flourishes, and toe-tapping piano chords. “Recite a poem as the day vibrates,” D’Agostino sings. “I finally wrote this song for you / But I don’t know who I’d show it to.” It’s a paraphrase of W.S. Merwin’s famed short poem “Elegy”, written after the passing of his own mentor, John Berryman. On “Bootsie,” a runaway girl from West Virginia explores the crumbling, glorious 1980s New York City of Paris is Burning, finding community in a scene of drag queens who offer her a new way of thinking about what makes America—and rock music—great. Based on his own mother’s experiences at the height of the Aids epidemic, the song has deep personal meaning to D’Agostino. “The men you thought were brave / are arrogant and depraved,” he sings against the damaged disco beats of the Dole siblings’ rhythm section. Inverting the chorus of the Talking Heads’ “Heaven,” the lyrics of “Bootsie” celebrate the underdogs and misfits: “Hell is the place where everything happens / The band’s playing all the songs ever written at once / Shape the chaos, make your little story / Baby, this life’s perfect purgatory.”

Though Empty Country II is a record about the forces that drive Americans apart, it’s also imbued with empathic love and an understanding of what binds people to family and country—in spite of the darknesses we encounter. The concept of a Great American Rock Album might scan as outdated in 2023, but with this sprawling and uncompromising epic, D’Agostino and Empty Country shatter ambivalence and confront the horrors with a community-minded sense of cautious optimism. “We may be staring into an abyss,” says D’Agostino. “But we’re all staring together.”

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Ingredient

33,99 €*

Release: 2022 / CA – Original

Genre: Pop

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Ingredient is the elegant collaboration of Toronto poets, composers, producers and dear friends Ian Daniel Kehoe and Luka Kuplowsky. Their self-titled release is an enigmatic electronic avant-pop record attuned to the micro and macro perspectives of the natural world. Ingredient is an album whose lyrics are more poem than lyric, and whose songs exist in a merger of house music, philosophically-minded lyricism and contemporary R&B. One might recall electronic and art-pop luminaries such as Yukihiro Takahashi, The Blue Nile, and Arthur Russell, or connect it to contemporaries like Nite Jewel, Westerman and Blood Orange. A distinct world of dance, of questions, of secrecy and ultimate softness.

Eight years of friendship forges strange telepathy.

In the summer of 2020, Ian Daniel Kehoe was entrenched in a new feeling of heaviness; psychosomatic symptoms had started to proliferate; stress made new pores across the body, bending sensitivity into pain. His days were met with confusion, detachment, sleeplessness and pain without causation. Disfigured, he felt that what had been central and centering was blown out to the periphery of things. In a moment of self-preservation he reached out to his dear friend Luka Kuplowsky to make an album together. For Kehoe, it was an instinctual grasp for the anchoring truthfulness of deep friendship and the potential for a dedicated creative collaboration. Kuplowsky’s presence was light, supportful and curious, eager to explore musically the sounds they were mutually drawn to: house music, ambient pop, dub. The duality between Kuplowsky and Kehoe – between the Aflight and the Unmoored – is a portrait of a friendship whose exchanges came easy and produced an outpouring of song. Creation and therapy crisscross. In email correspondence that catalogs their process of collaboration, affection abounds: “feels bare without the Luka Licks”, or “Love you so much”, or “Kinda just overwhelmed with deadliness coming in at all angles.” When their voices first come in together on “Wolf,” that harmony arrives in a dramatic avant-pop sound that is bold and wondrous.

Kuplowsky and Kehoe both arrive at Ingredient as established artists whose works are committed to language’s propensity to provoke and mystify. Kuplowsky’s 2020 album Stardust is an idiosyncratic and otherworldly blend of pop and jazz romanticism grounded by Cohen-esque vocals and a stirring philosophical curiosity. Kehoe’s entrance into the new decade has hatched four records of pop experimentation, most recently 2022’s Yes Very So, a euphoric and bold album of poetic synth-pop and meditative ambient instrumentals. Kuplowsky and Kehoe’s union as Ingredient is a beautiful and unusual chemistry that integrates their distinct approaches while bringing forth a newness: a sound that alternates between cinematic technicolor and dubbed out fogginess; a lyricism that exchanges their lucid and clear poetics for a playful and obtuse verse. The album intuitively taps into the opposing emotional states of Kuplowsky and Kehoe during the conception of the record, contrasting the buoyancy of trumpeting keyboards (“Resurface”), angelic synthesized voices (“Come”), and rolling bass (“Photo”) with the record’s underlying darkness of whirring buzzsaw textures (“Transmission”), whooping sirens (“Wolf”) and murky ambience (“Illumination”). Lyrically, this duality arises in the record’s flux between openness (“Variation”, “Raindrop”) and existential dread (“Wolf”). “Illumination” most clearly crystalizes this opposition, reconciling the verses’ neurotic yearning for enlightenment with the chorus’ liberating doctrine of negation: “no more devotion… no more delusion”. Amidst the gradations of light and dark, Kuplowsky and Kehoe trade indelible, lush melodies as though their voices are made of a substance that melts easily one into the other. The harmony of poetry, sound, and texture cuts through your brain fog like a wet diamond.

Ingredient’s self-titled record was assembled by Kuplowsky and Kehoe over the course of six months in a home studio they frequented daily. Amidst synthesizers and drum machines they composed, re-composed, and workshopped a wide array of music, ultimately focusing on a set of eight songs that lived in a shared musical and philosophical world. Recording days often ended in basketball games at a local court or a rooftop commune over a pot of tulsi tea and a crossword puzzle. Kuplowsky brought in the Blue Cliff Record – the classic anthology of Chan Buddhism – whose inscrutable and sublime insights remained constant throughout the recording process as an activator of reorientation and reflection. While Kehoe was frequently rendered physically immobile by bouts of anxiety, a patience and mutual caring governed the pace of their creation; rest, stretching and meditation became equally important as the act of arrangement. Invited into their intimate circle of composition was Thom Gill, whose heavenly voice uplifts “Variation” and “Raindrop,” and Karen Ng, whose alto sax simmers and dances around the funky strut of “Raindrop.”

The lyrics on Ingredient reflect the persistence of change, the infinite variability of nature where randomness and divergence are no accidents. In Daoism, duality, in the form of Yin and Yang, is not contradictory as it is in Western idealist philosophy, but rather composes the eternal and lived paradox of our changeless-changing universe: changeless because all is change, and changing because the dynamism of the Dao makes each moment transformational. Kuplowsky and Kehoe refract this way of seeing the world, as in Variation: “Variation in the natural world / there it is.” Ingredient is an experience of the manifold ways of saying there it is of the transformational world, and there it is, unfolding. Elsewhere, change and ephemerality is addressed through the record’s preoccupation with non-human perspectives, reorienting the listener to the wolf, the mouse, the emerald frog, the centipede, the bird, the fly in the lamp. The album cover visualizes this fascination with the striking image of a reddish-orange frog atop a defamiliarized landscape of dark green leaves. Mirroring the exploratory process of the record’s collaboration, the frog also signals the amphibian’s natural inclination to leap into boundless potential. Kuplowsky and Kehoe’s lyrics manifest philosopher and ecologist Timothy Morton’s concept of “the mesh,” drawing attention to the “vast, entangled web” of interconnectedness that connects all life forms and interweaving the songwriters’ shared wonder into the Animal’s unknowability. As Luka narrates in the breakdown of the dance-floor ready “Photo,” “the closer we observe things, the further they retreat into abstraction.” In Ingredient’s ecosystem, perception is a reversible fractal where the world’s minutest details mirror the shape of the cosmos.

According to the Dao, the path to healing starts by reorienting perception away from the self and toward the self’s subsumption in Totality. For Kehoe, collaborating with Kuplowsky became the reorientation necessary for the self-preservation he was seeking, opening up a shared creative practice to navigate and soften the complexity of his psychological shattering. The album begins with Kuplowsky intoning “colossal faith” which bounces around the stereo field in a cloud of echo, and it is the enormity of “faith” that centers both Kuplowsky and Kehoe’s collaboration and their inquisitiveness in the vast mysteries of our very being. Truth in Ingredient is not an essential nugget, but a bending of the light – it is the equivocal entanglement of how we are in nature as nature, but with a plea or prayer under our breath that marks our felt distance from what we are a part of: “carry me towards the mountains of my birth / returning to the nest / the silence of the earth.”

Go to Item

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.

Go to Item

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

Another Side

21,99 €*

Release: 2021 / US – Original

Genre: Organic Grooves

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Go to Item

EAH-AZ80

299,00 €*

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True Wireless Noise Cancelling Earphones with Multipoint Bluetooth®

Crystal Clear Sound. Now Wireless.

AZ80's large 10mm drivers, special acoustic structure and category-leading noise cancellation give you exceptional Technics sound – wherever your day takes you. With beautifully crafted comfortable design, seamless device switching and crystal-clear call clarity – you won't miss a beat.

Signature Technics Clear Sound
Experience detailed Technics hi-fi sound with powerful bass. An enhanced low-distortion bass response is achieved with large 10mm free-edge aluminium alloy diaphragms.*

Natural Concha Fit
Low-profile design with natural concha fit – to stay comfortable and in-place throughout even your most active days. AZ80 earbuds are carefully shaped to fit the concha groove just above the ear opening – for a comfortable and secure fit.

Multipoint Connection to 3 Devices
Seamless switching for up to 3 devices* (e.g. PC, smartphone & tablet).
*No LDAC playback with 3 devices.

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.

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.

Premium Look and Feel
Sleek aluminium trim, with engraved Technics logos, for a reassuringly crafted and tactile experience.

100% Plastic-Free Packaging
New plastic-free packaging. The plant-based bioplastic DURABIO™ is used in the earphones and charging case.

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:
• Enhanced low-distortion bass response with is achieved with the large 10mm free-edge aluminium alloy diaphragm structure.
• Featuring an acoustic control chamber for natural mid-range with powerful bass. Plus a harmoniser for low-distortion expansive sound.
• 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): 10 mm (3/8 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. 22 mm x 27 mm x 24 mm
- Approx. 7/8 inch x 1-1/16 inch x 15/16 inch
Charging case
- Approx. 69 mm x 36 mm x 29 mm
- Approx. 2-11/16 inch x 1-7/16 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. 50 g (1.8 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-A800

299,00 €*

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Wireless Headphones with Noise Cancelling and Microphone

A Heritage of Excellence. Indulge in Superior Sound.

Backed by Technics’ legendary sound quality, EAH-A800 headphones feature superior audio, exceptional over-the-ear comfort, and sparkling call clarity for home, work, and travel. Unleash a true high-fidelity sound experience in comfortable headphones.

Hear Every Detail
A clear, immersive sound experience with a sense of range and depth. The PEEK/Polyurethane 3-Layer Diaphragm 40mm driver lets you lose yourself in smooth, detailed highlights and bass.　LDAC™ high resolution wireless audio* for uncompromised sound quality.
*Delivered in 96 kHz/24 bit LDAC when connected by Bluetooth®.

Speak with Clarity
With 8 distinct mics and advanced wind noise reduction, EAH-A800 transmits your voice clearly on each call; 4 Mic Beamforming and Noise Suppression* Technology isolates and amplifies words while minimizing surrounding noise.
*Varying environmental conditions may affect performance.

Immerse Yourself in Sound
With industry-leading* noise cancelling, EAH-A800 combines Dual Hybrid feedforward & feedback noise cancelling with analog & digital processing for immersive listening.
*As of Oct 31, 2021, According to research by Panasonic Corporation, measured using JEITA-compliant guidelines in the over-ear style noise cancelling headphones market.

Comfort Fit for Your Every Move
Designed to fit comfortably over your ear with cushioned, super-soft earpads that evenly distribute pressure for a stable fit, with a headband that reduces pressure across your entire head.

Control the Sound Around You

Transparent Mode
Transparent mode comprehensively captures voices and other surrounding sounds, leading to a more natural sound similar to not wearing headphones at all. Captures wide range of sound from low to high frequencies.

Attention Mode
Attention mode reduces unwanted external noise to make it easier to hear people‘s voices. It’s perfect when you need to hear airport announcements, etc.

Personalized Your Sound for All-Day Wear

Technics Audio Connect App*
New Technics Audio Connect app* makes pairing easy, helps tailor noise cancelling and sound mode settings to your exact specifications.
*Compatible with smartphones and tablets that are equipped with Android™ 6.0 or higher and that support Google Play, or an iPhone®, iPad® and iPod Touch® equipped with iOS 12 or higher.

Industry-Leading* Long Battery Life
Get up to 50 hours on a single charge with ANC on, with quick charge of 15 minutes for 10 hours of playback; Wearing Sensor for auto shut-off; folds easily to place in compact carrying case.
*As of Oct 31, 2021, According to research by Panasonic Corporation, based on published playback time (AAC, NC ON) in the over-ear style noise cancelling headphones market.

Seamless Device Switching with Multipoint Pairing

Automatic switching of devices
Multipoint pairing allows you to be connected to two Bluetooth® devices at the same time. With the latest firmware update, LDAC connections are also enabled for Multipoint pairing*.
*Requires the latest version of the Technics Audio Connect App.

Simultaneous pairing with PC and smartphone
If you receive a call on your smartphone while watching a video on your PC*, you can start speaking without having to manually switch between your smartphone and PC.
*Depending on the video playback software, the seamless switch may not activate.

Simultaneous pairing with two smartphones or tablets
When a call on your smartphone ends, you do not have to manually switch back to the other device used for music or video playback.

Convenient Functions

Multi-pairing
Multi-pairing is compatible with the latest version of Bluetooth® technology (Ver. 5.2) and can be used with up to 10 devices.

Wearing Playback Sensor
When the headphones are removed from your head, music stops. When they are put back on your head within 60 seconds, music resumes. Comfortable, seamless operation.

Voice Assistants
You can launch smartphone voice function to select music, adjust the volume, and make phone calls, with your voice.

8 High-performance MEMS microphones

Specs:
• A clear, immersive sound experience with a sense of range and depth. The PEEK/ Polyurethane 3-Layer Diaphragm 40mm driver lets you lose yourself in smooth, detailed highlights and bass.
• With 8 mics and wind noise reduction, EAH-A800 offers superior call quality provided by 4 Mic Beamforming and Noise Suppression Technology to clearly convey your voice to listener.
• EAH-A800 combines Dual Hybrid feedforward & feedback noise cancelling with analog & digital processing for immersive listening.
• Designed to fit comfortably over your ear with cushioned, super-soft earpads that evenly distribute pressure for a stable fit, with a headband that reduces pressure across your entire head.

Technical Data:
GENERAL
• Driver Unit (mm): 40 mm (1-9/16 in)
• Impedance: 34Ω
• Sensitivity: 105 dB/mW @1kHz
• Frequency Response (Power ON): 4 Hz -40k Hz
• Mic: Monaural, MEMS Mic
• Playback Time with Battery (LDAC):
- Approx. 40 hours (NC ON)
- Approx. 50 hours (NC OFF)
• Playback Time with Battery (AAC):
- Approx. 50 hours (NC ON)
- Approx. 60 hours (NC OFF)
• Charging Time (25°C/ 77°F): Approx. 3.0 hours (Using the power source 1200 mA or higher)
• Quick Charge (15 minutes, AAC): 10 hours (NC ON)
• Standby Time:
- Approx. 60 hours (NC ON),
- Approx. 120 hours (NC OFF)
*Auto power off : OFF
• Dimensions (W x H x D):
- Approx. 170 mm x 196 mm x 85 mm
- Approx. 6-11/16 inch x 7-11/16 inch x 3-3/8 inch
• Weight: Approx. 298 g (10.5 oz)
• Supplied Accessory:
- USB charging cord: Approx. 0.5 m (1.6 ft) (Input Plug : USB Type-A Shape, Output Plug : USB Type-C Shape)
- Detachable cord: Approx. 1 m (3.3 ft)

Advanced Function
• Bluetooth® Wireless Technology:
- Version: 5.2
- Supported Profiles: A2DP, AVRCP, HSP, HFP
- Codec: SBC, AAC, LDAC
- Operating Distance: Up to 10 m (33 ft)
• Dual Hybrid Noise Cancelling: Yes
• Bluetooth® Multipoint Pairing: Yes

Go to Item

EAH-A800

299,00 €*

CD | 2024 | EU | Original (We Release Jazz)

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Go to Item

Mo Kolours

Original Flow

18,04 €* 18,99 € -5%

2LP | 2024 | EU | Original (We Release Jazz)

Release: 2024 / EU – Original

Genre: Organic Grooves

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We Release JAZZ is very happy to announce an exciting new body of work by Joseph Deenmamode aka Mo Kolours. The singular musical spirit’s new 21-track album Original Flow is available as a double LP housed in a heavy 350gsm sleeve with original artwork by Mo Kolours himself and the classic WRJ obi strip, as well as in digipack CD and digital formats.

A catalog of critically acclaimed records, including his self-titled debut (2014), ‘Texture Like Like Sun’ (2015), 2018 album ‘Inner Symbols’ and three companion EPs, established Deenmamode as a prodigious musician and vocalist. Pitchfork extolled his “hypnotic, tribal-infused dance grooves”, DJ Mag appreciated the “colourful celebration of soundsystem culture”, and Resident Advisor advocated that “no one sounds quite like Mo Kolours”. Musical analogies were drawn by The Guardian as “The best album Curtis Mayfield never made with A Tribe Called Quest and Lee Perry” and Mojo as “like Marvin Gaye produced by J Dilla”.

Five years ago, Deenmamode moved to the Japanese countryside. Far away from familiarity, he contemplated his place and further questioned his identity. “I had none of my ‘own’ people around. I had time to really find what makes me tick musically. Japan has helped me go back to those subconscious leanings, really go deep, and reflect the aspects that make up my story”.

The tracks on ‘Original Flow’ have been constructed from sessions, improvisations and soundbites captured around the world during this time; collecting contributions from musicians including Deenamode’s brothers Reginald Omas Mamode and Jeen Bassa plus Andrew Ashong, Charles Bullen, Dwaye Kilvington, Eddie Hick, Stefan Asanovic, Myele Manzanza, Ross Hughes, and Tom Dreissler. Deenamode says “I’m proud of this album’s creative process. Coming from a tradition of scouring through hours of records, I wanted to create my own samples, to find that perfect loop that no other producer could put their hands on. I decided to invite a group of friends and acquaintances, who also happen to be incredible musicians, to a studio in Crystal Palace to improvise based on some loose ideas I had. We spent all day, and recorded everything”.

‘Original Flow’ is an album of UK street-soul nouveau, future indigenous jazz fusion, Rasta Segga, Nyahbinghi jazz, Malagasy Hebrew hip hop. While retaining a spirit of exploration and improvisation, it sees Deenmamode grow and flex beyond beat tape brevity, expanding composition and stretching his musical muscle to play live with other musicians. Themes of empowerment, overcoming adversity, and mental liberation coexist with notes from ancient history, futurism, and science, as well as musings on family and togetherness.

‘Magik Momentum’ springs from a discussion that features at the start of the song, an inspiring mentor answering a question from Deenmamode about improvisation and what role it plays in life when planning and manifesting the future. ‘Rockets to Mars’ questions the lack of care for the billions of people with nothing, while governments plan to explore space. “This sparked a comparison in my mind to a Sonny Okuson song that I would reference when performing. Okuson’s song talked of the lack of resources in many communities in the world, while governments go to the moon”.

He says the music behind ‘The News These Days’ is “possibly my favourite on the album”. Looped like he would a late sixty jazz-fusion sample, there was nothing added and the track was complete within a matter of minutes. “It was the first and best moment from the entire Crystal Palace session”, he adds. The album’s contrasting title track with minimal instrumentation played solo by Deenamode. While frustratingly searching for gems in past recordings, he thought in a burst of ego, “I don’t need no-one else to make a dope beat!” picked up his ravanne, (the traditional frame drum of his fathers home-land of Mauritius), pressed record, and started to play. He says, “In my thoughts were the rhythms of the Nubians in Upper-Egypt and Sudan, the swing of the huge drums played by Mauritanian women, of-course the Sega beat of Mauritius, and the ever inspiring beat of James Yancey”.

Driven by UK broken beat, Cuban congas, Nigerian and Mauritian inflections, ‘Love Vibration’ follows the concept that all emotions carry a vibratory frequency and pays homage to the frequency of creation and the power of love. The two part ‘Tatamaka’ tells of the history of Deenmamode’s ancestors, the maroons of Mauritius. “We are people who managed to run from our oppressors and find refuge in a corner of the island called ‘Le Morne’ where they could not reach us. One bloody day they came in numbers to re-capture, to revenge. Many of us chose to jump to our deaths, rather than be taken back into subjugation. The poem by Creole Richard Sedley Assonne says; “there were hundreds of them, but my people, the maroons chose the kiss of death over the chains of slavery”. Tatamaka was the name of a famed maroon leader who was murdered for claiming his, and our people’s freedom. The song is the imagined journey of escape and freedom by an ancestor of the maroons of Le Morne”.

Born in the west midlands and raised on the traditional sega music of his father’s Indian Ocean homeland of Mauritius alongside records by the likes of Jimi Hendrix, Santana and Michael Jackson; his influences expanded with late 90s jungle and drum and bass nights in Bristol, experiments at art college in Camberwell, and the rich culture of Peckham, “at the time we called it the Afro Quarters of London” says Deenmamode, adding hip hop, dub, soul and soundsystem styles to his individual sound.

He explains, “I love drum music, from hand-drums to 808s. I love music from the ancient past, heritage music, indigenous music, traditional music passed down from the beginning of time. Music from the body, hand claps, grunts and foot stomps. Music with audible depth, busy, bustling, highly charged. Music from the soul, the music from beyond. I love music from the islands and the mountains. The music of the streets, hustle music, alleyway beats. Club music”.

He describes the creative process as thinking in images. “The visual world and the world of sound seem to intermingle in my thought process. When I play the drum with my eyes closed, a world of imagery dances and moves with beat. Improvised drumming feels like I am listening to what I want to hear, rather than trying to play what I want to hear. Following the rhythm and finding new pathways to walk within the patterns is what I experience. In this way I often feel I am just a listener, instead of the player”.
Original Flow is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

Go to Item

Mo Kolours

Original Flow

36,09 €* 37,99 € -5%

Release: 2024 / EU – Original

Genre: Organic Grooves

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Go to Item

Reloop

Flux

346,75 €* 365,00 € -5%

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Go to Item

Cambridge Audio

Alva TT V2

1.999,00 €*

In Any Case By Any Chance

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Direct Drive Turntable with Bluetooth® aptX HD

• Bluetooth aptX HD – Switchable Hi-Res wireless streaming. Place the turntable on a flat-surface that suits you.
• Built-In Phono Stage – Switchable phono pre-amp, direct connection to amp – keep your setup simple.
• Direct Drive – Consistent drive speed with pitch-perfect audio reproduction.
• Pre-installed High-Output MC Cartridge – Pristine musical detail, custom design. Easy setup.
• New Tonearm with Removable Headshell – Lightweight and strong. Tracks your records flawlessly.

Just Add Vinyl
You’ve spent years curating the perfect record collection, searching for hidden gems in record shops and online – because you love music. Our shared love means that we didn’t stop with Alva TT.
We pushed on to create Alva TT V2; with a direct drive system, bespoke MC cartridge, an all-new tone-arm, and Hi-Res Bluetooth with an integrated phono stage – both now switchable.
We believe that your records deserve to sound as fantastic as they look.

King of Convenience
Alva TT V2 is for people who want to listen to records at exceptional quality – without the need to choose or fit extra components. TT V2 comes with a bespoke designed cartridge pre-installed. It connects to pretty much any audio system too, thanks to a switchable integrated phono-stage. It even works wirelessly with high quality Bluetooth speaker systems.

Hi-Res Bluetooth
Built-in Bluetooth aptX HD liberates Alva from the rest of your hi-fi. With the freedom to place an Alva deck on any flat surface, your records take centre-stage. Music can be streamed to any compatible Bluetooth kit, including headphones, at up to 24bit/48kHz Hi-Res quality. Or, you can deactivate it and simply use phono cables – it’s your call.

Integrated Phono Stage
Alva TT V2 has an integrated phono stage (phono pre-amp), derived from our award-winning Alva Duo – to reveal incredible detail from your records. It means you can connect TT V2 to any amp or compatible speaker system. You can deactivate the deck’s phono stage, too – ideal if your amp already has one or to keep upgrade options open.

MC Cartridge Pre-installed
Alva TT V2’s bespoke cartridge is ready fitted – so there’s no tricky set-up, and its sound is perfectly matched to the other components in the turntable. We designed the high-output Moving Coil (MC) cartridge with an exposed cantilever. It reduces unwanted resonance and vibration, delivers high levels of gain and outstanding musical detail during playback.

Direct Drive
Alva TT V2 has a medium-torque Direct Drive motor, like its predecessor the TT. The 8 pole, 3 phase, brushless DC motor is quartz controlled to ensure accurate turntable speed. With precision control, and silent running, Alva TT V2 achieves just 0.06% wow and flutter. This means excellent pitch stability – particularly during longer, more sustained, musical notes.

Reassuringly Solid Platter
Complimenting the direct drive motor, Alva TT V2’s platter has the feel of finely polished stone. It’s made from Polyoxymethylene, a semi-crystalline thermoplastic used in precision engineering applications, where high stiffness and dimensional stability are demanded. The weight of the platter, coupled with our medium torque direct drive motor, ensures excellent speed stability during playback of records.

All-New Tonearm
After hours of testing, our engineers selected a new high-mass, low-resonance tonearm for Alva TT V2 and Alva ST. By minimising resonant frequencies, and in combination with the cartridge, it helps retrieve the maximum detail from your records. A detachable die-cast aluminium headshell makes swapping cartridges easy – then fine-tuned with greater precision thanks to a new anti-skating dial.

Designed for Life
A record collection can last a lifetime, so why shouldn’t a turntable? We built Alva TT V2 to endure, starting with a top plate hewn from 6mm aluminium plate, and layer of EVA to absorb vibration sitting on MDF. It’s cradled in a composite chassis and weighs an impressive 10.9kg. Reassuring solid construction, with great acoustic qualities too.

Timeless Style, from London
Finished with a lunar-grey aluminium top plate and matt black plinth, tapering to our trademark floating wedge base, Alva TT V2 celebrates our timeless house-style. It’s the perfect match for our best-selling CX Series hi-fi separates and shares the laser-etched brand logo with our premium Edge Series.

Dust Never Sleeps
Keep your new Alva turntable’s finely balanced tonearm and aluminium top-plate pristine when you’ve finished spinning discs for the day, with the hinged dust-cover. It’s easy to raise, lower, remove and re-attach – the choice is yours.

Technical specifications:
• TYPE: Direct Drive
• TURNTABLE SPEEDS: 33.3, 45rpm
• WOW & FLUTTER: <0.1%
• TURNTABLE PLATTER: POM (Polyoxymethylene)
• PLATTER DIAMETER: 305mm
• PLATTER WEIGHT: 2.2kg
• AUDIO OUT: RCA Phono/Line Level (Switchable)
• BLUETOOTH: SBC/aptX/aptX HD
• POWER SUPPLY: AC 100-240V, 60/50Hz
• POWER CONSUMPTION: 5.5W
• MAX POWER CONSUMPTION: 20W
• STANDBY POWER CONSUMPTION: <0.25W
• DIMENSIONS (W X H X D): 435 x 139 x 368mm
• WEIGHT: 10.9kg
• PHONO STAGE GAIN @1KHZ: 42dB
• PHONO STAGE NOMINAL OUTPUT: 250Vrms
• PHONO STAGE INPUT NOISE (A-WEIGHTED): 0.1u Vrms
• PHONO STAGE RIAA CURVE ACCURACY: *+/- 0.3dB 30Hz-20kHz
• PHONO STAGE SIGNAL/NOISE RATIO: >90dB
• PHONO STAGE THD+N 1KHZ: 0.0025%
• PHONO STAGE INPUT IMPEDANCE: 47Ω
• PHONO STAGE INPUT CAPACITANCE: 100pF
• TONEARM TYPE: Static Balanced Tonearm w/ detachable Headshell
• TONEARM EFFECTIVE LENGTH: 221.5mm
• TONEARM OVERHANG: 19mm
• TONEARM EFFECTIVE MASS: 19.6g
• TONEARM COMPATIBLE CARTRIDGE WEIGHTS: 4.5-12g
• CARTRIDGE: High Output Moving Coil
• CARTRIDGE FREQUENCY RESPONSE: *+/- 1dB 30Hz-20kHz
• CARTRIDGE STYLUS: Elliptical
• CARTRIDGE CANTILEVER: Aluminium
• CARTRIDGE OUTPUT LEVEL: 2mV @1kHz
• CARTRIDGE TRACKING FORCE: 2g
• CARTRIDGE RECOMMENDED LOAD: 47Ω

Manual: https://manuals.cambridgeaudio.com/en/alva-tt-v2

Go to Item

Zanshin

LP | 2022 | UK | Original (Affine)

25,99 €*

LP | 2022 | EU | Original (Human Sounds)

Release: 2022 / UK – Original

Genre: Electronic & Dance

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"What took you so long?" might be a valid question concerning the ten year gap between Zanshin's new album "In Any Case By Any Chance" and his first album "Rain Are In Clouds".
Of course it is a question that the Viennese musician has asked himself quite startled in his usual self-critical manner, just to realize at a closer look that it has not been a lack of creativity or laziness at least. He used the Zanshin moniker on four EP releases and several remixes, plus a game soundtrack. Not to forget all his output as one half of producer duo Ogris Debris (the album "Constant Spring" from 2016 and roughly two dozen singles and remixes) and the many, partly award-winning audiovisual installations and performances with Leonhard Lass as Depart (depart.at). Furthermore he has also built two sound installations in 2021, "I Gong" at Elevate Festival and "Cymatic Sands" at Ars Electronica. In addition, Zanshin performs with the Max-Brand-Synthesizer from time to time as part of the compositions by Elisabeth Schimana, and together with label mate Dorian Concept he has also composed and performed the piece "Half Chance/Music for Moogtonium" for this unique instrument, built by Bob Moog himself.
Not spared by certain global developments of recent years, but rather invigorated by exploring his own resilience, Zanshin had a talk with Affine Records Operator Jamal in the beginning of 2021, speaking of future ideas and releases. And what was initially a single release spawned into a whole album in seemingly no time. An old skit ("Polar Polychrome") on the Roland Mc-505 groove-box that had never really been forgotten, but was rather waiting patiently somewhere in the back of his mind, suddenly proved to be the initial spark for the album.
The term "Zanshin", roughly translated as un-focussed attention, is in fact more than just a pseudonym but rather a directive in the artists life. Zanshin really likes to go in several directions at once, kind of according to Wittgenstein's claim that "The world is everything that is the case.", to find out where his love for music might lead him this time. He also somehow went back to his roots with this album. Not necessarily in the sense of certain musical influences or genres, because then the album would be even more eclectic than it already is. More like a focus on the core values in the fabrication process of the music itself, the freedom to rather follow the structures and sounds than to shape them in a completely predetermined way. Somebody once called it, "to weave what the music demands."
In this regard, Zanshin often feels more like a sculptor and tries not toadhereto strongly to the rules of specific sub-genres of electronic music. Searching for sounds and designing them is one of the energies that fuels his interest the most, thus at the beginning of a lot of tracks there are small skits and ideas that have the freedom to grow in whatever direction.
Hence this album has no elaborate story to tell, there is no extensive "narrative" or big time "storytelling" at work. "In Any Case By Any Chance" is not a novel but rather a collection of short stories (which are certainly dense and have complex plots nonetheless). The result is a long-player where playful electronica, skillful songwriting, extrovert dance music and symphonic film music enter into a symbiotic relationship. Returning to another Wittgenstein quote, "Whereof one cannot speak, thereof one must be silent", the emotional impact of music is the main focus and the results can be quite solemn at times, but around the corner always lurks the next bone-breaking rhythm pattern and gnarly sound design.
The infamous saying, "writing about music is like dancing about architecture", is another brick in the wall of sound in Zanshin's approach to music. He rarely roots himself in traditions or uses them too overtly, he really likes to agglomerate sounds, to challenge the listeners. It seems like he tries to avoid classification on purpose, because he knows that everyone has their own perception anyway. The only thing that this music demands implicitly is a willingness to listen attentively.
Very dense, at times really heavy and massive, then again airy and playful. "Music for clubs that don't exist.", might be another fitting caption to describe this album, which lasts for a little more than an hour.
The opener "Heatseeker" rushes to a sudden head start with its steel pan extravaganza, tropical vibes meet a bass line drenched in electro funk, and electrified synth stabs support the declaration of love in the lyrics. Kind of Jamie XX meets Electro meets Diva House. The monster that is "Bronteroc Brawl" is up next, a serious test for the speakers and a wild ride with metallic, growling sounds. The aggressive sound design reminds of suspense ridden shark chases, vicious dogs and cunning dinosaurs, in any case a track for people who love a proper bass stomper.
A new approach for the "indie discotheque" brings the emotional roller-coaster "In Gloom" with snappy drums and hypnotic synth motives á la Alessandro Cortini, creating an epic atmosphere together with the multi-layered vocals. A psycho-acoustic treat is position 4, the crisp instrumental "Polar Polychrome", you could even go as far as calling this a Zanshin signature track. Like mentioned before, the roots of this track go back to 2002 and you can hear the unmistakable influence of beat wizards like Photek, a piercing bass line is supported by poly-rhythmic drums, while dense pads try to escape the claustrophobic lockdown mood of winter 2020/21.
Another round of intense pathos waits for the listeners in the ensuing track "In Search Of". Moderat say "Hello", a melancholy piano melody is rushed to a climax by a wild bass arpeggio and forceful drums, the desire for a perfect sunrise at the next after-hour to the max. Initially just an appendix to the preceding track, "Time After Thought" swiftly developed from a mere improvisation to an ambient epic with a croaking alien piano, as if Keith Jarrett were on his way to Alpha Centauri.
Up next is the first single "Because Why", a breakbeat driven, synth-heavy track with winged vocals and a popular film quote. The title refers to the movie "Alphaville" by Jean-Luc Godard, a dystopian science fiction film noir, in which an omniscient computer system named Alpha 60 is ruling society and humans can only say "because" but never "why". As if the gears of a galactic mechanism were spinning into motion sounds "Identity Slices". A raspy chord structure finds its counterbalance in a kind of stumbling, wonky beat, and Zanshin would never deny the huge influence that Autechre's sounds and structures always have had on his music. Micro- and macrocosm meet on the same level and this friction is also a metaphor for questions of identity and self-awareness, without using voices or lyrics.
Off we go into the IDM bubble bath of "Enzyme Enigma", the bass drum is stomping and a fizzy acid-line is twisting in all directions behind rolling dub-techno chords. "Corrosion Creak" is a kind of acoustic degradation process, the rave dogs are finally let loose and everything happens at once, funky synths shred, string sounds wail and then there is this bass that sounds like smashing a rusty metal plate in the junk yard with a vengeance.
Towards the end everything slows down a bit, the beat in "Whatever Words" is Warp school cerebral hop at its best and therefore loads of glittery, creaky sounds swarm out until the synapses are overloaded, cumulating in a mighty bass ending. Last but never least, "Rebus Redux" guides us into the limitless night sky, with long indulgent pads dotted by an aimlessly wandering piano, while a compact net of tamed resonances and meandering sub frequencies unfolds in the background, enticing navel-gazing imagination.

Go to Item

Tahiti 80

Here With You

20,99 €*

Release: 2022 / EU – Original

Genre: Pop

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In March 2020, Tahiti 80 had a plan to start recording their new album in the studio. That plan, of course, along with everything else in the world, got derailed. But the five-piece group was resilient and resourceful. They quickly shifted to a socially distanced plan B that included file swapping and virtual sessions, all refereed by producer Julien Vignon. The result, due for release in March 2022, is the buoyant Here With You, a collection of eleven upbeat songs that unfold like a prescription for a post-pandemic panacea.

“When lockdown in France happened, we said, 'We're not going to stay at home not doing anything,'” says singer-guitarist Xavier Boyer. “And our new plan became a hopeful thing, waking up every morning and seeing what the other guys had worked on. It wasn't always easy, but this new method allowed a freer approach where we could really go all the way with an idea without being influenced by each other’s suggestions. It must've been overwhelming for Julien, who ended up selecting all our arrangements. But he stayed positive all the way through.”

To help stay inspired and focused during their time in isolation, the band created a mood board, with the centerpiece a photo of an early '90s rave in the UK.

Boyer says, “Whenever you see pictures from this era, people seem very innocent. There are no cell phones and everybody is in to what they are experiencing. We kept that picture in mind as a kind of mantra that would help everyone feel connected to this idea of people celebrating, gathering and just having fun. We were missing the connection with people, and thought it would be great if we could create music that would inspire that kind of emotion.”

Indeed, the songs on Here With You are brimming the feeling of communion that we've all been missing over the past two years. It's there in the catchy opener Lost in the Sound, which walks the walk with Chic guitar flicks, urban nightfall sparkles and an inviting chorus (“Your heart grooves like a thousand 808s on the right time”). It's there in the Jackson 5-style syncopated bounce of “Vintage Creem,” the lush, dreamy “Breakfast in L.A.” and the panoramic sweep of “UFO.” And it's there in the first single “Hot,” which matches an irresistible groove with a neon-lit, percolating arrangement that evokes the disco clubs of 1979.

What's remarkable is that though Tahiti 80 displays a clear affection for sounds of the past, from bubble gum to '70s soul, they never trade in mere pastiche. Their take is more a slightly warped and playful carnival mirror mash-up of classic pop styles, given depth through Boyer's hang-gliding, coolly emotive vocals and lyrics that often rub against the euphoric grain of the music.

“I like to think of songs as a three-minute drama,” says Boyer. “This concept of drama definitely adds different levels to our music. There's the melody, the lyrics, then the production that can maybe emphasize or counterbalance the interaction between the yin and yang in a song.

“There's a difference between the very upbeat, sunshine-y soft rock and the lyrics, even on our past albums,” he continues. “Not dark, but a little more melancholy, and also looking for some kind of motivation, talking to yourself. Like with a lot of Motown songs, you get that feeling where you body’s dancing while your mind’s reflecting, reminiscing.”

That alluring blend of happy-sad has been a signature part of the Tahiti 80 sound from the time Boyer and bassist Pedro Resende formed the group in 1993, as students at the University of Rouen. Taking their name from a souvenir t-shirt given to Boyer's father in 1980, the duo recruited guitarist Mederic Gontier in 1994, and with the addition of drummer Sylvain Marchand a year later, the lineup was complete. The foursome released a self-produced and self-financed EP, 20 Minutes, in 1996, which resulted a record deal with French label Atmospheriques in 1998. Their full-length debut Puzzle, produced with Ivy's Andy Chase and mixed by Tore Johansson, went gold and featured the international hit “Heartbeat” that established the band throughout Europe and Asia.

In the years since, Tahiti 80 – with the additions of Raphaël Léger on drums and Hadrien Grange on keys - has released eight acclaimed albums. The band has fused what Mojo called a “glorious entente of old and new technology” (including singles like “Yellow Butterfly,” “1000 Times,” “Sound Museum,” “Crush!” and “Big Day,” which was featured on a Fifa video game soundtrack), while collaborating with such producers and arrangers as Richard Swift, Tony Lash and Richard Anthony Hewson, who famously arranged The Beatles' “Long and Winding Road.” Boyer has also put out two solo albums, the first under the anagram Axe Riverboy and the second under his name. In 2019, the band released Fear of an Acoustic Planet, a stripped-down reimagining of some of their best-loved tracks from the previous twenty years. It served not only as a look back but a reminder of their formidable songwriting skills.

Boyer is definitely a student of the timeless three-minute pop song format pioneered by '60s artists like The Beatles and The Beach Boys. He says, “I see it as kind of a frame for a painting. Most of the songs on this album, I wrote a verse, pre-chorus and chorus. There aren't many middle eights. I wanted it to be very concise. I feel like people have less attention. There's so much music. It's too easy to switch off or skip to another track, so I want to hook the listener. The three-minute song is kind of an easy code to crack, but at the same time you have to figure out a new way to tell the stories that we've heard before.”

And the stories on Here With You are very much about the longing for connection. Of the album title, Boyer says, “In the world right now, that can mean a lot of different things. Like missing our fans, missing going to concerts. In a way, it can be a statement of what happened last year, and a wish of 'I want to be here with you again.' It's our ninth album. We've had some had some very open, conceptual titles like Puzzle, Activity Center. Sometimes they were more specific like Fosbury orWallpaper for the Soul. Here with You, seems more personal, more engaging in terms of relationships. When I suggested that title, everyone in the band said, 'Yeah, that's it.'”

Until Tahiti 80 can resume a full tour schedule, Boyer says he hopes the new record will make that personal connection. “If I see from the point of view as a music fan, sometimes I see albums I like as companions throughout my life. So if we can be a part of people's existence, even if it's a song that reminds them of the time they were driving with the windows open and it was sunny. Or a sad song that resonates with them after a breakup. That's what we're all looking for when we're making music. You do this very personal thing and you want it to touch as many people as possible.”

A1. Tahiti 80 - Lost In The Sound A2. Tahiti 80 - Vintage Creem A3. Tahiti 80 - Telling Myself A4. Tahiti 80 - Hot A5. Tahiti 80 - Breakfast In LA

B1. Tahiti 80 - Cameo B2. Tahiti 80 - UFO B3. Tahiti 80 - Riddles & Rhymes B4. Tahiti 80 - Zoo B5. Tahiti 80 - Wicked Wicked B6. Tahiti 80 - Let's Get Started

Go to Item

Reloop

Elite

1.299,00 €*

8: Kindred Spirits - Live From Lobero

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ELITE

• High Performance DVS Mixer for Serato DJ Pro, developed in close collaboration with renowned international turntable artists
• 16 large, velocity sensitive RGB performance pads: Control up to 12 performance modes per deck
• DUAL 24-bit interface & 3x non-contact Innofader Pro with high-resolution technology

POWER UP YOUR PERFORMANCE POTENTIAL
Reloop ELITE is a professional DVS mixer for Serato DJ Pro, developed in close cooperation with international turntable artists. Due to the combination of a performance-oriented layout and powerful features, ELITE allows you to fully realise your DJ potential. The full version of Serato DJ Pro, including the DVS Expansion Pack, is provided plug 'n' play. Additionally, ELITE comes with two Serato control records with NoiseMap™ technology.

DUAL 10 IN/OUT USB 2.0 AUDIO INTERFACE & ERGONOMIC BROWSE SECTION
ELITE comes equipped with a powerful DUAL 10 In/Out USB 2.0 Audio Interface, which offers outstanding sound characteristics in 24-bit resolution. Two computers can be connected at the same time via both USB ports. This way a seamless transition from one DJ to another during performance becomes as easy as possible. In the battle mixer's center you find the ergonomically designed browse section, that allows efficient one-handed control and which can be switched independently from the source selection (USB A or B) via the Focus computer control.

2x OLEDs & DEDICATED LOOP CONTROL
The two OLED displays show real-time information regarding effects, BPM, beat parameters and setup menu. Each deck has a separate loop section which can be controlled intuitively, thanks to the push encoder which also disposes of a manual loop function. Via the LED bar the selected loop length is directly visible.

INDIVIDUAL PAD MODES
In combination with the RP-8000 MK2 it is possible for the first time to control the pad modes on various devices individually and simultaneously.

SMART LINK USB HUB
External devices, such as MIDI controllers, storage media or smartphones can be connected and loaded via the two smart link USB ports. When connecting RP-8000 MK2 turntables, these will automatically recognize the corresponding deck (1 or 2). All of ELITE's control elements are MIDI compatible and can be used to control any compatible software.

STURDY METAL CONSTRUCTION WITH RESISTANT FINISH IN DEEP BLACK METALLIC
Thanks to the sturdy construction of robust metal and high-quality control elements, such as the screwed metal potentiometers, ELITE is built and ready for rough daily life. The two high-retention USB ports guarantee a safe connection and offer protection against unwanted signal loss. The surface is processed with a hard-wearing finish, which is especially resistant against scratches and is finished in a timeless deep metallic black.

INCLUDING BPM SUPREME VOUCHER
With any purchased ELITE the DJ record pool adds a 90 days Premium Membership with a value of 60 $ for their huge audio and video library - containing latest releases directly received from the record labels.

FEATURES
• Professional DVS Performance Mixer for Serato DJ Pro
• Developed in close collaboration with renowned international turntable artists
• Control up to 12 performance modes per deck
• 3x mini Innofader Pro (latest generation) on-board, featuring twice the resolution and innovative non-contact technology, allowing for ultra precise cuts and smooth operation
• 2 high-contrast OLED displays showing real-time information of effects, BPM, beat divisions and setup menu
• Colour-coded Tweak FX: stand-alone effects with bipolar control
• Toggle between Filter, Crush, Flanger, White Noise and user mode via the mode button with RGB indication
• DUAL 10 In/Out USB 2.0 audio interface with superb sound quality in 24-bit
• Two independent effect units for controlling Serato DJ Pro FX
• 3 assignable effect slots: each with dedicated activation buttons
• Dedicated and flexible effect controls for each channel
• Mini-fader for FX Level/Depth control
• 2 FX activation modes: either hold or toggle on/off
• Combines a performance-oriented layout with powerful features
• 16 large, velocity sensitive RGB performance pads
• 4 mode buttons, three layers with 12 performance modes (Hot Cue, Loop Roll, Slicer, Sampler, Pitch Play, Saved Loop, Slicer Loop, Saved Flips, Platter Play, Transport, user mode and the brand new scratch bank mode) and dual layer parameter buttons per side
• Performance pad modes can be controlled independently on each deck
• Enhanced performance with RP-8000 MK2 turntables: for the first time, pad modes can be controlled individually on each device simultaneously
• Customisable fader curves and reverse function (hamster switch)
• Digital adjustment of cut in/out points in the setup menu
• Dedicated loop section with push encoder, loop length LED bar & manual loop control
• Ergonomically designed browse section for efficient one-handed use
• Convenient cue fader system with dedicated controls for volume and mix
• Easily switch between 2 computers using the Focus PC controls
• Extensive USB routing capabilities: sampler and AUX channel can be individually routed through the Serato FX units (send/return)
• 3-band isolator EQ with full kill characteristic
• Smart Link USB ports: auto RP-8000 MK2 deck recognition
• Can also be used as an active USB hub for external devices
• Mic/line input with 2-band EQ, independent echo effect and on/off talkover switch
• 2 headphone outputs via 6.3/3.5 mm stereo jack
• Booth ouput in stereo or mono
• MIDI-compatible control elements
• High retention USB ports
• Rock-solid construction in a durable metal design
• High-quality and hard-wearing deep black, metallic finish
• Kesington Lock to secure the device
• Incl. full version of Serato DJ Pro with DVS Expansion Pack, 2x Serato Control Vinyls with NoiseMap™ technology, USB cable, power cord, operating instructions and 90 days BPM Supreme membership

TECHNICAL DATA
• Frequency response: 20 Hz - 20 kHz
• Inputs: 2x phono RCA, 2x line RCA, AUX RCA, mic/line TRS, 2x Smart - Link USB ports (type A), 2x USB ports (type B)
• Outputs: Master XLR (balanced), master RCA (unbalanced), booth TRS (balanced), rec RCA (unbalanced), headphones 6.3/3.5 mm stereo jack
• EQ range at 70 Hz, 1 kHz, 13 kHz: -∞ dB (total kill)/+9 dB
• EQ range Mic at 100 Hz, 10 kHz: -12 dB/+12 dB
• Dimensions: 290 (w) x 414 (d) x 107.5 (h) mm (potentiometers: 18.5 mm)
• Weight: 6 kg
• Software requirements: Serato DJ Pro 2.1.2

Manual: https://www.reloop.com/media/catalog/product/pdf/2/3/8/238128_Reloop_IM.pdf

Go to Item

Charles Lloyd

2LP+DVD | 2020 | EU | Original (Blue Note)

29,99 €*

Release: 2020 / EU – Original

Genre: Organic Grooves

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Charles Lloyd has played the 150-year-old adobe theater in downtown Santa Barbara more often than any other venue, and more often than any other performer. Knowing that Marian Anderson sang there on February 14, 1940 makes it a sacred space for him. In the concert film you can see him bobbing with pleasure beneath his pointy, indigo knit cap, curly white hair, and long goatee. He beams at his neighbors, places the palms of his hands together and pulls them against his black sweater and golden tenor saxophone in the traditional Buddhist greeting. “I always get nervous before I go on,” Lloyd confesses, “but once I get on, Dorothy [Darr] has to come and drag me off. It seems that once I’m on stage I get met by the spirits. I enter the now. Sometimes Prez and Bird will stop by and say, ‘Hi, Charles.’”

A birthday is a door between the past and the future, and this concert reflected that truth. Representing the future were 34-year-old pianist Gerald Clayton, who performs regularly with Lloyd, and 31-year-old guitarist Julian Lage, who had performed with him when he was 12-years-old. Representing the past was 74-year-old organist and fellow Memphis native Booker T. Jones, who had never played with Lloyd at all. This was a one-of-a-kind line-up for a one-of-a-kind ritual.

“I’ve known Julian since he was 12,” Lloyd says. “He’s from the Healdsburg area, and Jessica Felix, who runs the jazz festival there, asked if Julian could play with us during the festival in 2000. Billy Higgins and John Abercrombie were in the group. I knew she wouldn’t ask if he didn’t have something special, so we let him play, and he had something; he had big ears. We’re all seekers in life; we all get the rays of the sun, but some get a stronger dose. A lot of young geniuses flame out and no one remembers their names. But so far, Julian’s balanced: grounded but at the same time ecstatic. Even though he’s the future, he knows the past.”

“Gerald was often back stage when I was touring with the New Quartet. In 2013 when Jason’s other duties became overwhelming, I decided to try out Gerald. His father and uncle are great musicians,” Lloyd says, referring to bassist John and saxophonist Jeff of the Clayton Brothers, “so he comes from something deep. You can hear it when he plays.”

Jones was still in junior high when Lloyd was graduating from high school, so they didn’t know each other when they were both growing up in Memphis. But they both shared the city’s rich cultural heritage, and when they ran into each other at the 2014 Monterey Jazz Festival, they promised to play together at some point. This birthday party was the perfect excuse.

“Memphis was such a rich environment,” Lloyd recalls. “It was like New York City, only with biscuits and gravy. There was an intelligentsia that inspired me to always be a learner. New York was 1300 miles away, and Chicago 450 miles away, but we were on the river, so musicians were always coming through. These out-of-town guys would play the Peabody Hotel and then they’d come over to the joints in our neighborhood to play with us, and we’d put a hurt on them. We didn’t tap dance or do anything for the man. We had our own culture and we knew it was inspired. We knew nothing of the lamb tongues and the gold mines, and I’m so thankful; we were doing it for the music.”

Don Was first made his name as co-leader and bassist of the 1980s funk-rock band Was (Not Was) and went on to produce albums for the Rolling Stones, Bob Dylan, Brian Wilson, Bonnie Raitt, Lucinda Williams, Jason Moran and many more. In 2012, he became president of Blue Note Records and immediately set out to bring his hero Lloyd to the label. By 2015, he had succeeded in his quest and a magnificent series of albums has followed: Wild Man Dance, I Long To See You, Passin’ Thru, and Vanished Gardens.

Harland anchors every project that Lloyd pursues these days—Sangam, the Marvels, the New Quartet—and Rogers is present in every group but the bass-less Sangam. “Eric and Reuben put a magic carpet under me,” Lloyd exclaims, “and I can travel wherever I want to go. They want to be there, and they know that to be there they have to spread their wings in any situation. When we take that journey together; that’s communal living at its highest. Music is not for sleepwalking; it’s for wakefulness. Reuben and Eric understand. My music dances on a lot of shores, and they have the ability to be in the now with all of it.”

The Lobero set list docked at many of those shores. The evening began with the title track from Lloyd’s first album for Atlantic Records, 1966’s Dream Weaver. This infectious reverie begins with breathy exhalations and ends the same way 20 minutes later, but in between, Lloyd’s tenor saxophone attacks the theme with an increasingly edgy fearlessness—and Lage and Clayton follow his example.

“‘Dream Weaver’ is sacred ground to me,” Lloyd says. “That record was fresh and crazily beautiful. It has withstood the passage of the ages. I started playing it again and found new ways of expressing the truth. There are some notes on the saxophone I didn’t have as a young man. They aren’t on the horn; they’re in between the cracks. I’m not denying the young Charles, but as my character becomes whole, the music gets better.” If that tune reached back to the beginnings of Lloyd’s career, the next three came from his much-lauded resurgence in the 1990s through the 2010s on ECM. “Requiem,” which first appeared on 1992’s Notes from Big Sur, used patient tempos and pointillist solos by the tenor saxophone, piano, guitar and acoustic bass to create a mood that fits the title.

The Mexican folk song “La Llorona” from 2010’s Mirror (and 2016’s I Long To See You) opens with a piano solo that slowly builds from quiet to majestic and closes with a tenor solo that manages to always reference the melody as it’s sprinting through the octaves. That segues into “Part 5, Ruminations” from 2017’s Passin’ Thru, which begins with a meditative, free-floating consideration of the harmony before cohering into a more definite theme that inspires a stabbing guitar solo, a classically flavored piano solo, a rumbling drum solo and a low-register tenor saxophone solo.

The second set found Clayton sitting out until the encores. Rogers switched from acoustic to electric bass, and Was sat in for two numbers on acoustic bass. Jones contributed two compositions: the premiere of his birthday card “Song for Charles,” and his 1962 hit as leader of Booker T. & the MGs, “Green Onions.” Two Lloyd compositions from the 1960s, “Island Blues” and “Sombrero Sam,” joined the old hymn “Abide with Me” and the American folk tune “Shenandoah.” For the encore, Clayton rejoined the band to play Lloyd’s “Forest Flower” and Billy Preston’s 1974 hit single, “You Are So Beautiful.”

Go to Item

Cambridge Audio

Melomania M100

169,00 €*

LP | 2024 | UK | Original (Drowned By Locals)

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True Wireless Headphones With Active Noise Cancellation

• Immersive Sound – with aptX Lossless and customisable EQ
• Extended Play Battery – up to 10hrs + 23 (ANC on), 16 + 36 (ANC off)
• Active Noise Cancellation – adaptive hybrid with 3 modes + transparency
• Comfort Fit – choice of 5 pairs of ear tips, in silicone and foam
• aptX Adaptive – interruption-free sound up to 24bit/96kHz
• Bluetooth 5.3 – with greater speeds & data capacity for music transmission
• Clear Voice Capture – Qualcomm 3 mic cVc separates your voice from environmental noise

Designed by Hi-Fi Engineers, Made By Music
We’re obsessed with helping your music sound its best. M100 are our 3rd gen wireless headphones – so we’ve had a chance to really polish them.

aptX Lossless and customisable EQ settings get the most from your music. And so you don’t miss a beat – or a call – in busy areas, we added aptX Adaptive and Bluetooth 5.3 tech. They give a more stable connection for interruption-free listening.

Adaptive hybrid ANC keeps the everyday at arms-length, so you can escape into your own world. Simple touch controls, a comfy fit, and a battery that goes way beyond the ordinary round things up.

Feel Every Beat
Melomania M100 feature two generous 10mm drivers and magnets made from recycled Neodymium. The resulting powerful, but controlled, sound is one that maintains your music’s energy without sacrificing detail – regardless of genre.

Experiment with the choice of ear tips for the best seal, and to keep the sound firmly where it belongs.

Music First
Everyone deserves a great soundstage, low distortion, and high dynamic range. It’s what makes recorded music come alive.

Melomania M100 use Class AB amplification, the same type found in many of our award-winning amps, to deliver the authentic sound quality we’re known for – even when you’re on the go.

Let’s Get Personal
We’ve tuned M100 to deliver our authentic signature Cambridge sound, but we know many people have their own style.

We’ve specified a 7-band graphic equaliser in the all-new Melomania Connect app to build your own custom EQs. Plus, we’ve included 6 pre-set profiles for different music genres or spoken word listening.

Keep the Outside Out
M100 feature adaptive hybrid ANC, which uses information from Feed Forward mics, for external sound, and Feed Back mics, that detect unwanted sound in your ear canal. It automatically adjusts the noise cancellation level based on sound ingress and tightness of fit in the ears.

Enjoy music, podcasts, and calls, uninterrupted by irritating background noise.

Let the Outside In
Activate Transparency mode and shift your attention to what’s going on around you.

With Melomania M100, you can tune into the sound of your surroundings, hold conversations, and listen to public announcements – all without removing your earphones or pausing your playlist.

All Day and All of the Night
M100 continue our tradition of consigning battery anxiety to history, with up to 10 hours of continuous playback possible from a full charge – even with ANC on.

The compact, Qi wireless-compatible charging case stores an extra 23 hours (ANC on) – a lot more albums, podcasts, videos and calls! Take a 10-minute coffee-break charge for a 1.5-hour energy boost.

Your Fit, But You Know It
We supply 5 pairs of ear-tips with every pair of M100 – S & L in premium memory foam or S,M,L in silicone. Experiment to find the best combination for fit, seal and, of course, comfort.

So, whether you’re working, commuting, or simply listening to music, you’ll barely notice you’re wearing them.

High-Tech. As Standard
aptX Lossless works with compatible devices to deliver bit-exact, CD-quality audio with no compression, whilst aptX Adaptive automatically adjusts to keep the music going in busy areas like railway stations at up to 24bit/96kHz.

Bluetooth 5.3 adds extra capacity, speed, stability, and efficiency over its predecessors, helping music, podcasts, video, games and calls to sound their best.

London Calling
When you buy new headphones, they need to be great for calls too. M100 use 3-microphone cVc, a system developed by Qualcomm that helps your voice stand out above environmental noise.

A series of convenient features like Multipoint Connection, Siri and Google Assistant compatibility, reduced-latency gaming mode, and our new Melomania Connect app complete the story.

Designed for Life
Like all our products, Melomania M100 are made to last. They’re designed in London, so IPX4 water resistance was a must. Their compact case protects and charges them in your pocket. The packaging is 100% recyclable and free from plastic.

Technical Specifications:
• HIGH-PERFORMANCE AUDIO MODE: Class A/B amplification
• DRIVER: 10mm Driver Recycled Neodymium Magnets
• BATTERY PLAY TIME (EARBUDS): Up to 16 hours
• BATTERY PLAY TIME (EARBUDS - ANC ON): Up to 10 hours
• BATTERY PLAY TIME (TOTAL): Up to 52 hours
• BATTERY PLAY TIME (TOTAL - ANC ON): Up to 33 hours
• CHARGING TIME: 2.5 hours
• WIRELESS CHARGING: Yes - Qi charging
• POWER SUPPLY: USB-C, Wireless charging
• FAST CHARGE: 10 mins charge = 1.5hrs ANC On | 2.4hrs ANC Off
• NOISE ISOLATION: Qualcomm™ Adaptive Active Noise Cancelling
• TRANSPARENCY MODE: Yes
• MICROPHONES: 6 microphones, 3 per earbud
• VOICE PROCESSING: 3-microphone Qualcomm® cVc™ Echo Cancelling and Noise Suppression (ECNS)
• MELOMANIA CONNECT APP: Compatible
• VOICE ASSISTANT ACTIVATION: Siri / Google Assistant
• IPX RATING: IPX4 water splash resistant
• FIRMWARE UPGRADABLE: Yes
• BLUETOOTH VERSION: Bluetooth 5.3
• TRIPLE-CORE PROCESSOR ARCHITECTURE: Qualcomm QCC3071, Powerful tri-core processor architecture – supporting complex use cases Dual core 32-bit processor application subsystem (up to 80MHz) Single core 240 Mhz configurable Qualcomm® Kalimba™ DSP audio subsystem
• SUPPORTED PROFILES: A2DP, AVRCP, HSP, HFP
• SUPPORTED CODECS: aptX™ Lossless, aptX™ Adaptive, AAC, SBC
• WEAR DETECT: Yes
• LOW LATENCY: <80ms - Gaming Mode accessible via Melomania Connect
• NOISE CANCELLATION: Qualcomm™ Adaptive Active Noise Cancelling
• WIND NOISE REDUCTION: Yes
• GOOGLE FAST PAIR: Yes
• ADJUSTABLE EQ: Yes - 7-band adjustable EQ accesible via Melomania Connect
• OPERATING TEMPERATURE: 0°C to +40°C / 32°F - 104°F
• OPERATING RELATIVE HUMIDITY: 10 to 80%, Non-condensing
• DIMENSIONS (EARBUDS): 22 x 19.2 x 23mm
• DIMENSIONS (CHARGING CASE): 44.5 x 80.2 x 27mm
• WEIGHT: Earbuds: 6.65g each / 0.235 Ounce Charging case: 53.3g / 1.880 Ounce Total: 66.6g / 2.35 Ounce
• WHAT'S IN THE BOX?: Quick Start Guide, USB-C to USB-C charging cable, 3 x silicone eartips (S, M & L), 2 x memory foam eartips (S & L), Brand booklet, Function controls card, Safety instructions

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Hulubalang

Bunyi Bunyi Tumbal

20,99 €*

5LP | 2024 | Original (Muna Musik)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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

Preorder shipping from 2024-11-01

In Kasimyn's own words, the phrase "bunyi Bunyi Tumbal" signifies a "Synthetic Feeling for Anonymous Sacrifice," encompassing the emotions born out of a deep dive into the Indonesian war archives. These archives include a trove of photographs documenting the era of Dutch rule, captured through the lens of the colonizers themselves. It is from this point of departure that the project Hulubalang was born.

Hulubalang's gaze is drawn to the peripheral figures populating these historical records. These secondary characters, devoid of individual significance, bear no names, receive no recognition, and serve as props in the broader narrative of history. Simultaneously, they become indispensable instruments in acquiring "lessons learned" from the perspectives of both the victors and the vanquished. Within this framework, the notion of Tumbal, the non-belligerent "sacrifice," assumes a weight surpassing its translation. Tumbal neither acts as a victim nor martyrs itself for its cause. It hauntingly reminds us of the systemic curse perpetually engendering disillusionment.

Bunyi Bunyi Tumbal is a personal act of catharsis stemming from a long lineage of anger. It stands as a tribute to a village whose ritualistic dance, one night, was disrupted by external forces, causing the tune to shatter and leaving the dance caught in a space between innocence and pain.

╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳╳

Artist Bio

Aditya Surya Taruna (aka Kasimyn) is one half of the Indonesian electronic duo Gabbar Modus Operandi known for their acclaimed records Puxxximaxxx and Hoxxxya (out via Yes No Wave and Svbkvlt, respectively) and overwhelming, hyper-active and unprecedented live experiences which have made them a popular act on several festivals of experimental music. In 2022, Kasimyn contributed with beats on Björk's latest album, Fossora, featured on three tracks: "Atopos", "Trölla-Gabba", and "Fossora", joined Björk on stage in Tokyo, Japan in March 2023 as part of her live tour Cornucopia, and appears on two of her album's music videos Atopos and Fossara. After joining Björk on her Cornucopia tour in Japan, Kasimyn is announcing his solo album on Drowned by Locals under his new project Hulubalang.

Text for Album by Riar Rizaldi (translated from Indonesian)

Kusnah walked slowly on the edge of a sand dune, across the coastline. It's safer here, she thought. On the horizon she saw a mirage, a fata morgana. In her mind, thinking of fata morgana as a destination is a better objective than the fact that she has to stay and live in the village: her body is needed for offerings, perhaps for the gods who are thirsty for the anatomy of human body or for the cults of development that is built by blood and the construction of fractured human bones. Perhaps as a political sacrifice too. For her, in a landscape where politics is intertwined with zoē, that's where the world really is at work.

While gazing at the piles of oysters on the beach, in her head she heard a peculiar party music with dank beats and messy strings. An umwelt. This was a victory song that she often plays loud in her mind when she feels defeated—however, not losing, but giving in. In her life, she spent more time giving in. She looked at the pile of oysters. Why do humans see oysters as lowly creatures compared to more advanced species like them? Oh more precisely, she remembered Plato's comparison of a hedonist man with an oyster. Live only in the moment of the here and now.

But Kusnah felt she was a hedonist. She lives for the here and now. She lives not for progress. To hell with the progress and development. She lives to experience time. She lives for jouissance. So for her, Plato had a point. As she looked at the oyster again very carefully, the weird music in her head transmitted louder and louder. She asked herself: as hedonist animals who just stay quiet and experience the waves, do these oysters also have music that revolves around their bodies and makes them feel victorious amidst an ocean of defeats?

Kusnah's gaze grew intense. From behind, came the sound of human footsteps running in a crowd. One, two, three, four the familiar sound of boots stomping. Five, six, seven, the clapping of ugly flip-flops. The fata morgana on the sand dune was instantly broken up by a bloodthirsty mob. As time went on, she heard faint screams. "That's her!" sounds vague but firm. The steps became louder. The music in Kusnah's head played louder. It didn't take long for her to start dancing. Like a possessed ghost, many people say. She wasn't in a trance, she was just enjoying the music playing in her head. Tens of people started to look in high-definition when Kusnah opened her eyelids.

"We will offer you to the gods of progress!" shouted the men with machetes and cleavers in their hands. Kusnah dances like she is out-of-body possessed. "Come on! Take her!" the men rushed to Kusnah, carrying ropes to tie her up. Kusnah smiled widely, while unable to control her dancing body.

"Take my body, but I will never share the hulubalang that roars in my mind!"

Kusnah's head separated from her body, right after she shouted those words.

Riar Rizaldi
Written while listening to Hulubalang's first album

Original Text:

Kusnah berjalan lamban di tepi gumuk pasir, di sebrang pesisir pantai. Di sini lebih aman pikirnya. Di garis horizon dia melihat hamparan fata morgana. Di pikirannya fata morgana jauh lebih baik sebagai tujuan ketimbang dia harus diam dan menetap di desa: tubuhnya diperlukan untuk persembahan, mungkin buat para dewa-dewa yang haus akan anatomi dan spirit dari human being atau buat pembangunan yang dibangun oleh darah dan konstruksi tulang-tulang. Mungkin juga sebagai tumbal politik. Pikirnya, di tempat dimana politik berkelindan dengan nyawa, disitu dunia betul-betul sedang bekerja.

Sambil menatap nanar tumpukan tiram di pesisir pantai, di kepalanya terdengar musik-musik pesta dengan dentuman nakal dan dawai berantakan. Sebuah umwelt. Lagu-lagu kemenangan yang sering ia putar keras-keras dipikirannya ketika ia merasa kalah. Bukan kalah, tapi mengalah. Dalam hidupnya, terlalu banyak waktu dia bagi untuk mengalah. Dia melihat tumpukan tiram dengan miris. Dia berpikir keras mengapa manusia melihat tiram sebagai makhluk rendahan dibandingkan species lebih advance seperti manusia, oh lebih tepatnya, dia mengingat perkataan Plato bahwa manusia hedonist sama saja dengan seekor tiram. Hidup hanya dalam momen hari ini dan saat ini.

Tapi Kusnah merasa ia adalah manusia hedonist. Dia hidup untuk hari ini dan saat ini. Dia hidup bukan untuk progress. Persetan dengan progress dan pembangunan pikirnya. Dia hidup untuk menikmati waktu. Dia hidup untuk bersenang-senang. Jadi baginya, Plato ada benarnya. Sambil melihat lagi si tiram dengan sangat teliti, lagu-lagu di kepalanya terdengar semakin nyaring. Dia bertanya pada dirinya sendiri: sebagai hewan hedonist yang hanya diam dan menikmati deburan ombak, apakah para tiram ini juga memiliki musik yang berputar dalam tubuhnya dan membuat merasa menang diantara lautan kekalahan?

Tatapan Kusnah semakin intense. Dari belakang terdengar bunyi suara langkah manusia-manusia berlari bergerombolan. Satu, dua, tiga, empat bunyi familiar sepatu lars. Lima, enam, tujuh bunyi derap sendal jepit. Fata morgana di gumuk pasir buyar seketika diterobos gerombolan haus darah. Semakin lama semakin ia dengar samar-samar suara teriakan. "Itu dia orangnya!" terdengar sayup-sayup tapi mengeras. Langkah-langkah itu semakin kencang. Musik di kepala Kusnah pun semakin kencang terdengar. Tak butuh waktu lama hingga ia mulai menari. Seperti orang kesurupan kalau kata banyak orang. Tapi dia tidak kesurupan, dia hanya menikmati musik yang berputar dikepalanya. Berpuluh-puluh orang mulai terlihat secara high-definition ketika Kusnah membuka kelopak matanya.

"Akan kami persembahkan kamu kepada para dewa pembangunan!" teriak para lelaki dengan parang dan golok ditangannya. Kusnah menari seperti kerasukan. "Ayo! Tangkap dia" para lelaki itu bergegas mendatangi Kusnah, membawa tali tambang untuk mengikat dirinya. Kusnah tersenyum lebar, sambil tidak bisa berhenti menari.

"Ambil tubuhku, tapi aku tidak akan pernah membagikan hulubalang yang mengaum di dipikiranku!"

Kepala Kusnah terpisah dari badannya, persis setelah dia meneriakkan kalimat tersebut.

Riar Rizaldi

Ditulis ketika mendengarkan album pertama dari Hulubalang.

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V.A.

30 Jahre Muna

134,99 €*

Dynam'hit Europop Version Française 1990-1995

Release: 2024 / Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-08

21 exclusive tracks.

5x12" Klapp-Box Set MMLP 003, colored vinyl, incl. download code, “30 Jahre Muna” Poster, “10 Jahre Muna Musik” Poster, stickers

- blue marbled vinyl - LP1 (Side A/AA)
- green marbled vinyl - LP2 (Side B/BB)
- yellow marbled vinyl - LP3 (Side C/CC)
- pink marbled vinyl - LP4 (Side D/DD)
- gold marbled vinyl - LP5 (Side E/EE)

A1. Super Flu – Nos Crub
"Nos Crub" is another work by the Halle-based tech house export Super Flu that lands on our 30 years of Muna sampler. In typical Super Flu style, there is a harmonious composition with a synthesizer theme, subtly spiced strings and piano tracks, as well as a psychedelic-tinged vocal. The whole thing is based on a bassline that is absolutely suitable for clubs and goes wonderfully with everything from a club to a huge open air venue.
A2. Marco Resmann - Zero In
There is also a contribution from Marco Resmann to our 30 years of Muna compilation. "Zero In" is a beautiful piece of house music, starts atmospherically, builds up with added instrumental tracks and a kind of psychedelic vocal to create a beautifully saucy listening experience, far from prime time mass-produced algorithm optimized house! Category: Morning hours, recommendation: listen on repeat!
AA1. Sarah Wild – Night Shift
Sarah Wild adds "Night Shift" to our 30 years of Muna compilation. The driving piece starts with some break beats in the first few seconds, builds up nicely with some electronica elements and a spherical synth pattern and stands on a stable base of a club-friendly bassline!
AA2. Sierra – Dirty Thirty
Our local hero Sierra contributed the piece called "Dirty Thirty" with a wink to our 30 years of Muna compilation. A clean house piece with a bassline that could be described as well-fed. A subtle vocal, little acid and some synth sounds finish the tune wonderfully.
B1. Mathias Kaden – Muna 1994
With Mathias Kaden an artist who truly and undoubtedly belongs to the DNA of Muna also delivers a work to our 30 years of Muna compilation. With "Muna 1994" the title itself is a homage to the club and in 6:16 minutes it accurately describes what happens here regularly in the hall and foyer - driving powerhouse with a typical Mathias Kaden sound! An energetic bassline mixes with hi hat and clap, along with harmoniously arranged synth themes and vocals that come in at exactly the right time.
B2. Douglas Greed – Sleeping in Shifts
A song by the Berlin based Douglas Greed, “Sleeping in Shifts,” also ends up on our 30 years of Muna compilation. A wonderfully complex and melodic piece of electronic dance music. Spherical sounds, synths or vocals, the individual tracks begin smoothly and are arranged in a melancholic mood with an almost instrumental like drum loop. As usual from him, much more than just a dance floor tool!
BB1. Kristin Velvet – Katamaran
Kristin Velvet's "Katamaran" is part of our 30 years of Muna compilation. A beautiful, slightly twisted house piece that fits perfectly with the first rays of sunshine on an open air floor in summer. A dominant synth theme runs through the entire tune, varies very pleasantly and
increases the atmosphere in the tune until a break in the last third. The danceability of the bassline remains constant.
BB2. Norman Weber feat JuKa – Fabulous Muna
We'll take that as a compliment! With "Fabulous Muna", a tune by Norman Weber also appears on our 30 years of Muna compilation. Together with JuKa, he serves up a wonderfully soulful piece of house. Percussion, kick drum and a wavy bass track form the basis, plus there are subtle synth sounds, pads and vocals. Diverse, Latin-like and groove in its DNA! This Sound fits the Muna like photo dumps in the timelines of people under 30 and really makes you want to dance!
C1. Robag Wruhme – Trip-This
As an artist and person also part of the history and present of the Muna club - with "Trip This" there is also a piece of music on our 30 years of Muna sampler created by Robag Wruhme. The connoisseur can certainly name the artist and year of production after the first 15 seconds. The typical floating Robag Wruhme bassline can also be found here. After all the elements are introduced in the first half, a break is followed by a wonderful marriage of all tracks to a deep, melancholic finale of this tune!
C2. Thomas Stieler – Meet You At Foyer
Full-time nice guy and Munich resident by choice Thomas Stieler also sends us a tune for our 30 years of Muna compilation. “Meet you at the Foyer” can and should be understood as an invitation to visit us! The modern, clean piece of house music grooves excellently and arranges all tracks wonderfully equally and without any hecticness. The wobbly bassline creates an energetic and danceable base to this great produced song.
CC1. Daniel Stefanik – In Search of Slowly
Daniel Stefanik from Leipzig, a Muna veteran, has also created a tune for our 30 years of Muna long player "In Search of Slowly" is a wonderfully slightly swirly, deep piece of house music. The powerful bassline, together with a surface sound in the background, frames a dominant, spacey synth theme. A tune for the early hours of the morning, not packed, just right and with a lot of pressure from the subs!
CC2. TKR – Anymore
Muna stands for diversity since its birth! So our 30 years of Muna compilation also includes broken beats, which have always been part of Muna. With "Anymore", Jena based drum'n bass veteran TKR contributes a wonderfully melancholic liquid DnB tune. Surfaces that are reminiscent of early Chase & Status works, a smooth and very subtle piano and a never intrusive.
D1. Matthias Tanzmann – You Just
With "You Just" there is a piece of house music by Matthias Tanzmann that practically screams for the dance floor on our 30 years of Muna compilation. The first few seconds of crisp hi-hats get you dancing straight away, and the beat that starts after makes it clear. What follows is an energetic interplay of percussion, deep synth sounds and a very subtle vocal, all that in a harmonic way. Makes you want to go to Ibiza, whether it's a club or a beach party!
D2. youANDme – All Fine
In addition to a calendar jam-packed with international gigs and productions for many other labels, youANDme also contributes a tune to our 30 Years of Muna sampler with "All Fine". The deep, atmospheric piece of house music comes minimally from the speakers, but feels absolutely complete. The deep bassline is complemented by slightly broken percussions, a minimalistic piano sound and is crowned by a subtle vocal.
DD1. Leeni & Danilo Kupfernagel – Vida Única
With "Vida Única", a fresh piece of House Music by Leeni & Danilo Kupfernagel also lands on our 30 years of Muna record. What comes along as a classic house stomper in the first few seconds develops into a beautifully melodic, atmospheric tune through the spherical surface that starts as smooth as peach skin after 30 seconds. It slowly builds up over the next 4 minutes, always leaving room for the absolutely danceable bass line.
DD2. 2HundredEight feat Matti – Pretend
Electronic dance music has also included broken beats since the end of the 80s. It's all the better that we have included some of these tunes on the 30 Years of Muna sampler as well. "Pretend" is contributed by 2HundredEight, who brings in the otherwise guitar-experienced singer MATTI and creates a wonderfully melancholic piece of work. A minimalist piano sample, a broken DnB beat and an ever-present deep bassline, all spiced up with the powerful, bright vocals of the Leipzig based singer. Great cross-genre work!
E1. Luna City Express feat. Kenneth Avera – 30 YRS of Muna
Luna City Express were a little uncreative when it came to choosing a name, but "30 YRS of Muna" with Kenneth Avera is a piece of music bursting with positive energy that ends up on our 30 Years of Muna compilation. After a standard house intro with a powerful kick drum, a very present hi-hat and clap, there are synth sounds, vocals and a saxophone track. The whole thing comes together to form an energetic tune that leads to an shaking musculoskeletal system and simply puts you in a good mood!
E2. Click Click & Defex feat. Leah Raider – Raw Cutz 6.1
With “Raw Cutz 6.1” Click Click & Defex feat. Leah Raider contribute a piece to the 30 years of Muna compilation too. A house kind club tool with a slightly overdriven, snotty bassline an acid pattern and a subtle, breathy vocal. Definitely gets in your leg and leads to acute dance movements!
EE1. Langstrumpf – Drop Out
Langstrumpf also insisted on serving up a song for our 30 years of Muna compilation. "Drop That" comes with a powerful bassline, flanked by an acid-like sound, and the whole thing is spiced up with playful, choral sounds. It fits from warm-up to the morning, builds up nicely and pushes!
EE2. TimBrix – Sound Invasion
With "Sound Invasion" TimBrix also delivers a drum'n bass tune for our 30 years of Muna LP. This thing can easily do 20 pull-ups, pushes 174 kilos and combines an energetic bassline suitable for prime time with a clear vocal and razor-sharp synth sounds that are slightly
reminiscent of neurofunk. All of this is served on a typical DnB drum pattern that seems to scream: Go ahead mate!
EE3. Politone – Thirty Prayers
Politone, one of our residents, also contributes a piece to the 30 Years of Muna sampler. With "Thirty Prayers", he has created a minimalistic but absolutely well-trained house record. The few tracks complement each other and blend together very smooth. The symbiosis of the synth theme and the slightly reggae-like echo vocal go perfectly with the powerful kick drum and can lead to stomping dance moves at any time of day or night.

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V.A.

LP | 2021 | EU | Original (Born Bad)

21,99 €*