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Lost Themes III - Alive After Death Red Vinyl Edition

LP | 2021 | EU | Original (Sacred Bones)

Release: 2021 / EU – Original

Genre: Organic Grooves

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Much Has Changed In The Musical Life Of Renowned Composer And Director John Carpenter Since 2016's Lost Themes Ii. Following The Release Of That Album, He Went On His First-Ever Concert Tour, Performing Material From The Lost Themes Albums, As Well As Music From His Classic Film Scores. He Re-Recorded Many Of Those Classic Movie Themes For 2017's Anthology Album, Working Alongside Son Cody Carpenter And Godson Daniel Davies. The Following Year, He Was Asked To Executive Produce And Compose The Music For The New Halloween Movie Directed By David Gordon Green, Which Promptly Became The Highest-Grossing Installment In The Series. Now, He Returns With His First Album Of Non-Soundtrack Music In Nearly Five Years, Lost Themes Iii: Alive After Death.Underpinning Carpenter's Renaissance As A Musician Has Been His Collaboration With Cody Carpenter And Daniel Davies. They've Composed And Performed As A Trio Throughout This Entire Run, On Studio Albums, On Soundtracks, And Onstage. Here, The Trio Reaches A New Level Of Creative Mind Meld. Richly Rendered Worlds Are Built In The Interplay Between Davies's Guitar And The Dueling Synthesizers Played By The Carpenters."We Begin With A Theme, A Bass Line, A Pad, Something That Sounds Good And Will Lead Us To The Next Layer," John Says Of The Trio's Process. "We Then Just Keep Adding On From There. We Understand Each Other's Strengths And Weaknesses, How To Communicate Without Words, And The Process Is Easier Now Than It Was In The Beginning. We've Matured."Whereas The Original Lost Themes Album Came As A Pleasant Surprise After Years Of Relative Silence From Carpenter, The Third Installment Sees Him In The Midst Of A Resurgent Moment As A Cultural Force. The 2018 Halloween Score Gave His Music Its Biggest Audience In Decades, And The World He Releases His New Album Into Is One That Has, At Long Last, Given Him The Credit He Deserves As A Founding Father Of Modern Electronic Music.

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Tape | 2024 | US | Original (Sacred Bones)

Lost Themes IV: Noir

16,99 €*

Release: 2024 / US – Original

Genre: Rock & Indie

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It's been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood's great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green's trilogy of Halloween reboots. With Lost Themes IV: Noir, they've struck gold again, this time mining the rich history of the film noir genre for inspiration.Since the first Lost Themes, John has referred to these compositions as "soundtracks for the movies in your mind." On the fourth installment in theseries, those movies are noirs. Like the film genre they were influenced by, what makes these songs "noirish" is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.The trio's free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine_the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John's own Christine. It's a chemistry that's helped power one of the most productive stretches of John's creative life, and Noir proves that it's nowhere near done yielding brilliant results.

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Lost Themes IV: Noir Black Vinyl Edition

LP | 2024 | US | Original (Sacred Bones)

Release: 2024 / US – Original

Genre: Soundtracks

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Lost Themes IV: Noir Red Vinyl Edition

LP | 2024 | US | Original (Sacred Bones)

26,59 €* 27,99 € -5%

Release: 2024 / US – Original

Genre: Rock & Indie

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Red Vinyl.It's been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood's great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green's trilogy of Halloween reboots. With Lost Themes IV: Noir, they've struck gold again, this time mining the rich history of the film noir genre for inspiration.Since the first Lost Themes, John has referred to these compositions as "soundtracks for the movies in your mind." On the fourth installment in theseries, those movies are noirs. Like the film genre they were influenced by, what makes these songs "noirish" is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.The trio's free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine_the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John's own Christine. It's a chemistry that's helped power one of the most productive stretches of John's creative life, and Noir proves that it's nowhere near done yielding brilliant results.

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Lost Themes IV: Noir Tan And Black Marble Vinyl Deluxe Ediiton

LP | 2024 | US | Original (Sacred Bones)

31,34 €* 32,99 € -5%

Release: 2024 / US – Original

Genre: Rock & Indie

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Deluxe edition available on limited tan and black marble vinyl, includes clear 7" with exclusive bonus track "Black Cathedral" and screen printed B-Side.It's been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood's great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green's trilogy of Halloween reboots. With Lost Themes IV: Noir, they've struck gold again, this time mining the rich history of the film noir genre for inspiration.Since the first Lost Themes, John has referred to these compositions as "soundtracks for the movies in your mind." On the fourth installment in theseries, those movies are noirs. Like the film genre they were influenced by, what makes these songs "noirish" is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.The trio's free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine_the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John's own Christine. It's a chemistry that's helped power one of the most productive stretches of John's creative life, and Noir proves that it's nowhere near done yielding brilliant results.

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Coltrane Jazz Atlantic 75 Series

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

86,99 €*

John Coltrane & Eric Dolphy

Release: 2023 / US – Reissue

Genre: Organic Grooves

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180g 2LP 45rpm.
Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

Coltrane playing with his former Miles Davis bandmates

Featuring originals "Harmonique" and "Like Sonny"

180-gram 45 RPM double LP

Pressed at Quality Record Pressings

Tip-on old style gatefold double pocket jacket by Stoughton Printing

The first album to hit the shelves after Giant Steps, Coltrane Jazz was recorded in November and December 1959, although one of the eight tracks ("Villiage Blues") was recorded in late 1960. On everything save the aforementioned "Village Blues," Coltrane used the Miles Davis rhythm section of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb

AllMusic describes Coltrane Jazz as the saxophone legend's preparation for his launch into his peak years of the 1960s. There are three standards aboard, but the group reaches their peak on Coltrane's original material, particularly "Harmonique" with its melodic leaps and upper-register saxophone strains and the winding, slightly Eastern-flavored principal riffs of "Like Sonny," dedicated to Sonny Rollins. The moody "Village Blues" features the lineup of McCoy Tyner on piano, Elvin Jones on drums, and Steve Davis on bass; with the substitution of Jimmy Garrison on bass, that personnel would play on Coltrane's most influential and beloved 1960s albums.

Sound excellence can be found on this definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of Coltrane Jazz.

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Evenings At The Village Gate Orange Vinyl Edition

2LP | 2023 (Universal)

39,99 €*

Release: 2023

Genre: Organic Grooves

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Im August 1961 spielte das John Coltrane Quintet ein Engagement im legendären Village Gate in Greenwich Village, New York. Mitglied der Gruppe: der visionäre Multiinstrumentalist Eric Dolphy. Neunzig Minuten nie zuvor gehörte Musik dieser Gruppe wurden kürzlich in der New York Public Library entdeckt und werfen ein Schlaglicht auf eine musikalische Partnerschaft, die viel zu früh endete. Zusätzlich zu bekanntem Coltrane-Material („My Favourite Things“, „Impressions“, „Greensleeves“) gibt es mit „When Lights Are Low“ ein beeindruckendes Feature für Eric Dolphys Bassklarinette und die bislang einzige bekannte Nicht-Studioaufnahme von Coltranes Komposition „Africa“ aus dem berühmten „Africa/Brass“-Album.

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Giant Steps Atlantic 75 Series

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

75,99 €*

Release: 2023 / US – Reissue

Genre: Organic Grooves

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180g 2LP 45rpm. Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
John Coltrane's watershed 1960 release featuring the iconic title track and "Naima"
One of the most influential jazz albums of all time!
180-gram 45 RPM double LP
Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Released in 1960, Giant Steps was a watershed album for John Coltrane, solidifying the saxophone legend's reputation as one of the most influential and innovative musicians in jazz history, as well as delivering jazz to an increasingly mainstream audience, while garnering significant critical acclaim.

Although this was John Coltrane's debut for Atlantic, he was concurrently performing and recording with Miles Davis. Within the space of less than three weeks, Coltrane would complete his work with Davis and company on another genre-defining disc, Kind of Blue, before commencing his efforts on this one.

Coltrane (tenor sax) is flanked here by essentially two different trios. Recording commenced in early May of 1959 with a pair of sessions that featured Tommy Flanagan (piano) and Art Taylor (drums), as well as Paul Chambers — who was the only bandmember other than Coltrane to have performed on every date. When recording resumed in December of that year, Wynton Kelly (piano) and Jimmy Cobb (drums) were instated — replicating the alternate non-Bill Evans lineup featured on "Freddie the Freeloader" on Kind of Blue, sans Miles Davis of course. At the heart of these recordings, however, is the laser-beam focus of Coltrane's tenor solos.

All seven pieces issued on the original Giant Steps are Coltrane compositions. He was, in essence, beginning to rewrite the jazz canon with material that would be centered on solos — enabling the solo to become infinitely more compelling. This would culminate in a frenetic performance style using melodic phrasing that noted jazz journalist Ira Gitler accurately dubbed "sheets of sound."

The Giant Steps chord progression consists of a distinctive set of chords that create key centers a major third apart. Jazz musicians ever since have used it as a practice piece, its difficult chord changes presenting a "kind of ultimate harmonic challenge", and serving as a gateway into modern jazz improvisation. Several pieces on this album went on to become jazz standards, most prominently "Naima" and "Giant Steps."

The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" calling it "Trane's first genuinely iconic record." In 2003, the album was ranked No. 102 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, 103 in a 2012 revised list, and 232 in a 2020 revised list.

Undeniable music perfection deserves definitive sound and top-notch packaging. This reissue was mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Overall, Giant Steps is not only a critical triumph but also a defining moment in John Coltrane's career. Its innovative compositions, masterful performances, and profound influence on jazz make it an essential entry in Coltrane's discography and a timeless masterpiece in the history of the genre.

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Lush Life Black Vinyl Edition

LP | 1961 | EU | Reissue (SAAR)

25,99 €*

Release: 1961 / EU – Reissue

Genre: Organic Grooves

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« Lush Life » (1958) is among John Coltrane’s best endeavors on the Prestige (and Music) label.

One reason can easily be attributed to the interesting personnel and the subsequent lack of a keyboard player for the August 16, 1957 session that yielded the majority of the material.

Coltrane (tenor sax) had to essentially lead the compact trio of himself, Earl May (bass) and Art Taylor (drums). The intimate setting is perfect for ballads such as the opener ‘Like Someone in Love ».

John Coltrane doesn’t have to supplement the frequent redundancy inherent in pianists, so he has plenty of room to express himself through simple and ornate passages. Unifying the slippery syncopation and slightly Eastern feel of « I Love You » is the tenor’s prevalent capacity for flawless, if not downright inspired on-the-spot « head » arrangements that emerge singular and clear, never sounding preconceived. Even at an accelerated pace, the rhythm section ably prods the backbeat without interfering. A careful comparison will reveal that « Trane’s Slow Blues » is actually a fairly évident derivation (or possibly a different take) of « Slowtrane ». But don’t let the title fool you as the mid-tempo blues is undergirded by a lightheartedness.

May provides a platform for Coltrane’s even keeled runs before the tenor drops out, allowing both Earl May and then Art Taylor a chance to shine. The fun cat-and-mouse-like antics continue as Taylor can be heard encouraging the tenor player to raise the stakes and the tempo – which he does to great effect.

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Ole Coltrane Atlantic 75 Series

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

86,99 €*

Release: 2023 / US – Reissue

Genre: Organic Grooves

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Preorder shipping from 2024-11-15

180g 2LP 45rpm.
Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

Coltrane's final album for Atlantic

180-gram 45 RPM double LP

Pressed at Quality Record Pressings

Tip-on old style gatefold double pocket jacket by Stoughton Printing

"His sheer ability as a maverick — beyond his appreciable musical skills — guides works such as this to new levels, ultimately advancing the entire art form." — AllMusic

Coltrane's final album for Atlantic — released in November 1961 — bookends the exploratory motifs he explores on his Impulse! debut, Africa/Brass, recorded concurrently, with each involving knotty rhythmic shifts and Spanish-derived textures.

Bonding with an amazing band including pianist McCoy Tyner, drummer Elvin Jones, and an uncredited Eric Dolphy, Coltrane welcomes improvisations ranging outside conventional parameters, all the while retaining melodic beauty.

Coltrane's interest in the music of Spain evident in Olé, may have been spurred by his ex-employer Miles Davis's Sketches of Spain from the previous year. The structure and melody of the modal jazz vamp "Olé" was borrowed from the Spanish folk song "El Vito" (later used as the tune of "El Quinto Regimiento" from the Spanish Civil War, which was made known by Pete Seeger), while the soprano saxophone work recalled 1961's My Favorite Things.

Writing for All About Jazz, John Ballon commented: "A transitional record, Olé Coltrane successfully navigates the line between Trane's sonically challenging later years and his earlier accessibility. A magnificent milestone in Trane's artistic growth, this is an essential recording for any collection."

This deluxe 180-gram 45 RPM 2LP reissue from Analogue Productions (Atlantic 75 Series) is a fantastic addition to any music collection, and a must-have for Coltrane fans.

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Standard Coltrane 200g Vinyl Edition

LP | 1962 | US | Reissue (Analogue Productions)

46,99 €*

LP | 2023 | US | Original (Drag City)

Release: 1962 / US – Reissue

Genre: Organic Grooves

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John Coltrane brought a new sound and style to jazz, and he applied it in his own unique way to the standard material of the storehouse of American music gathered from Broadway, Hollywood and Tin Pan Alley. With the excellent rhythm team of Red Garland, Paul Chambers (both of whom had done so many concert, club and recording dates with him) and Jimmy Cobb and the Miles-directed flugelhorn of Wilbur Harden, Trane puts his personal stamp on numbers not done that often like Henry Nemo's "Don't Take Your Love from Me", Fred Ahlert's "I'll Get By" and two more familiar yet still not overdone songs, Richard Rodgers' "Spring Is Here" and Bronislau Kaper's "Invitation."

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John Fahey

Proofs And Reputations

John Frusciante & Josh Klinghoffer

Release: 2023 / US – Original

Genre: Rock & Indie

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Recorded in 1995 and 1996, mostly in John Fahey"s room at a Salem, Oregon boardinghouse, the performances on Proofs and Refutations prefigure the ornery turn of the page that marked Fahey"s final years, drawing another enigmatic rabbit from his seemingly bottomless musical hat. Cloaked in the language of dogma - what is he proving? refuting? - this is Fahey dancing a jig in the Duchampian gap, jester cap bells a-jingling. True believers? He"s got something for you: an uncompromising vision that you can sneer at ("guy can"t play anymore and refuses to concede!") or embrace as evidence of his genius ("the reinventor does it again!"). Skeptics? He"s there with you, too: sending up the fallacy of certitudes altogether. Institutions, systems, accepted wisdoms. Heroes. Alternative facts, indeed. Right out of the gate, Fahey re-materializes before us, somewhere between Oracle of Delphi and Clown Prince at Olympus. Mounting a thundering dialectic from on high, "All the Rains" resembles nothing else in his extensive discography - betraying roots in everything from Dada to Episcopal liturgical chant - and contains nary a plucked guitar note. You can"t fool him! When the lap steel of yore appears on "F for Fake," it serves more as soundbed for an extended sequence of vocal improvisations, running the gamut from wordless Bashoian caterwauling to free-form (but decidedly fake) Tuvan, even revealing a burnished falsetto in the process. Fahey takes on a different kind of provocation in the two acoustic guitar-based tracks closing Side 1 - "Morning" parts 1 and 2 - the first of 4 recordings in this session that have him wrestling with the ghost of Skip James, perhaps Fahey"s effort to wrench the "bitter, hateful old creep" (his words) back into the grave. Anchoring Side 2 is the two-part "Evening, Not Night," the second half of his extended cathexis on James (and the latter"s avowed castration complex - another story for another day, perhaps). Bit of a chill in the air - where"s the impish Fahey from earlier? Unmistakably working through some psychic wounds here, we might think: the unheimlich rendered in glistening viscera. Or is he playing with our notions of authenticity, of his reputation as troubadour of raw emotional states, a pilgrim of the ominous, the simmering unconscious? These cards are kept decidedly close to the vest. The opening and closing pieces again feature Fahey"s guitar as drone soundbed - employing distortion, oscillation, and an altogether absurd quotient of reverb to create texture and harmonics that are - if we wanna go there - not dissimilar to the sustained tonic clusters of Tibetan singing bowls, the hurdy gurdy, Hindustani classical music, or La Monte freaking Young. Portions of this material appeared on obscure late "90s vinyl in the 7" or double-78 rpm format, but as a "session" it has lain dormant more than a quarter century now. Taken together, we can now see these tracks as secret blueprints to latter-day Fahey provocations, several years prior to records like 1997"s City of Refuge and Womblife.

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A Sphere In The Heart Of Silence

LP | 2004 | EU | Reissue (Record Collection)

34,99 €*

Niandra LaDes And Usually Just A T-Shirt

Release: 2004 / EU – Reissue

Genre: Rock & Indie

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"A Sphere In The Heart Of Silence" is the fifth album in a series of six solo efforts that John Frusciante undertook from June 2004 to February 2005. It is an album of mostly electronica based material, and was a joint collaboration between John Frusciante and Josh Klinghoffer, who following Frusciante and joined the RHCP as guitarist in 2010, staying until 2019. Both of them perform vocals; John Frusciante sings lead vocals on "Afterglow", "Walls" and "My Life", and shares vocals with Josh Klinghoffer on "Surrogate People". Josh Klinghoffer performs lead vocals on "Communique", "At Your Enemies" and does the backing vocals for "Walls". John Frusciante calls Sphere in the Heart of Silence "a record of electronic music," but it's not nearly as "electronic" as that statement makes it sound. It's really more an allusion to the fact that his other releases of this year have been mostly comprised of guitar, bass and drums, and that there is some programming, synth-work and overdubbing on this one.

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John Frusciante

2LP | 2017 | US | Original (Superior Viaduct)

38,99 €*

John Gürtler & Jan Miserre

Release: 2017 / US – Original

Genre: Rock & Indie

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Niandra LaDes And Usually Just A T-Shirt is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the Blood Sugar Sex Magik sessions.

Originally released on Rick Rubin’s American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque.

Frusciante’s rapidfire, angular playing shows how key he was in the Chili Peppers’ evolution away from their funk-rock roots. His cover of “Big Takeover” perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody.

The album’s second part—thirteen untitled tracks that Frusciante defines as one complete piece, “Usually Just A T-Shirt”—contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu/Harmonia’s Michael Rother or The Durutti Column’s Vini Reilly.

On the front cover, Frusciante appears in 1920s drag—a nod to Marcel Duchamp’s alter-ego Rrose Sélavy—which comes from Toni Oswald’s film Desert in the Shape.

This first-time vinyl release has been carefully remastered and approved by the artist. The double LP set is packaged with old style tip-on gatefold jacket and printed inner sleeves.

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OST A Pure Place Feat. Shackleton

LP | 2021 | EU | Original (Counterchange)

18,99 €*

John Harris And The Soul Sayers

Release: 2021 / EU – Original

Genre: Soundtracks

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The original Soundtrack to Greek-German director Nikias Chrssos’ new feature, ‘A Pure Place’, scored by John Gürtler (Eigenlicht, Counter019), with his studio partner Jan Miserre, and featuring a track by chameleonic British artist Shackleton. Full Info: The script for A Pure Place had a dizzying effect on John Gürtler & Jan Miserre; their minds reeling with the possibilities. From Persian sheep bells, Chinese sheng, prepared trombone, quarter-tone piano, a beaten-up cembalo, hand percussion, and a room full of synthesizers, embryonic compositions and experiments came to life early on in the project. An electro-acoustic extravaganza, the soundtrack for A Pure Place takes a deep bow towards the many magnificent composers and scores from the late 60s and 70s where orchestral arrangements met with tape loops, psychedelia, and instruments from across the globe. Listening to that era of film music, anything seems possible. The minimalist tones of ‘Ritual Bells’ set the dial to weird in the opening sequence of the movie, whilst ‘The Island’ makes use of ambient vocals recorded through an oil drum, gently introducing one of the score’s main themes with a distant quarter-tone cembalo. Acclaimed British artist Shackleton’s eerie original version of ‘Fust’s Song’ (also included) was a tonal keystone for the entire soundtrack. Gürtler and Miserre translated his psychedelic electronic blueprint, layering acoustic instruments and bottom-heavy percussion in their ‘Paradox Paradise’ production style.

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Hangin' In / What Can I Do

7" | 2013 | DE | Reissue (Cree)

144,99 €*

I'll Give You Something To Remember Me By White Vinyl Edition

Release: 2013 / DE – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Vinyl with light scuffs and hairlines. Cover with a bent corner and light creasing. Copy n° 323 / 500

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John Hicks Trio

LP | 1988 | US | Reissue (Tidal Waves Music)

27,99 €*

I'll Give You Something To Remember Me By Black Vinyl Edition

Release: 1988 / US – Reissue

Genre: Organic Grooves

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* Rare Jazz Classic From 1988 * Featuring an All-Star Line-up * First ever vinyl reissue * Released for the first time in The UK & North America* 180g Black vinyl limited to 500 copies (w/obi strip)
In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting out of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz's great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader John Hicks (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Julliard School. After playing with a number of different artists during the early '60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early '70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary Idris Muhammad (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have Curtis Lundy (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass stokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Tidal Waves Music now proudly presents the First ever vinyl reissue of this classic jazz album (originally released in 1988). This reissue comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip…also present are the exclusive pictures shot by legendary Dutch photographer Frans Schellekens (known for his work with artists such as Chet Baker, Alice Coltrane, Freddie Hubbard and Sonny Rollins). This will also be the the first time the album is being released in North America and in the UK.

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John Hicks Trio

LP | 1988 | US | Reissue (Tidal Waves Music)

19,99 €*

LP | 2023 | EU (Radiation Roots)

Release: 1988 / US – Reissue

Genre: Organic Grooves

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John Holt

Peace Maker

18,99 €*

Release: 2023 / EU

Genre: Reggae & Dancehall

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Plastic Ono Band Deluxe Edition

John Lennon

2LP | 1970 | EU | Reissue (Universal)

42,99 €*

Box | 2010 | EU (Universal)

Release: 1970 / EU – Reissue

Genre: Rock & Indie

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Plastic Ono Band was the debut solo album by John Lennon. Released on December 11th 1970, John and Yoko had started writing and demoing at Abbey Road (emi Studios) in the summer, with recording sessions during September/October

After the break-up of The Beatles that year, John and Yoko embarked on a period of self-reflection and experimentation, with the results that the songs and sessions for Plastic Ono Band were heavily influenced by his immersion in Arthur Janov’s primal therapy. John was able to find emotional depth and honesty within himself that few artists had ever done before, with John saying to Rolling Stone “now I write all about me and that’s why I like it. It’s me.” . The result is perhaps the most honest and emotionally raw album that anyone has ever released, let alone someone who was one of the four most famous musicians on the planet. With a small core band comprised of just Ringo Starr on drums and old friend Klaus Voorman on bass, co-produced by Phil Spector, the album peaked at 8 in the UK charts and 6 in the USA. It has come to be regarded by many as John’s finest solo work and has continued to grow in stature and reverence and has often featured in various Best Of lists through the years since. Not only does this album feature some of John’s best-loved and most impactful songs – Mother, Working Class Hero, Isolation, God – but this new set also includes the singles Give Peace A Chance, Cold Turkey and the classic Instant Karma! (We All Shine On).

Released on the same day was Yoko Ono’s Plastic Ono Band album, the couple regarding the release as a pair of albums rather than two entirely separate projects, albeit of course it not achieving the same sort of coverage or chart success as John’s.

Coming as this does hot on the heels of last year’s much loved and well-reviewed “Gimme Some Truth” set and “Imagine” before that, the audio has been completely remixed from the original studio tapes as part of the ongoing John Lennon Ultimate Mix series. The aim for this mix process is to achieve three things: to remain faithful and respectful to the original recordings; to ensure that the sound is sonically clearer overall and to increase the clarity of John’s vocals. As Yoko says, “it’s about John” and this new mix shows that it is his voice that brings the biggest emotional impact of the album.

This multi-format release included a Cd/bd Super Deluxe Box with 130 page book featuring many exclusive and new photos, track-by-track notes in the words of John and Yoko, lots of tape boxes and full breakdown and descriptions of the audio content. As well as the new Ultimate Mix, we have 5 further CD discs, each focusing on different and new aspects ,including: original outtakes, demos, Elements Mixes (focusing on individual aspects of the songs to reveal unheard elements), Evolution Mixes (the story of each song from demo to complete recording), Raw Mixes (unadorned studio takes that place you inside the room almost sitting alongside the band) and a further disc of studio Jams. There are two Blu-ray Audio discs that feature hi-res stereo (192/24) versions of all the above as well as surround mixes in 5.1 and Dolby Atmos. Further material only available on BD includes the Yoko Ono Band/Plastic Ono Band Live Sessions from the original recording sessions and featuring Ringo Starr and Klaus Voorman.

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John Lennon

Signature CD Box

118,99 €*

Release: 2010 / EU

Genre: Rock & Indie

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John Littlejohn And Carey Bell

The Blues Show! Live At Pit Inn

LP | 1982 | JP | Original (Yupiteru)

Release: 1982 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

John Lunn, Eivør And Danny Saul

The Last Kingdom: Destiny Is All Amber Vinyl Edition

LP | 2023 | EU | Original (Season Of Mist)

48,99 €*

Release: 2023 / EU – Original

Genre: Reggae & Dancehall

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LP | 1971 | EU | Reissue (Endless Happiness)

John Mayall

Thru The Years

22,99 €*

Release: 1971 / EU – Reissue

Genre: Rock & Indie

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“Thru The Years” is a compilation album of music by John Mayall released in October 1971 by Decca Records in the U.K. and London Records in the U.S.A. The album was the second compilation to be issued by Decca/London with Mayall's blessing and it features a mixture of previously unissued songs or non-album tracks that had only been released as singles. A grab bag of rare tracks from the '60s, some of which stand among Mayall's finest. His debut 1964 single "Crawling Up a Hill" is one of his best originals. The eight songs featuring Peter Green include some top-notch material that outpaces much of the only album recorded by the Green lineup (A Hard Road), particularly the Green originals "Missing You" and "Out of Reach," a great B-side with devastating, icy guitar lines and downbeat lyrics that ranks as one of the great lost blues-rock cuts of the '60s. The set is filled out with a few songs from the Mick Taylor era, the highlight being the vicious instrumental "Knockers Step Forward."

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2LP | 2009 | EU | Reissue (Columbia)

Battle Studies

Release: 2009 / EU – Reissue

Genre: Rock & Indie

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2LP | 2012 | US | Original (Sony)

Born & Raised

44,99 €*

Release: 2012 / US – Original

Genre: Pop

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2LP | 2010 | EU | Original (Music On Vinyl)

Continuum +1

33,99 €*

Release: 2010 / EU – Original

Genre: Pop

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LP | 2003 | EU | Reissue (Columbia)

Heavier Things

Release: 2003 / EU – Reissue

Genre: Rock & Indie

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LP+CD | 2013 | US | Original (Sony)

Paradise Valley

54,99 €*

Release: 2013 / US – Original

Genre: Rock & Indie

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CD | 2002 | AU | Original (Aware)

Room For Squares

5,99 €*

Release: 2002 / AU – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG, Cover: Generic

CD comes in a soft case, instead of the original crystal case. All booklets included.

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LP | 2001 | EU | Reissue (Columbia)

Room For Squares

Release: 2001 / EU – Reissue

Genre: Rock & Indie

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LP | 2021 | EU | Original (Columbia International)

Sob Rock

Release: 2021 / EU – Original

Genre: Pop

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The Search for Everything

2LP | 2017 | EU | Original (Columbia)

Release: 2017 / EU – Original

Genre: Pop

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4LP | 2008 | EU | Reissue (Music On Vinyl)

Where The Light Is

52,99 €*

2LP | 2022 | EU | Original (Unseen Worlds)

Release: 2008 / EU – Reissue

Genre: Pop

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Exclusively remastered from analog tapes.
Pressed on 180g audiophile vinyl.

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John McGuire

Pulse Music

41,99 €*

John Morales Presents Teena Marie

Release: 2022 / EU – Original

Genre: Rock & Indie

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Presented together for the first time, American composer John McGuire's Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe's angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism's warped geometries onto an evenly spaced grid, perfectly preserving serial music's multi-dimensionality while smoothing its wildest disjunctures and sharpest angles. If serialism is Montreal's Habitat 67 modular housing complex, McGuire's Pulse Music compositions are the primary-colored grids of Le Corbusier's L'Habitation apartment complex _ an exuberant expression of the same materials and principles.Every layer of pulses is made distinct through its timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative reality becomes qualitative experience.McGuire's pulse pieces were realized electronically, in the newly built Studio for Electronic Music at the State University of Cologne and WDR, but Pulse Music II adapted his ideas to an orchestral canvas. Commissioned retrospectively by the composer and radio producer Hans Otte for his Pro Musica Nova festival at Radio Bremen. Alongside the Bremen orchestra, conducted by Klaus Bernbacher, were four pianists_Christoph Delz, Herbert Henck, Deborah Richards, Doris Thomsen_and McGuire himself playing a series of twelve drone-like chords on the organ. The techniques of the electronic Pulse Music pieces required a speed and precision too great for live musicians, so for Pulse Music II McGuire adapted his method to an expanding progres...

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Love Songs

3LP | 2021 | EU | Original (BBE Music)

48,99 €*

7" | 2017 | UK | Original (Super Disco Edits)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Producer extraordinaire John Morales returns to BBE Music, celebrating the life and work of R&B / soul legend Teena Marie with a double album full of brand new remixes, lovingly crafted from the original studio tapes, entitled ‘Love Songs & Funky Beats’. “Teena is somewhat underrated, and people don't really know much about her.” Says Morales. “I set out to immerse people in her music and represent what she really did. That meant for me a dive into more than her R&B hits, to dig into her ballads and dance cuts. People know she was talented. I don't really think they really knew the depth of her abilities, her complete confidence to take it upon herself to do everything – singing, producing, arranging, songwriting. Teena Marie was the total package.” John Morales had the pleasure of mixing many of Teena Marie’s original records over the years, so it felt natural to dig into the archives and select his favourite cuts to rework, extend and subtly update in his own distinctive style. While by no means a definitive collection of Lady Tee’s expansive musical catalogue, ‘Love Songs & Funky Beats’ represents a fitting tribute to a multifaceted and important voice in popular music, by one of the most storied mix engineers and remixers of our age. Jumping into the music industry deep end in 1979 with a three-year mentorship from Berry Gordy & Rick James at Motown, Teena Marie then spent seven fertile years with Epic, which yielded her greatest commercial successes (including the classic album 'Starchild'). After founding an independent label ‘Sarai’, Marie took a ten-year hiatus which ended in 2004 in a deal with hip hop label Cash Money Records; a less unlikely partnership than some might assume, given that Teena was one of the first ‘mainstream’ artists to perform a rap verse, on 1981’s ‘Square Biz’. Teena Marie Brockert forged a unique path through the industry, an artist in-charge of her own destiny, influencing (and heavily sampled by) both the hip hop and R&B sounds of the 90’s and early 2000’s. Her 1982 lawsuit against Motown records resulted in "The Brockert Initiative", which has benefitted literally thousands of other artists by making it illegal for record companies to ‘shelve’ artists by keeping them under contract without releasing their material. She continued to tour regularly and deliver commercially successful, expertly sculpted music, right up until her untimely passing in 2010.

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John Simmons

Safe / I Wanna Be Closer

11,99 €*

2LP | 2011 | EU | Reissue (Kompakt)

Release: 2017 / UK – Original

Genre: Organic Grooves

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Limited vinyl edition!

Although best known in the global music world for his four years (1984-1988) as the music director and bandleader for Whitney Houston, John’s tenure in the soul music field began when he was a member (with his brother Edmund ‘Butch’ Simmons) of The Reflections, a New York City-based quartet who toured from 1972-1975 as the backing group for the legendary Melba Moore. In 1975, The Reflections had a Top 10 R&B hit with “Three Steps From True Love.”

In 1978, John began touring with Stephanie Mills, at the same time collaborating with Phillip Ballou, a member of another New York-based vocal group, Revelation and UK soul music journalist David Nathan (who he met when Nathan did an interview with The Reflections for Britain’s “Blues & Soul” magazine in 1975). The trio wrote a number of songs for Ballou’s demo as a solo artist and while nothing transpired in that regard, John recorded his own version of one of the tunes, “Ain’t Nothing Like The Love” for a small independent Michigan label, Sabrina Records in 1981. John had worked with Cissy Houston at New Hope Baptist Church in New Jersey where she was the minister of music was asked by her to do some initial promotional dates with her daughter Whitney after Arista Records released her first single in 1984; he continued doing world tours with Houston until he passed away at the age of 45 in March 1989.

The Ballou sessions (held mostly in Montclair, New Jersey) expanded into recording dates for both Nathan and Simmons. None of the original recordings were released commercially – until now. In the wake of the interest among rare groove collectors in John’s version of “Ain’t Nothing Like The Love,” Nathan – himself a recording artist since 2003 – has uncovered the tapes of all the material he, Phllip and John recorded in 1978 and 1979.

Gaining its first-ever release now on Nefer Records via Super Disco Edits is the coupling of John’s solo composition, the upbeat gospel-infused “Safe” and the midtempo, “I Wanna Be Closer,” another one of the songs also recorded (and thus far unissued by both Ballou and Nathan).

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John Tejada

Parabolas

John Williams , Stanley Myers And His Orchestra

Release: 2011 / EU – Reissue

Genre: Electronic & Dance

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A download code is included.

"Expect the unexpected," they say, and it should come as a surprise to many as we warmly welcome to the KOMPAKT family one of America’s most celebrated producers in dance music, JOHN TEJADA! Born in Austria, he relocated to his current home of Los Angeles at the age of 8 and, following a brief career in hip-hop, found his home in electronic music. If you're even the slightest fan of the genre, you’ll be hard-pressed not to have heard his music over his decade long career. Whether on his own Palette Recordings, Poker Flat, or Plug Research — plus a Fabric Mix CD under his belt, it’s thanks to a steady stream of massive releases (think “Mono On Mono” and “Sweat On The Walls”) that he remains a mainstay in the charts of Beatport and uncountable DJs. He is also half of the long-standing City Centre Offices act, I’m Not A Gun (together with Takeshi Nishimoto). “I wanted to experiment with some longer phrases again and to step away from the analog sequencers more and get back to using my hands to create the melodies. I also feel for the first time in quite a while I've made an album of songs for myself without worrying about the usual pressures.” Resident Advisor called Tejada “one of the most notoriously meticulous producers around" — an unmistakable proof lies within these recordings. Genres collide and combine with an unraveling of blissful layers on “Parabolas”. The opening track, “Farther & Fainter,” offers a musicality today's techno and house often lack — an accomplishment that resonates throughout the album. Tracks such as “Subdivided” and “Unstable Condition” reflect the wondrousness of Aphex Twin’s Polygon Window project, something that could only be reanimated and brought to 2011's standards by Tejada. “Parabolas” is a true highlight in John Tejada’s deep catalogue. Bold words indeed for a producer who is known for unexpected variation and tremendous musical imagination.

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Changes

LP | JP | Original (Eastworld)

11,99 €* 15,99 € -25%

LP | 2018 | UK | Original (Ndeya)

Release: JP – Original

Genre: Classical Music

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Used Vinyl

Medium: Near Mint, Cover: VG

Cover close to VG+

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Jon Hassell

Listening To Pictures

31,99 €*

Release: 2018 / UK – Original

Genre: Organic Grooves

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Jon Keliehor / Signy Jakobsdottir

Winds Of Change

LP | 2023 | EU | Original (Abstrakce)

30,99 €*

Would You Believe In Me / Kuenda

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Abstrakce is happy to recover this lost gem recorded in 1999 and published by Keliehor himself in a very short-run CD named "Create Music", which had almost no diffusion. An outstanding collection of exotic tracks with a wide range of influences from primitive cultures all over the world. An unexplored region where the Minimalism concepts developed by Steve Reich, La Monte Young, or Terry Riley and renewed by Midori Takada meet Jon Hassell's 4th world ideas. You will find here repetitive patterns that evolve and transform the sound space, unlikely instruments gathered together in a perfectly harmonic way, making flow an unusual melodic sense when the uncommon combinations of these instruments interact with one another. Simple instruments, yet exotic, primitive sound makers with complex personalities, timeless sound treasures unchanging a hundred years. Crude or sophisticated, most of the instruments, compel us to listen to them. A more flexible and wider range of tonality is discovered by limiting the number of instruments that play together and choosing those whose tones and harmonics resonate together.

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Jon Lucien

7" | 2018 | UK | Original (RCA)

LP | 2020 | US | Original (You've Changed)

Release: 2018 / UK – Original

Genre: Organic Grooves

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Part two of the official remastered, reissue of Jon Lucien’s ‘Rashida’ e.p. see’s ‘Would You Believe In Me’ and ‘Kuenda’ lovingly housed together on either side of a dinked 7 inch record. ‘Would You Believe In Me’ is a top down, soulful cruiser, bringing a slice of jazzed up funk gold to the fore. As smooth as silk, Lucien’s dulcet tones leave you in awe - a voice destined to bring joy to souls the world over, it oozes charm, passion and elegance from beginning to end. On the B side, ‘Kuenda’ washes away any worries that the day-to-day mind might have conjured up, with the soft sounds of the sea leading into a beautiful layered vocal performance by Lucien, perfectly accompanied by a solo plucked Spanish guitar.

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Jon McKiel

Bobby Joe Hope

21,84 €* 22,99 € -5%

LP | 2022 | US | Original (Thrill Jockey)

Release: 2020 / US – Original

Genre: Rock & Indie

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How do you speak through a stranger? Contain multitudes. And begin to find new kinds of design in accident. True story. In September 2015 Jon Mckiel bought an old Teac A-2340, a reel-toreel tape recorder, tapes included. He exchanged a few emails with the online seller while negotiating a deal, but they never met. The first time Jon tested out the machine at home it disclosed a beautiful dream. A single tape of astounding samples from an unknown source. He nicknamed it the Royal Sampler. They began to jam together. I want to hear you speak. The tape might have been a lost demo for the games of hide and seek that accustom us to evasion. A collaboration constructed in echo. The completed songs seem to start mid-sentence, waiting a little further along the trail. Watch your step the ground gets uncertain by the bend. The maple trees in giggling fits. The shoreline no longer sure. I hear the mourning dove. Bobby Joe Hope was recorded during the summer of 2019 by Jay Crocker (of Constellation Records' JOYFULTALK, who knows a thing or two about composition methodologies involving electronic debris and surprising bric-a-brac). Under the watchful eye of Edward Snowden and a Blue Heeler named Judy, Jay and Jon transferred all the material they could excavate from the Royal Sampler along with the dialogic samples Jon had been making since that fateful September introduction. They combined these two sampled sources with the following design principle: even in the songs organized around a Jon sample, the stranger would be woven in. A shared sonic architecture. Bobby Joe Hope shares a skewed grace and tuneful ease with the work of Chris Cohen, Chad VanGaalen, or Sandro Perri. There's a masterful craft at work, and an attention to the intricate beauty of the smallest details, generous and clear. Tell me what you see. A game of hide and seek. A field wears the fog like an ancient argument. Wayward voices take shape just up ahead. Count down from 10 and be alone again. Abandoned to potential. In the green wide open. The rest belongs a mystery.

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Jon Porras

Arroyo

31,99 €*

Release: 2022 / US – Original

Genre: Pop

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Arroyo Clear Vinyl Edition

Jon Porras

LP | 2022 | US | Original (Thrill Jockey)

34,99 €*

Tape | 2022 | US | Original (Trouble In Mind)

Release: 2022 / US – Original

Genre: Rock & Indie

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Jon Porras draws a staggering array of atmospheres out of even the simplest instrumentation. Across his work as one-half of psych-drone duo Barn Owl and his solo releases, Porras welds monoliths and ether into propulsive music that is deeply felt. Arroyo, named for the Spanish word for "stream" in a nod to Porras' heritage as a first generation Colombian?Japanese American, drifts gently from one tributary to the next in unhurried contemplation and euphoria. The portentous weight and abrasive textures of Porras' previous work give way to the trickle of richly detailed acoustic instruments slipping in and out of the fold. On Arroyo, Jon Porras evokes a distinct sense of resplendent anticipation and calm with a fathomless flow and softly gorgeous colors. For Porras, Arroyo became a rumination on simplicity and simple truths, a work of complete immersion and continuous motion where separate elements coalesce into an ever-changing whole. Porras spent the year leading up to 2020 living nomadically across Europe where he was able to soak in a deep appreciation for the effortless beauty of overgrown gardens, the basic principles of classical architecture and a more transient sensibility. The album was written and recorded in a time of even more change for Porras: after the birth of his daughter. Like a stream's steady glide across bedrock that waxes and wanes with each gradual turn, the music of Arroyo exhibits a transportive stillness. The compositions take on a light, gaseous buoyancy as discreet drones swell with measured fluctuations and ripples of piano rest atop the surface. Arroyo borrows harmonic concepts from modal jazz to create a unique sense of ease and endlessness. Each of the four pieces on the album centers around a single suspended chord, a chord most commonly associated with devotional music which embodies a space between harmonic tension and resolution. Porras embellishes that liminality with arrangements that feel less like distinguishable layers of instruments and more like one undulating nebula of sound. In the past decade of Porras' solo work, his music has grown increasingly engaged with elaborate synth textures and detailed processing. With Arroyo, Porras consciously takes a step back from those more intricate compositions and focuses on more organic, unadorned textures and places each sound with the same precision. Stark piano and guitar patiently hover over modest currents of Hammond organ and Yamaha DX7 with the sustain of each chord and phrase acting as a natural guide to the album's subtle rhythm. The four pieces that comprise Arroyo each encompass their own idyllic channel, slowly weaving their way in and out of the album's elegant stir. Porras' reflections on simplified elements take shape in gorgeous arrangements that impart clarity amidst a tranquil mist. Arroyo is an album that unearths splendor in a unified feeling of space, serenity in perpetual renewal

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Jonas Reinhardt

A Ragged Ghost

14,99 €*

A Ragged Ghost Metallic Silver Vinyl Edition

Release: 2022 / US – Original

Genre: Organic Grooves

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"A Ragged Ghost" is the eighth full-length album from electronic producer Jonas Reinhardt. Following albums on Kranky, Not Not Fun, Constellation Tatsu, and more, his debut release for Trouble In Mind brings together 11 new pieces that explore themes of life & death, netherworlds, and the liminal spaces in between. Taken together as a single narrative, the album offers a stirring exploration of mortality and immortality in what Reinhardt describes as 'a dance of religious syncretism, navigating spaces between the living and the dead'."A Ragged Ghost" finds him synthesizing influences organically from familiar teutonic strains to the intense austerity of early 21st century electronic pioneers such as Biosphere and Susumu Yokota. A whisper of the Italo-disco-esque romps of Jonas' 2012's "Foam Fangs" EP & 2013's "Mask of The Maker" LP merge with his more kosmische leanings into a sinister, slightly funky, but also studious suite that at times feels like a lost sound library record from the KPM archives. Openers "Ape & The Universal Axis" and "In Lotto Commodore" decidedly sound like a selection from a lost film score while others like the bubbling "Sly Tomb" recall the works of Roedelius or Vangelis' serene soundscapes. Meanwhile, fans of the electro-ambience of Manuel Göttsching's strobe-light, proto-house (on his seminal "E2-E4") or the pulsing insistence of John Carpenter's visceral non-horror scores (i.e. "Escape From New York" or "Assault on Precinct 13") will find a lot to love about songs like "Tumb Tumb" and "Wretched Orchestra of Armistice".

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Jonas Reinhardt

LP | 2022 | US | Original (Trouble In Mind)

17,99 €* 23,99 € -25%

A New Directive From The Bureau Of Compulsory Entertainment

Release: 2022 / US – Original

Genre: Organic Grooves

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Jonny Dillon

Tape | 2023 | EU | Original (All City Dublin)

The Fellowship Black Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie

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Ace Cassette version (with 2 Extra Songs) of the recent LP from contemporary Irish guitarist Jonny Dillon. Beautifully recorded blues / folk guitar pieces. TIP!

Jonny Dillon’s debut acoustic album ‘Songs For A One-String Guitar’ took the listening public by surprise and the critics by storm when it dropped out of the blue on All-City in 2019. It represented a departure for an artist who was renowned for having the Midas touch when it came to coaxing dance floor fire from all manner of hardware. But fortune favours the brave and temporarily setting the machinery aside and following an acoustic path to the waterfall has already reaped rich rewards for Jonny Dillon. He’ll never say it in so many words but here’s a man on a mission: “Fail as I may, I have to go back and try again every time, to wait in hope for a glimpse of the spirit that hovers over the face of the deep, and to keep watch for the Light that shines in the darkness.”

The generosity of spirit which is the linchpin of all great music is something that can neither be cheaply conjured nor ever easily faked, god forbid. It’s the elusive emotional conductor in the spinal cord of sound - a foundational component of that mysterious feeling of connection we as listeners are seeking every time we put the needle on the record or press play on a song. The very essence of the thing we seek, in short. The holy grail. When sweet music hits, it’s the spirit that moves us and it’s both the source of the power within it as well as ultimately the place where it resides inside of us too, once heard. This is how music works. Journeying. Spirit to spirit. From the makers and dreamers of the dream to dreamers in general. The indomitable spirit inherent in the instrumental guitar compositions and distinctive finger picking style of Jonny Dillon is a case in point. This is spiritful music of a rarer kind made by an artist as inherently attuned to the troubling times we are living through as he is to the value of carving out new paths to the waterfall through the medium of sound on our behalf. Boom and there it is. Much needed guidance. A priceless new navigational tool of the imagination to help us all through the maze.

Just like the debut offering, this a path inherently worth following too, every step of the way. This time Jonny’s singular playing style finds true expression in a sound world expertly shaped by a master of the production craft, John ’Spud’ Murphy in Hellfire Studio. Masters at work, times two. Like all dream productions, it quickly assumes three dimensional proportions and becomes a place to go in and of itself, worth returning and retreating to, time and again. On A New Directive From The Bureau of Compulsory Entertaintment, his mode of expression is as clear and impactful as the immediate impression the sound makes on us. His is a strong game. He rises to the occasion and fulfils a great need on our part in so doing. We have to give thanks where it’s due. Balms for the soul are hardly two-a-penny in these challenging times but this is a timely one and of a lasting kind too. In stripping everything back and breaking his sound down into the bare component parts of reverberating steel strings on resonant wood, he has tapped into a kind of universal music of the spheres. It’s in tune with the times and more. Big picture sound with heart and soul to match. The iridescent sound he conjures from that same deep is a joyous thing to behold imbued as it is with a kind of light that never goes out. A dozen jewels adorn this timeless creation, each one a glimpse of eternity. They will shimmer forever. Man gets tired. Spirit don’t.

Dónal Dineen, January 2023.

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Joseph Shabason

LP | 2021 | US | Original (Western Vinyl)

The Fellowship Transparent Sky Blue Vinyl Edition

Release: 2021 / US – Original

Genre: Organic Grooves

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Across eight tracks that mesh spacious, jazz-laced composition with fourth-world and adult-contemporary tonality, Toronto saxophonist Joseph Shabason sketches an auditory map of the transcendence, unity, conditioning, and eventual renunciation of his upbringing in an Islamic and Jewish dual-faith household. The resulting album The Fellowship bears the name of the insular Islamic community Shabason's traditionally Jewish parents belonged to from a time before he was even born; a mental and spiritual push-pull which continued shaping, even controlling, his outlook well into his adulthood. As a listening experience The Fellowship follows a chronological arc that spans three generations covering his parents' early lives, his own spiritual and physical adolescence, and his subsequent struggle to eschew the problematic habituations of such a conflicted past. On The Fellowship, as on prior albums that bear his name, Joseph Shabason does what only the best instrumental music makers can: tell a story with emotional clarity that conveys even the subtlest of feelings, all without singing a single word. As wordless as ever-- with as complex a theme as ever-- this album may be his most emotionally articulate yet. Most importantly, those lost in the woods of repression and self-doubt that organized religion can be at its worst now have The Fellowship to help guide them into a softer light. R.I.Y.L. Brian Eno, Jon Hassell, Beverly Glenn-Copeland, Laraaji, Robert Rich, Harold Budd

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Joseph Shabason

LP | 2021 | US | Original (Western Vinyl)

Liferaft Transparent Vinyl Edition

Release: 2021 / US – Original

Genre: Organic Grooves

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Juicy Fruit

12" | 1993 | CA | Reissue (Definitive)

16,99 €*

An Abundance Of Strawberries

Release: 1993 / CA – Reissue

Genre: Electronic & Dance

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Definitive Recordings is proud to announce the reissue of deep house classic "Liferaft" by Juicy Fruit (aka Meredith Ledger), fully remastered and set to breathe new life into one of the 90s' most iconic releases. Originally dropped in 1993, this EP features the original as well as remixes by John Acquaviva and The Stickmen.

The standout title track, "Liferaft", is a rich and soulful deep house gem, built around a captivating piano house theme that harks back to the golden era of house music. The track's groove is driven by a classic house beat and a funky, rhythmic guitar lick that perfectly complements its melodic core. The fresh remaster brings new clarity to its timeless warmth, elevating it for modern sound systems while keeping the vintage charm intact.

House music legend John Acquaviva takes the funky guitar lick and pushes it further into the groove, layering it with a robust and simplistic bassline. His remix evolves into a deep yet vibrant soundscape, showcasing Acquaviva's signature house influence.

The "The Stickmen Dub" intensifies the original's foundation by supplementing it with a hypnotic organ sound. This remix enriches the track with subtle but powerful layers, creating a mood that's both dancefloor-ready and deeply immersive.

Definitive Recordings is excited to share this release with long-time fans and newcomers alike. Whether you're a die-hard house aficionado or just discovering the classics, the "Liferaft" EP is a must-have addition to any collection.

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Julia Brown

Tape | 2022 | EU | Original (Joy Void)

Something In The Room She Moves Black Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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In every way, Julia Brown's only full-length record An Abundance of Strawberries defies expectations. Their final release, Strawberries was recorded largely after the band had broken up. Rather than scrap a large amount of material, songwriter Sam Ray and violist and singer Caroline White decided to finish the record with a rotating cast of musicians, including the original band members Alec Simke and John Toohey, as well as Sean Mercer, Warren Hildebrand, Alex Giannascoli, Abby Trunfio, and others. Largely eschewing traditional band arrangements, they worked heavily with samples - drum machines, breaks, and bird calls in lieu of traditional percussion, 808s in place of basslines - before layering arrangements of strings, pianos, horns, and omnichord on top alongside lush harmonies and oft-affected vocals. The result is a meticulous record that sounds like nothing and everything at once. Both celebratory and melancholy, it nods toward a lineage of pop and indie-pop artists from Ellie Greenwich to Heavenly and more experimental acts like Fog, Cotton Candy Collective, Spiritualized and Duster.

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Julia Holter

2LP | 2024 | UK | Original (Domino)

Release: 2024 / UK – Original

Genre: Rock & Indie

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Something In The Room She Moves Red Vinyl Edition

Julia Holter

2LP | 2024 | UK | Original (Domino)

30,99 €*

LP | 1981 | UK | Reissue (Expansion)

Release: 2024 / UK – Original

Genre: Rock & Indie

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While the work of the Los Angeles-based singer-songwriter and composer has often explored memory and dreamlike futures in the past, her latest album is more grounded in the present. Her production and arrangements form a continuum of fretless electric bass tones in counterpoint to gliding vocal melodies, while glissading Yamaha CS-60 lines play around the reeds like warm winds. "I've tried to create a world that sounds fluid and water-like, reminiscent of the inner sound world of the body," says Holter about her flowing harmonic universe.

The last few years have brought an existential focus on human connection for Julia Holter, amidst the shattering changes that have come with the deaths of loved ones (including her young nephew, to whom the album is dedicated) and the birth of her daughter. On Something in the Room She Moves, Holter vividly processes the complexity, gravity and awe of this confluence of experiences.

After a string of dream-pop albums - from her breakthrough Ekstasis (2012) to Loud City Song and Have You in My Wilderness - Holter released the sprawling and thrillingly experimental Aviary in 2018. Since then, she has scored films such as Never Rarely Sometimes Always, performed a commissioned piece for The Passion of Joan of Arc with the Chorus of Opera North and collaborated with her partner, musician Tashi Wada, who plays synthesizer and bagpipes on her new album. Something in the Room She Moves is a remarkable step forward in Holter's work, combining her free improvisational energy with her characteristic eloquence.

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Justo Almario

Interlude

Release: 1981 / UK – Reissue

Genre: Organic Grooves

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2LP | 2019 | US | Original (Rooster)

Kandodo 3

23,99 €* 31,99 € -25%

Release: 2019 / US – Original

Genre: Rock & Indie

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A brand new studio full length from Bristol based sike-o-nauts Kandodo 3, orbiting in the Heads’ realm and led by Heads’ Simon Price, k3 continues their trajectory of outer space excursions.

Out of focus, relaxed and expansive vibes fuse together into serpentine rivers of minimalist rhythms and echoed tones, drawing the listener into tunnels of sound and scorched sonic landscapes—its one for the headphones at 30,000 feet or late night deserted drives.

The album finds three heads taking time out to dive into the dronal repetitions of deep space, three psychonauts killing time in the only way they know how: head-nodding drumfuzz layered with creamed strings. Guest guitar from fellow sike-head John McBain appears on the final half of this 40 minute trip! It takes the autobahn, veering left past the sun and heading on till morning. Settle in for the long haul and....

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Karhu x Sasu Kauppi

Fusion 2.0

47,98 €* 159,95 € -70%

LP | 2023 | UK | Original (Shelter Press)

Available Sizes: EU 39½

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ATTENTION: Karhu sizes turn out to be 1/2 a size smaller than tagged, so please take 1/2 size larger than your regular size!

Karhu joins forces with the one and only Sasu Kauppi, former head of menswear at Yeezy, to create a special capsule collection for SS23. This version of the Fusion 2.0 has been co-designed by Finnish fashion designer Sasu Kauppi who took inspiration from Karhu’s mid 80s period, when sportswear featured bright colors and flashy patterns. It's all about Team College, so better Join The Team!

With Sasu Kauppi's version of the Fusion 2.0, Karhu pays tribute to the iconic Fusion silhouette. Back in 1996, the Karhu Fusion was rated the top runner of the brand's range, and to stage a comeback, Karhu worked with the shoe's original designer. The sole unit and upper measurements have been revamped to make the silhouette more appealing, but to keep it as authentic as possible, the Karhu Fusion 2.0 is equipped with lots of original details such as the Karhu tongue label and the rubberized collar print.

Karhu x Sasu Kauppi Fusion 2.0 - features:

• leather and mesh upper
• soft and breathable fabric lining
• rope laces plus plastic Ghilly-inspired triangle loops
• loop at heel
• foam-padded insole with Karhu x Sasu Kauppi branding
• foamed midsole cushioning
• outsole made from abrasion-resistant rubber
• Karhu x Sasu Kauppi woven label at padded mesh tongue
• Join The Team lettering embossed at heel

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Kassel Jaeger

Shifted In Dreams

12" | 2024 | EU | Original (Futurepast)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Franco-Swiss composer François J. Bonnet, aka Kassel Jaeger, returns to Shelter Press with his new solo album, Shifted in Dreams. Over the years, Bonnet has been working closely with Shelter Press on different projects, whether as a musician (Zauberberg, Swamps / Things), a theorist (The Music To Come) or as Director of parisian institution INA GRM (spectres, Recollection GRM, Portraits Grm). The common axis of all these actions is the exploration of the deep causes of music, its own potential and its possible appearances. Shifted in Dreams is a continuation of such research but takes a somewhat deviated path. If we use the metaphor of music as a paradoxical mountain — an unreachable “Mont Analogue”, then this record tries to opens up a way that at first seems simpler and marked out by the distinct presence of familiar harmonic and temporal elements. This path, however, is simple only in appearance, for soon it becomes less clear: its contours get blurred, drowned in the mist. Silhouettes form in the distance, like uncertain shadows. We grope our way forward, in this infra-sensitive thickness of the world outside of signs. The recognized markers disappear, giving way, at best, to reminiscences, but increasingly making way to qualities, occurrences, events. We leave the known world of musical codes to join that of sound apparitions, their memorial imprints and the impressions they produce. Following a compositional approach stemming from the musique concrète tradition, without adopting a structuralist aesthetic, Shifted in Dreams explores a wide range of instruments and techniques, going seamlessly from instrumental improvisation to field recording, via micro- editing and asynchronous looping. Mixing the electronic waves of an ARP 2500 synthesizer with the acoustic drones of a positive organ, articulating guitar layers with resonances of a Cristal Baschet, bringing together recordings of slamming windows and sounds produced by complex modular synthesis patches, among other things, Bonnet offers a rich and generous palette of sounds, inviting a constantly renewed sonic investigation. Shifted in Dreams, despite its title, is not a dreamlike record. The dream here does not designate the symbolical space of interpretation and reinterpretation of reality through cultural patterns. It designates the intermediate, blurred and uncertain state where the reality of signs loses its consistency, while, paradoxically, the reality of senses and impressions becomes imperative, obvious. The reality of demons

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Kato De Vidts

Aerial Super Highway

16,99 €*

Without Star Or Compass Burgundy Vinyl Edition

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Aerial Super Highway, the third project released on Futurepast by Kato De Vidts builds on the emotional depth of her previous release, Human Becomings, De Vidts in collaboration with J. Noon crafted together on this one an immersive soundscape that beckons the audience to ascend into a celestial, hypnotic state.

From the tranquil whispers of the first track Aerial Super Highway, enveloping you in gentle melodic layers, to the driving energy of the closing Dragon Dance, where pulsating beats echo the rhythm of fire, this EP showcases De Vidts & J. Noon ability to weave intricate sound narratives. Her evocative sound design guides listeners through emotional landscapes rich with vulnerability and resilience.

As you navigate this sonic highway, expect moments of introspection and exhilaration within a beautifully chaotic interplay of hope and uncertainty. Aerial Super Highway transcends the typical EP experience, inviting you to rise above the ordinary and embrace the extraordinary and uncanny aspects of existence. Join Kato De Vidts & J. Noon on this entrancing journey, where each note invites you to take off and plunge into the depths of your own consciousness. Prepare to be transported to a realm where the air hums with the magic of sound, enchanting all your perceptions.

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Kennebec

LP | 2022 | UK | Original (Night Time Stories)

24,64 €* 28,99 € -15%

Release: 2022 / UK – Original

Genre: Electronic & Dance

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The critically acclaimed musical outlet of Eric Phillips, a composer, producer, and multi-instrumentalist living in Portland, Oregon. Drawing from an eclectic array of influences to create his own unique style of cinematic electronic music, he is set to release his sophomore album ‘Without Star or Compass’ on the 2nd September via Night Times Stories, the sister label to LateNightTales. Releasing his debut album ‘Departure’ at the beginning of the pandemic in early 2020, ‘Without Star or Compass’ was written and recorded during a phase in Phillips’ life which allowed him to re-examine his motivations. “The first primary influence for this record is that, more so than ‘Departure’, I wanted to write this record for my friends and others rather than for myself. Maybe it's also a product of maturing, but I wanted the music to communicate more clearly to others, and be less of an exercise of some kind for myself.”
From the subtle electronica of ‘Leaving The Canyons’ featuring the distinctive vocals of Future Islands frontman Samuel T. Herring, the expanding electronic beats of ‘Tall Tales’ featuring Hemlock Ernst (the rap moniker of Samuel T. Herring) and US singer Sudan Archives, to the effortlessly cast rhythms of ‘The Great Divide’ featuring Yazz Ahmed on horns, Phillips set out to make an album which was more direct with sparser arrangements and distinct melodies, while still maintaining the eclectic and creative nature of his debut. “I think if I were a writer, my words would be all setting and very little narrative. I'm really trying to evoke a sense of place and motion and journey and environment but the facts of the story are left vague.” On working with Herring, Phillips adds, “I think our styles just resonated well with one another, and we clicked naturally. We sent some ideas back and forth remotely and then he flew out to Portland and we recorded all the vocals in three days together. It was so fun and inspiring - and really deepened my appreciation for his craft. He's such a nice guy and a total genius. Sam's lyrics really hit a beautiful balance between that sense of magic and folklore in the natural world that I'm after,
while really bringing his own sense of narrative. He's really amazing at constructing lyrical concepts in a way that I think compliments my own strengths (and weaknesses).”Throughout ‘Without Star or Compass’, Phillips masterfully creates an evocative sense of place and motion in a cinematic way, in part due to his love of soundtrack music, a heavy influence on the album. ‘Castalay's Fountain’ was inspired by classic JRPG music such as ‘Zelda’, ‘Chrono Trigger’ and ‘Final Fantasy’,while instrumental tracks ‘Friendship song’, ‘The Great Divide’ and ‘Calyptra’ are rich in cinematic grandeur. In addition to the Kennebec project, Phillips has composed the music for numerous feature films, documentaries, podcasts and games. In 2020, alongside Mark Orton (of Tin Hat Trio) and John Hancock, Phillips co-composed the soundtrack to 'Wind of Change', a podcast created by New York Times Journalist Patrick Radden Keefe and produced by Spotify, recorded the Moscow Bowtie Orchestra for the feature length film ‘12 Mighty Orphans’ starring Luke Wilson, Robert Duvall and Martin Sheen and scored Northfork Studios documentary ‘Chehalis: A Watershed Moment.’Running since 2013, 'Night TimeStories’, the sister label to LateNightTales, is a platform for original artist material, hosting artists connected by a common thread of authenticity.

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2LP | 2019 | EU | Original (RCA)

Khalid

Free Spirit

Release: 2019 / EU – Original

Genre: Hip Hop, Pop

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Khruangbin & Leon Bridges

Texas Moon EP

Tape | 2022 | US | Original (Dead Oceans)

Khruangbin & Leon Bridges

Release: 2022 / US – Original

Genre: Organic Grooves

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Two of the acts boldly leading Texas music into the future have now delivered a second chapter of their groundbreaking collaboration, further extending the region's sonic possibilities. Singer/songwriter Leon Bridges, from Ft. Worth, and trailblazing Houston trio Khruangbin have joined forces for the Texas Moon EP, a follow-up to 2020's acclaimed Texas Sun project. While the five new songs are clearly a continuation of the first EP, they also have an identity all their own _ Bridges calls it "more introspective," while Khruangbin bassist Laura Lee says it "feels more night time." When Texas Sun was released, AllMusic called the results "intoxicating" and Paste noted that "their talents and character go together so well." Now comes the next stage _ a set of songs that touch on themes like love, faith, and death while exploring new dimensions of inventive, hypnotic grooves. Significantly, both parties' musical directions were clearly affected by their time working together. Khruangbin's most recent album, Mordechai, moved their own vocals much further forward, a change they readily admit was a direct result of working with Bridges. Meanwhile, since these recordings began, in addition to his genre-defying album Gold-Digger's Sound, Bridges has put out several other challenging, shared tracks, including work with John Mayer, Lucky Daye, and Jazmine Sullivan. Texas Moon represents a genuine and rare achievement, with two of the most respected and innovative acts of their generation truly collaborating to create something new. "As far as an essentially instrumental band, these guys are kind of the top for me," says Bridges. "I'm honored to have been the first singer that they've incorporated in their music." "It feels really special to me," says Lee. "It's not Khruangbin, it's not Leon, it's this world we created together."

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Texas Moon EP Black Vinyl Edition

LP | 2022 | US | Original (Dead Oceans)

12" | 2023 | EU | Original (Senoid)

Release: 2022 / US – Original

Genre: Organic Grooves

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Kike Pravda

Dimensional EP

LP | 2011 | EU | Reissue (Siluh)

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Senoid returns with a new EP with 4 powerful cuts.Kike Pravda and Tensal join forces to make a strong release.

In the A side, Tensal opens the record remixing the original "Dimensional", with more energy and an extended version adding a pair of sequences that holds the tension of the track till the end playng with the sequences to make it more dynamic.A bomb for the dancefloor. The second cut "Altair" is cosmical, spacey and an atemporal track.

In the B side the original version of ¨Dimensional" gives the tittle to the EP, and we find again the unique style by Kike Pravda, dense, deep, hypnotc and solid sound with only a few elements well processed with a strong sub in the background. Ending with ¨Protone" , Kike delivers an energetic and raw synth sequence with a reverb layer in the background to add more depth to the sound.

4 solid cuts for your sets.

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Killed By 9V Batteries

The Crux

Radio Signals For The Dying Transparent Red Vinyl Edition

Release: 2011 / EU – Reissue

Genre: Rock & Indie

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News from Austrian noisepop-slackers KILLED BY 9V BATTERIES. Their upcoming third album "THE CRUX" is due in fall 2011. It really took us label-guys by surprise when those boys with their undeniable Sonic Youth background disclosed they will join forces with Vienna techno pioneer and producer of the latest Hercules and Love Affair record Patrick Pulsinger to tweak and refine their very own "Neuhass"postnothing - school. The results were more pop than the Batts ever had sounded. Whilst songs like "WORST OF TOTAL ANARCHY" with broad synth layers reveal an yet unheared twist in the bands artistic development the first single "IMPULSE CONTROL" still feeds all those nerds crowding the planet, hungry for the old days of Subpop and AmRep outfits, virtuously spiced up with a knack for contemporary bands like Male Bonding, No Age and Japandroids.

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Kirlian Camera

2LP | 2024 | EU | Original (Dependent)

50,99 €*

The Soundtrack Of My Home

Release: 2024 / EU – Original

Genre: Pop

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Kirlian Camera are an ever churning maelstrom of creativity and musical innovation. Their inspirational power is both, destructive when it comes to limitations of genre, style, and conventions as well as constructive for example regarding building a new sonic architecture on the ruins of the old. The Italians latest masterpiece, "Radio Signals for the Dying", is no exception as a new artistic high-watermark. On the surface, Kirlian Camera continue on the dark musical path they chose to follow on their previous double album "Cold Pills (Scarlet Gate of Toxic Daybreak)" (2021). It speaks volumes about the Italian electro-provocateurs' extreme level of energy that the band is able to follow up such a massive work with another powerful double full-length. Yet "Radio Signals for the Dying" is anything but a mere repeat of its glorious predecessor. Instead Kirlian Camera subtly change their sound design by a thousand smart details, delightful tricks, grand effects, unexpected twists, digressions, and clever variations of existing themes. For many decades, Kirlian Camera have inhabited and continue to dwell in a realm of multi-layered constructions and occult transcendence as well as subversive content that has always been at the core of their art. In the past, their unapologetic at times outrageous delight to provoke and to hold a truth-telling mirror to the world has repeatedly sparked controversy. Having passed their impressive 40th anniversary as a constantly evolving, ever changing band that has never ceased to search for new answers, Kirlian Camera invite the listener with "Radio Signals for the Dying" to join them on an adventurous musical journey to occult dimensions and magical places of dangerous beauty and joyful darkness. The Italians are electronic shamans, rock mystics, sonic revolutionaries, and high priests of the free arts that are again reborn as a musical phoenix in creative fire.

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Kjetil Jerve

12" | 2022 | EU | Original (Dugnad)

19,99 €*

LP | 2018 | EU | Original (Discrepant)

Release: 2022 / EU – Original

Genre: Electronic & Dance, Classical Music

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Home is a powerful concept with an abstract definition. This solo album takes those subjective ideas and unifies them under one roof. Evolving from Jerve’s #dailypiano posts in 2019, ‘The Soundtrack of My Home’ relays thoughts and improvisations that trace his journey from childhood home to adult and now, father. Nurturing a mood or feeling, each song begets a sonorous story of someone close to him, expressed through the language of piano playing.

Jerve makes use of his hands as a human step sequencer, often programming two or more motifs of varying lengths in a polymetric fashion. These melodic patterns and arpeggios evolve at varying rates but grow around clear progressions with standard 8-bar forms.

The first track - ‘Kjetil’ enters with an earnest, gentle and endearing character - like a young river near its source. As with such a river, it will grow to varied sizes throughout the album but must begin as a humble expression from the source. The following titles sketch his interpretations of the people that have made up his home.

There is a theme across the album that unites the songs, so much so that differentiating tracks can at times be difficult. Though, Jerve punctuates this overarching mood with a few distinct structures, as found in tracks ‘Karoline’ (wife), ‘Espen’ (brother) and ‘Sven’ (father). ‘Turid’ (daughter) and ‘Jon Eirik’ (brother) seem less directive and welcome more intrigue, reminiscent of a curious child wandering through the dappled light of a forest.

‘Iben’ (daughter) and ‘Eivor’ (daughter) have a hypnotic, three-pointed melodic structure that leaves the listener suspended; transfixed - while ‘Sussi’ (cat) carries unique momentum and suitably feline autonomy. ‘Mette’ (mother) has a mood of ascending, like that of a child's upward gaze at their maternal carer. Utterly nuanced in structure, Jerve leaves ample space for subjective interpretation and allows the listener to weave their own life into the tones.

As expected from the founder of Dugnad rec - this album signifies a deeply personal sentiment. Sometimes we are forced to confront the music and other times, we are left to wonder. Here, we find a balance and unity that allows little thoughts and worries to drift away, bringing us warmly to rest in the present. The LP edition's bonus track features producer/performer extraordinaire Stian Balducci, drawing a line to the next chapter of piano-based music from Dugnad rec: Tokyo Tapes: Piano Recycle.

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Koray Kantarcioglu

Loopworks

20,99 €*

Music For Films Edited By Moths Milky Clear Vinyl Edition

Release: 2018 / EU – Original

Genre: Rock & Indie

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Originally released by Wounded Wolf Press as a limited release (only 100 cassettes were made) back in 2016, "Loopworks" compiles Turkish visual and sound artist Koray Kantarcioglu's (Ankara, 1982) loop based work composed of samples taken from Turkish records released in 60's and 70's as source material. "Loopworks"
impacts almost instantly mainly because it shows some familiarity with the recent work of Leyland Kirby as The Caretaker, particularly with the "haunted ballroom" effect. Koray explores the usage and the dynamic of these sounds as ambient music for different scenarios as well as the importance of a newfound life with the raw
material he used to create these songs. The source material appears as enigmatic as
these new sounds and activate a sense of discovery and constant wonder throughout
"Loopworks". With the vinyl release of "Loopworks" we continue to manifest the
importance of showing how technology and geography create different and original
approaches to the standard western interpretation of field recordings and sound
manipulation. Koray Kantarcioglu's work here is a strong manifestation of that and
how "haunted music" can express a myriad of feelings and sensations. "Loopworks"
has a tremendous vision of the metamorphosis that's been occurring in ambient music
during the last decade. Sometimes it's dreamy and calm as aquarium music is
("500606" or "22 47 91 Take 1"); surprising and infinite as "263 Loop", one of the few
tracks with a voice, in this case a mysterious and transcendental one; or part of a John
Carpenter & David Lynch film yet to be made ("Organ Extract KP 001"). A fantastic
voyage, from earth to space, through time or simply as the most beautiful and peaceful
dive into the ocean. Old music transformed into something new, unique. That's
special.

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Kramer

LP | 2022 | EU | Original (Shimmy Disc)

LP | 2024 | EU (Overground)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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A legendary indie audio artist blurring his lifelong attachments, from spontaneous composition (in the late 70's with John Zorn) to experimental rock (with Bongwater and other bands in the 80's) alongside his recent inquiries into the intricacies of ambient-folk songcraft (with his most recent solo LP, "And The Wind Blew It All Away"), Kramer continues to explore the possibilities of shaping naturally occuring aural landscapes into intoxicatingly affecting music. Sound and language - not just melody and ambient textures - has been his raw material for decades. He nowjuggles them more deftly than ever on his newest ambient opus. In the ten compositions that comprise this new LP, mournful at times yet mysteriouslylife-affirming and generous in their scope, Kramer sees films where there arenone, and composes his accompanying ambient soundtracks in a state of interrupted grace. Words, text, complete screenplays, character arcs, shooting scripts and storyboards swirl through his head as he puts his imagery to sound, and the results evoke a world in which moths, drawn to the bright flickering lightsof Cinema and the low humming lights of Dreams, in Kramer's own words, "...might never die". The LP's nature reveals an interior dialogue between musician and choice. Each piece represents Kramer's encounter with the blank canvas of silence that greets him as a composer. Embracing sounds as objects and instruments of Truth, the end result of his process is as much about what is absent and what has been removed or edited away than what is left in its wake as artifacts of emotion. These pieces are the Spring frost of lost imaginings, vanitas to broken connections, visions nearly unrecordable by the human eye. Kramer envisions a music that functions to stoptime, as an event that always plays in the present and never needs a past to give it a reference point. It is music that communicates in the most intimate way possible, as intricately and as deeply as the way it blossoms and shifts and evades categorizationwhen exposed to thin air. Drawn toward the light of a multitude of influences, we hear echoes of the feverishly frozen dreams of composers Morton Feldman, Terry Riley, Brian Eno and Arvo Part, melting alongside the surreal cinemas of David Lynch and The Brothers Quay, all parts converging to evoke a time and place that does not exist outside of the mind's eye of the listener. These ten works are fluid adventures in fathomless landscapes, emotions distilled and offered as a paintless painting without a physical home. Each individual composition is an offering to a future memory, a chalice to be filled with the listener's own reactions to them. As a whole, the ten pieces form an image of ten circling planets in an expanding galaxy that colors itself anew with each subsequent listen. Movement, grace, and Peace.

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Kronstadt Uprising

Insurrection

18,89 €* 20,99 € -10%

Kübler-Ross Colored Vinyl Edition

Release: 2024 / EU

Genre: Rock & Indie

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Kronstadt Uprising took their name from the uprising at the Kronstadt Naval Base in 1921. Lenin referred to the incident as “the flash that lit up reality better than anything else”.

Formed in Southend-On Sea, Essex in 1981, Kronstadt Uprising survived six turbulent years with many members coming and going. However, far from being a negative factor, it produced a very stimulating and creative environment that lead to an ever evolving musical style that can be heard on this CD.

Founder member Steve Pegrum was encouraged by the self-empowerment message and ethos of punk rock. In 1979 he acquired a drum kit and formed several punk bands. By 1981 the scene was starting to fragment. The area of punk that now interested Steve was that which stayed true to the original DIY ethic and this developing scene encouraged Steve to form Kronstadt Uprising.

By November 1981 the band were ready to record. They recorded nine tracks and sent the tape to Crass who decided to use ‘Receiver Deceiver’ on Bullshit Detector Vol. 2, released in September 1982. Also in 1982 the band recorded ‘The Unknown Revolution’ EP under the production of John Loder and Derek Birkett at Southern Studios for Spiderleg Records. The record was eventually released a year later.

Late 1983/1984 saw the band move away from the confines of the current punk scene and concentrate on writing new material. However, after three years various members felt they had progressed as far as they could and in March 1984 they played their final concert in London.

In the Summer of 1984 Steve decided he wanted to continue playing, so a new Kronstadt Uprising emerged with a totally new line-up. In April 1985 they recorded the ‘Part Of The Game’ EP for local Dog Rock Records. The band continued to gig and increased their fan base, but diversifying music tastes within the band took their toll and they eventually decided to call it a day in 1987.

Always true to punk, but never happy being genericised or put into any kind of musical straightjacket, this CD shows the ever-evolving Kronstadt sound.

Limited to 300 copies, the 15 tracks feature both singles, their Bullshit Detector Vol. 2 appearance and seven studio recordings including one previously unreleased, packaged with a 12″ x 12″ insert with previously unseen photos and a detailed history from founder member Steve Pegrum.

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Kübler-Ross

LP+7" | 2023 | UK | Original (Ice Machine)

32,99 €*

LP | 2023 | EU | Original (Vampisoul)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Kübler-Ross is a minimal synth/wave/industrial three-piece from Glasgow, Scotland, featuring Craig Clark, Katie Shannon, and veteran electronic producer and remixer producer Dave Clark, best-known for his Sparky moniker, and as one-half of the production/remix team Optimo (Espacio). First emerging in 2015 with a couple of compilation appearances, Kübler-Ross released their debut, self-titled album in 2020. Originally released as a limited-edition cassette on the Glasgow label Akashic Records, the album — now resequenced and released on vinyl via Suction Records’ minimal synth sublabel Ice Machine — is a collection of tracks recorded over a three year period in a variety of studios, rehearsal rooms, and gigs, documenting the musical variety and ferocity of their incendiary live performances. The Akashic tape, despite being low-key, under-the-radar, and released in limited quantity, managed to earn them a Long List nomination for SAY (Scottish Album of the Year) for 2020. Standout cut “Bridges”, first released in 2015, is synthpop perfection — sitting comfortably alongside classics from the first wave of UK electronic classics by Thomas Leer and Robert Rental, John Foxx, and even early Depeche Mode. It’s not the only synthpop track on the record, but the album is dominated by a more tough, raw, and punk spirit, featuring aggressive female vocals, live drums + bass guitar, and judicious use of crude analog synthesizers and tape delay fx. Think Liaisons Dangereuses meets Suicide, and you’re beginning to get close… Available digitally, and on limited vinyl LP in a reverse-board jacket. We’ve also pressed up a special edition with an additional bonus 7”, featuring covers of songs by US minimal synth oddball John Bender,and Australian industrial mavericks SeveredHeads. The special edition LP and 7” are on pink-vinyl LP + green-vinyl-7”, and strictly limited to 200 copies. Both versions include a Bandcamp download card inside.

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La Retreta Mayor

LP | 2024 | UK | Original (Taxi Gauche)

Release: 2023 / EU – Original

Genre: Organic Grooves

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Awesome Latin jazz-funk self-titled LP from Venezuelan band La Retreta Mayor -founded and led by guitarist Alex Rodríguez- originally released in 1976 on Discomoda.The short-lived 10-piece band and numerous guest musicians created a jazz-funk & fusion gem considered a reference in Venezuelan music history. The group unfortunately disbanded right after the recording and did not play live or record any more music together.The album contains quite a few heaters for the dance floor like 'Zambo' and 'Líquido Elemento', blazing with the rich brass section and percussion.First time reissue. 180g vinyl.First time reissue of the awesome Latin jazz-funk self-titled LP from Venezuelan band La Retreta Mayor -founded and led by guitarist Alex Rodríguez- originally released in 1976 on Discomoda.Rodríguez is a classical and jazz trained guitarist who in the early days of his career would join some of the best orchestras in Venezuela, including Aldemaro Romero's Onda Nueva. He put together this brief project: La Retreta Mayor, which only released this one album.La Retreta Mayor was a short-lived 10-piece band with the addition of numerous guest musicians, totaling 29 members, that created a jazz-funk & fusion gem considered a reference in Venezuelan music history. The group unfortunately disbanded right after the recording and did not play live or record any more music together.The album contains quite a few heaters for the dance floor like 'Zambo' and 'Líquido Elemento', blazing with the rich brass section and percussion, not to mention the opener 'Torta de Pan', reminiscent of recordings of classic US funk bands such as the JBs.Rodríguez would follow this album two years later with the now much sought-after LP "Búsqueda" recorded and produced between the States and Venezuela.

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Laena Myers

Luv (Songs Of Yesterday)

2LP | 2024 | EU | Original (Rush Hour)

Release: 2024 / UK – Original

Genre: Rock & Indie

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On 23 February 2024 wildly creative free-form L.A. singer-songwriter and multi instrumentalist Laena Myers is set to release her highly anticipated debut solo album, ‘luv (Songs Of Yesterday)’. Released on Taxi Gauche Records, the 11-track collection is the first to feature the genre-spanning composer, in-demand session player/singer and classically trained violinist putting her own name to her recordings.

Formerly known as Laena Geronimo and L.M.I. / Laena Myers-Ionita, Laena is perhaps best known as lead singer, songwriter and guitarist of critically-acclaimed and internationally touring rockers Feels, but that is only the tip of the iceberg. She’s also known for her time as bassist for goth-punk band Numb.er as well as the Motown-inspired pop outfit The Like, and as the go-to-violinist for a myriad of artists from the L.A. music scene and beyond - contributing to released recordings by John Frusciante, Jhené Aiko, Ty Segall, Shannon Lay and The Allah Las to name a few.

Describing herself as “An awkward, shy kid who played in the Jr. Philharmonic Orchestra of California and wore headphones blasting NIN, The Velvet Underground and Sonic Youth all the time”, Laena cut her teeth in a busking band, performing purely improvised

material on street corners in Hollywood and spent the entirety of her young adulthood as a supporting player in countless L.A. bands - at times as many as five simultaneously, while working full time and sleeping in her car during lunch breaks.

Inspired as much by the soft weight of Hope Sandoval and Patsy Cline’s dramatic powers, Patti Smith’s poetic punk and Nico’s avant-garde musings as she is by contemporaries like Angel Olsen, Aldous Harding and Cate LeBon, her musical roots run deep. She is the daughter of American drummer Alan Myers (devo, Skyline Electric, Jean Paul Yamamoto) and Romanian singer/songwriter and visual artist Greta Ionita (Babooshka).

As a solo artist, Laena's punk background of guitar-based songwriting and swagger merges with her innovative classical/experimental roots and love for singing ballads, and this is shown throughout ‘luv (Songs Of Yesterday’), leading to a depth of emotion that cuts to the heart of even the most hardened, revealing a more tender side to her vocal and lyrical prowess over lush string arrangements.

The album’s opening track ‘luv’, with it’s only lyrics “When I say I’m in love you best believe I mean love L.U.V.” is a nod to The Shangri-Las and New York Dolls, and was used to evocatively soundtrack fashion brand CELINE’s Spring 2020 campaign. “Half the songs on the album are about relationships in which I thought I was in love - true love - but it turned out to be something else”, Laena explains, “so ‘luv (Songs of Yesterday)’ seemed a fitting title: sounded like love, looked like love, but it wasn’t real love.”

“The overarching theme of the album is strength in vulnerability” Laena explains, “it’s a collection of songs that were too personal and dreamy for Feels, songs of haunted love, melancholy and hope, selected and woven together with instrumental segues and field recordings into a whole experience.”

The record’s first single, ‘Give ‘Em Hell’, written six months after her father passed away, is about keeping the flame alive and having the courage to believe in yourself. “We were very close” she says. “One night before I got on stage he stopped me and said “Give ‘em hell, kid”, and this phrase has become a mantra to me, to not hold back and give it my ALL. Many of these songs come from heavy times”, she continues, “but there is always the glimmer of a brighter tomorrow. Reach out when you need to, move through the gears and you’ll come out the other side.”

The songs contained in ‘luv (Songs Of Yesterday)’ are picked from over the course of a decade, written purely from a place of honest expression and filled with texture, depth, and meaning. They were recorded between tours mostly in sweltering summer bedrooms by friend and co-producer Scott Cornish (Angel Olsen, Big Thief, No Age), and mixed during the pandemic. The album features Laena’s vocals, guitar, bass, and violin playing and huge-sounding, lush string arrangements supplemented with drums and percussion by Nick Murray (Cate Le Bon, White Fence, Thee Oh Sees), synths by Jeff Fribourg (Numb.er, Froth), lap steel by Cole Berliner (Kamikaze Palm Tree), and sax by Gabe Flores (Grave Flowers Bongo Band), as well as field recordings — birds singing at daybreak, footsteps and bells making their way into a cave, the wind on a peak in Angeles National Forest.

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Lars Bartkuhn

Nomad

Hard Times + Crawl / Covers

Release: 2024 / EU – Original

Genre: Electronic & Dance

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Back in 2016, Lars Bartkuhn was on a quest to expand his musical horizons. Inspired by the idea of the desert as a transformative place – an alien environment whose combination of vastness and beauty challenges those lost within it to first find themselves before they can find a way out – he loaded up his sampler with sub-Saharan samples and set about making two 12” singles, ‘Nomad’ and ‘Massai’, which subsequently appeared on Utopia Records.

Following completion of work on his 2023 album Dystopia, a conceptual ambient meditation built around electronic and acoustic improvisations, the German musician and producer decided to return to the core ideas that inspired those two 12” singles. Once again, he wanted to challenge himself, explore the more exotic side of his musical influences, and discover a course through the musical desert to ultimately become a better musician, producer, and composer.

The result is Nomad, an album that not only brings together two sides of his work – the immersive ambient explorations at the heart of Dystopia, and the club-focused rhythms that marked out his early career deep house explorations – but also draws on a familiar palette of influences, from Latin jazz-fusion and the deep jazz brilliance of ECM Records releases, to the ‘fourth world’ works of Jon Hassell and the African music that had initially inspired the ‘Nomad’ and ‘Massai’ singles.

Searching from the start for a more ‘analogue’ sound – hand percussion, kalimba, piano, voice, bass guitar, acoustic and electric guitars, alongside the modular synth sounds that were such a part of Dystopia – Bartkuhn combined improvisational and traditional composition techniques, painstaking editing, tweaking and reworking tracks over an extended period.

Added to impeccable sound design – even the more dancefloor-focussed excursions are optimised for headphone listening – the results are startling, even by Bartkuhn’s impressively high standards.

There are, of course, radically reworked versions of previous singles – a sun-kissed, Brazilian jazz-fusion informed re-invention of ‘Transcend’ (where Bartkuhn offers nods to another musical hero, Pat Metheny), an expansive, solo-laden take on ‘Nomad’ and a ambient inspired re-recording of ‘Massai’ – plus the kaleidoscopic brilliance of 2021’s ‘Every Morning I Meditate’, but far more never-before-heard highlights.

There’s the 6/8 time, Latin-tinged sunshine of ‘Back To My Innerself’, a track built on organic performances that were improvised straight into the sequencer; the meandering, densely layered sound world that is ‘Flame’ (a tribute to ECM recordings of the 1970s); the lightly techno-influenced fourth world futurism of ‘Ghibliman’; the organic deep house bliss of ‘African Skies’, where Bartkuhn’s vocalisations come to the fore; and the slow-motion ambient house of ‘First Kalimba’.

Nomad, then, is an album that effortlessly showcases Bartkuhn’s unique musical personality and ability to craft warm, colourful sound worlds – some rhythmic, others not so much – while neatly sidestepping categorization. It could well be his strongest and most personal musical statement yet.

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Laughing Hyenas

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

The High Priest Of Reggae

Release: 2018 / US – Original

Genre: Rock & Indie

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Crawl disc:

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

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

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

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

Hard Times disc:

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

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

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

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

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Laurel Aitken

LP | 1969 | EU | Reissue (Radiation)

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

Release: 1969 / EU – Reissue

Genre: Reggae & Dancehall

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By the dawn of the seventies, Laurel Aitken was well and truly established as the UK’s top Jamaican singing star. Over the years following his move from Jamaica in 1960 he had acquired a strong and faithful following in Britain and well beyond, but the recent Reggae explosion increased this many times over. Eager to exploit Laurel’s astounding popularity, Pama Records fought off competition from esteemed rivals, Trojan and Doctor Bird, to acquire rights to issue his material, the bulk of which subsequently saw release on their newly launched Nu Beat imprint. By the Spring of 1970, he had provided Pama with series of best-selling singles, and the hugely popular long-player, Scandal in a Brixton market, but with demand for his works showing no signs of diminishing, the company decided to collect a dozen of his most popular sides to date for what became the aptly titled collection, The High Priest Of Reggae. Despite selling in huge numbers at the time, the LP soon became a rarity and this, added to the enduring appeal of Aitken’s work has resulted it becoming one of the most sought after Reggae long-players around. Now, after four decades of waiting for its re-release, fans can finally obtain the LP, with the added incentive of 4 bonus tracks from those 69 sessions. Dust off your pork pie hats and fedoras and enjoy the 'madness'.

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Lee Hazlewood

13 Deluxe Edition

48,59 €* 53,99 € -10%

Release: 1972 / US – Reissue

Genre: Rock & Indie

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

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

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

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Lenco

L-3810GY

299,00 €*

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2LP | 2021 | UK | Original (Claremont 56)

Leo Almunia

Minor Circle

31,99 €*

Release: 2021 / UK – Original

Genre: Electronic & Dance

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Leo Ceccanti should be a familiar name to all followers of the Claremont 56 label. Alongside sometime studio partner Gianluca Salvadori, he was responsible for two delightfully distinctive Almunia albums released on the label, 2011’s New Moon and 2013’s Pulsar. Both sets were filled with golden, sun-kissed sounds, psychedelic grooves and immersive, life-affirming soundscapes.

Now he’s decided to go it alone as Leo Almunia, delivering a debut album for Claremont 56 that’s every bit as alluring, wide-eyed and evocative as those he made with Salvadori. In keeping with his previous work, the album blends layered acoustic and electric guitars with toasty bass, dreamy synthesizers and grooves that variously touch on hypnotic house, chugging mid-tempo disco, sunset-ready Balearic beats and, on the glistening, life-affirming album highlight ‘Wishing Star’, loose-limbed jazz breaks.

What’s most significant about Ceccanti’s personal musical style is not the blend of stylistic influences he draws on – think psychedelic rock, progressive rock, jazz-rock, new age ambient and slow-motion disco – but rather the way he uses it to paint vivid aural images that genuinely linger long in the memory.

After opening with the duelling guitars and chunky dub disco grooves of ‘Sinking Fields’, Ceccanti sashays between magical moments of rush-inducing positivity, heart-tugging poignance and heady nostalgia.

Along the way, you’ll find numerous sonic highlights. On the intoxicating 21st century psychedelia of ‘Panerea’, jangling chords and eyes-closed psych-rock guitar solos ride a chugging, thickset electronic bassline, while ‘Il Cormorano’ is a metronomic, flash-fried workout rich in fuzz-tone guitar motifs, bluesy riffs and echoing instrumental touches.

He cannily joins the dots between Mid-West Americana and throbbing, psychedelic disco-chug on ‘Loveblind’, while ‘Minor Circle’ sits somewhere between Santana, the Pat Metheny Band and sunrise-ready Balearic blues. Arguably even better is the saucer-eyed brilliance of ‘Brillo De Luna’, where a dubbed-out electronic beat becomes enveloped in life-affirming acoustic guitar chords, exotic slide guitar motifs and string-bending solos. If John Lennon had ingested Mdma rather than LSD before writing ‘Across The Universe’, it would probably sound like this.

Then there’s the album’s crowning moment, closer ‘Can’t Hold a Lover’. A heart-aching, largely ambient instrumental that channels the loneliness and anguish felt by many of those separated from their nearest and dearest during the pandemic, it sees Ceccanti brilliantly wrap a variety of sun-bright guitar textures and solos around some of the loveliest synthesizer chords you’re every likely to hear. On an album packed with effervescent, mood-enhancing musical highs, it’s a rare moment of bittersweet bliss.

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

Another Side

8,99 €*

Release: 2021 / US – Original

Genre: Organic Grooves

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*Available Nov. 19th, 2021*

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

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

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

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

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

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

Another Side

Release: 2021 / US – Original

Genre: Organic Grooves

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

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

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

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

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

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Another Side Black Vinyl Edition

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

Release: 2021 / US – Original

Genre: Organic Grooves

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Another Side Clear Vinyl Edition

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

33,59 €* 41,99 € -20%

12" | 2017 | EU | Original (Hobbes Music)

Release: 2021 / US – Original

Genre: Organic Grooves

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

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

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

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

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

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Leonidas & Hobbes

The Rags Of Time EP

15,99 €*

When I Hit You You'll Feel It

Release: 2017 / EU – Original

Genre: Electronic & Dance

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Eight releases in, Leonidas & Hobbes have honed a mutual love of soundtracks, disco, jazz, house, techno, acid, psychedelic, African and dub sounds.
Web Of Intrigue is one part tribute to lost 70s soundtracks, when music was created on the finest analogue hardware, featuring full bands, session players and lush orchestrations, one part tribute to 70s disco gods Nile Rodgers and Bernard Edwards (Chic) and one part mid-tempo but nonetheless cosmic house. The three parts fuse to form an instrumental track sounding as fresh as a whole meadow of daisies in 2017 and one that's been going down extremely well with international DJs who have road-tested the material.
Heavy Weather flips the script for a deeper workout in a 3/4 time signature - more of a cosmic waltz. Taking its main cue from 70s jazz fusion heroes Weather Report and The Doors' Ray Manzarek, it incorporates rich African percussion, spaced-out flourishes exhibiting the duo's love for the dubs of Lee Perry, King Tubby et al, and a good old fashioned arpeggio of an acid line - definitely a more esoteric number, all told.
The 'Dawn' and 'Acid Rain' mixes push different buttons for the heads, as suits the mood. It all adds up to a very Balearic confection, fitting snugly in with the burgeoning revival for this somewhat ineffable sound - a trend that seems to be getting stronger/bigger every year, popping up every time the sun gets his hat on and we all remember how to party like the lucky residents of that infamous White Isle....
MORE INFO
London/Edinburgh analogue electronic duo Leonidas & Hobbes released debut EP "Machines, Tapes & Electronic Setups" via the Hobbes Music label back in May 2013, picking up plaudits and support from the likes of Resident Advisor, Mixmag, Erol Alkan, Ashley Beedle, Alan Braxe, Shadow Child, Jimpster, Nick Warren, M.A.N.D.Y., Leftside Wobble, Mr G, Auntie Flo, Sasha, John Digweed and many more... The duo were consequently commissioned to remix the Pet Shop Boys.
Second EP "Mo' Machines" came out on the label in April 2014 and received equally high praise, with i-D Magazine inviting the duo to record a DJ mix which has to date chalked up a whole lot of love on Soundcloud.
Leonidas has released two other collaborative EPs with London-based Japanese DJ/producer Kay Suzuki via his Round In Motion imprint, equally winning fans worldwide, with a track now forthcoming on new label YAM Records' You And Music Volume 1 EP plus much more in the pipeline for 2017. Leonidas also has his own lovetoparty label, releasing edits of much-loved disco tunes on limited edition 12" vinyl format and free download. Previously, Leonidas made a name for throwing word-of-mouth parties around east London on his audiophile 'lovetoparty' sound system (providing some of the inspiration for much-admired late-night watering hole Brilliant Corners).
Equally, Hobbes ran the widely acclaimed Trouble nights for ten years in Edinburgh/Scotland, working with the great and the good from across the soul/jazz/dance spectrum since '02, and championed up-and-coming live talent via his Limbo 'gig-in-a-club' nights at The Voodoo Rooms for nine years since '07. Hobbes has toured his DJing style to the various corners of the dancing planet, including gigs in the Far East, much of Europe and across the UK. The Hobbes Music label has otherwise featured artists as diverse as Auntie Flo, JD Twitch (Optimo), Neil Landstrumm, Craig Smith (6th Borough Project), Ali Renault, iO Sounds, Joe Howe, Debukas, Fudge Fingas, Marco Bernardi, Dimitri Veimar, Mick Wills and Nightwave, with further support from Ben UFO, Justin Robertson, Motor City Drum Ensemble, KiNK, The Revenge, T.E.E.D, Kiki, Groove Armada, Maceo Plex, OOFT!, Domenic Capello (Sub Club), XDB, Ben Mono, Masa Sutela, Bawrut/Scuola Furano, Numbers, John Heckle and many more...

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Leslie Winer

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

21,59 €* 26,99 € -20%

When I Hit You You'll Feel It Pink Vinyl Edition

Release: 2021 / US – Original

Genre: Electronic & Dance

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Definitive career-spanning anthology
Includes previously unreleased tracks, inspired collaborations, and material from Leslie’s groundbreaking 1990 solo debut, Witch
Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, Christophe Van Huffel, Jay Glass Dubs, Mari G. Mooney, and Diamond Version, amongst others
Newly remastered by the GRAMMY®-nominated engineer John Baldwin
24-page booklet featuring a new, extensive interview with Leslie and liner notes by acclaimed author, critic and compilation co-producer Wyndham Wallace, along with an essay by award-winning writer and scholar Louis Chude-Sokei
Cover collage by renowned British artist Linder, featuring photography by Mondino, and design by designer Christopher Shannon

“The definition of a hidden gem” – John Peel

“The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life.” – Max Richter

“She might just be the coolest woman on the planet!” – Boy George

Light in the Attic is ecstatic to announce When I Hit You—You’ll Feel It: a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. When I Hit You—You’ll Feel It spans Winer’s three-decade-long musical career: from her groundbreaking solo work in the early ‘90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, and others, the collection also spotlights Winer’s diverse collaborations, and unearths previously-unreleased recordings.

Newly remastered by the GRAMMY®-nominated engineer John Baldwin, When I Hit You—You’ll Feel It will be available in multiple special 2xLP editions, on CD, and across digital platforms. The album includes a new interview with Winer, captured by the compilation’s co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, featuring photography by Mondino, and design by designer Christopher Shannon.

MORE ABOUT LESLIE WINER….

Musician, poet, iconoclast, model, artist, enigma. Leslie Winer is many things.

Born to a teenage mother and sold for $10,000 in a black market adoption when she was just hours old, Winer has always lived an uncommon life. She grew up in Boston with a voracious appetite for music and the written word and embraced the city’s lively jazz and folk scene in the ‘70s. Moving to New York for art school, she gravitated towards a vibrant crowd of intellectuals, artists, and radical thinkers—or perhaps they gravitated towards her.

There, Winer formed an unlikely friendship with writer and artist William S. Burroughs and lived on-and-off with Jean-Michel Basquiat. In London, where Winer began her musical ventures in earnest, she was a regular at Leigh Bowery’s underground club Taboo, where she met many of her collaborators, including filmmaker John Maybury, Kevin Mooney (of Adam and the Ants), and Boy George, who once declared that Winer “might just be the coolest woman on the planet!”

Winer’s striking looks also attracted fashion designers and photographers. Throughout the early ‘80s, she was an in-demand model—appearing in campaigns for Valentino, Christian Dior, and Yohji Yamamoto, and serving as a muse for a young Jean-Paul Gaultier, who later dubbed Winer “the first androgynous model.” She posed for Helmut Newton, Irving Penn, and Pierre et Gilles, and graced the covers of The Face, French and Italian editions of Vogue, and Mademoiselle.

But music was Winer’s true passion and, at the turn of the ‘90s, she would unknowingly help invent the massively popular genre known today as trip-hop.

On her debut, Witch, Winer masterfully blended the uninhibited sampling of early hip-hop with dancehall basslines and programmed beats, while weaving mesmerizing—and coolly-detached—spoken-word vocals into her ambient tracks. It was unorthodox in the most delicious ways.

The album was a bold experiment by the self-taught artist, who enlisted a number of talented musicians in the sessions, including Culture Club’s Helen Terry, Karl Bonnie of Renegade Soundwave, former Public Image Ltd. bassist Jah Wobble, and Kevin Mooney, as well as Marco Pirroni and Matthew Ashman (both of Adam and the Ants, among other acts).

While Witch was finished in 1990, it wouldn’t be released for three years, due to the whims of Winer’s label. In the meantime, several tracks made their way out into the world as early as June 1990, thanks to BBC Radio 1 DJ John Peel, who later referred to Witch as “the definition of a hidden gem.”

Opening with the laid-back dub beats and soft, sing-songy chorus of “He Was,” Witch features such highlights as the up-tempo “Skin,” the hypnotic, bass-heavy “The Boy Who Used 2 Whistle,” and the album’s closer, “Dream 1,” in which waves of reverb-soaked vocals bounce from one ear the other.

While sonically, Winer was breaking new ground, she was also bringing a fresh, incendiary take on what it means to be a woman in the music business, as embodied by her composition “N1 Ear,” in which she delivers a scorching, feminist manifesto, borrowed from the Women’s Liberation Broadsheet: “If I get raped it must be my fault / And if get bashed I must’ve provoked it / And if I raise my voice I’m a nagging bitch / And if I like fucking I’m a whore…And if I ask my doctor too many questions I’m neurotic and need pills / Because I still can’t get a safe birth control while some fucker’s roaming the moon.”

Winer had every right to vent her frustrations as a woman in music. Despite her fierce demeanor and steadfast focus, she was consistently disregarded and typecast by the industry. Many of her early collaborators failed to credit her work, while others simply overlooked her influence. Witch, for example, was so delayed that by the time the album saw the light of day (released under the pseudonym “©”), trip-hop was gaining mainstream traction via acts like Portishead, Massive Attack, and Madonna. Although Winer eventually gained wider acknowledgment (prompting the NME to give her the dubious distinction of “The Grandmother of Trip-Hop”), Witch initially went sorely unnoticed.

Following the disappearance of Witch, Winer continued to record, undeterred by the elusive nature of mainstream success in the modern music business. Her network of inspired collaborators continued to grow and expand, yet her influence remained largely a secret except to those in the know, such as Grace Jones and Sinead O’Connor, who would cover her songs.

Today, Winer stays busy on new musical projects in the French countryside, where she has spent the past two decades raising her five daughters. A prolific writer, she has also published two collections of poetry and oversees the literary estate of Herbert Huncke, a defining member of the Beat Generation.

In the modern era, one is hard-pressed to find an artist who continues to push the creative envelope as much as Winer does. And yet, three decades after her revolutionary debut, her work remains just as startling and fresh.

Winer’s influence might best be summed by the award-winning composer Max Richter, who offered the following thoughts to Wyndham Wallace for his extensive liner notes: “The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life. A visionary commentator on the relationship between individuals and society in the mould of Blake or Woolf, Leslie Winer knows things that the culture at large just doesn’t understand yet, and she has never been afraid to let us know that.”

Go to Item

Leslie Winer

2LP | 2021 | US | Original (Light In The Attic)

55,79 €* 61,99 € -10%

12" | 2021 | EU | Original (PoleGroup)

Release: 2021 / US – Original

Genre: Electronic & Dance

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

Definitive career-spanning anthology
Includes previously unreleased tracks, inspired collaborations, and material from Leslie’s groundbreaking 1990 solo debut, Witch
Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, Christophe Van Huffel, Jay Glass Dubs, Mari G. Mooney, and Diamond Version, amongst others
Newly remastered by the GRAMMY®-nominated engineer John Baldwin
24-page booklet featuring a new, extensive interview with Leslie and liner notes by acclaimed author, critic and compilation co-producer Wyndham Wallace, along with an essay by award-winning writer and scholar Louis Chude-Sokei
Cover collage by renowned British artist Linder, featuring photography by Mondino, and design by designer Christopher Shannon
Picture shows a mock up. The actual records are unique and will differ.

“The definition of a hidden gem” – John Peel

“The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life.” – Max Richter

“She might just be the coolest woman on the planet!” – Boy George

Light in the Attic is ecstatic to announce When I Hit You—You’ll Feel It: a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. When I Hit You—You’ll Feel It spans Winer’s three-decade-long musical career: from her groundbreaking solo work in the early ‘90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, and others, the collection also spotlights Winer’s diverse collaborations, and unearths previously-unreleased recordings.

Newly remastered by the GRAMMY®-nominated engineer John Baldwin, When I Hit You—You’ll Feel It will be available in multiple special 2xLP editions, on CD, and across digital platforms. The album includes a new interview with Winer, captured by the compilation’s co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, featuring photography by Mondino, and design by designer Christopher Shannon.

MORE ABOUT LESLIE WINER….

Musician, poet, iconoclast, model, artist, enigma. Leslie Winer is many things.

Born to a teenage mother and sold for $10,000 in a black market adoption when she was just hours old, Winer has always lived an uncommon life. She grew up in Boston with a voracious appetite for music and the written word and embraced the city’s lively jazz and folk scene in the ‘70s. Moving to New York for art school, she gravitated towards a vibrant crowd of intellectuals, artists, and radical thinkers—or perhaps they gravitated towards her.

There, Winer formed an unlikely friendship with writer and artist William S. Burroughs and lived on-and-off with Jean-Michel Basquiat. In London, where Winer began her musical ventures in earnest, she was a regular at Leigh Bowery’s underground club Taboo, where she met many of her collaborators, including filmmaker John Maybury, Kevin Mooney (of Adam and the Ants), and Boy George, who once declared that Winer “might just be the coolest woman on the planet!”

Winer’s striking looks also attracted fashion designers and photographers. Throughout the early ‘80s, she was an in-demand model—appearing in campaigns for Valentino, Christian Dior, and Yohji Yamamoto, and serving as a muse for a young Jean-Paul Gaultier, who later dubbed Winer “the first androgynous model.” She posed for Helmut Newton, Irving Penn, and Pierre et Gilles, and graced the covers of The Face, French and Italian editions of Vogue, and Mademoiselle.

But music was Winer’s true passion and, at the turn of the ‘90s, she would unknowingly help invent the massively popular genre known today as trip-hop.

On her debut, Witch, Winer masterfully blended the uninhibited sampling of early hip-hop with dancehall basslines and programmed beats, while weaving mesmerizing—and coolly-detached—spoken-word vocals into her ambient tracks. It was unorthodox in the most delicious ways.

The album was a bold experiment by the self-taught artist, who enlisted a number of talented musicians in the sessions, including Culture Club’s Helen Terry, Karl Bonnie of Renegade Soundwave, former Public Image Ltd. bassist Jah Wobble, and Kevin Mooney, as well as Marco Pirroni and Matthew Ashman (both of Adam and the Ants, among other acts).

While Witch was finished in 1990, it wouldn’t be released for three years, due to the whims of Winer’s label. In the meantime, several tracks made their way out into the world as early as June 1990, thanks to BBC Radio 1 DJ John Peel, who later referred to Witch as “the definition of a hidden gem.”

Opening with the laid-back dub beats and soft, sing-songy chorus of “He Was,” Witch features such highlights as the up-tempo “Skin,” the hypnotic, bass-heavy “The Boy Who Used 2 Whistle,” and the album’s closer, “Dream 1,” in which waves of reverb-soaked vocals bounce from one ear the other.

While sonically, Winer was breaking new ground, she was also bringing a fresh, incendiary take on what it means to be a woman in the music business, as embodied by her composition “N1 Ear,” in which she delivers a scorching, feminist manifesto, borrowed from the Women’s Liberation Broadsheet: “If I get raped it must be my fault / And if get bashed I must’ve provoked it / And if I raise my voice I’m a nagging bitch / And if I like fucking I’m a whore…And if I ask my doctor too many questions I’m neurotic and need pills / Because I still can’t get a safe birth control while some fucker’s roaming the moon.”

Winer had every right to vent her frustrations as a woman in music. Despite her fierce demeanor and steadfast focus, she was consistently disregarded and typecast by the industry. Many of her early collaborators failed to credit her work, while others simply overlooked her influence. Witch, for example, was so delayed that by the time the album saw the light of day (released under the pseudonym “©”), trip-hop was gaining mainstream traction via acts like Portishead, Massive Attack, and Madonna. Although Winer eventually gained wider acknowledgment (prompting the NME to give her the dubious distinction of “The Grandmother of Trip-Hop”), Witch initially went sorely unnoticed.

Following the disappearance of Witch, Winer continued to record, undeterred by the elusive nature of mainstream success in the modern music business. Her network of inspired collaborators continued to grow and expand, yet her influence remained largely a secret except to those in the know, such as Grace Jones and Sinead O’Connor, who would cover her songs.

Today, Winer stays busy on new musical projects in the French countryside, where she has spent the past two decades raising her five daughters. A prolific writer, she has also published two collections of poetry and oversees the literary estate of Herbert Huncke, a defining member of the Beat Generation.

In the modern era, one is hard-pressed to find an artist who continues to push the creative envelope as much as Winer does. And yet, three decades after her revolutionary debut, her work remains just as startling and fresh.

Winer’s influence might best be summed by the award-winning composer Max Richter, who offered the following thoughts to Wyndham Wallace for his extensive liner notes: “The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life. A visionary commentator on the relationship between individuals and society in the mould of Blake or Woolf, Leslie Winer knows things that the culture at large just doesn’t understand yet, and she has never been afraid to let us know that.”

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Lewis Fautzi

Intense Mechanism EP

12,74 €* 16,99 € -25%

12" | 2022 | US | Original (Albina Music Trust)

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Portuguese sci-fi maker Lewis Fautzi is here again with his very own recipe about how the music of the future should sound like.

His style has evolved to harsher territories lately, with distortion appearing as one of the main components here.

First cut "Induced Pulse" is a broken groove exercise, with pounding kicks and vocal samples providing the introduction while obscure components join the march as the minutes go.

"Undirected Differential" goes straight to the point from the beginning, with obsessive sequences running across a solid paced rhythm. The synth line evolves continuously, changing the filter frequency, mutating and constantly changing.

The B-side opens with "Intense Mechanism", in a galactic mood with one bar arpeggiated sounds, modulated wisely running over a blurred and distorted drum line.

Last slice is "Stimulated Desorption", again hypnosis and repetition as leitmotiv with similar sound components as the previous one but with a more shuffled drum approach.

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Lights Out

25,99 €*

Error Boy Purple Blue & Galaxy Colored Vinyl Editoin

Release: 2022 / US – Original

Genre: Organic Grooves

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"There was no internet, no cell phones. We didn't have streaming services, cable television, or even VCRs. People in Portland were out to see music seven nights a week"

In 1982, it seemed club nightlife in downtown Portland had reached its zenith. Musicians could make a living in a multitude of clubs throughout the city. And they made music on their own terms. Calvin Walker's recollection above speaks to the sovereignty of an independent community devoid of the recording industry's bottom line.

Lights Out gained traction when Pleasure wasn't in the studio or on the road. They were led by Pleasure's trumpeter Tony Collins, whose agenda involved prodding his group with gnarled fusion covers, complex horn arrangements, and masterful wardrobe flexing. "We wanted to be better at what we did," claims Collins. "Everybody grew."

But even with platinum level players holding recording contracts a la Fantasy Records, Lights Out struggled to find bookings in Portland's white-owned club circuit. "There were rules to these things and you had to play by them," remembers Walker. "They had to push up against that."

"I remember it being tough to get this band booked on the West side of the Willamette River back then," remembers bassist John Mazzocco. "When Peter Mott at Last Hurrah called to book us on a Tuesday, I was elated."

Knee-deep in the jazz fusion sound made popular throughout the city, Lights Out soon evolved into a synthesizer-fueled funk group fronted by vocalist Andy Stokes and featuring guitarist Greg "Gee Mack" Dalton. It's this era of Lights Out that made converts of the haters and annihilated 800-capacity dancefloors. It’s this era of Lights Out that is being celebrated on this release.

Recorded in 1982 at Wave Sound Studios - a facility that housed local punk acts such as The Wipers and The Rats - the material on this LP was intended as a demo for Solar Records. As a touring trumpeter for The Whispers, Collins was to pass the reel up the chain. When Solar fumbled it, Collins and Dalton left Portland for Los Angeles signaling the end of the group.

Forty years later, the legacy of this canonical Stumptown act has been remembered in devastating detail. The vinyl package includes a 12-page booklet of the band's oral history and deluxe archival photography. With tape restoration and mastering by Gus Elg, this painfully obscure recording has been waxed and buffed by one of the reissue industry's greatest.

Lights Out personnel have since made waves beyond the Pacific Northwest. Collins founded NDN Records in Atlanta. Andy Stokes has received the Grammy nod, releasing singles with Snoop Dogg and Battlecat. John Mazzocco toured with John Lee Hooker and was recently inducted into the Oregon Music Hall Of Fame. Damian Dillon went on to a successful radio career in Germany. And Greg Dalton has sessioned relentlessly, working with everyone from Patrice Rushen to Kamasi Washington to Tupac.

As Stokes puts it, "Being in this band gave me the strength to branch out. You don’t just do that by yourself. You have a family. This a family.” credits released July 15, 2022

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Lil Lotus

LP | 2021 | EU | Original (Epitaph Europe)

Release: 2021 / EU – Original

Genre: Rock & Indie

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12" | 2021 | UK | Original (Evar)

Limewax

Untitled

11,99 €*

12" | 2022 | UK | Original (Evar)

Release: 2021 / UK – Original

Genre: Electronic & Dance

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With a fundamental emphasis on the encouragement of genre hybridization, Evar Records, the Los Angeles-based imprint co-founded by Trickfinger (John Frusciante) and Aura T-09 (Marcia Pinna), continues its momentum with an expansive 9-track collection from Netherlands-based luminary, Limewax.

After making a strong first impression with its 2020 debut offerings, Evar Records has recruited Limewax to carry forward its mission of blurring boundaries and challenging conventions in electronic music. The Ukranian hard drum and bass hero happily obliged, referring to signing with Evar as a breaking point which allowed him, finally, to take full stock of his background in classical and electronic music simultaneously. Although Maxim Anokhin is widely known for his hard-edged breakbeats, releasing on labels such as Tech Itch Recordings, Position Chrome, Freak Recordings, and Prspct, the full scope of his artistry shines through on Untitled.

The opening cut, "Porcelaineworm," is a futuristic electro cut recalling IDM classics like AFX's "XMD5A." Of course, the virtuosic drum programming and hectic D&B sound which Limewax has built his reputation upon is here in spades on tracks like "Stay Lackey. Cuts like "Ushio" and "Whay1" are fascinating studies in contrastsâ€”the former balances bludgeoning techno of the Ansome and Perc variety with a resolve that recalls Fennesz's pastoral glitch abstractions. "Whay1," meanwhile, is sub-rattling drum and bass nuanced by cinematic string themes. "Getupa" is an experimental beat track that truly bangs, its layers of texture and field recordings placing Limewax in the company of bleeding-edge acts like SVBKVLT's breakout star Hyph11E. The very next track, "19NB," is a subtle update to the original minimal technical template established by Detroit icons Robert Hood & Jeff Mills.

While most of the album hurtles forward at hard techno and D&B tempos, "Maleisae" is a sensual 70 BPM track mixing ghostly R&B and acid. That spectacular cut heralds Untitled's intricate denouement. The brief "Wernmqbram" effortlessly reconciles a baroque minor-key piano theme with the renegade snares of classic jungle. "Hasan" is a true "closing credits" master stroke, half-time acid giving way to gorgeous IDM-meets-Blade Runner synth leads.

Far from a genre-jumping hodgepodge, Untitled is a remarkably coherent full-length by a virtuosic artist free to explore the entirety of their creative influences. The Tilburg-based artist cites the poets Marina Tsvetaeva and David Whyte as influential on Untitled and also listened to works by 1771-1862 works by organ builders when crafting the album. The end result reveals Limewax as a masterful, diverse artist, capable of any style he pursues. It's a clear indicator of the boundless promise of Evar's core principleâ€”a staunch refusal to put artists in boxes.

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Liza Aikin & Monolog

Until There Was Nothing

Unmaker Black Vinyl Edition

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Two Berlin techno stalwarts join forces for the first time.

Liza Aikin & Monolog present their debut collaborative EP, Until There Was Nothing on LA's Evar Records. After sharing a studio together for five years, the two accomplished producers fuse their contrasting approaches to create a collection of biting percussive loops and muscular electronics. This collaboration sees the pair explore new territories in sound design, composition and delivery.

Monolog, an alias of Mads Lindgren since 1999, is famed for intense, densely layered noise-based experiments that push technological limits and fuse his diverse experiences in metal, noise, jazz and DnB. Collaborating with Aikin was a process of slimming his production style down, harnessing the mesmeric power of rhythmic repetition. For Aikin on the other hand, a seasoned DJ whose subtly cinematic productions have appeared on labels like Mord and Gegen Berlin, this collaboration was about reaching for new extremes. Given full creative control by Evar, the result is raw and unrestrained. In Aikin's own words: "I'd consider this record one of my most savage, but also thanks to that, the most technically accomplished."

"Remnant" is a highly textured techno workout, mixing blunted percussion with delicate gliding pads to make something at once caressing, and brutally unyielding. "Siam" is an exercise in noise, complexity and control, its tough, obstinate beats mask a tightly wound, intricate core. "Formed By Impact" is fine-tuned for huge, echoey spaces - menacing, pulse-raising and hypnotic throughout except for brief, cathartic moments where the smoke clears. Finally, "Datawerk" closes the EP, a propulsive basement weapon for introverted dancers late into the night.

Hot on the heels of releases from C.Z., Wheez-ie, Speed Dealer Moms and more, Aikin and Monolog close out a prolific second year of operations for Evar. Showcasing two accomplished producers engaged in a mutual learning process, this is explosive music for unwavering dancefloors.

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LLNN

LP | 2021 | EU | Original (Pelagic)

Winter Deluxe Black Vinyl Edition

Release: 2021 / EU – Original

Genre: Rock & Indie

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Unmaker, the 3rd album by Copenhagen's LLNN, is a stupefyingly unforgiving affair: abrasive and vile, at times effervescent and escharotic, and finally absolutely smothering, suffocating, terminal. LLNN burst onto the scene with 2016's critically acclaimed debut album "Loss“, a sheer display of "absolute raging rawness“, as Terrorizer put it... But there is more to their sound than that: „the wavering drone synths that are effortlessly merged with a raw hardcore-driven darkness define the subtle idiosyncratic nuances of LLNN's very unsubtle, painfully overwhelming sound“ (The Sludgelord). After European tours with Bison, performances at festivals like Roskilde, Roadburn and Arctangent and a split EP with WOVOKA, LLNN returned with sophomore album "Deads“ in 2018, an album that felt more compact, yet more complex and organic all at the same time. The band further explored the coalescence of the guitar & bass - axis with keys player Ketil G. Sejersen's synth layers – a direction that is now further pursued on Unmaker. In fact, LLNN’s contemporary heaviness is not just “dense, suffocating tracks that build and crash“ or "buried vocals coming from under thick guitars and pounding drums” (Decibel): it’s also the very dominant synths that evoke the feel and vibe of dystopian, post-apocalyptic sci-fi movies, inspired by composers like Brad Fiedel, Vangalis, John Carpenter and Stanley Kubrick as much as by Sci-Fi / horror games like Silent Hill, Dead Space, Halo & Limbo.
"I’m obsessed with music that explores what sound can do to our body, to our mind, to our imagination. LLNN 's new album is one of the most overwhelmingly intense records I’ve heard in quite a while and the way it blends abstract ambient sounds, shattering rhythms and extreme noise is both hypnotic and powerful. The sense of sonic detail is staggering and for each spin I hear new elements, echoes, textures and my mind gets new visual associations. Sometimes it feels like the soundtracks of Apocalypse Now and Eraserhead has been melted together and blasted through a ferocious guitar amp - these songs have both a sense of impending doom and an extraordinary combination of raw energy and gritty beauty“ - Movie soundtrack composer award-winning Peter Albrechtsen

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Locas In Love

LP | 2008 | EU | Reissue (Staatsakt)

38,99 €*

Release: 2008 / EU – Reissue

Genre: Pop

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Winter Deluxe HHV Recycled Green Vinyl Edition

Locas In Love

LP | 2008 | EU | Reissue (Staatsakt)

40,99 €*

12" | 2022 | UK | Original (Locus)

Release: 2008 / EU – Reissue

Genre: Pop

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Limited edition, 100 pieces, exclusively at HHV

Comes with songbook, chronicles, photo, all hand-packed. Comes with songbook, chronicles, photo, all hand-packed.

At the end of 2008, the Cologne band Locas In Love released their third album "Winter" as a follow-up to the surprise success "Saurus" (2007). Written and recorded within two months in the summer of 2008, it was meant to be uncomplicated, fast and immediate and consequently "Winter" was the band's first completely self-produced album, produced in living rooms between Cologne's Gereonsviertel and Brooklyn, NY. The title theme still makes it the most cohesive of their albums, and it is the document of a friendship. The reason for the vinyl reissue is only secondarily the 15th anniversary of the release or the fact that the album was long out of print, but primarily the unexpected death of LD Beghtol in 2020. Locas In Love got to know the exceptional New York artist as a fan of his music (among other things as a contributor and singer of the Magnetic Fields on "69 Love Songs"). On "Winter" he appeared as a quasi-member and co-producer and can now be discovered by new music fans with his masterful song miniature "Packice", this heartbreaking mixture of winter blues and cryogenic science fiction. And so the Berlin label Staatsakt (which has just celebrated its own 20th anniversary) is now releasing the luxuriously equipped reissue. The hand-numbered limited edition with new artwork by Stefanie Schrank contains the scrapbook designed by LD Beghtol, which was also included with the first pressing, an 8-page songbook with lyrics and chords, as well as the 68-page Locas In Love Winter Chronicles, in which tour diaries and other texts from the time are summarised with a current self-interview of the band. The extensive bonus material is less about myths or detailed writing and recording processes and more about what it means to be a band, to live with each other and your own music - and to grow old.

Musically, "Winter" is the Locas In Love album that can least be attributed to a specific time or genre - it could be a forgotten private press release from the 1970s or a neo-lo-fi work from the TikTok era. If it can be located in a time at all, then it's the eponymous season. Or, as Stefanie Schrank describes it in her self-interview: "Winter the album is like winter the season, belongs to it and always comes back."

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Locklead

Blue Monday EP

15,99 €*

Live At Jaiyede Jazz Festival Transparent Ochre Vinyl Edition

Release: 2022 / UK – Original

Genre: Electronic & Dance

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Locklead arrives on Locus in style as he drops a quartet of cuts via his ‘Blue Monday’ EP.

An artist undeniably in a purple patch following releases via Dungeon Meat, Vatos Locos, Dark Side Of The Sun and his debut album ‘Square One’ on Up The Stuss, Utrecht’s Locklead continues to flourish as one of the Netherlands’ hottest emerging house talents. Showing no signs of slowing down, his next release provides another signal of intent as he heads to Fuse sister imprint Locus for the first time. Following multiple appearances for the label at their London showcases, he now unveils four diverse and expansive offerings showcasing his far-reaching sound across his ‘Blue Monday’ EP.

A track that’s been the subject of ID requests for months, title cut ‘Blue Monday’ kicks things off in style as infectious vocals and spiralling synths go to work above a wormhole of a bassline to provide a peak-time cut already proven to work dancefloors. ‘Join The Tribe’ leans on tight rolling grooves guided by crisp organic drums licks, rumbling low-ends and off-kilter samples, while ‘Orbiting’ is a spacey journey into the late night hours. To close, Locklead takes things deeper as he layers rich chords, swinging drums and hazy vocals across a classy house effort to wrap up proceedings.

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London Odense Ensemble

LP | 2023 | EU | Original (El Paraiso)

30,99 €*

LP | 1967 | EU | Reissue (Musica & Entretenimiento)

Release: 2023 / EU – Original

Genre: Organic Grooves

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London Odense Ensemble is a powerhouse quintet that combines forces from the Causa Sui/El Paraiso family tree (Jakob Skott, Jonas Munk, Martin Rude) with the vibrant, experimental London jazz scene (Tamar Osborn, Al MacSween). On two studio full-lengths, released in 2022 and 2023, they have explored the confluence of psychedelia, improvisation and cosmic jazz. On this set, recorded at the 2021 edition of Denmark's Jaiyede Jazz Festival, the energy is cranked up another notch or two. Comprised almost entirely of exclusive material not found on the two studio records these three sonic excursions dive head-on into the fiery side of the group's sound. Taking up the entire A-side "Energy Ascending" starts out as a gently flowing piece of dreamy jazz that wouldn't have sounded out of place on a late 1960s Pharoah Sanders record. As the piece evolves the guitar takes it into rock territory, where it dissolves in a mesmerising breakdown before commencing a build of epic proportions, lead by Tamar Osborn's baritone sax, channelling The Stooges as much as John Coltrane. Heavy. On the B-side things get more electronic and spacy. Here the ensemble uses album track "Sojourner" as a starting point for a new improvisation guided by Al MacSween's virtuoso keyboard work. The rhythm section creates a hypnotic foundation for layers of synths and electric keys to fully blossom and travel into cosmic territory.

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Los Vidrios Quebrados

Fictions

35,99 €*

12" | 2018 | EU | Original (Passport To Paradise)

Release: 1967 / EU – Reissue

Genre: Rock & Indie

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"Fictions" (1967) by Los Vidrios Quebrados is released now on vinyl, from the original IRT masters! Los Vidrios Quebrados were pioneers in Chile in adopting psychedelia as a musical aesthetic, due to the influences gathered mainly from British groups. Although they bequeathed only one LP, this one is a permanent reference of research and applause, for having been worked with their own material (without covers, as was the norm of local rock at the time) and combining their electric flight with opinions of social observation. "Fictions" (1967) is one of the most important rock albums made in Chile. The 1966 single "Friend" and "She'll Never Know I'm Blue" gave way the following year to the recording of "Fictions", their only LP, under the RCA Victor and Ues Producciones label. Without merely copying their influences, the songs on the album feature smooth and fine instrumental arrangements by Héctor Sepúlveda (guitar and vocals), who also acted as the album's musical director. Those who were lucky enough to hear them live say that they were much more rock than what we can appreciate on the album. And the music on the "Fictions" album was even more sophisticated than what was being done at the time, there was a musicality that was quite anticipatory, even foreign. If you listen to the harmonies in "Introduction to Life..." or "Concerto in A Minor", they are quite complex compared to what was heard at the time. That's why they also had a place in radio stations more accustomed to playing classical music, like Radio Andrés Bello. There was a certain intellectual taste, something like an "intellectual arrogance", like the quotations to Oscar Wilde in the lyrics of the songs, for example. For the recording of "Fictions", Los Vidrios Quebrados had very little time, as was customary in those days. And despite the technical limitations of the recording studios (two tracks -vocals on one side and all the instruments on the other-, bottle cap tambourines and homemade instruments), when listening to the album, the result is surprising and, considering that in Chile the music of the Beatles and the Rolling Stones was already known, the reception of "Fiction" was quite good. After the success of "Fictions" and with a promising future, Los Vidrios Quebrados decided to go to Europe in 1969, but the idea was rejected by the parents of two of the members, who only saw music as a hobby. Different life choices and musical tastes led months later to the end of the band.

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Loud E

Volume 1

11,19 €* 13,99 € -20%

LP | 2023 | US | Original (Dark Entries)

Release: 2018 / EU – Original

Genre: Electronic & Dance

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The folks at Passport to Paradise deliver more exotic sounds from the farthest reaches of Earth and beyond, for your aural pleasure. Your concierge today is cosmic disco maverick Loud E, taking us from 123 to 456 to 789 in a masterclass of disco edit wizardry. Step inside the elevator...
The doors close. Loud E welcomes you with '123', flicking gears and switches while offering you a space mojito. It's a smooth ascension; suddenly, the elevator wobbles and the lights blink to the beat of 124bpm. Still with us? We land on '456', and the doors creak open to reveal the orange surface of Mars.
Space dust floats around a disco ball; strobe lights penetrate the atmosphere. By '789', you're seeing stars - literally. Loud E takes us from nought to sixty in the blink of an eye, or perhaps the stamp of a passport. Three cosmic cuts for the more enlightened of dancefloors.
Join the Passport to Paradise ride, but be careful - you might never come.

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Loveshadow