Search "Era – Ameno" 5552 Items

LP | 2024 | UK | Original (Hinney Beast)

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Preorder shipping from 2024-11-22

Limited edition signed by the author.

For millennia, “nirvana” has been a term associated with belief systems of the Indian subcontinent. But in 1988, a band from a small coastal town in Washington state decided to create some new associations with this word . . . through their music.

Active for just six years, Nirvana left an indelible mark on the late twentieth century that remains visible today. Photographer and self-described “music fanatic” Charles Peterson, a fellow twenty-something from the suburbs of Seattle, was present with his camera as a genre took form, and his images have become synonymous with the sounds, styles, movement and attitude known as grunge.

Charles Peterson’s Nirvana, in the tradition of many great documentary photobooks, expands beyond Peterson’s iconic images of the band seen repeatedly over the last thirty years (on album covers, in magazines, and in dozens of compilation books and exhibitions focused on this music and its birth era) to highlight gems never before published. Over a five-year photo edit, Peterson looked at each one of thousands of frames, considering what drew him to Nirvana in the first place—their songs. He honed in on the compositions that stimulated visceral memories of their live performances.

The resulting selection of photographs and their carefully constructed sequence mash up venues and years, suffering and the sublime, to arrive at a visual experience that one cannot help but also feel, and hear.

Book design by Jeff Kleinsmith.

9 x 12.25 inches vertical; ~90 black and white photographs; 168 pages;. Hardcover. Foreword by Krist Novoselic.

Charles Peterson (b.1964, Longview, Washington) is internationally known for his photographs of the Seattle music scene of the late eighties and nineties. He began making photographs while a student at Bothell High School, and then went on to study photography at the University Washington, where he first met as friends many of his future subjects.

Peterson’s distinct visual style and early work for Sub Pop Records became an important signifier of the phenomenon known as grunge.

His photographs have been featured in numerous publications, as well exhibited in group and solo exhibitions around the world. They are included in many private collections, and the permanent collections of the Seattle Art Museum and MoPOP.

Krist Novoselic (b. 1965, Compton, California) is co-founder of Nirvana.

Nirvana originated in Aberdeen, Washington in the late 1980s through the energies of Novoselic and Kurt Cobain. They were joined by drummers including Chad Channing (1988–1990) and David Grohl (1990–1994). Nirvana’s live performances, music videos, and albums Bleach (1989), Nevermind (1991), Incesticide (1992), In Utero (1993) and MTV Unplugged in New York (1994) made their music a defining component of the late twentieth century internationally.

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Daniel Land

Out Of Season

24,99 €*

LP | 2023 | Original (Night School)

Release: 2024 / UK – Original

Genre: Rock & Indie

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Daniel Land's new album, "Out of Season", is his most ambitious record to date, a series of reflections on history, memory, and post-Brexit Britain, which was inspired by his return to the landscapes of his youth – the rugged, underpopulated west coast of Somerset. The album was written and partly recorded in Daniel’s studio in a static caravan, overlooking the coast, during the period when the UK was tearing itself apart over its relationship to Europe. "I didn't set out to write about Brexit", Daniel says, "I have a kind of horror of political music. But I couldn’t escape the atmosphere of the time – this strange, distorted version of ‘Englishness’ in the national psyche. I’ve always been interested in memory and nostalgia; Brexit illustrates the dangers of taking seductive, possibly false memories at face value”. Songs like “White Chalk”, “Island of Ghosts”, and the album’s title track, represent a series of attempts to reclaim an older, more peculiar idea of England which, Daniel says has been “Lost in the nationalist mythmaking of the past decades” – the island of misfits and outsiders exemplified by the works of Derek Jarman, for example, whom Daniel was rediscovering while working on the album. “I must have read 'Modern Nature' ten times over the years”, Daniel says. “What I love about Jarman is that he had a deep, abiding love for England, but it was a very complicated, critical and a very queer kind of love. That was very much my mood, going into the making of this album”. Like Jarman’s work, "Out of Season" probes national identity whilst also displaying resolutely queer themes throughout. Daniel’s voice – once described by The Guardian as "The spawn of Elizabeth Fraser and Anthony Hegarty” – is less heavily reverbed than before, bringing to the fore his often-confessional lyrics, inspired by the frankness of modern queer poets like Andrew McMillan, Seán Hewitt, and Ocean Vuong. A lyrical highlight is the gorgeous “Southern Soul”, a deceptively straightforward recounting of a decades-old hookup with a closeted guy from his hometown which, Daniel says, “Serves as a metaphor for everything I’m talking about in the album”. And in keeping with the album’s nods to the heroes of gay literature, Daniel’s self-styling of the album as a “Dream Pop Album on National Themes” deliberately references the full title of Tony Kushner’s era-defining play "Angels in America", whose central character is namechecked in the hook-laden “Lemon Boy” – a song which must surely stand as Daniel’s most deliciously pop moment yet. Lauded by Mark Radcliffe, Guy Garvey, Tom Robinson, and many others, Daniel Land makes music that, in the words of BBC Radio 1, "You can't help but think the late John Peel would have loved".

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Teresa Winter

Proserpine

24,99 €*

Peter Golding & Barry Miles

Release: 2023 / Original

Genre: Electronic & Dance

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Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter's most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter's debut recording for Glasgow-based label, Night School.

On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music's narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter's vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume's field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.

Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It's a fitting metaphor for Winter's work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter's achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter's presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe.

While Proserpine references the myths and cults of the classical, pre-Christian era, Winter's restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it's an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter's vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It's an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelatory.

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Rock Graphic Originals: Revolutions In Sonic Art From Plate To Print '55 - '88

Thames & Hudson

33,99 €*

Here's Tom With The Weather Oxblood Color Vinyl Edition

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A unique insight into, and record of, the 20th century’s most exciting and productive period of rock poster art and graphic design.

Rock Graphic Originals: Revolutions in Sonic Art from Plate to Print ‘55–’88 presents counterculture’s psychedelic poster art from its beat origins to its stadium rock zenith. Portfolios of 30+ poster artists – Rick Griffin, Victor Moscoso, Mouse Kelley and Hapshash amont them – are laid bare for all to see. For the first time, the sketchbooks and paste-ups, the printing plates and colour separations are unveiled to reveal the layers of process integral to the design of each poster.

Rock Graphic Originals is packed with more than 750 examples of posters, artworks and logos, created for the bands that epitomise their era, their sound and their scene – in San Francisco and the west coast, Detroit and New York, Swinging London and revolutionary Paris. Rock legends promoted in the posters include Big Brother and the Holding Company, Grateful Dead, Quicksilver Messenger Service, Moby Grape, Frank Zappa & the Mothers of Invention, Captain Beefheart, the Doors, the Velvet Underground, Jimi Hendrix, Tim Buckley, the Yardbirds, Cream, Led Zeppelin and many more.

Barry Miles – cultural commentator and founder of International Times – contextualizes the exquisitely curated pages. Punctuated with special features on the socio-political phenomena that permeated the music and artwork of each period – underground clubs, head shops, obscenity trials, legalize pot rallies, acid tests and violent protest – the story is completed by personal insights from the artists themselves.

'Gig posters, magazine covers and band visuals from the golden age of rock' The Herald, Music Books of the Year

About the Author: Peter Golding, musician and creator of the world’s first ‘designer jean,’ began collecting rock ’n’ roll art in 1967, naming his collection ‘Inspirational Times.’ As part of the sixties and seventies fashion movement, Peter Golding’s famous ACE boutique in London’s Chelsea brought him into regular contact with the biggest names in rock ’n’ roll, and he went on to create one of the most comprehensive collections of rock ’n’ roll graphics. He curated the first exhibition for ‘Inspirational Times’ in London in 2003, was a major lender to the Tate Liverpool exhibition ‘Summer of Love’ in 2005, and more recently contributed to the V&A’s 2016–17 exhibition ‘You Say You Want a Revolution.’

Barry Miles is the bestselling author of numerous biographies and countercultural histories. He was a founding contributor to International Times, a regular contributor to NME from 1975 to 1978, and editor of Time Out from 1978 to 1979.

Format:Paperback Size:31.5 x 21.8 cm Extent:224 pp Illustrations:750 Publication date:25 October 2018 ISBN:9780500293539

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Shack

LP | 2003 | UK | Reissue (Shack Songs)

33,99 €*

Here's Tom With The Weather Black Vinyl Edition

Release: 2003 / UK – Reissue

Genre: Rock & Indie

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The Shack story is one of music’s greatest legends. It incorporates hardship, bereavement and chaotic misadventure, but above all it tells the tale of beautiful music triumphing over trouble and tragedy.

‘Here’s Tom with The Weather’ boasts a majestic and fresh form. These are magical songs, psychedelic folk songs of the finest Head vintage. Sleepy-eyed, wistful and mystical, yet crafted with a cunning and acute dexterity beyond just about anybody you can think of.

The two profoundly Liverpudlian brothers Mick and John Head have made several brilliant albums together , but none as quickly as ‘Here’s Tom…’ which was completed in seven weeks at Brynderwen Studios in North Wales along with drummer Iain Templeton (rip) , bassist Guy Rigby and producer Jay Reynolds in 2003.

In the 80’s , the two brothers from the notorious Kensington estate in north Liverpool were singer and guitarist with The Pale Fountains , an effervescent pop group which imploded under the weight of two albums in 1986. The Heads returned in ‘88 as Shack and a debut album Zilch. In 1991 , Shack made ‘Waterpistol’ , an inspirational guitar jewel that would have proved just as influential as any British album in that era had the studio not burned down, taking the master tapes with it. Four more years passed , but by the time it was finally released on Marina it had developed ‘lost classic’ status.

The Heads battled on. They toured as their hero Arthur Lee (rip) of Love’s backing band. In ‘97 , they created

a new group called The Strands and recorded the delicate, dreamy masterpiece ‘The Magical World Of The Strands’ . They spent a long time making another classic ‘hms Fable’ , and then decided that next time they wouldn’t take quite as long recording. Enter ‘Here’s Tom With The Weather’.

Showcasing John’s slow , shy emergence as a songwriter to challenge his brother (on the sparkling, heartbreaking ‘Miles Apart’ and ‘Carousel’ , and the spun-out ‘Kilburn High Road’ ) , toasting Mick’s newest confirmation as the most unrecognised genius of his or any other generation (the ode to his bro, ‘Byrds Turn To Stone’ , the mariachi horns that break open the slow folk fog of ‘Meant To Be’ , the two lullaby bookends ..and on , and on) .

“The journey we’ve had together has been beautifully turbulent”, laughs John. “But there’s times when we glide and we’re gliding forward now”

Mick agrees. “Making this album has been frantic, chaos, carnage, intense : the normal way with us. But it doesn’t sound like that. That’s all that matters. The story is what it is. But so are the songs and so are the records. Because we’re good.”

Nobody could disagree with that.

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Shack

LP | 2003 | UK | Reissue (Shack Songs)

27,89 €* 30,99 € -10%

Release: 2003 / UK – Reissue

Genre: Rock & Indie

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12" | 2023 | UK | Original (333)

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Egostrip Book 1 is a beautifully designed collection of Dan Lish’s stunning character illustrations from the world of hip hop and beyond. There are 138 illustrations of pioneering artists from hip hop’s golden era, such as De La Soul, Madlib, DJ Premier, Mobb Deep, Nas, Cypress Hill, J.Period, J Dilla, Kool Keith, MF DOOM, The Roots, Biggie Smalls, A Tribe Called Quest, Biz Markie and The Beastie Boys.

The book is 27.2cm x 29.4cm, and the 160 pages are printed and bound on heavyweight 130gsm paper with a hardback cover.

Welcome to Egostrip Book 1, an illustrated escapade through the visions of Dan Lish.

The Egostrip Book project began on Dan’s daily commute to work, where he chose to draw his favourite musicians in little black books. Created in black fibre tip ink pen, straight to paper, while the train rocked back and forth, commuters knocking his elbow (or vice versa). Back in the studio, the illustrations were brought into the computer and digitally coloured, adding texture and details.

There are also black and white sketches and photos with Dan’s anecdotes, process thoughts and tips and histories of the interconnected characters; their alter-egos and worlds created in glorious analogue and digital techniques, plus an introduction to Dan’s life as a DJ, B-Boy and graffiti artist in the UK and New York.

Within the handcrafted lines are layered micro-narratives and ink pen explorations, celebrating Black music and the journey of human creativity.

“Fast slash, cross hatch, slash, cross patch / every word of mine will be verbally sewn tight to match / data that’ll hit you harder than Caterpillar trucks. In the lab, when we collaborate, all matter will erupt.” Pharoahe Monch – Front Line

As an M.C. I was always trying to implement what I learned in the High School Of Art & Design into my music career. In this specific case, it was the specific style of cross-hatching in which we used for shading in my commercial arts class. It only stands to reason that when I first encountered the amazing artwork of Dan Lish that my mind exploded. How ironic that an artist who obviously had a love for the culture would also implement the things I’d come to know in love. Cross-hatching and hip hop. Upon seeing his work, Dan immediately skyrocketed to the top of my all-time favourite artists. From his LP covers to his broad appreciation for the music, Dan Lish is the gold standard. Pharoahe Monch

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Rupie Dan

My Black Race

18,99 €*

Just A Million Dreams Yellow Vinyl Edition

Release: 2023 / UK – Original

Genre: Reggae & Dancehall

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Death Is Not The End's 333 sub-label drops a much needed reissue of Rupie Dan's My Black Race 12" from 1982. A huge Shaka selection featuring one of the heaviest dubs available from this era of UK roots production. Originally written and produced by Rupie for his Flag Records label, with engineering from Tony Addis (later of Addis Posse and the Warriors Dance label).
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"The lyrical idea for My Black Race came about during the 1980/81 social/racial revolution that took place in several cities all over England, including London, Liverpool, Birmingham, Leeds etc. I was living in Bradford, West Yorkshire at the time and was a DJ/Sound System operator on Jah Scorcher International Sound. I also co-hosted a Reggae show on an independent radio station Called Pennine Radio 235. In my regular job I was a youth and community leader with the Bradford education council. I was fully connected and in touch the community.
Seeing how the media used the events of the social uprising as a weapon to further discriminate against the African & Caribbean community committed me to say and do something to elevate the minds of especially young people who were already demoralised by the rhetoric that brought about the so called "riots" of the time. It was during this time that the lyrical foundation of "My Black Race" was laid. The rhythm came later after hearing Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". In the summer of 1982 I entered into the Addis Ababa recording studio on Harrow Road, Paddington and recorded the song having moved to London the previous year. Musicians featured included Victor Cross on bass and Mark Wright on drums (both from the Ariwa band), Rizzo on guitar, Tan Tan and Bami on Horns (all 3 from Aswad band), Bubblers on Piano/Organ (Undivided Roots/Ruff Cutt Band). Lead vocals were provided by myself, with backing vocals Jenifah Gad and Niomi who was working with David Bowie at the time. The engineers were Bubblers and Tony Addis (later of Addis Posse & the Warriors Dance label).
Jah Shaka was in the studio during the entire recording session. I was aquatinted with him as I was previously involved in a 3 way soundclash with Shaka, Quaker City and my sound at the time Jah Scorcher. Some years later I was in Terry's Dub studio in North Acton cutting some dubs when King Jammys and Bunny Lee walked in and heard the song. Bunny was responsible for the production of Barry Brown's "No Wicked Shall Enter the Kingdom of Zion". Thankfully they were both impressed by the track which delighted me as a young up-and-coming artist/producer. The rest is history as we know it. Jah Shaka was mystically constant hence his attachment and love for the song. Jah bless and guide him."
- Rupie Dan, 2023.

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Alan Vega

LP | 1997 | JP | Reissue (Futurismo)

Friends Of Mine Deluxe Edition

Release: 1997 / JP – Reissue

Genre: Rock & Indie

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* Limited Edition Neon Yellow Vinyl * Includes large fold-out poster * Liner notes by Henry Rollins * Featuring two unreleased additional bonus tracks Futurismo are proud to present a first time reissue of the killer 1985 album: Just A Million Dreams by the uncompromising Alan Vega. The remastered version of this LP comes with two unreleased bonus tracks produced by Liz Lamere and Jared Artaud of The Vacant Lots. It is packaged in a gloss laminated sleeve with a huge fold-out poster and contains new liner notes by Henry Rollins. Presented in a remastered deluxe vinyl package, Just A Million Dreams, produced by Ric Ocasek and Chris Lord-Alge, takes Vega on an expedition into new territory. As an artist Vega had a crucial drive, but having a hit record was never a motive, neither was pandering to expectations, which is why Just a Million Dreams is perhaps a perfect statement for that moment, bettering the then bastions of MTV rock without even trying, an exercise in subversion that still has Vega’s unique artistry at its core. Would you expect anything less from one half of NYC legends Suicide? Perhaps not, but the hows and whys to Vega landing himself in such a mainstream position are perhaps just as fascinating as the record itself. Here Alan Vega’s vocals sound better than ever, full of emotion and brooding honesty. Lyrics painting images of dystopian love might be a sideways move away from the intense nihilism of his past, but it’s still the real deal. Alan Vega could not be anything else. Listen to tracks like ‘Creation’ and you still get that raw emotion he spent his career honing. Set against the grandeur of mid 80’s production: big processed drums, ru naway guitar solos, we get a rare peak into what Vega would sound like if he was allowed to be a rock star drenched in the sonic excesses of the era. It was a brave and unfairly misunderstood move, but the components come together to form an incredible anti-commercial, commercial album. Just A Million Dreams is the sound of Alan Vega taking on the 1980’s and winning. With help of the official Vega Vault, two never before heard tracks have been unearthed from the 1985 Jamd recording sessions and brought to life by long time collaborator Liz Lamere and Jared Artaud of The Vacant Lots, adding a new insight to the recordings. Henry Rollins also lends a new written perspective, making this release a vital addition to the collections of Alan Vega and Suicide fans. It has been said that Alan Vega is forever, his unwavering artistic approach can be witnessed throughout his career, whether as part of Suicide or as a solo songwriter, poet or sculptor. Just a Million Dreams is just another example.

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Adam Green

2CD | 2003 | EU | Reissue (Capitane)

17,99 €*

Friends Of Mine Black Deluxe Edition

Release: 2003 / EU – Reissue

Genre: Rock & Indie

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On june 9th 2023 Capitane Records will re-issue the 20th Anniversary of Adam Green's Friends of Mine. For fans of Green and his band The Moldy Peaches, it may be hard to believe that it has been twenty years since those early days of the 2000s when the indie rock world was set ablaze by a new generation of artists, composers, and songwriters. Within what felt like only a few months, bands like The Strokes, The White Stripes, The Libertines, and The Moldy Peaches, provided indie music audiences with fresh iterations and interpretations of the rock and roll canon, with influences that included both standard bearers like The Velvet Underground, Television, The Stones, The Doors, The Stooges, Leonard Cohen, The Modern Lovers, and Bob Dylan, and also more recent artists like Beck, Daniel Johnston, Nirvana, Sonic Youth, Will Oldham, Pavement, and The Silver Jews. The results varied between straight up rock and roll and punk rock with a songwriting, folk-inspired, consciousness. Gone were the ripped-up jeans and flannels of yore. Tight trousers and leather jackets ruled the day.

It was on the heels of the success of his band The Moldy Peaches (who signed along with The Strokes to Rough Trade Records in 2001 and subsequently toured alongside them) that Adam Green wrote and recorded Friends of Mine, the seminal album that would define a new direction in his career. Diverging from the home-recorded, 8 track-analog framework of his previous albums, Green adopted what then seemed like a distinctly hi-fidelity sound, complete with a full band, crooning vocals, and a string section (with arraignments by Jane Scarpentoni). Friends of Mine drew on the work of Serge Gainsbourg, Scott Walker, and Frank Sinatra, while its lyrical content felt as if derived from symbolist poetry and the surrealism of Brecht and Dylan. The result was something altogether new, a record that could feel both touchingly sad but also sardonic, satirical, louche, and even laugh-out-loud funny. Songs like "Jessica" would become anthems to a new generation of young indie rock fans both in the United States and Europe.

Capitane is proud to release Friends of Mine as a double LP, with a second disc of outtakes, B-sides, and live versions. This deluxe edition features notes on the songs by Green, a text which provides new insights into his often cryptic lyrical methodology along with anecdotes from the days when these songs were composed. Also featured is a conversation between Green and Dan Myers (producer), Steven Mertens (bass player), Matt Ramono (drummer) and Larissa Brown White (Adam's manager at the time). The five old friends do a deep dive into the production of Friends of Mine, as reflect more broadly on that bygone era. The 2023 edition of Friends of Mine is a testament to an artist and an album that stand the test of time.

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Adam Green

2LP | 2003 | EU | Reissue (Capitane)

We Are Winter's Blue And Radiant Children

Release: 2003 / EU – Reissue

Genre: Rock & Indie

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"No More Apocalypse Father"

LP | 2024 | CA | Original (Constellation)

Frank Sinatra, Dean Martin & Sammy Davis Jr.

Release: 2024 / CA – Original

Genre: Rock & Indie

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WE ARE WINTER'S BLUE AND RADIANT CHILDREN (WAWBARC) is the new quartet of Mat Ball(BIG|BRAVE), Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion),and Jonathan Downs and Patch (both Ada). On "NO MORE APOCALYPSE FATHER" they presentsix modal lullabies drenched in seared distortion, slathered across striding electronic pulses.Ball and Menuck began creating music in and for the bleakest moments of Montréal winters:"We're honoring that idea of winter, when you come inside and your house is warm, a placethat only exists because of how cold it is outside," says Menuck. They later recruited Downsand Patch to flesh out their initial ideas. Menuck met them in 2015 when recording Ada'sfinal album at Montréal's Hotel2Tango _ where they reconvened to make this record."NO MORE APOCALYPSE FATHER" is an album about witnessing bleakness from a place ofsafety. Carrying newfound descriptive depth, thanks to the quartet's open-ended songsfreeing him from writing in meter, Menuck likens his lyrics to photorealism. On opener `Ratsand Roses' he sings of an unnamed city struck by an unknown cataclysm, but the details arelocal: specifically, his neighbors inadvertently poisoning birds when tackling a rat infestation.It's backed by blown out synths and guitars reaching a soaring crescendo. "Seeing thingsfrom a distance and not being able to intervene happens a lot on the record," Menuckexplains. "If you're a feeling and thinking person, that's just part of the human condition.We watch horror unfolding from afar, unable to do anything concrete to change it."A powerless witness, able to describe but not intervene. `Dangling Blanket From A Balcony(White Phosphorous)' references Michael Jackson holding his child over a hotel balcony in2002_the bizarre media spectacle still lodged in Menuck's psyche. This and the album'sclosing track also elegize white phosphorous, a technology of war designed to light upbattlefields but capable of inflicting horrific burns on those it touches...

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The Rat Pack Greatest Christmas Songs

LP | 2021 | EU | Original (ZYX)

17,99 €*

Release: 2021 / EU – Original

Genre: Organic Grooves, Christmas

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Bruno Mars & Anderson .Paak Are Silk Sonic

An Evening With Silk Sonic

LP | 2021 | EU | Reissue (Atlantic)

47,99 €*

Release: 2021 / EU – Reissue

Genre: Pop

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Danny Corten & Youri Parker Vs The Hypnotist

The House Is Mine

12" | 2023 | EU | Original (Vinyl Classics)

17,84 €* 20,99 € -15%

Release: 2023 / EU – Original

Genre: Electronic & Dance

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Jerr Teel And The Big City Stompers

Crazy Dreams

LP | 2023 | EU | Original (Bang!)

Michael Orr And The Book Of Life

Release: 2023 / EU – Original

Genre: Rock & Indie

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BANG! Records present "Crazy Dreams", the unreleased album by Jerry Teel and The Big Stompers.Limited edition of 600 copies.Here it is, the unreleased album by JERRY TEEL AND THE BIG CITY STOMPERS, recorded more than 20 years ago at Funhouse Studio in NYC.The Big City Stompers, lead by Jerry Teel and Pauline Teel knew how to mix the hillbilly and country sounds of rural America with the dirty sound of NYC as Jerry Teel's historical membership in bands such as THE CHROME CRANKS, THE HONEYMOON KILLERS, KNOXVILLE GIRLS_And check this: this record, features THE SADIES as backing band in some tracks.Limited edition of 600 copies.

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Love Will Rise

LP | 1981 | JP | Reissue (P-Vine)

34,99 €*

Tha God Fahim X Your Old Droog

Release: 1981 / JP – Reissue

Genre: Organic Grooves

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Forget the magician! Featuring Michael Orr front and center in all of his 70s slickness : Love Will Rise!

Best known for his work with soul diva FAY, as well as his iconic, and incredibly rare 1976 album Spread Love (see above), Michael Orr’s talents seem immeasurable. Backed by his hometown band, Book of Life, the two combine in a funky explosion the likes of which hasn’t been seen since! Crate diggers will recognize the name of album closer “Spread Love” from Orr's 1976 album of the same name, yet this is a somehow even funkier recording of the same tune, with a leaner groove and harder beat. Danceable funk has always been Orr's speciality, but he seems to turn the dial up to 11 with this interpretation.

The other side of the Michael Orr coin is title track “Love Will Rise”. With smooth grooves, gentle drumming, and the ever present baritone of Michael Orr himself, the song is a relaxed affair, calling to mind the preacher-esque photo of Orr on the cover. As slick and soulful as it is, the grooves remain unparalleled, unifying the album in a strangely poetic way. Don’t miss Michael Orr and The Book of Life’s Love Will Rise, available on limited edition vinyl with a Japanese obi-strip attached!

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That Wolf On Wall St.

LP | 2021 | US | Reissue (Fat Beats)

44,99 €*

Your Old Droog X Tha God Fahim

Release: 2021 / US – Reissue

Genre: Hip Hop

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New York rapper Your Old Droog and Atlanta rapper/producer Tha God Fahim present their latest collaboration in Tha Wolf of Wall Street. While Fahim trades in brass-tacks metaphors, Droog leans more toward punchlines and pop culture-laden double-entendre. Like any effective duo, their contrasting styles dovetail seamlessly on their new EP Tha Wolf on Wall St. The entire project is an assured slice of underground rap, but the pair’s compatibility shines brightest on the title track. Fahim and Droog move back and forth like co-stars on a long-running cable drama, and Fahim’s production provides a more serene mirror reflection. Fahim laces each of the EP’s eight tracks with sedate loops, splitting the difference between his and Droog’s clashing styles.

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Tha Wolf On Wall St. Volume 1 & 2

CD | 2022 | US | Original (Nature Sounds)

Bruno Mars & Anderson. Paak Are Silk Sonic

Release: 2022 / US – Original

Genre: Hip Hop

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After creating a stir online with 2021’s outstanding collaborative project Tha Wolf On Wall St, independent hip-hop titans Your Old Droog and Tha God Fahim are back with an official follow-up. Blending Droog’s relentless punchlines with Fahim’s streetwise folk tales, "Tha Wolf On Wall St 2: The American Dream" highlights the duo’s undeniable chemistry, as this Brooklyn to Atlanta connection remains as potent as ever. While their styles differ, Your Old Droog and Tha God Fahim instill the collection with a shared vision, centered on overcoming adversity and attaining success against all odds. This special-edition CD includes the original "Tha Wolf On Wall St" along with the sequel.

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An Evening With Silk Sonic

CD | 2021 | EU | Original (Atlantic)

20,99 €*

Release: 2021 / EU – Original

Genre: Pop

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Calcei & DJ Archives Are The Bowling League

CD | 2021 | UK | Original (Chopped Herring)

15,99 €*

John Hiatt With The Jerry Douglas Band

Release: 2021 / UK – Original

Genre: Hip Hop

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“The Bowling League is emcee Calcei, from Detroit — now residing in Sacramento, and veteran Chicago turntabilist DJ Archives, who has worked with Southside stalwarts No I.D. and Primeridian. After collaborating on Calcei’s previous album “What Starts Today”, Calcei suggested forming a duo with Archives. Inspired by DJ/Emcee combos like Premier and Guru and Eric B and Rakim, the Bowling League pays homage to the past while keeping it fresh in the present. With classic production from Beatnick Classic, Olos, Monplacebo, TNV, Keef Boxx, and Pimpernal Jones (who also mixed and mastered the album), the Bowling League is hip hop dedicated to grown folks still following their passion.”

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Leftover Feelings

LP | 2021 | EU | Original (New West)

Release: 2021 / EU – Original

Genre: Rock & Indie

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The People Band, Winston Edwards & Joe Ariwa

Democracy Is Broken

LP (Studio 16)

14,99 €*

Genre: Reggae & Dancehall

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Mount Eerie with Julie Doiron & Fred Squire

Lost Wisdom

LP | 2008 | US | Reissue (P.W. Elverum & Sun)

27,99 €*

Release: 2008 / US – Reissue

Genre: Rock & Indie

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Betty Everett With Guest Artist Jerry Butler

Starring Betty Everett

LP | US | Original (Tradition Everest)

8,99 €*

Kingsley Aigbologa Bucknor Jr. & Afrodisk Beat Organisation

Release: US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG

Cover has small seam split.

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Vol. I - Katakata

LP | 2019 | FR | Reissue (Hot Casa)

17,99 €*

Sun Araw, M. Geddes Gengras & The Congos

Release: 2019 / FR – Reissue

Genre: Rock & Indie

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Used Vinyl

Medium: VG, Cover: VG

Upper cover seam is torn in, otherwise NM.
Record with just a few paper scuffs.

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Icon Give Thank

LP+DVD | 2012 | US | Original (Rvng Intl.)

44,99 €*

Mount Eerie with Julie Doiron & Fred Squire

Release: 2012 / US – Original

Genre: Electronic & Dance, Reggae & Dancehall

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Used Vinyl

Medium: VG+, Cover: Near Mint

Still in shrink but opened with hype sticker. With insert and DVD.

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Lost Wisdom

LP | 2008 | US | Reissue (P.W. Elverum & Sun, Ltd.)

39,99 €*

All The Saints / These Arms Are Snakes

Release: 2008 / US – Reissue

Genre: Rock & Indie

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Used Vinyl

Medium: Near Mint, Cover: VG+

Sleeve is a 24×36 inch double sided poster., close to NM

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Host / Washburn

7" | 2009 | US | Original (Touch And Go)

4,99 €*

Release: 2009 / US – Original

Genre: Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

Amythyst K Our Native Daughters (Rhiannon Giddens

Songs Of Our Native Daughters

LP | 2020 | US | Original (Smithsonian Folkways)

Release: 2020 / US – Original

Genre: Rock & Indie

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Johann Strauss Jr., Wiener Volksopernorchester, Cohn Weiss

Concerto Di Capodanno

LP | 1982 | IT | Original (International Joker Production)

6,99 €* 9,99 € -30%

Release: 1982 / IT – Original

Genre: Classical Music

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Used Vinyl

Medium: VG, Cover: VG+

Jakub Jozef Il Pomo D' Oro Orlinski

Beyond

LP | 2023 | EU | Original (Erato)

Release: 2023 / EU – Original

Genre: Classical Music

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Itayon'eri (Fumio Itabashi, Eri Ohno & Yasushi Yoneki)

Goodbye / Watarase

12" | 2023 | JP | Original (Hot Buttered)

35,99 €*

Frank Sinatra, Dean Martin & Sammy Davis Jr.

Release: 2023 / JP – Original

Genre: Organic Grooves

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ItayoN'eri is a unit formed by three of Japan's jazz legends, Fumio Itabashi (Pf), Eri Ohno (Vo), and Yasushi Yoneki (Ba). Newly recorded "Watarase" and "Goodbye" are now available on long-awaited LP!! "Watarase" and "Goodbye," two treasures of the Japanese jazz, are included in "watarase", released in 1982, which marked the beginning of Fumio Itabashi's brilliant career. The "itayoN'eri" version with Eri Ohno on vocals and Yasushi Yoneki on bass, which was only available on CD and sold only at live concerts, is finally going to be released on LP. The magnificent melody that reminds us of the eternal flow of a great river, and the unique and courageous voice where stillness and movement coexist, are suitable for 12inch 45rpm.

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The Rat Pack Greatest Hits

LP | 2017 | EU | Original (ZYX)

16,99 €*

Release: 2017 / EU – Original

Genre: Organic Grooves

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2LP | 2024 | UK | Original (Pressure)

Ghost Dubs

Damaged

31,99 €*

Radio Verde (Compiled By Americo Brito & Arp Frique) 2024 Repress

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-15

Ghost Dubs, real name Michael Fiedler, aka Jah Schulz, announces a rebirth with 'Damaged', his first album for The Bug's Pressure label. Having recently dropped two criminally overlooked, experimental dub LPs, with his 'Dub Over Science' series, the German producer/bass specialist, now stretches his own parameters of outwardness still further, with these twelve fresh explorations of dub deviance.

For those who feel the fusion of dub techno and ambient drone had creatively ended with the demise of the short lived, Berlin based Chain Reaction label. Ghost Dubs now upgrades and extends that legendary blueprint's abstract methodology even further and deeper, floating away upon a wonderfully warm sea of hiss and static bliss. This is dub so atomized that it disintegrates within your eardrums. Its music, where the machines take over and virtually all traces of humanity are erased. But thankfully, the warmest soul still oozes seductively from the pores of Fiedler's robo riddims. Relentlessly hypnotic, seriously sedated, 'Damaged' celebrates the point of departure within its mesmerising low-end grooves.

Album opener 'Chemical', provides an opiated slo-mo skank, which sounds like Plastikman's 'Consumed' era pulsations drenched heavily in sub aquatic fx. A triumph of surface noise surfing and sub-woofer testing relentlessness, it provides the perfect intro to this compellingly immersive album. For batty shakers and headtrippers alike, there's added thrills aplenty, as Ghost Dub's richter scale tremor rhythms remain impressively massive, and the atmospheric depths of 'Damaged' appear tantalisingly oceanic. Throughout the duration of the dreamy selection, there is an obsessive balance of bewitching ambience and heavyweight bassbin shaking.

The lead single 'Thin Line' itself provides a missing link between African Headcharge's early percussive body probes and Rhythm & Sound's addictive radiance, with the slightest hint of Burial's doomed romantic hauntology added for good taste. Alternately, and no less gracefully, 'Dub Lobotomy' bizarrely resembles Miles Davis 'Get Up with it' chopped, screwed, and relocated to a futuristic Kingston Town. Impressive indeed, Fiedler's mastery of live dubbing on his mixing desk shines accross the duration, and gives the album an improvised edge, and sense of peripheral chaos.

Elsewhere, spooked steppers ('Hot Wired'), haunting house ('True to life') and 4th World psychogeography ('Undone'), combine to ensure there is a forever changing mixture of flavours percolating within the admirable consistency of the overall sound. With a tip of the cap, and nod of the head to Pole ('Second Thoughts'), it’s no surprise then that Pressure would then turn to the great, Berlin based producer Stefan Betke, to master/cut this collection at his infamous Scape mastering room. And a fine job he did too, as high quality sound and levels are definitely maintained throughout.

If you like your melodies submerged, your dub narcotic, your basslines obese, and your beats evaporating, 'Damaged' provides the perfect prescription and entry point into Ghost Dub's spectral soundworld.

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V.A.

2LP | 2019 | EU | Reissue (Colorful World)

4LP | 2022 | EU | Original (Nervous)

Release: 2019 / EU – Reissue

Genre: Organic Grooves

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Preorder shipping from 2024-11-08

Arp Frique returns with a brand new release on his imprint Colorful World Records in collaboration with Rush Hour. A compilation of 12 Cape Verdean gems assembled with the help and knowledge of Americo Brito, there is a very special story behind it. Americo Brito, who
features on Arp Frique’s original Nos Magia, is a proud and important member of the Cape Verdean community in Rotterdam. His story reveals the historical connections between radio, vinyl, Cabo Verde and Rotterdam’s international music scene in the 70s and 80s.

Cape Verdean insiders say “we export all they have to other countries, only to import it back again”. Cape Verdeans have migrated all over the world, mainly to cities with big harbours, like New York, Boston and Rotterdam (Holland). Rotterdam became one of the main destinations
(next to Portugal) on the European mainland. When Americo, like many of his friends and relatives moved to Rotterdam, he quickly became infected with the music virus. Surrounded on a daily basis by Cape Verdean music in Portuguese pensions and small hotels, this was where sailors ingested a dose of “sodade” through the interpretations of their beloved music by the local Cape Verdean artists. Americo took to the stage with his band Djarama in the 70s and 80s. The live music scene was buzzing and the Cape Verdean community had their own infrastructure for arranging shows, often in nightclubs where the band had to bring their own soundsystem. Interestingly, Americo didn’t stick to performing and recording music. He found another way to help spread the Cape Verdean magical secret of music across Rotterdam, Holland and beyond: “There was this spot in Rotterdam where all foreign radio stations were housed, all these different nationalities together, Surinam, Cape Verdean, Hindustani…Guy Ramos and some of my other friends made radio in the 80s there. I got involved in their radio activities. Later on I started to work as a technician and eventually as producer and radio DJ for “Radio Voz De Cabo Verde”. Radio became bigger and there were around 4 different Cape Verdean stations active at one point in Rotterdam. instrumental in the development of this was the attic of a Dutch friend, where “Radio Babalu” came to life. Radio has always held a special place in my heart.” Americo’s music collection stems from this era, also aided by his many travels across Europe to cities with Cape Verdean communities. Alongside Rotterdam local, Arp Frique, Americo unveils some of these songs: dancefloor hits and beloved radio gems known in the Cape Verdean scene by younger and older generations alike, and so far undiscovered by a “bigger” audience. The compilation showcases the worldly view of Cape Verdean music, incorporating knowledge from their travels in their compositions. It ranges from the obvious funana and coladeira, to the more unexpected influences of deep disco, new wave, uptempo reggae, jazz-funk and Brazilian pop music; demonstrating just the tip of the iceberg, but what an amazing t(r)ip it is!

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Louie Vega

Expansions In The NYC

47,99 €*

Mother Earth's Plantasia Green Vinyl Edition

Release: 2022 / EU – Original

Genre: Electronic & Dance

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What is it about New York City, that concrete jungle that continually inspires the creative spirit? From Warhol’s Factory to Larry Levan’s Paradise Garage to David Mancuso’s Loft, collectives that celebrate and nurture unfettered, organic artistry have been absolutely intrinsic to the story of this sprawling metropolis. Its latest chapter is being written at the hands of ‘The Maestro’, Grammy Award winner Louie Vega and his Expansions NYC parties, the sound documented in his latest album Expansions In The NYC (Nervous Records).

Starting in February 2019 in Manhattan and Brooklyn venues, Vega’s Expansions NYC parties have their origin not in his revered prowess as a DJ but rather his whole-hearted appreciation of the different elements of the dance floor surrounding him: the dancers, the musicians who bring their instruments to join him ad-hoc on the night, the small, dedicated crowd of clubbers whose ears to the ground keep them informed on the underground party information. The events included 6-hour DJ Sets with Louie under his select curation, and would usually end with 3 AM jam sessions involving keyboardists, guitar players and poets all performing in front of a jam packed crowd. In just a few short years the Expansions NYC events have evolved into an NYC-clubland institution, an intimate celebration of house, funk, disco, afro, R&B and more.

As with his parties, so goes his album. The collective vibe that forms the beating heart of Expansions NYC parties is absolutely front and centre in Expansions In The NYC, Vega drawing in one of the most comprehensive lists of collaborators in recent memory. House heavyweights Honey Dijon, Joe Claussell, Moodymann, Kerri Chandler and Anané rub up against legendary vocalists Bernard Fowler, Cindy Mizelle, Lisa Fischer, Audrey Wheeler and Tony Momrelle. Gospel royalty BeBe Winans and Debbie Winans, pop icon Robyn and rising star Karen Harding sit alongside disco-era champions Unlimited Touch, Cuban jazz pianist Axel Tosca, Nico Vega, Two Soul Fusion with Josh Milan and Vega and underground legend DJ Spinna. At the centre of it all, fingerprint on every beat, touch on every groove, sits a master at work, weaving the individual threads into a rich dance music tapestry.

"In the past few years I’ve found new inspiration both from the musicians I’m working with and the audiences coming to see me at my DJ shows,” Vega says. “So for me this album represents new beginnings, bringing together a beautiful mosaic of artistic perspectives to express musically what we call Expansions In The NYC."

At its heart, Expansions In The NYC is a love letter to New York, as much as melting pot as the city it represents, the scope of its line-up possible only because of the influence and reverence of Vega the artist, the DJ, the producer, the curator. In creating this album, Louie Vega has once again utterly enriched the lives and libraries of music lovers the world over, far beyond the hustling streets of NYC that have so indelibly left their mark on his work.

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Mort Garson

LP | 1976 | US | Reissue (Sacred Bones)

Bacao Rhythm & Steel Band

Release: 1976 / US – Reissue

Genre: Electronic & Dance

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If you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for plants. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back to the dawn of time, but apparently, they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.
Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”
But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed.
“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.
Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia's new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

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55 Reissue Single Vinyl Edition

LP | 2018 | US | Original (Big Crown)

New Regency Orchestra Red Vinyl Edition

Release: 2018 / US – Original

Genre: Organic Grooves

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This is the reissue coming as one LP not double vinyl. We do have some double vinyl versions left, if you would rather have that. Last batch. //// Shrouded in mystery, hailing from Hamburg, Germany, Bacao Rhythm & Steel Band (BRSB) releases their long awaited debut “55” on Brooklyn’s own
Big Crown Records. Long time multi-instrumentalist and band leader Bjorn Wagner spent a few months in Trinidad & Tobago where he became fascinated
with Steel Drums. His initial intrigue with local steel pan music culture led him to learning the instrument both through help of local players and on his
own. After he became proficient on the pans Bjorn had his own instrument built from a used oil barrel by legendary pan man Louis C. Smith.
Upon returning home to Germany, Bjorn set out to blend the Tropical Steel into his already sharply honed Funk, Soul, and Hip Hop sensibilities. The
outcome is an updated take on a classic format, a truly unique sound. Their first two recordings were covers of The Meters “Look A-Py-Py” & “Ease Back”
which they self-released on a 45. Looking back on these two sides you can tell they were just getting their chops up for what was to come next. This is
evidenced by how all hell broke loose when they went on to cover 50 Cent’s hit PIMP taking the DJ and vinyl collecting communities by storm. Many
people thought the recording was the original sample and probably still do to this day when it is played.
The original Mocambo pressing sold out quickly and is now a collector’s item fetching heavy prices when it changes hands. It was this tune that made
the introduction between Bjorn and Danny Akalepse of Big Crown. They immediately hit it off and starting making plans to do a full length project with
the band.
Keeping in the tradition of Steel Drum records, 55 is a journey through re-interpolations and covers with an updated approach, pushing Steel Pan music
to uncharted territory. Flawlessly bringing previously untouched genres into the steel pan cannon ranging from Underground Hip Hop tunes to staple
Funk tracks and some of all that falls in between. BRSB’s 55 is reinvigorating tunes both well-known and helping to shed some light on tunes still largely
undiscovered. However, some of the strongest tunes on the album are original compositions, from spaced out Disco vibes on “Beetham Highway Ride”
and “Port Of Spain Hustle” to the ugly face inspiring drums of “Laventille Road March”.
Recorded to analog 8 track tape at The Mocambo Studios in Hamburg, 55 is a gritty, punchy journey in sound drawing on music from around the world,
using production aesthetics from across both eras and genres, all coming together seamlessly. If the 45s that have already come out on Mocambo, Plane
Jane, and Truth & Soul are an indication, this full length is going to be a staple to both casual listeners and Disc Jockeys alike.

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New Regency Orchestra

LP | 2024 | WW | Original (Mr Bongo)

15,99 €*

Fatboi Sharif X Steep Tipped Dove

Release: 2024 / WW – Original

Genre: Organic Grooves

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Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

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Decay w/ Damaged Sleeve

LP | 2023 | US | Original (Backwoodz Studioz)

23,74 €* 24,99 € -5%

LP | 2024 | US | Original (Equal Vision)

Release: 2023 / US – Original

Genre: Hip Hop

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Decay, the new album from New Jersey rapper Fatboi Sharif and producer Steel Tipped Dove, is an anomaly. In an era of microwave projects and email collaborations, the duo spent more than a year writing, recording and mixing Decay together in Dove’s Brooklyn studio. At a moment when many independent hip-hop projects are sonically predictable, easily categorized, and derivative, Decay is unapologetically experimental. Love it or hate it, it doesn’t sound like any other record out. Add to all that the fact that, bucking the trend of feature-laden rap records, there isn’t a single guest appearance on Decay. This album is a one-of-one, handcrafted from the ground up by two of the genre’s most esoteric artists, under the umbrella of indie rap’s preeminent record label.

In October 2020 Dove got in touch with Sharif after hearing Gandhi Loves Children, Sharif’s project with Roper Williams.

“I really liked the experimental writing he was doing. The whole vibe was different from the beat choices, the visuals, the lyrics — all unique,” Dove explains. The two of them linked up and hit it off immediately.

“In the first session we had made two songs that ended up being some of the best work on the album,” Sharif says, “and as we worked on it we knew we had something special that we weren't hearing anywhere else and we kept building on that”

Sharif found himself digging deeply in order to write, which he credits to Dove’s attention to detail and ability to push the boundaries sonically. “Dove’s production kept me in the zone to touch on stories that I never touched on in my past work, from personal situations tucked away that I thought I wasn't ready to unveil yet, to convos we just would have regarding the state of everything going on in the world and beyond”

For his part, Dove was consistently impressed by the young artists’ dedication, as well as his ear for the unusual. “It was almost like a challenge to him, if I had a beat that no one had chosen, or that had kinda strange timing, he would almost always choose that one”

This is Koyaanisqatsi via Rahway, New Jersey. A winding nighttime drive along the narrow, rutted paths of a damaged psyche, dead deer watching from the roadside. Decay is a candlelit spades game in the parlor of a dilapidated mansion, eviction papers pasted atop one another on the front door. A black Woodstock in the wetlands, blotter acid in the headband, as ELUCID might say. Together, Sharif and Dove just flipped on the power to a carousel in the middle of an abandoned amusement park, and every horse has a rider, spinning and spinning in the dark

“Sometimes in life, we feel held down, tested and sought after by an unseen force that we can’t fully explain,” Sharif muses, “this album is a trip into the foundation of the dysfunction that surrounds us all in one way or another”

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Anberlin

Vega

34,99 €*

Mau Gatiyo Y Los Años Maravillosos

Release: 2024 / US – Original

Genre: Rock & Indie

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For more than two decades, Anberlin has remained a formidable force in the alt-rock world, boasting a wildly devoted fanbase who’ve come to rely on the raw, cathartic power of their music. On the massively anticipated Vega—the first album in ten years from vocalist Stephen Christian, guitarists Joseph Milligan and Christian McAlhaney, bassist Deon Rexroat, and drummer Nathan Young—the Florida-bred band delivers a body of work forged with an explosive, new energy, thanks in part to the addition of singer Matty Mullins (the Memphis MAY Fire frontman who’s stepped in as live vocalist for Anberlin, following Christian’s announcement that he’ll no longer tour fulltime). The latest triumph in an extraordinary career that’s included selling over 1.5 million albums in the U.S. alone and turning out hits like the No. 1 Alternative Radio smash “Feel Good Drag,” Vega reveals a band whose creative passion and one-of-a-kind vision have only grown stronger over time. Arriving on the heels of two back-to-back EPs— 2022’s Silverline and 2023’s Convinced—Vega emerged from a period of unbridled creativity for Anberlin, who parted ways soon after 2014’s Lowborn and reunited for a series of lockdown-era livestreams. In bringing their new album to life, the band embraced a deliberately free-flowing and DIY approach, building up songs in McAlhaney’s garage before self-producing the LP at Tampa’s Feral Sound Studios. “In the past we’d sometimes limit our sound to some preconceived idea of what Anberlin is supposed to be,” says McAlhaney. “This time the mantra was, ‘If it feels good, let’s try it.’ Because at the end of the day, Anberlin is whatever we say it is.” As a result, Vega encompasses everything from the shout-along-ready pop perfection of “Walk Alone” to the brutally heavy intensity of “Seven” (a shapeshifting and strangely enthralling epic featuring a savage vocal performance from Mullins). “I think after spending time apart we came back with a new perspective, where we were all just excited to work together and create the best songs we can,” says Young. “No one was precious about their ideas; it was all about making something that feels new and risky and like nothing we’ve ever done before.” As they get set to embark on the “20 Years Of Tears” amphitheater tour with Thursday, Hawthorne Heights, and SAOSIN—a 56- date run that marks their most extensive tour in a decade—Anberlin looks forward to the pure thrill of performing their new material for their longtime legion of fans. “We’ve had so many people tell us things like, ‘Your songs got me through a really difficult time in my life,’ or ‘You guys are what made me pick up a guitar and start my own band,’” says Rexroat. “It’s an incredible feeling to know that we’ve impacted other people on that level—the amount of love we’ve felt is undeniable, and it’s one of the main reasons we’ve kept going for as long we have.”

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420, Reloj

7" | 2024 | UK | Original (Names You Can Trust)

15,99 €*

Mother Earth's Plantasia Black Vinyl Edition

Release: 2024 / UK – Original

Genre: Organic Grooves

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Introducing the next release in Names You Can Trust's long-running collaboration with the prolific and symbiotic musical universe of Bogotá, Colombia. Mau Gatiyo y Los Años Maravillosos formed in 2021, arising from the very same fertile ground of the Teusaquillo neighborhood that has spawned many records and musical mischievousness. At the heart of this experimental movement is what can only be described asTropicanibalismo, where a deep hunger for the roots of Colombian tropical music are only satiated by dissecting it, consuming it and ultimately creating something new again as some kind of untraditional, unholy, and yet referential form of musical sustenance.
Within this concept, there's a clear lineage of inspired and visionary artists that have been featured throughout Nyct's record catalog for the last 15 years that includes luminaries Frente Cumbiero, Meridian Brothers, and Romperayo. Each of these artists' tentacles have touched several parallel projects from their talented neighbors and friends, and whether through production, playing, engineering, or mixing, these collaborations have heavily contributed to a very fruitful and colorful scene that could only exist within Colombia's capital, while also gaining notoriety in the nooks and crannies of northern latitudes like New York, Chicago, and Los Angeles.
Mau Gatiyo, a talented accordian player and vocalist, together with his group (translated as The Wonder Years), is precisely one of these projects, a collective that has found their calling in the echoes of thevallenatosandcumbiasthat once populated the nation's airwaves throughout the 20th century. It's a traditional format that has always lent itself to storytelling, whether it be anecdotes about daily life, or using one's voice to raise uncomfortable questions in protest against the system. This is where Mau Gatiyo's poetic, almostnew wavetimbre finds a lane of its own, straddling a 2020s societal landscape under the guise of ostensibly old-time accordion music.
The debut 7-inch from the group, an excerpt from their recently released album Baño Unisex, was recorded at Mambo Negro studios by Ivan Medellin (La Sonora Mazurén) and mixed by Eblis Alvarez of Meridian Brothers, both familiar names and contributors to the Nyct catalog. Alvarez himself, who has emerged in recent years as an international beacon of this new tropical avant-garde, is no stranger to flipping traditional styles on their head, or at least respectfully off-kilter. Mau Gatiyo y sus Años Maravillosos proves to be another great vessel for this veryBogotano expression, draping the classical playing of its group members in a modern day cosmopolitan expression of righteousness, both outwardly in their dashing, performative fashion sense, and lyrically with their cheeky "420, Reloj"ganja-tune promotion – or even their outward dissenter objections to paramilitary and firearm power in "Poder Militar."
Ultimately, these songs lie at the crossroads where two cultural eras connect and become something unique, a protestation one with performance, dance, and artistic expression. This cathartic ritual of protest has a storied history in music, and these two new entries into the Nyct catalog will hopefully find their place amongst a modern day canon, or at the very least, have your feet moving and your head nodding in just approval.

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Mort Garson

LP | 2019 | US | Original (Sacred Bones)

Dogma Crystal Clear Vinyl Edition

Release: 2019 / US – Original

Genre: Electronic & Dance

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LSDXOXO

LP | 2024 | Original (Because Music)

12" | 2023 | UK | Original (Wave Music)

Release: 2024 / Original

Genre: Hip Hop

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The principles of pleasure radiate a knowing, carnal heat throughout the genre-fluid sound of LSDXOXO. His decade of dedication to the sensibility of underground club culture has brought forth club classics interwoven with pop music hooks and subversive, tongue-in-cheek lyrics.

After four years of what LSDXOXO, real name RJ Glasgow, calls a period of "healing and self-discovery," he is consolidating his multiplicitous sound with one compelling masterstroke: the debut album DOGMA, to be released on his own imprint F.A.G. DOGMA marks a complete paradigmatic shift: it is a poetic and fantastical performance, a route for deep escapism through an expanded musical palette including piano and guitar, and a deeply personal confessional through a fresh approach to songcrafting.

Within DOGMA, RJ meditates on the interlinked qualities of fame, infamy, lust and submission, as he rediscovers a pure, unadulterated approach to music-making, all the while adopting a futurist approach to pop music appreciation. RJ's unmistakable signatures-the smutty dancefloor caller, the maker of irresistible bangers, the latter-day electroclash and DnB nostalgist-take on even more shades and intricacies. Despite his widespread acclaim as a collaborator with and songwriter for other artists, RJ strips DOGMA down almost exclusively to himself, carving out intentional space as a chameleonic vocalist and performer. He breathes life into the album with private thoughts, external fears and a red thread through personal themes that crystallise the album's narrative from front to back.

The album's promo single "Bloodlust" offers angsty, intimate indie-tronica, and musings on the intoxicating nature of love and infatuation. The lead single "Ghost" reaches beyond RJ's Philadelphia origins to find itself in the deep south, in a sultry fever dream of coquettish R&B featuring backing vocals from close collaborator Kelela. Elsewhere on the album futuristic love, pensive pop earworms, evocative vintage dance styles and sleazy club tracks intermingle. While the DOGMA era will eventually explore remixes and reworks, the album is RJ's purest embrace of himself and his artistry.

RJ first garnered attention as LSDXOXO in New York City with his on-the-pulse Soundcloud edits and then as part of the cult GHE20GOTH1K collective. His DJ sets and productions quickly earned him acclaim across globally-linked underground scenes. His decision to shift from sampled vocals to picking up the pen and microphone pushed his reach out to the stratosphere; his association with XL Recordings via the Dedicated 2 Disrespect EP in 2021 was a turning point for the burgeoning superstar.

This multiplicity of the LSDXOXO sound has led to enviable co-signs. These include being selected as the opening DJ for Beyoncé's German Renaissance tour dates, remixing Lady Gaga, Pink Pantheress and Shygirl and producing five tracks for Kelela's highly acclaimed 2023 album for Warp Records, Raven. His fully-realised live show has also taken to the stage, serving fierce charisma to huge audiences at festivals including Primavera, Nuits Sonores and Rewire.

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François K.

Fk-Ep

14,99 €*

Samtvogel Transparent Yellow Vinyl edition

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.

Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.

EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.

This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!

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Günter Schickert

LP | 1974 | Reissue (Wah Wah - Supersonic Sounds)

37,99 €*

Kröflueldar Red Vinyl Edtion

Release: 1974 / Reissue

Genre: Rock & Indie

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Preorder shipping from 2024-11-22

’Samtvogel’ has been out of stock for a while but it is still one of more requested releases, so here is an updated pressing with availability in ultra limited 100 only runs of 3 different colored vinyl options. And because we do love old black vinyl, also a limited run in black. Chose your colour or collect the whole set! ;-)

By far one of the most important Krautrock experimental albums made during the ’70s. There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. “Samtvogel” is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. “When I was recording “Samtvogel” in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.”

Thanks to these three months of work, between June and September of 1974, ‘Samtvogel’ was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork –titles added to the front cover, which weren’t on the original private pressing. Brain also reissued it on the label’s “Rock On Brain” LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret – however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago’ era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

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Altari

LP | 2023 | EU | Original (Svart)

Kröflueldar Black Vinyl Edition

Release: 2023 / EU – Original

Genre: Rock & Indie

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Fire and brimstone from Icelandic Black Metal band Altari, as their volcanic new album Kröflueldar erupts via Svart Records on 14.04.23. Named after a series of eruptions that happened at Krafla in Iceland in 1975, Kröflueldar represents the constant threat of ash that Altari’s music lives under. Kröflueldar was a 9 year series of eruptions, and since the album took almost 9 years to create, Altari felt that it was a fitting title for their scalding and ferocious music.

Fans of Craft, Deathspell Omega, Blut Aus Nord and the more well known Icelandic Black Metal bands like Misþyrming and Sinmara will revel in digging into Kröflueldar’s rotten soil, but there is something far more experimental and avant-garde to be reaped within the whirlwind of sound that Altari produces. With their foundations of sound in the classic eras of early Judas Priest, songs like Leðurblo?kufjandinn call to mind the discordant soundclash of bands like Voivod, Virus and even Sonic Youth in the interplay of melody and disharmony. The bewildering, but utterly charming frenzy of taking the raw sound of metal to the limits breaks through from Altari’s literal geological location in a landscape in constant upheaval. Guitarist and Vocalist Ó.Þ.Guðjónsson notes that; “bands such as Blue Öyster Cult, Interpol, Killing Joke were a big inspiration for us as well for the use of clean guitars as the sound for leads. I expressed a desire to find some balance between the overdriven rhythm and melodic yet clean leads. These bands helped us find that.”

It is through these uncommon and almost blasphemous influences that Altari proves to be a rare gem in the much vaulted Icelandic Black Metal crown, giving Kröflueldar the dna of a band that feels they have so much potential and fervor brewing up in their molten kiln. Tracks like Sy?rulu?ður with the vocals of Gyða Margrét are as delicate and subtle, cloaked in smoky atmosphere, as they are dark and brooding, giving hints of bands like This Mortal Coil and Cocteau Twins.

When Guðjónsson states that the intention was an “overall desire for us to get away from the sound that has been a gateway for others here in the scene” they imbued Kröflueldar with a beguiling essence that’s hard to pin down, but magnetically unique. The co-production work of Stephen Lockhart, a staple of the Icelandic Black Metal scene and sound, is of quality but something very different from his signature work, born from what Guðjónsson describes as a need for a “new sonic approach,” Kröflueldar’s sonic eruptions, from the low earthy rumblings to the cacophonic and epic high notes, feels thoroughly worked but raw enough to be unsettling in the new ground it uncovers. Svart Records head honcho Tomi Pulkki expands on the reasons behind his new signing, saying that; “I found their approach refreshingly idiosyncratic in the way it mixes cleaner sounds with distortion. Altari brings something new to Black Metal and that is a rare thing these days”.

Adorned with the psychedelic album cover by guitarist K.R.Guðmundsson, which evokes the storms that come when a volcano erupts, Kröflueldar is a worthy song of praise to the wild and destructive threat of nature unleashed.

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Altari

LP | 2023 | EU | Original (Svart)

2LP | 2023 | UK | Original (Central Processing Unit)

Release: 2023 / EU – Original

Genre: Rock & Indie

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Blackploid

Enter Universe

25,99 €*

Thinking Fellers Union Local 282

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Blackploid has become one of Central Processing Unit's stalwarts in the past couple of years. Martin Matiske's project contributed a trio of EPs to the Sheffield label across 2021 and 2022, with each of them showing off the kind of electro chops and production sensibilities that made Blackploid an ideal fit for an imprint which also boasts the likes of Cygnus, Silicon Scally and Bochum Welt among its catalogue.
Now, for CPU's first release of 2023, Matiske levels things up with the debut Blackploid LPEnter Universe. Across these twelve tracks, Matiske leaves us in no doubt that he's a prime mover in the world of modern electronic music.Enter Universedoes not let up from start to finish, delivering a dozen pieces of leftfield electro that draws from the sound's greats while also showcasing an unpredictability and flair that is all of Blackploid's own.
The tone is set from the first frosty chords of opening cut 'Pulsation'. The track traverses the starscape on pitter-patter drums and chirruping synths, a lively and slightly dystopian roller with an adventurous undercurrent reminiscent of classic Rephlex drops. It's a style which Blackploid often draws for throughout the rest ofEnter Universe, albeit with elements added or subtracted at each stage.
Indeed, this album features some of the most unusual production you will hear on any record this year. While the grooves pulse away in a manner reminiscent of Drexciya or Legowelt, Blackploid layers the mixes with a whole cornucopia of synth tones. 'The Mission' boasts a bleep-bloop breakdown that sounds like malfunctioning rotary telephones; 'Silent Room' is a ghoulish jam which harks back to Warp's legendaryArtificial Intelligencecompilations; 'Automatik' and 'Wormhole' are defined by some brilliantly strange low-ends - you'll be thinking of Mr. Oizo's 'Flat Beat' with the wiggly former, while the gurgling, writhing anti-lead that dictates 'Wormhole' is oddly thrilling and more than befits the track's title.
This inventive approach is also apparent in some of the structural choices onEnter Universe. While the tracks here all keep a steady, dancefloor friendly pulse, several of them surprise you by switching up the approach after a minute or two. 'Pulsation', 'Automatik' and 'The Mission' all feature moments where a new element - extra hi-hats, a synth line entering from leftfield - inject fresh impetus into the tune to keep the listener on their toes.
Blackploid may push the sonic envelope onEnter Universe, but this does not mean there is no room for melody. In particular, the cuts here which most strongly channel 'Computer World'-era Kraftwerk do so by fronting some slyly tuneful work, particularly in the low end of the mix. 'Unidentified' serves up delightfully springy chords, 'Cell Mutation' leads from the bassline, and 'Space Curve' features little cells of melody and counter-melody working together to closeEnter Universeout on a high.
Blackploid's debut LPEnter Universemarries Drexciyan electro and Warp-school electronica with some brilliantly inventive production choices.
RIYL:Legowelt, Cygnus, Proswell, Jensen Interceptor

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Admonishing The Bishops

12" | 1993 | US | Reissue (Bulbous Monocle)

LP | 2022 | EU | Original (Kommerz)

Release: 1993 / US – Reissue

Genre: Rock & Indie

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Bulbous Monocle, a new label focused on the legacy of the Thinking Fellers Union Local 282 and the scene from which it reveled in between the years 1986-1996, is honored to launch the label with arguably the most lauded and concise testament from the band. 1993’s mini-masterpiece Admonishing the Bishops. Originally released on the Matador Records label, this title and most of the “Fellers” discography has been out of print for over 25 years. Now, newly remastered by Mark Gergis (Sublime Frequencies et.al) this perfect EP is sounding better than ever! “Formed in San Francisco in 1986, Thinking Fellers Union Local 282 had the bad luck to display a range of cultural and musical reference points shared by relatively few members of that era’s archconservative “underground culture.” On any given day, you might hear that their records were too manicured or too chaotic, too cerebral or too absurd, too personal or too impersonal, too experimental or too pop. Above all, they were derided as “self-indulgent” by critics who expected artists to tiptoe deferentially around their audience’s blind spots. "To be fair, their early recordings had about as much relation to their in-the-flesh grandeur as a dripping faucet does to Iguazu Falls. Against steep technical odds, Greg Freeman of Lowdown Studio made their LPs work beautifully as aural monuments. But listeners who hadn’t seen the Fellers’ live could be forgiven for finding these albums a bit forbidding. "Which brings us to Admonishing the Bishops — a wholly unexpected breakthrough release comprising four down-home, crowd-pleasin’ tracks engineered by Volcano Suns / Shellac bassist Bob Weston during the Fellers’ epochal tour with Sun City Girls in fall 1992. “The studio was in Steve Albini's basement, and we stayed there at his house for a couple days while we recorded and mixed,” vocalist/guitarist/bassist/banjoist/trombonist/etceterist Mark Davies explains. The relaxed, low-stakes atmosphere — along with the band’s tour-hardened performances and what Mark calls “the joy of getting our minds blown every night” by Sun City Girls — yielded tracks that were polished and approachable without sacrificing any of the band’s complexity or ferocity. "Back in San Francisco, they decided to release these tracks as a 10-inch EP rather than saving them for a full album. Mark notes that bassist Anne Eickelberg spearheaded the project: “She wanted to put out something concise after the somewhat bloated double-LP.” "Upon its release in 1993, Admonishing the Bishops’ concision, clarity and accessibility went over like a duralumin-and-fabric zeppelin. With its 20/20 focus on the band’s songcraft, it’s an ideal introduction for curious neophytes and a natural choice for the first installment of Bulbous Monocle’s highly anticipated Tful282 reissue series. Long-time listeners, meanwhile, will appreciate this reissue’s meticulous remastering by Mark Gergis of Sublime Frequencies. Or else.” – Brandan Kearney, Portland OR 2022

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DJ Piper

A Dream In A Dream

22,99 €*

Monte Carlo Alien Eggshell Pink Vinyl Edition

Release: 2022 / EU – Original

Genre: Hip Hop

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“A Dream In A Dream” is the debut LP by DJ Piper, also known as Felix Wagner of techno superstar duo Fjaak. One might be surprised about this all hip-hop instrumental album looking at Felix’ all dance music focussed musical resumé. Nevertheless, he has been crafting rap beats ever since he started producing as a teen, but had his childhood friends freestyle over the tracks solely. It took until 2020 when he teamed up with Lukas and lim.

“A Dream In A Dream” is the debut LP by DJ Piper, also known as Felix Wagner of techno superstar duo Fjaak. One might be surprised about this all hip-hop instrumental album looking at Felix’ all dance music focussed musical resumé. Nevertheless, he has been crafting rap beats ever since he started producing as a teen, but had his childhood friends freestyle over the tracks solely. It took until 2020 when he teamed up with Lukas and Jonathan Nixdorff of Kommerz Records to release his first solo track “Iluminay”, which was part of “Kommerz Season 1: Anti-Virus” compilation and shared by B-Real of Cypress Hill right away.

Now, 2022, marks the right moment to share his debut album, a waltzing ode to hip-hop’s golden era. The Berlin-Spandau original merges the legacies of both Pete Rock and Dr. Dre, while funky breakbeats meet laid back SoCal “Chronic” vibes. 12 instrumental tracks and 2 skits strong, his album tells the story of a young man, who lives up to his wildest teenage dreams. Most of the track ideas came up while being on tour with Fjaak. Between international transit areas, making inspirational new friends and bizarre encounters all over the world, beat making became DJ Piper’s safe space to process all the positive madness around him. As a result, “A Dream In A Dream” breathes that raw, untamable creative energy around Felix’ extraordinary day-to-day life, while being heavily influenced by the sound of his childhood, 90s and 2000s rap.

To visualize “A Dream In A Dream” DJ Piper and Kommerz Records joined forces with Raman Djafari, a childhood friend of the artist, who illustrated music videos for Dua Lipa and Elton John (no joke!) and worked for New Release Information Adult Swim. Raman’s supernaturalistic aesthetics bring life to DJ Piper’s somewhat psychedelic, somewhat nostalgic fantasy, locating the album in an otherworldly version of Spandau, hometown to both of the artists. As one half of Fjaak Felix became an icon of Berlin techno conquering major festival stages and mainstream audiences while heavily representing underground D.I.Y. mentality up to this very day. As an initiator of Spandau20 label and collective, Felix pushes his creative family and day 1’s regardless of commercial potentials. The same ethos and love for culture fuels the DJ Piper project. No matter if it’s Fjaak or DJ Piper, techno or hiphop. Integrity is key!

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Abraxas

LP | 2022 | EU | Original (Suicide Squeeze)

Little Orphan Boy EP (Two Soul Fusion A.K.A Louie Vega & Josh Milan Remixes)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Carolina Faruolo (ex-Los Bitchos) and Danny Lee Blackwell (Night Beats) had been friends and mutual admirers of each other's musical projects for years, though with Faruolo residing in the UK and Blackwell residing in Texas, their interactions were limited. Yet as was so often the case for many of us during the shelter-in-place stretches of 2020, geographic proximity wound up being a non-issue as our socializations became almost exclusively online endeavors. In this era of isolation and uncertainty, Faruolo and Blackwell invented their own private escape to Latin rhythms, colorful vistas, and smoky revelries under the project name of Abraxas. Combining their shared love of Wendy Renee, Los Destellos, doo-wop and R&B, they crafted their debut album Monte Carlo by bouncing ideas across the Atlantic. "Planet Abraxas is a world filled with jungles, mist-covered rivers, panthers lurking in the night, desolate shopping malls, Neolithic citadels and sand-worn walls," Blackwell says of the muse behind Monte Carlo. "The nights are usually dense with fog and the air is filled with the sounds of cicadas and faraway drumming." This visual manifestation of their sound stands in stark contrast to the environment in which the songs were written. "I remember the feeling I got the first time Danny added vocals to one of my tracks," Faruolo recalls. "I was sitting on my sofa in rainy Manchester in the middle of winter. I pressed play and the song just made my heart jump. It instantly felt special and, more importantly, it felt like a perfect portrait of both of us." Uruguayan-born Faruolo grew up with the tropical beats of cumbia and the psychedelic flavor of classic chicha artists, and it became her mission to infuse those sunny influences in her work as a UK musician. Blackwell's work under the Night Beats handle involves the fusion of outlaw soul and R&B with a resourceful DIY spirit. Despite the apparent contrast in their styles, the two musicians bonded over their reverence for Selena and Sade, exemplars of the humid pulse and sultry spirit of their respective approaches. As Abraxas, their distinctive musical perspectives created a sound that encompassed the tropicalia of Os Mutantes, the scrappy songwriting of Cleaners From Venus, and the trippy production of Lee "Scratch" Perry, though the duo is quick to assert that they were finding their own distinctive voices rather than adhering to pre-existing stylistic codes and constraints. And indeed, Monte Carlo feels rooted in tradition but blossoms into its own unique timbres and vibrations. Monte Carlo opens with "Sunrise State (of Mind)," where a hypnotic cumbia beat serves as the bedrock for cosmic guitar leads, hazy choral melodies, and Blackwell's seductive vocals. From there, the album continues its steady Latin pulse on "Mañana," a perfect soundtrack to feverish nights in dancehalls, sipping on caipirinhas and sharing cigarettes with strangers on the dancefloor. Across its twelve tracks, Monte Carlo unfurls a myriad of exotic influences, from the Eastern melodies and guitar trills on "Sultan," through the dub-infected stomp and scorching fuzz of "La Estampida," and on to the Anatolian psych-funk of album closer "Göbekli Tepe."

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Brian Jackson

2x12" | 2022 | UK | Original (BBE Music)

32,24 €* 42,99 € -25%

DJ Tudo E Sua Gente De Todo Lugar

Release: 2022 / UK – Original

Genre: Organic Grooves

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‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.

The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day… until now.

Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.

“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create an epic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.

Brian Jackson: “I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen – with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well… here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”

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Pancada Motor - Transformacao E Cura

2LP | 2022 | EU | Original (Mundo Melhor)

While The Gods Are Sleeping Turquoise Vinyl Edition

Release: 2022 / EU – Original

Genre: Hip Hop, Organic Grooves

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DJ Tudo e sua Gente de Todo Lugar’s 7th album, breed from Brazilian field recordings and made between 2007 and 2019 in trips around the world - Brazil and 11 other countries. It is a project that should have come out in 2013, but the “Pancada Motor - Manifesto da festa” came out ahead, having as a sequel the two volumes of Gaia Music series. By early 2019, the album was finalized. Pancada Motor is a term derived from the Alagoas traditions like the Samba de Matuto, Cambinda, Baianá and Caboclinha, about their cultural make or their rhythms. Here this name has been expanded to other cultures and rhythms of Brazil. Transformation and Cure are urgent needs for humanity and our relation with the planet, we need to transform our relationship with each other and Mother Earth for our healing as a whole. Artists from many countries and different cultures contributed to this work. It is hard to place an order of greatness and importance but certainly the traditional Brazilian groups were the initial inspiration: Matutinhas do Pontal de Coruripe, Cambinda Palmeirense de Porto de Pedras, Maracatu Nação e Rural de Recife, Caceteira do Seu Rindu de São Cristóvão, Terno de Congo 13 de Maio de Goiânia, Reisado São Miguel de Juazeiro de Norte, Carimbó Raízes de Coremar de Salinas and Queen Dona Neta from Maracatu Cruzeiro do Forte do Recife. Equally fundamental is the contribution of Sérgio Ricardo, legend of MPB (Brazilian Popular Music), and Chilean rapper Ana Tijoux that features the track “Terra para todos (Land for all)”. From Belgium, Rolland Van Campenhout, Steven de Bruyn, Bart Maris, Tuur Florizoone and David Bovée. Alan Bryden and Stuart Brown, BigTad and duo Twelfth day Esther and Catriona from Scotland. From Paris, guitarist Stefane Goldman who has participated in several DJ Tudo’s albums. From London, the percussionist Crispin Robinson, Lopa Kotari and Mariana Pinho. From Rio de Janeiro, the keyboardists Sacha Amback and Marcos Lobato. Lu Dlamini from South Africa. American drummer Marque Gilmore, who was recorded in Stockholm, Sweden. From Istanbul the Zas Player Murat Ertel. Rajasthan musicians met unexpectedly at a casual ride in a hotel elevator in Durban, South Africa. Brasília singer Ana Soares. From Ljubljana, Slovenia, accordionist Uros and Beth. From São Paulo, my brothers and sisters in arms: Gente de Todo Lugar - drummer Gustavo Souza, percussionist and singer Rafaella Nepomuceno, guitarist Rafael Martinez, saxophonists Marcelo Monteiro and Filipe Nader and trumpeter Amílcar Rodrigues. Planetary voices in the track “Nietzsche era triste ....” recorded in several countries. Thank you so much for the music and the affection that you put in this work, the result is nine songs and nine seasons linked to life. Knowing and respecting cultures is an eternal path of transformation, that this work reaches each one as a transforming element, especially in this almost inexplicable moment that we live on the planet.

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I Am The Night

LP | 2022 | EU | Original (Svart)

While The Gods Are Sleeping Black Vinyl Edition

Release: 2022 / EU – Original

Genre: Rock & Indie

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Rising from the deep valleys of Kymi in southernmost Finland, I Am The Night is Black Metal rooted in the classic early 90’s tradition, where walls of guitars and synthesizers raise the forces of darkness in a battle against the heavens and burning angels light up the night sky.

The band’s debut full length album, with cover art by scene legend Necrolord, bears the title “While The Gods Are Sleeping” and shall be released on May 6th, 2022. The record was birthed during the heaviest blizzard Finland had seen in years in the winter of 2021, with the band holed up at the Soundspiral Audio studio during the height of the pandemic. “This album, in a way, is both the thing that should not be and something we should have made flesh many moons ago already”, comments Markus Vanhala, and continues: “It is a passage back in time that dark forest of our minds through which we spent our youth traversing.”

Together with the album announcement the band are set to release a second single from the album, titled “Ode To The Nightsky”. The music video for the song was created by Coldstore Productions, and it is online now at https://youtu.be/YhNpG4u8Xgw

Brought forth by underground titans of Finnish Metal, Markus Vanhala (Insomnium, Omnium Gatherum), Janne Markkanen (ex-Omnium Gatherum), Okko Solanterä (Horizon Ignited) and Waltteri Väyrynen (Paradise Lost, Bodom After Midnight), the band’s origins date back to the dimly lit subterranean rehearsal rooms of the mid-nineties where the fires of Vanhala and Markkanen’s Black Metal zeal were ignited.

“Black metal art has been a continuous and serious pursuit in my personal life since my early teenage years”, explains guitarist Vanhala, and he continues; “In The Nightside Eclipse, Storm Of The Light’s Bane and De Mysteriis Dom Sathanas opened the gate to the dark side for me years ago, as can be heard from the music we make with I Am The Night.”

In recent years I Am The Night rapidly began to gather flesh on its old bones, and in 2020 the spark burst into a full blaze when elder statesmen Vanhala and Markkanen hired younger cohorts Väyrynen and Solanterä to help bring their morbid visions into reality. Vanhala states that: “Our debut record, the result of a yearning for ancient darkness, turned out to be just the time capsule we wanted it to be, far removed from modern metal. I’ve seldom found anything interesting in post nineties Black Metal. We wanted to realise this in the underground way that felt fitting to the music, and chose to work with Svart Records.”

“Our songs are stories about the worship of night and the triumph of the powers of darkness. At night, sun to his slumber and shadows all over, the forces of the night rise to the heavens, cast angels out and usher in a new era of individual freedom”, vocalist Solaterä explains

“I Am The Night is a real band not a project. It is unrestrained creation. A ray of darkness for us in the vacuum created by the pandemic. The future remains unseen, and all the better for it.”

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I Am The Night

LP | 2022 | EU | Original (Svart)

LP | 2022 | EU | Original (Editions Gravats)

Release: 2022 / EU – Original

Genre: Rock & Indie

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Yann Dub & Explore Toi

Nation De La Boue

LP | 1982 | UK | Reissue (Shadow World Archive)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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Brittany’s fabled Frenchtek rave scene is subject to a long overdue retrospective, spanning 10 frazzled hardcore techno oddities produced by key players Yann Dub & Explore Toi plus pals, made in the ‘90s and into the ’00s - Massive Riyl La Peste, Nomex, Praxis! The sound of choice for spangled refuseniks in north western France; Frenchcore is the hardcore techno subgenus notorious for soundtracking 100,000+ crowds at Teknivals - Europe’s answer to the UK’s free parties - as well as scuzzier, smaller raves in the region since the ‘90s. ‘Nation De La Boue’, or ‘Nation of Mud’, is among the first excavations for this pivotal era of contemporary French counterculture. Focussed on the work of two wayward players in the late, great Yann Dub and spar Explore Toi, their uncompromisingly weird and psychoactive rave music is held up as emblematic of French traditions of protestation and celebratory expression, and resonates heavily with Editions Gravats’ remit to highlight vital undercurrents of French music to the wider world. Yann de Kéroullas, pseudonymously known as Yann Dub, was a french sound engineer, founder of Reverse-Primecut mastering studio, and leading proponent of frenchtek’s weirdest sounds. He passed away in 2013, but not before driving myriad minds to delirium with his experimental strains of speedcore for long over a decade via his Reverse Records label. Yann’s work accounts for about half of ‘Nation De La Boue’ - a worthy posthumous testament to his wayward style, characterised by its raw concrète-mechanical textures and the kind of pelting kick drums that drive K’d out ravers to trample puddles in the mud. His wickedly unyielding ‘Untitled’ is a case in point, while ‘Bruit Blanc’ shares a more psychoactive sound design with his peer, La Peste, and the radioactive abstraction ‘Brest sa plage son port industrial et sa base atomique’ channels the region’s mix of rugged beauty and industry into pure noise grot. But if you want the full frontal experience, we’d advise downing a bucket of cheap red wine and rail a line of K the size of your middle finger before submitting to the 10 minutes of his ‘Untitled (Bonus)’ for optimal frenchtek effect. Explore Toi accounts for the other half of madness here. The wind-tunnel triplet coefficients of his ‘Kilos d’Huitres SVP Madame’ jam with Yann speaks to their shared, unhinged sidespin on hardcore techno, while the welting pulses of ‘Flamings Terminal’ gives a more personalised take on frenchtek standards, and the blasted 909 of his ‘Urban Groove’ follows a more psychedelic hunch to tonal paintings such as ‘Face Ambiance (Outro)’ and the monotonic structure of ‘Motherf#cker’s And Fatherf#cker’s (Bonus)’ that hail his background as a visual artist. ’Nation De La Boue’ renders a definitive cross-section of France’s alternative rave scene, one effectively light years away from more popularised strains of French touch filter house and electro-rock that paralleled the years covered inside. It’s an intriguing snapshot of a largely undocumented scene and a vitally unhinged - and largely forgotten - cog in the rave continuum.

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Lining Time

Strike

19,19 €* 31,99 € -40%

12" | 2022 | EU | Original (Haggis)

Release: 1982 / UK – Reissue

Genre: Organic Grooves, Rock & Indie

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Here I AM is the first thing. A powerful incantation sung in full choral style at Dartington College of Arts in 1982 and captured on tape, now in 1s and 0s for all eternity. It’s a bold phrase, this assertion of existence, this permanent claiming of space in time; these three words we were made to sing in church, that we used to recite one after another at the beginning of class. Doing so might seem mundane, or easy, but it’s not. What’s easy is not. Not declaring one’s presence, not showing up at all. Claire Bushe, Cathy Frost, Lisa Halse, Cathy Josefowitz, and Mara de Wit showed up, took a side. They called themselves Lining Time. They were here. ANY Woman CAN SAY I’M A Witch, they said. Strike is the album Lining Time made. It plays out like a freedom spell, like liberatory healing magic. Reveling in the power of the voice, Lining Time sing. Not at us, but for us. As if by putting voice to the traumas inflicted by the patriarchy and capital, they could be made right. As if the whole world might join in and sing along, might join in and take action - might join in and strike.There’s nothing exclusive about the music Lining Time made. Like many of the best and weirdest records of the post-punk era, Strike wears its amateurism as a badge of honour, flies it like a flag to rally around. It is inclusive to the extreme. Which isn’t to say anyone could’ve made Strike. That’s the thing. The music preserved here is too weirdly spare and idiosyncratic - and wildly overconfident in the way that only the young and young at heart can be. Sometimes it’s almost protest folk, acappella or accompanied by a single acoustic guitar, as on ‘It’s Possible’. Sometimes schoolroom auxiliary percussion clunks out a cyclical, ritual rhythm, as on the title track. At no point does it feel less than singular. Still, this is music about and for universal sisterhood. It invites solidarity. Take up an instrument for the cause and sing your own song. Time Passes Time Passes Time Passes Time Recorded music often functions like a time capsule. It’s not rare that an album is “lost”. Rather, it’s rare that a work is heard widely at the time it was made. Often, it’s barely heard at all. It just exists somewhere, a cave painting or an ancient piece of graffiti, waiting to be stumbled upon for whatever reason. The reason, in Strike’s case, is a wonderful posthumous exhibition of Cathy Josefowitz’s artwork, The Thinking Body, a cooperative effort between Kunsthaus Langenthal, Centre Culturel Suisse, Paris, Macro Roma, Les Amis de Cathy Josefowitz, and Elise Lammer. It’s possible that some might be tempted to think of Lining Time as a sideshow curiosity to the main event, but that’d be foolish. Strike, nearly forty years old, is as alive and relevant as it was when it was recorded in the wake of the Reclaim the Night march. If anything, it’s shocking how potent and necessary its message remains today.

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The Jazz Defenders

King Phoenix

21,99 €*

LP | 2022 | EU | Original (Nunorthern Soul)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Bristol's jazz daddies The Jazz Defenders drop their second album for Haggis Records (home of UK funk kings The Haggis Horns), in March 2022 and it's a real departure from their debut release "Scheming" (released in 2020). Whereas that album was a homage to the late 1950s/early 1960s classic jazz style known as hard bop, this release moves into new territory with hip-hop/jazz, cinema soundtrack flavours, Latin rhythms and soul-jazz all upfront in the mix. Three taster singles from the album released in mid/late 2021 and march 2022, "The Big Man/Love's Vestige, "Live Slow" (featuring US rapper Herbal T), and "Perfectly Imperfect" (feat Doc Brown) received great radio support from the likes of Craig Charles (bbc 6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (bbc Radio 2), Ashley Beedle (Worldwide FM), Colin Curtis (Worldwide FM) amongst many others, all loving the Jazz Defenders' musical fusion of retro meets modern.
The classic sound that has inspired the band this time is very much from the mid-late 1960s era and the merging of soul and funk beats with jazz solos/improvisation. Tracks like "Wagger Jaunt" and "Munch" nod to the piano and organ-led soul-jazz of artists like Ramsey Lewis, Herbie Hancock, Reuben Wilson, and Jimmy Smith. Meanwhile "Saudade" and "Love's Vestige" feature Brazilian bossa rhythms but with some added film soundtrack overtones. Speaking of movie soundtracks, "The Oracle'' is a pure homage to the classic cinematic compositions of maestros like John Barry(James Bond, The Ipcress File) or Lalo Schifrin (Mission Impossible, Bullitt) right down to the very impressive string arrangement, beautifully scored and orchestrated by band leader George Cooper.
A big departure from the previous album comes via the two hip-hop/jazz tracks, both of which feature guest MCs. "Live Slow" has US rapper Herbal T blessing the mic over an uptempo soul-jazz number whilst "Perfectly Imperfect" features London MC/actor Doc Brown rapping on a nice and slow 90's style head-nodding hip-hop groove. Both compositions show George Cooper's love for old-school boom-bap hip-hop (by the way, he also plays keys with renowned UK hip-hop big band Abstract Orchestra). For classic jazz lovers who dug the first album, there are two pure jazz tracks that join the dots between that debut release and this sophomore one - "Twilight" and "From The Ashes" - with plenty of vibrant solos for the discerning listener.
"King Phoenix" is a statement in itself from The Jazz Defenders. After 2 years of music being destroyed by the pandemic and many musicians inactive, the band has risen from the ashes with new vigour, energy and vision to try something new and not just repeat past musical glories. A band that sticks to the same script every release might just end up having a short shelf life but the Jazz Defenders are planning on being around for a long time.

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Brown Fang

Sherwood Pines

19,99 €*

2LP | 2021 | EU | Original (Elkar)

Release: 2022 / EU – Original

Genre: Electronic & Dance

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To a degree, all musicians are a product of their environment, the places they record and the venues they play. For proof, check out the alumni of the n-wave era CBGBs venue in New York, Cabaret Voltaire’s Western Works studio in Sheffield or more recently London’s Total Refreshment Centre. We can now add to that list the Constellations Workshop in Colwick, Nottingham, a project that provides employment through making studio furniture, for out-of-work musicians. It was here, after-hours, that the music on Brown Fang’s impressive and ear-catching debut album took shape. Both members of Brown Fang, bassist John Thompson and guitarist Henry Scott AKA Henry Claude, have a long association with the Constellations Workshop. Though their musical projects are manifold – Thompson having toured with the likes of The Nectarine No9 and The Selecter, with Scott being both a mainstay of Nottingham jazz circuit and recording ambient music as Fang Jr – the work provided by the community-minded project has kept their heads above water and allowed them a space to record in when the shutters go down and the bandsaws get switched off. Yet the music showcased on Sherwood Pines is more morning-fresh and sun-kissed than industrial and sawdust-sprinkled. Combining the pair’s brilliant musicianship – think languid bass guitars and Pat Martino-esque jazz guitar licks – with saucer-eyed electronics, occasional downtempo drum machine rhythms and plenty of glistening special effects, the set’s eight tracks are as blissful and becalmed as an early morning saunter through Sherwood Forest on a misty autumn morning. For proof, check epic opener ‘Tracing Paper’, a slow-build ambient soundscape in which bubbly electronic lead lines and colourful chords sashay around Scott’s sparkling, laidback guitars, and the beguiling ‘That’s All You Can Think’, a subtle tribute to Steve Reich masterpiece ‘Electric Counterpoint’ in which slow-burn, stretched out synthesizer sounds wave in and out of a gradually evolving cycle of delay-laden electric guitar motifs. The band’s love of classic American minimalism – as well as a shared love of the Duratti Column and Robert Fripp – comes to the fore on ‘hdmi I Love You’, which boasts a deliciously dubby bassline, Tangerine Dream style synths and the deepest of ambient chords, while ‘I Nearly Married a Human’ and ‘Fridgewords’ balance bespoke electronics – languid, dewy eyed and comforting – with Scott’s gorgeously laidback, slow-release guitars. Every great album needs a triumphant conclusion, and Sherwood Pines is no different. You can hear everything that makes Brown Fang great on ‘Goodbye Donkey Jacket’, from the pin sharp, effects laden jazziness of Scott’s guitars and the fluid dexterity of Thompson’s bass, to the pleasingly spacey pulse of the synths and the gentle rhythms of the soft-focus machine drums. It’s a confident, ear-catching conclusion to a debut album that’s been years in the making.

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V.A.

Katebegiak

38,99 €*

Neotantrik (Andy Votel, Suzanne Ciani, Sean Canty)

Release: 2021 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Music produced in the 70’s in the Basque Country got trapped between two earth shattering artistic currents; Ez Dok Amairu in the 60s and Basque Radical Rock in the 80’s, and unfortunately, most of the lovely discs and tunes created at that magical time have been pushed to a remote (and sometimes even despised) corner of our collective memory. 60’s and 80’s music currents are almost opposite, and both work as magnetic poles with a very strong power of attraction, and maybe also as a burden for any of the later artistic currents. 60’s generation of artists searched within their rich and ancient cultural roots to acknowledge and update them, in proud, hopeful and unforgettable folk songs. The 80’s one on the other hand, worked in a flammable environment in constant social and political conflict and found in punk the perfect way to express their anger and weariness for so many unfulfilled promises and the lack of opportunities into short, noisy, direct and corrosive songs, technically sparse but full of energy and expressive power. Most of the “classic” names engraved in our memory come from one or the other like Benito Lertxundi, Mikel Laboa, Lourdes Iriondo and Xabier Lete or Kortatu, Hertzainak, Zarama, Las vulpes, Eskorbuto or Cicatriz. 70’s generation and their music works somehow as the “missing link” (“katebegia” in Basque) between the two. They loved folky tunes and don’t forget their ancient roots, but they also look outside for inspiration and experimentation. Just as the 80’s boys and girls found punk the 70’s guys found a completely different sonic and aesthetic landscape in the works of Grateful Dead, Fairport Convention, King Crimson, Soft Machine, Gong,… and worked closely with keen souls in other neighboring regions such as Maquina!, Pau Riba or Sisa in Catalonia or Smash and Triana in Andalusia. This resulted in more abstract and poetic lyrical content, much longer psych-folk-prog-jazz tunes, full of complex instrumental passages and mesmerizing structures of sheer ambition and masterful execution in many cases. But, most important of all, they found a voice of their own, rich, unique, and fascinating, and that’s what makes them so valuable to us. Not only to us, but also to lots of vinyl collectors and crate-diggers around the world, who have in many cases paid fortunes for some of the original editions of LPs that are the source of tunes in this compilation. Mikel Unzurrunzaga Schmitz aka DJ Makala, Dj and producer of worldwide scope and wisdom, noticed this fact first and decided to pay homage to these wonderful tunes through this masterful and dedicated selection for your pleasure and as an open invitation to dig deeper into your adventures in the dark and hidden side of Basque popular music. The album Katebegiak, now published by Elkar, contains 13 tunes on double LP gatefold edition from Haizea, Izukaitz, William S. Fischer, Magdalena, Enbor, Itoiz, Koska, Itziar, Errobi, Lisker, Amaia Zubiria & Pascal Gaigne, Gontzal Mendibil & Taldea and Urria, and the CD-Book edition adds an extra bonus track by the great unknown artist Juan Arkotxa. Along with this compilation, and as a sample of the era, we reissued two more little gems of which we have included a track on the compilation.

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241014 Clear Vinyl Edition

2LP | 2021 | EU | Original (Pre-Cert Home Entertainment)

Trujillo, Peru 1971 - 1974

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Synth legend Suzanne Ciani, Demdike Stare’s Sean Canty & Finders Keepers’ Andy Votel come together on this killer hour-long 2014 synapse popper of a collaboration pooling the occasional group’s esoteric collage-based approach into a remarkably foreboding session pregnant with a dread that’s never quite resolved. Think Vladimir Ussachevsky, Todd Dockstader, Spectre and Company Flow melted thru the Deutsch-Italo industrial DIY tape era and funneled thru an almost impenetrable fog of Ann Arbor basement noizze. Hustling some of Neotantrik’s most amorphous gestures, ’241014’ is a four-segment movement of reduced Buchla treatments, destroyed vinyl loops and scraping foley suspense; like a cosmic dream diary layered into a collage of drones and clatters. Little in Ciani’s extensive catalogue has hinted at what’s on display here; the joyful lullaby-pop of “Seven Waves” or metallic alien soundscraping of “Flowers of Evil” are only hinted at. She instead paints new sonic vistas, allowing space for her collaborators to make themselves known; Votel’s chiming toy autoharp and Bubul Tarang (a Punjab string instrument) add a distinctive flavor, while Canty’s grimy drones and noise-soaked textures drizzle pitch-black molasses into the cracks and crevices. Together, the effect is a bit like hearing Philip Jeck improvising over Popol Vuh’s peerless Moog-led debut “Affenstunde” or Demdike Stare knocking out impromptu reworks of Tangerine Dream’s abstrakt early run. Perhaps unusually, the trio have still never set foot in a studio together, exclusively maintaining their practice in-the-moment and on stage when schedules intersect. So it’s all the more remarkable that their improvisations naturally find a democracy of role and such a heightened level of intuition, beautifully converging their thoughts to mutual, open-ended conclusions that leaves billowing room for interpretation. In a most classic sense, it’s like the sensation of sleep paralysis or dream/nightmare ambiguity, with a level of suggestiveness that’s disorienting from end to end. For the first time the recordings are now available in high fidelity (there was a tape version a couple of years back) - now remastered by Rashad Becker to better represent the otherworldly scope of their actions on stage, from the NWW-like queues and drone of ‘Scanned Accents’ and keening silhouette of ‘Second Action,’ to new sections of subaquatic Porter Ricks-like murk in ‘Anti-Contraction’ and the levitating webs of synth and tactile, sampled textures in ‘Last Canción.’ Tape music and synth music have long shared a passionate embrace, and here turntablism coolly slides in on the action. Canty and Votel’s background in beat tape assembly and crate digging pays off: they’re keenly experimental creators but bring an unfussy sense of rhythm and performance that’s miles beyond any facile repetition of a nostalgia for vintage glory. Combined with Ciani’s delicate Buchla work - it’s a unique proposition.

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Manzanita Y Su Conjunto

LP | 2021 | Original (Analog Africa)

LP | 2021 | EU | Original (Waveshaper Media)

Release: 2021 / Original

Genre: Organic Grooves, Rock & Indie

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I was in Lima, hanging out with collector-extraordinaire Victor Zela, who had spent the previous few years pouring his passion for Peruvian Cumbia into the blog „la cumbia de mis viejos“, a trove of incredible music. But after the birth of his first child, his priorities shifted and he decided to part with some of his rarest LPs. I was one of the lucky few given an early chance to examine his treasures, and when I picked up the album Manzaneando com Manzanita, Victor said: “Take it! its one of the best LPs ever recorded in Perú … easily in the top five”. That was all the encouragement I needed … two years later many of the songs from that masterpiece have made it onto Manzanita y su Conjunto, a compilation of electrifying Cumbia sides from Manzanita’s golden era.

Berardo Hernández – better known as Manzanita – first surfaced during the psychedelic Cumbia craze. At the head of the scene were the magnificent Los Destellos, whose leader, Enrique Delgado, was such a six-string wizard that other guitarists found it impossible to escape his shadow. But when Manzanita arrived, his electric criollo style sent shockwaves through Lima’s music scene and posed a serious threat to Delgado’s dominance as king of the Peruvian guitar.

Manzanita had come to Lima from the coastal city of Trujillo, five hundred miles up the coast – a place where Spanish, African and indigenous populations had been living and making music together for centuries – and came of age at a time when the first wave of psychedelic rock from the US and UK was starting to sweep the airwaves. But the sounds of Cream and Hendrix disappeared from the radio just as quickly in 1968 when Juan Velasco seized control of the country in a military coup. The new regime, which favoured local traditions over cultural ‘imports’ from the north, was a blessing in disguise for the Peruvian music scene.

Record labels flourished as new bands, raised on a hybrid diet of electric guitars and Cuban rhythms, rushed in to fill the vacuum created by the lack of imported rock. A new genre, known as Peruvian cumbia, was born and Manzanita quickly became one of its most original voices.

Starting in 1969, Manzanita y su Conjunto released a steady stream of singles that used Cuban guaracha rhythms as the foundation for dazzling electric guitar lines. After countless 45s and several years on the touring circuit, the band signed to Virrey, an important Peruvian label, and recorded two LPs acknowledged as masterpieces among aficionados of tropical music. Most of the songs on Analog Africa’s new compilation Manzanita y su Conjunto are drawn from those legendary sessions of 1973 and 74.

Although he scored a few more hits in the later 70s, his dissatisfaction with the music industry caused him to withdraw from the scene for several years; and when he finally retired for good, the golden age of Peruvian cumbia was a distant memory. But when Manzanita was at the top of his game he had few equals. Victor Zela was right: this is some of the best music ever recorded in Perú.

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Intersystems

18,99 €*

Archive Series Volume 5: Tallahassee Recordings

Release: 2021 / EU – Original

Genre: Electronic & Dance

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Toronto’s infamous psychedelic multimedia collective, Intersystems, make a surprise return with a new full-length LP, #IV. Coming April 2021 via Waveshaper Media, #IV is Intersystems’ first new material since 1968! Intersystems’ pioneering avant/electronic music sounded positively alien in the 1960s, and more than 50 years later, this latest body of work sounds just as otherworldly. When they arrived on the scene in the late 1960s, Intersystems stood out from their peers. Comprised of architect Dik Zander, light sculptor Michael Hayden, poet Blake Parker, and musician John Mills-Cockell (of Syrinx, Kensington Market and more), the group mounted groundbreaking pan-sensory events and released a trilogy of defiantly disorienting records. Where more conventional purveyors of sonic psychedelia were content with fuzztone guitar and orientalist tropes, Intersystems managed to approximate the full psychedelic experience in all its euphoric wonder and terror. Initially wrangling homespun gadgetry, feverishly spliced-together tapes, and mutant beat poetry, Intersystems were also among the very first to deploy a Moog Synthesizer; their Moog modular system was the first to be imported into Canada. Intersystems’ three vinyl LP recordings, meanwhile, justifiably became coveted collector's items given their scarce quantity and singular unsettling vision. The reissue of Intersystems’ full discography in 2015 prompted acclaim from a number of major outlets. Among them, PopMatters hailed the set as "one of those great lost recordings (three of 'em actually) that comes from the lysergic era..." Mills-Cockell’s work in Syrinx has also been reissued to great acclaim in recent years. Fifty-plus years after their 1968 album Free Psychedelic Poster Inside, Hayden and Mills-Cockell decided to revive the long-dormant project with a series of sessions at Hamilton's storied Grant Avenue Studio. The resultant music remains remarkably congruent with the project's original vision while clearly emerging from the present moment. With original poet/lyricist Blake Parker now deceased, Hayden and Mills-Cockell made the counterintuitive (yet strangely apt) decision to render Parker's words electronically. As the computer-synthesized voice alternates between an eerily life-like delivery and slurred cybernetic faltering, it brings a new dystopian tint to the group's anxious surrealism. Taking cues from its predecessor, Free Psychedelic Poster Inside, a modular Moog Synthesizer system is the primary instrument, yet here it offers a dynamic blend of different sonorities: barbed wire basslines, Subotnickesque chirping, gestural plumes of colour and percussive filigree. While the group cut their teeth in the 1960s, make no mistake these new Intersystems recordings aren't a “comeback" or an attempt to rehash the "good old days". What one hears instead is the sound of Mills-Cockell and Hayden re-energizing the project, bringing with them the myriad experience they’ve accumulated in the intervening 50 years. These aural concoctions—no less perplexing than their 1960s predecessors—build upon the Intersystems foundation but very decidedly reside in the present moment, reminding listeners of just how forward-looking this group was in the first place.

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Iron & Wine

Tape | 2021 | US | Original (Sub Pop)

12,99 €*

Archive Series Volume 5: Tallahassee Recordings Yellow Splatter Vinyl Edition

Release: 2021 / US – Original

Genre: Rock & Indie

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Archive Series Volume No. 5: Tallahassee is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, The Creek Drank the Cradle (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. Tallahassee documents the very first steps on a journey that would lead to a career as one of America's most original and distinctive singer-songwriters. Creek arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than Creek and give a peak into what a studio version of that record might have offered up. Tallahassee was recorded over the course of 1998-1999 when Beam and future bandmate EJ Holowicki moved into a house together. Beam had not been performing publicly, however he was known for playing an original song or two in the early morning glow of a long night. Holowicki also in the film program and who would go onto a career as a sound designer at Skywalker Sound, had a mobile recording device and after some prodding convinced his friend to record these late-night meditations. Together they would record close to twenty-four songs, ideas and sketches, with EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings - all captured in the house where they lived - have a "live in the room" feel akin to say Neil Young's Harvest or Nick Drake's Five Leaves Left, rather than the homespun lo-fi 4-track home recording experiment taking place at the time. These recordings, minus one track, have never been made available and were instead left preserved on a hard drive for the last twenty years. The one track that floated out there, called "In Your Own Time" was shared without a title to childhood friend Ben Bridwell (Band of Horses) at some point. The song became known as the "Fuck Like A Dog" song and Ben shared it with more than a few folks during the golden era of mix cd's. Two of those folks were Jonathan Poneman from Sub Pop and journalist Mike McGonigal, who included it on his best songs of 2001 mix cd, passed out to friends and acquaintances. And for many that is where the Iron & Wine story begins, until now_ Tallahassee is the foreword to your favorite book that you've somehow skipped over time and time again. It's an alternative history mixed with some revisionist history told over the course of eleven songs. It's also the debut record by Iron & Wine some twenty years after the fact.

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Iron & Wine

LP | 2021 | US | Original (Sub Pop)

Archive Series Volume 5: Tallahassee Recordings Black Vinyl Edition

Release: 2021 / US – Original

Genre: Rock & Indie

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Iron & Wine

LP | 2021 | US | Original (Sub Pop)

Junior Tomlin: Flyer & Cover Art

Release: 2021 / US – Original

Genre: Rock & Indie

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Junior Tomlin

Velocity Press

25,49 €* 29,99 € -15%

Zone Of Swans/Lucid Actual + 1/2 Dativa

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"Showcasing the mastermind behind some of the most iconic rave flyers and record covers of the late eighties and early nineties, Junior Tomlin: Flyer & Cover Art is a comprehensive insight into Junior Tomlin’s incredible back catalogue.

Rave culture transformed the way people experienced music, sparking a revolution in British society and spreading across the globe during the late eighties. Its influence is still being felt today, as millions of people around the world attend clubs and festivals that embody the spirit of rave culture. Intrinsic to the spread of the culture in those pre-internet days was the dissemination of flyers, giving ravers information on where and when their favourite promoters would be organising parties. In order to stand out from the competition, it was imperative that the most respected events had distinctive flyer artwork.

Junior Tomlin’s visionary capabilities led to a long-running career as a flyer artist. His fantastical projections of the future and often surreal imagery earned him the title The Salvador Dali of Rave. Tomlin’s iconic work was highly sought after, with ravers collecting his remarkable work and promoters queuing up to commission him to produce imagery for their flyers. Junior’s imagination conjured up alternate worlds, references to outer space and gave us a peek into the endless possibilities presented by an unknown future. It was the perfect representation of the brave new world being cultivated by rave promoters and the community that sprung up around the culture.

Junior worked with a range of seminal rave promoters from 1992 onwards including Telepathy, Dreamscape, Slammin’ Vinyl, One Nation, Dream Odyssey and Ravealation. 30 years since he designed his first flyer Junior Tomlin: Flyer & Cover Art documents his work across 160 pages, with commentary and draft sketches provided by Junior himself. Divided into two distinct sections – Record Covers and Flyers – the book also features an in-depth interview with Junior and a foreword by Chelsea Louise Berlin (artist, flyer collector and author of Rave Art) plus words from former clients.

Chronicling the work of a pioneering artist whose art was intrinsic to early rave culture, Junior Tomlin: Flyer & Cover Art marks a critical time in British history. In a time where division and conflict seem to be more prevalent than ever, the book allows us to escape into Junior’s fantasy worlds and travel back in time to an era when social barriers were being broken down.

The book is 25cm x 25cm, printed on premium 130gsm full-colour paper. It is the first time his work has been documented and presented in such a comprehensive, cohesive fashion.

“His record sleeves are classic examples of a hugely important artform now sadly deceased in the digital age.”
Danny Briottet (Renegade Soundwave)

“When I think of music and the concept of what I wish to express, I always want the visual representation to be in total synergy with that I am creating. Artwork is so important! This is why I did not hesitate when it came to choosing an artist and legend like Junior for specific work projects I had in mind.”
DJ Rap"

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Daszu

2LP | 2018 | US | Reissue (Lion Productions)

36,99 €*

LP | 2019 | EU | Original (Lion Productions)

Release: 2018 / US – Reissue

Genre: Electronic & Dance

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Excavation of astounding underground post-punk recorded from 1979-1988
Style: minimal, semantic, intense. There is poetic subtlety and musical freshness not confined to one historical period
8-page insert booklet contains the Daszu manifesto, poetics for most tracks, a measure of band history, and Part 1 and 2 of Mark Rudolph's poetry from the Daszu era
Vinyl edition comes in a heavy-duty tip-on jacket
First time on vinyl for all tracks
Contains two additional tracks not on the CD edition

If there's one thing we've learned from doing reissues for twenty years, it's that there is often a lack of justice in the arts. All too often, the intensely talented are shunted aside, or not able to access the means to a greater hearing, or marginalized (or eradicated) by larger societal (commercial) (racial) (political) forces, to name just three potential prongs of an art-crushing pitchfork. The less an artist's work can be categorized, the greater the odds of being an eternal outsider. The more pure those artistic efforts are, the greater the chance they cannot be categorized. Such is the case with the music of Daszu. They were three, and minimal. Bass, synthesizer and drums.

I'd like to tell you that the music of Daszu reminds me of This Heat. I'd like to tell you that the music of Daszu reminds me of the Pop Group... or A Certain Ratio… or as some have suggested, early Devo. It does, in purity of intent—in the great expansive reach of the attempt, and the self-assurance of the resulting music. This intensity of intention is evident in the dark, burbling and buzzing electronics; in the propulsive drumming; in the insistent bass-lines; in the emotional vocals; and in the evocative and poetic lyrics.

An impediment to achieving a place in the post-punk pantheon — Daszu was based in Milwaukee, not in the UK. Except for cassette distributions in Helsinki and Dublin, and a few scattered performances, they lived, practiced and performed near home. In 1979, Mark Rudolph (now an interactive 3D artist, musician, software developer, mathematician and the director of i3Dmedia LLC) talked in his kitchen to David Wolf about an idea he had for a new music: how music could be 'popular' without rock guitars and a big wall sound such as large amps and organs. 'I said we could do a minimal three-piece music based on new melodic lines and poetry and synthesis. I thought that we could remake reality. It was possibly ambitious, but I didn't think so. We decided to do it.' They did it. Not with a big polyphonic keyboard, but with a mini-moog sound generator.

The 1/2 Dativa material included on our Lion survey of Daszu's musical innovations was the work of Rudolph and his Australian friend and musician, Greg O'Connor (Boom Crash Opera). Rudolph had been studying mathematics and computer music in Australia, and a mix of Daszu, his computer generated music and O'Connor's great genius with electronic parts is evident in these intense, propulsive recordings made on a pair of DX-7 synthesizers one feverish day in 1983.

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The Sidewinders

Cuacha!

25,99 €*

LP+DVD | 1967 | EU | Reissue (Bear Family Productions)

Release: 2019 / EU – Original

Genre: Rock & Indie

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• First-time reissue of this 1987 sleeper rural rock classic
• Insert includes band memories

“By the time they recorded Cuacha!, the Sidewinders had almost figured out what kind of band they wanted to be. On some cuts here the Hüsker Dü-goes-West mix of acoustic textures and roaring guitar is almost perfect. ‘I Guess It Doesn’t Matter’ and ‘Blood on Our Hands’ are punk-pop masterpieces driven by Rich Hopkins’ snarling guitars and Dave Slutes’ country-inflected but brash singing… The album is worth having for the first released version of ‘What She Said,’ a song that the band released on three different albums, each time rocking a bit harder and at greater length. The version here is a dark, mournful folk-rock piece.” —AllMusic

“More than one observer of the Arizona rock scene has noted that had the Sidewinders not been derailed by legal and label problems, the Tucson quartet might’ve beaten neighboring Tempe’s Gin Blossoms to the brass ring. Or maybe it was just a case of the too-good/too-early American band syndrome in the conservative pre-Nirvana era. Formed around the songwriting core of guitarist Richard Hopkins and vocalist David Slutes, the Sidewinders quickly garnered local acclaim and recorded “Cuacha!” for Hopkins’ own San Jacinto label. The album has its share of jangly folk-rock moments instantly familiar to any fan of mid-’80s R.E.M. Yet its traditional feel—part psychedelic pop and part dustbowl blues—suggests influences stretching back at least two decades.” —Trouser Press

Take a look at a quick list of "Best Albums” from 1987 and you quickly get a sense of the musical mood of the year: the Joshua Tree by U2; Appetite For Destruction by Guns N’ Roses; Sign ‘O’ The Times by Prince; You’re Living All Over Me by Dinosaur Jr.; Document by R.E.M.; Sister by Sonic Youth; Darklands by The Jesus And Mary Chain; Diesel And Dust by Midnight Oil; Come On Pilgrim by Pixies; and Pleased To Meet Me by The Replacements. It’s not a stretch at all to plunk the Sidewinders “Cuacha” right amongst those records—both in terms of quality and “sound.”

The Sidewinders formed in the spring of 1985. The group released “Cuacha!” in 1987 (and again in 1988), and subsequently signed to RCA/Mammoth Records, with whom they released two full-length albums, 1989’s “Witchdoctor” and 1990’s “Auntie Ramos’ Pool Hall.” “Witchdoctor" cracked the lower echelons of the Billboard 200 on the strength of two rock radio hits. The band scored exposure on MTV and VH1 and embarked on a worldwide tour. But the Sidewinders were soon sidelined due to legal problems stemming from a challenge over the band’s name. As the Sand Rubies, they released an album on Polydor/Atlas in 1993 (at one point, Pearl Jam served as their opening act). However, the strain of the legal tussle led the Sand Rubies to dissolve during a tour in 1993—just as two other Arizona rock bands, Gin Blossoms and The Refreshments, attracted mainstream attention.

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Tages

Studio

LP | 2018 | US | Original (Sub Pop)

Release: 1967 / EU – Reissue

Genre: Rock & Indie

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It happened in 1967... ‚The Summer of Love’ may date back 50 years, but ’Tages – Studio’ will remain a timeless classic. Every household should get its copy!!!
Tages (pronounced "tah-guess") are universally known as the best sixties pop band from Sweden. They struck it big early, hitting the Swedish #1 with Sleep Little Girl in 1964! Their efforts in the psychedelic era would be their last. ’Studio’ should sit comfortably next to other masterpieces of the year 1967, a few notches closer to ’Odessey & Oracle’ than ’Sgt Pepper’s Lonely Hearts Club Band’.
Thanks to the tape cuts, orchestration, harmonies, and studio tricks, it sounds like the guys got their hands on a copy of Brian Wilson's then yet unreleased ’Smile’ tapes. Certainly, anybody willing to spend enough time exploring all the rabbit holes in the Beatles’ catalog owes themselves a trip through this marvelous record
Have You Seen Your Brother Lately
The album opener, Have You Seen Your Brother Lately, proves how apt the name ’Studio’ is for such a creatively produced statement. Few won't be sold within the first few seconds, hearing a looping string quartet surrender to a commanding rhythm highlighted by pounding drums and boxy plucked bass lines. Delicate touches of grand piano and kazoo bust open the door to an album rife with auditory treats and excellent craftmanship. Vocals are good, reminding of an edgier Colin Blunstone, with plenty of fine backup parts.
’Studio’ comes across of rather diverse nature. It's My Life, the second track growls out dark guitar distortions straight from the Move arsenal under workout vocal leads. The drums stand out, consistently providing ahead-of-their-time, vicious beats.
Tunes are often loaded with orchestration like the soft ballad, People Without Faces, and bouncier brass marches like What's The Time and She's Having A Baby Now. Tasteful psychedelic treatments abound in backwards guitar leads, weird stomp boxes, and sound effects sprinkled throughout the record.
First time on DVD, ever
The accompanying previously unreleased DVD of ’Dalamania’ was produced by Swedish national TV, SVT and shows the Tages on the height of their psychedelic career. This little piece of rock history appears to be such a thing as the Swedish version of the UK Beatles movie, ’Magical Mystery Tour’. Since its original broadcast in 1968, ’Dalamania’ has remained unnoticed on the shelfs of SVT. First time on DVD, ever.
An album like ’Studio’ should have propelled the Tages to the top 500 lists, worldwide, rather than remain a Swedish Rock ’n’ Roll footnote. Members of the Tages would form Blond in 1969 a band that disbanded in 1970.
1-LP (Gatefold sleeve) with 8-page booklet 25x25 cms) plus bonus DVD in cardboard sleeve (DVD5, b&w, 30 mns, English, 4:3, NTSC, region: 0)

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Moaning

Moaning Loser Edition

2LP | 2017 | US | Original (Dark Entries)

Release: 2018 / US – Original

Genre: Rock & Indie

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This Sub Pop Loser Edition is light blue Colored Vinyl! Moaning is a band defined by its duality. The abrasive post-punk trio comprised of LA DIY veterans, Sean Solomon, Pascal Stevenson, and Andrew MacKelvie, began nearly a decade after the three started playing music together. Their impassioned debut album comes born out of the member's experiences with love and distress, creating a sound uniquely dark and sincere. Although the band is just breaking out of their infancy, Moaning's sleek and cavernous tone emphasizes the turmoil of the era they were born into. One where the endless possibility for art and creation is met with the fear and doubt of an uncertain future. Solomon, Stevenson, and MacKelvie initially met as teenagers while growing up in the San Fernando Valley, and immediately developed a kinship through Los Angeles's local music scene. The three began regularly frequenting DIY institutions like The Smell and Pehrspace, eventually selling out dozens of their own shows at both venues with their first few bands. Moaning's conception came when Solomon sent Stevenson and MacKelvie the first demo for "Don't Go," setting the tone for the impulsive songwriting that would follow. The three fleshed out Solomon's primitive recordings, adding in MacKelvie's heavy syncopated drumming, and Stevenson's melodic driving bass and synth parts, capturing each member's personality in their sparse and fuzzed out tracks. Like many of their previous collaborative projects, Moaning forces pain up against pleasure, using the complexity of personal heart break to inform the band's conflicted sound. The band chose the moniker Moaning, admiring the ambiguity the name held, and hoping to reference both an intimate wail and an anguished scream. The band's homemade video for an early, home-recorded version of "The Same" caught the attention of Alex Newport, a seasoned engineer and producer who had previously worked with At The Drive-In, Bloc Party, and the Melvins. With Newport, Moaning began working on the tracks that would make up their self-titled release, employing a lush, open ended production quality that had never been at the band's disposal. Tracks like "Artificial" stand out among the recordings, where Moaning used the studio's recourses to take their frantic live arrangement and give it the intensity merited by Solomon's lyrics. As a whole, Moaning drifts from sentimental to catastrophic, hiding meek and introspective lyrics within powerful droning dance songs, giving sonic nods to some of the band's musical heroes like, New Order, Broadcast, and Slowdive. The band's youthful attitude is met with the weight of topics like loss, routine, and mental health, reflecting the anxiety towards the status quo that much of their generation faces today. Where many young bands take years to find their footing as writers and performers, Moaning has built up a confidence in sound and vision from the ten years of playing basements, bars, and ballrooms together in their previous projects. Yet, even with their polished exterior, Moaning continues to make the sacrifice of deeply personal anecdotes and emotions to their audience for the benefit of their craft.

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Hypnobeat

Prototech

2LP | 2016 | EU | Original (Touchin' Bass)

Release: 2017 / US – Original

Genre: Electronic & Dance

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Dark Entries and Serendip Lab have teamed up to release ‘Prototech’, the first vinyl retrospective by German electronic trio Hypnobeat, recorded 1984-86. James Dean Brown and Pietro Insipido formed Hypnobeat in 1983, but it was the addition of Victor Sol only a few months later that found the project reaching, as Brown puts it, "the desired level of technical sophistication." In time, Tobias Freund also lent his talents (and equipment) to this loose-fit sonic scheme, where the protagonists sought a new, electronic manifestation of mankind’s tribal music roots. Two cassette releases surfaced – 1985’s "Huggables", and "Specials/Spatials" the following year. By this point the Frankfurt-based group had already explored fiercely mechanical creative expression through various configurations of hardware and personnel, revolving around core ingredients such as the TR-808, TB-303 and MC-202. The project lived on in spirit as Brown activated Narcotic Syntax in the 90s. While a more modern, digital concern, rooted in the Perlon label family, NS still channeled the Hypnobeat concept of a "new tribalism", not least on their "Provocative Percussion" double 12" released in 2006. For all the punky veneer, there are instances where these tracks reach staggering levels of sophistication, not least on "Slash! Buffalo Eats Brass" with its intricately programmed 303 lines and nimble beats that sound a far cry from most machine music made in 1986. Prescient "Can God Rewind?" is also dazzling in the complexity of its percussion and the richness of its synth lines in C as they throb out a bastardised version of acidic Disco straight out of the rhythm collider. Elsewhere, some tracks are more primal in their execution. Visceral opening track "The Arumbaya Fetish" was a cathartic venting of Brown’s least favourite sound on the 808, the iconic cowbell, while the astounding proto-Acid miniature "Moon Jump" places limber 303 lead lines in a hail of thunderstruck patterns. "Kilian" has a stripped down quality that speaks more to the industrial era that Hypnobeat was conceived in, and "Mission In Congo" is a raw, reverb-soaked drum workout that captures the percussive-obsessive nature of Hypnobeat perfectly. Six of the seven tracks selected on this collection were primarily powered by two 808s. "I am amazed that the release sounds like we really had a plan back then…" states Brown, but this accidental magic is in fact the raison d’etre of Hypnobeat. They weren’t the only ones prefiguring the next big revolutions in electronic music in the mid 80s, but there certainly weren’t many artists stumbling across modes of expression that sound so relevant today.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring cave engravings by Pietro Insipido of an archer and animal printed in a wallpaper pattern style designed by Eloise Leigh. Each copy includes an transparent insert of an x-ray photograph from 1984 of Romulus Cœurque holding the circuit board of a BOSS DR-55 rhythm machine.

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Rook Vallade

Vestiges

20,69 €* 22,99 € -10%

LP | 2016 | EU | Original (Wah Wah)

Release: 2016 / EU – Original

Genre: Electronic & Dance

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Perhaps best known under his aliases Dalglish and O.S.T., Chris Douglas has been operating under the mainstream for the last 24 years, releasing on labels like Pan, Icasea, Phthalo, Highpoint Lowlife, Shitkatapult and many others.

Douglas has certainly had an interesting history and the places he’s lived unquestionably define his sound. From his early beginnings in San Francisco organising parties and DJing, he relocated to Detroit where, hanging out with the likes of Underground Resistance’s Mad Mike and the late James Stinson of Drexciya, he began to release his own work.

The competition in Detroit was fierce and the crowds were very particular so artists found themselves having to work a lot harder, which ultimately led to the consistent quality of the product at that time. His story then led him to Europe, after Autechre invited him to appear as their opening act during their Confield tour in 2002 and then at their curated All Tomorrow’s Parties in 2003, where he finally settled in Berlin.

This time we’re presenting the less familiar work of his moniker ‘Rook Vallade’ with a collection of his as yet unheard works from 1992-2000 – a very welcome addition to the Touchin’ Bass catalogue.

The 12 tracks featured on ‘Vestiges’ represent Douglas’ Detroit influences and early electro, techno and hiphop are all evident in these recordings. Each individual groove represents a warm and moving sound aesthetic, rich in texture and melody, providing an insight into the varying depths of machine and soul. Each track portrays a mood and feeling of its own, with the emphasis being firmly placed on the outcome and direction of each individual sound, reflecting a barrage of alternative feelings, thoughts and moods. The tracks are also documentative of Douglas’ first productions working predominantly with a hardware set up.

From the clear electro influence heard on ‘Aemldbr’, ‘Badlstmp’ brings captivating warm synths with fine metallic sounds surfacing above the layers, giving this track the feeling that it is much more current than the production date suggests. The blend of wavering strings, industrial ambience and chilling synthesiser pads demonstrated in the hauntingly dramatic short piece of ‘Scrintv’ leads to the punctuated percussion of ‘RI_25’ and the heightened tension, chaos and confusion of ‘RV7ScF’. ‘Endtb_’ is like going into the unknown, a bit like how Jacques Cousteau must have felt when first filming underwater.

Frustratingly, Douglas never seems to have gotten the recognition that he so richly deserves. His experimental attitude has always put him ahead of his time and this album still firmly places him at the forefront of electronic music. These are timeless relics from the past, coming from an era where the concept of atmospherics very much dominated the production. There may have been less to work with but Douglas has somehow captured more. Under ‘Rook Vallade’, his music stands the test of time.

As The Wire once wrote of him: “His music is one of the most striking evacuations of the life of the mind that you’re ever likely to hear.”. This still stands true to date.

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Bodast

Spectral Nether Street

20,99 €*

CD | 2024 | WW | Original (Mr Bongo)

Release: 2016 / EU – Original

Genre: Rock & Indie

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Steve Howe's recording career began as early as 1964 under the production of Joe Meek when he was the lead guitarist of the savage R&B outfit The Syndicats. He then joined The In Crowd, who soon became Tomorrow, legendary pioneers of UK psychedelia who along with Pink Floyd and Soft Machine changed the face of pop music forever. When Tomorrow's singer Keith West's first solo single became a huge success (it was a part of the "lost" Teenage Opera project by Mark Wirtz) all band members went their separate ways. Drummer Twink joined The Pretty Things and then formed The Pink Fairies, bassist Junior Wood -along with Twink- tried luck in Aquarian Age and Steve Howe accompanied West on tour before finally giving birth to Bodast in 1968.

Bodast was formed by Steve Howe (Guitar), Dave Curtiss (bass, vocals) and Bobby Clark (drums). The name was creatied by taking the first two letters of their names (BObby, DAve, STeve). Curtiss and Clark where veterans of the early UK scene, having been members of Screaming Lord Sutch's Savages or Vince Taylor's Playboys, and they had also worked in France backing Françoise Hardy.They were soon joined by Clive Skinner (vocals) and Bruce Thomas (bass), and also acted for a while as Canto.

While back in the era no recordings of Bodast saw the light of day, the fact is that they did record a whole LP under the production of Keith West. Ten incredible songs that are the missing link between Tomorrow and Yes, a stunning progressive opus which still has it's share of psychedelia, and which should have been a classic since day one but, sadly, the album was filed and left unreleased, and Bodast finally disbanded. Howe got some offers to join other established groups. He took the one from Yes, with whom he soon entered the studio to record The Yes Album, to which he added parts of the lost Bodast compositions (the most evident being Nether Street, an important part of it ended up in Starship Troopers). And the rest, as they say, is history.

The Bodast LP finally saw the light of day in 1981, when Cherry Red issued 8 of the recorded songs as The Bodast Tapes. The original tapes had been newly remixed by Steve Howe himself. It was, again, issued in the 1990s by C5, same remix, with the addition of two extra tracks. That version was also available on CD. In 2000 RPM released a new CD version, this time rescuing the original 1968 mixes, and with the addition of four tracks by Canto (essentially the same band, who changed the name for a while).

Now, for the first time ever on vinyl the original 1968 mixes, which are rawer than those early eighties ones done by Steve Howe, are issued by Wah Wah Records Supersonic Sounds, on a limited edition of only 500 copies, housed in a nice three backflaps sleeve like they did them in the UK in the sixties!

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New Regency Orchestra

17,24 €* 22,99 € -25%

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

Release: 2024 / WW – Original

Genre: Organic Grooves

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Kristen Gallerneaux

The Mcclintic Chorus

24,99 €*

LP | 2024 | Original (Mr Bongo)

Release: 2024 / UK – Original

Genre: Electronic & Dance

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Preorder shipping from 2024-11-01

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

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

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

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

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

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

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

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New Regency Orchestra

The Signal Colored Vinyl Edition

Release: 2024 / Original

Genre: Organic Grooves

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Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and co-founder of Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

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Compact Disk Dummies

LP | 2024 | EU | Original (541 Label)

Out Of Space: How UK Cities Shaped RaveCulture

Release: 2024 / EU – Original

Genre: Rock & Indie

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180 Gram Colored Vinyl. Including the singles There's No Sex Without You & fomo.

On their third full-length album, 'The Signal', the Compact Disk Dummies keep a few interesting balls in the air. They play with the opinions and expectations of the outside world, while also confronting their own desires and doubts. This is aptly depicted on the cover with a table, a bell, two brothers and an impatient crowd: who is waiting for whom? The album is as diverse as its cover is surprising. In a mix of styles and influences ranging from retro house to funk, Lennert and Janus Coorevits demonstrate their versatility. Following their scintillating performances at Rock Werchter and Pukkelpop, and the success of the radio hits 'There's No Sex Without You' and 'fomo', 'The Signal' marks the start of a new era for the Dummies.

Lennert notes, "Pfff, I would think about everything indefinitely. And I'm not the only one, I notice. Stuck in a kind of limbo, a state of uncertainty, surrounded by signals, but still feeling a certain fear of following the signal."

On 'The Signal', 'fomo' dissects human desire, reaching for the unattainable. 'Where We Go (Calypso)' is like the shipwreck no one wants. And in the title track, the female lead character finds herself in a toxic relationship, the signs of which are obvious, at least to the outside world. While the content of 'The Signal' revolves around doubt, contemplation and acting or not acting, the musical interpretation is in direct opposition to that. The Compact Disk Dummies do not doubt; they hold their heads up and their chests out. With certainty, they mix everything that excites them musically into the blender, without grinding the identity of the Dummies themselves; actually enriching it instead. The retro house of 'Solàr' (a song about Louis the Fourteenth? Why not) flows into the rampant funk of 'Ballet Dancer' before expanding into 'Underwater'. In every track, you sense the long road the Coorevits brothers have travelled since their breakthrough - and their then angular electro-punk. This third album is Lennert and Janus' most sophisticated work in the expanding universe of the Compact Disk Dummies.

In addition to being a mix of styles, 'The Signal' is also a mix of collaborations. There is the French touch of mixer Michael Declerck and mastering engineer Alex Gopher. There is the Dutch input of Wieger Hoogendorp (Goldband) and Jens Van Der Meij (Froukje). Beautiful string sections are provided by Wietse Meys and Reinhard Vanbergen, bass licks by Boris Van Overschee and backing vocals by Isolde Lasoen and Judith Okon, among others. Producer Jasper Maekelberg always kept an eye on things. And again, for the third album in a row, after 'Mess With Us' (2013) and 'Neon Fever Dream' (2020), artist Athos Burez also provided the artwork for 'The Signal'.

But however international the music sounds, however great the contributions from other top artists, 'The Signal' remains largely the work of the Dummies, with Lennert as vocalist, lyricist and multi-instrumentalist, and Janus as engineer, producer and all-around tech wizard. The album was not made in New York, Tokyo or Berlin, but in Desselgem. Studio 87, the Coorevits family's garage converted into a studio, remains Ali Baba's cave for the Compact Disk Dummies. In their studio crammed with synths, percussion and guitars, Lennert and Janus could not ignore the signal: time to smash it!

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Jim Ottewill

Velocity Press

19,99 €*

Antwerp Gipsy Ska Orkestra

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Jim Ottewill’s exploration of UK club culture and the urban landscapes that have housed it returns in a newly remixed form. This extended version features a new chapter exploring hidden histories and untold stories within Birmingham’s nocturnal scene to provide more insights into the past, present and future of electronic music culture.

“We don’t want more unaffordable flats. We want somewhere to dance…”

Since the dawn of time, humans have had the urge to come together and move to music. It may have started in caves but these days it happens in clubs often found in the shady corners of our towns and cities.

Or at least it did until these places succumbed to the beat of property developers rather than DJs. In London in the five years to 2016, half of the clubs were lost while a further quarter have disappeared in the devastation of Covid. So what now?

At this critical moment, Out of Space plots a course through the different towns and cities club culture has found a home. From Glasgow to Margate via Manchester, Sheffield and unlikely dance music meccas such as Coalville and Todmorden, this book maps where electronic music has thrived, and where it might be headed to next while exploring other shades of club culture too, such as pirate radio, dance music festivals, and sound system culture.

As our lives become increasingly digitised and real estate more valuable, we’ll look at the new clubbing models emerging in the 21st century. Rather than an epitaph, this is a rallying cry and celebration of the club’s resilience based on a lifetime of getting wide-eyed inside them.

Quotes:

“As gentrification, lack of funding, stifling politics and the pandemic continue to pummel nightlife, it feels all the more poignant to chart the past and present of raving, while questioning what’s next. With lively and forensic research, clarity of thought and a passion for keeping clubbing’s resilient spirit alive, Out of Space is less of a commemoration and more of a rallying cry.” – The Face

“Ottewill’s book is tireless in its seeking out of new buzzes in grassroots clubland, LGBT collectives and local scenes, all of them ensuring euphoric highs for future generations of ravers.” – The Wire

“Jim Ottewill lands in Glasgow, South Yorkshire and beyond to write this comprehensive rave chronicle ‘Out of Space’. In an era where nightlife spaces are increasingly endangered, Ottewill posits his record of the past as a pugilistic rallying cry.” – Resident Advisor

“Most importantly, the book goes beyond the four walls of each club to the urban sprawl that surrounds it as we’re taken on a local history tour. The author reminds us that clubs and parties, despite operating on the fringes of society, are an integral part of our culture, and many of us have gone through our own rights of passage, often travelling miles to experience our favourite clubs. Clubs and their supporting infrastructure not only have a heritage worth saving but also one worthy of capturing for posterity in a book – something which Ottewill has done justice to.” – Now Then

“Jim Ottewill’s look into urban rave culture defies expectations.” – The National

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Revolution

12" | 2023 | EU | Original (Zephyrus)

Chenges Happen To Everyone, Everywhere

Release: 2023 / EU – Original

Genre: Reggae & Dancehall

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Get ready for a musical revolution! The Antwerp Gipsy Ska Orkestra is back, and this time, they're turning the music world upside down with their electrifying new album, "Revolution (Never Has Been Simple)." This groundbreaking project, produced by the modern genius Lunaman, features an infusion of new energy and talent with the remarkable addition of 18-year-old sensation Ramadan Sali, who has been a fan of the band since the tender age of three. But before we dive into the future, let's take a moment to appreciate the rich history of the Antwerp Gipsy Ska Orkestra.

A Journey Through Time and Sound: The Antwerp Gipsy Ska Orkestra Story The Antwerp Gipsy Ska Orkestra's journey is a testament to the transformative power of music. Rooted in the vibrant city of Antwerp, Belgium, this innovative collective began its musical voyage decades ago. Their story is one of passion, diversity, and an unshakable commitment to crafting unforgettable sounds.

The band's unique blend of Gypsy and Ska, along with an eclectic mix of world influences, has earned them a dedicated global following. With each album, they pushed the boundaries of musical fusion, forging a path where genres intertwined, creating something entirely unique. Their evolution has been an ongoing exploration of culture, rhythms, and the unifying language of music.

"Revolution (Never Has Been Simple)": A New Era of Sound And now, they're back with "Revolution (Never Has Been Simple)" – a title that perfectly encapsulates their journey. Produced by Lunaman, known for his innovative approach to modern soundscapes, this album is a breath of fresh air for the music world. It's a bold step forward, a revolution of their own creation, and a testament to their constant willingness to reinvent themselves.

Meet the Prodigy: Ramadan Sali But that's not all that makes this album special. The Antwerp Gipsy Ska Orkestra has also welcomed a young prodigy into their ranks: Ramadan Sali. At just 18 years old, he's not only an extraordinary talent but a lifelong fan of the band, having followed their music since he was three years old. His fresh energy and creative spirit have injected new life into the band, making "Revolution" a truly remarkable chapter in their history.

"Revolution (Never Has Been Simple)" Unveiled This album is more than just a collection of songs; it's a testament to the band's enduring spirit, their journey of growth, and their unyielding commitment to the craft of music. The tracks on "Revolution" are a thrilling mix of genres, emotions, and messages. From the high-energy dance anthems to soul-searching ballads, this album encapsulates the complexities of life and the raw power of music to connect with our hearts.

Get Ready for the Revolution! As we eagerly await the release of "Revolution (Never Has Been Simple)," mark your calendars and prepare to join the musical revolution. This album is a testament to the Antwerp Gipsy Ska Orkestra's ongoing legacy, a fusion of the past and the future, and a celebration of the unifying power of music. Stay tuned for release dates, sneak peeks, and all the excitement surrounding this revolutionary musical masterpiece. The Antwerp Gipsy Ska Orkestra is back, and the world is about to witness a "Revolution" like never before!

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Chet Sounds

LP | 2023 | UK | Original (Third Eye Stimuli)

Tape Leaders: A Compendium Of Early British Electronic Music Composers

Release: 2023 / UK – Original

Genre: Rock & Indie

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The enigmatic Australian artist and producer, Chet Sounds returns with his sophomore album, Changes Happen To Everyone, Everywhere (out October 27th via Third Eye Stimuli). After his contributions to Sydney’s adored psych-folk outfit The Uplifting Bell End on their albums, Super Giant III and IV, Chet Tucker launched his solo project as Chet Sounds in 2021 with the release of his self-titled debut album, which received international praise from New Commute (usa) and Shindig Magazine (uk). Continuing on his sonic journey, Chet’s sophomore album sees the humble artist honing his craft with some of his most melodic compositions, heartfelt storytelling and tasteful production yet. Harking back to 70’s classic rock, folk and psychedelia, Chet takes us through bygone eras and musical flavours conjured in the same universe as modern DIY artists such as Tex Crick, Traffik Island and Frank Maston. Living between his family home in Kurnell, NSW (just south of Sydney) and with stints out in the Northern Territory where Chet works at an Indigenous Art Centre, the two lifestyles and surroundings are stark contrasts and evoke Chet Sounds’ musical ideas and lyrical subjects. As heard on his debut album, Chet’s songs are often themed around the coming-of-age and facing up to various struggles of life; this rings true again on his sophomore album, as Chet explains; “the compositions express changes happening on a personal level both physical and mental. It also encompasses social and environmental change and how it affects an individual, getting through one day to the next.” Chet Sounds’ second album, Changes Happen To Everyone, Everywhere was recorded during 2021 in a shipping container on his family’s property. Similar to modern composers/producers such as Frank Maston, Chet wrote, performed, recorded and mixed everything on the record, aside from two tracks where his friend, Amber Newel plays violin. The 12 track record continues some of the musical styles heard on his 2021 debut album but features a wider array of instrumentation and more complex arrangements, giving this album a 70s orchestral rock sound. Chet says; “I deliberately tried to create an album that featured a stronger sonic cohesion than my previous as well as improving the quality of production and composition.” Blending vintage coloured recording equipment with intricate melodies, genius arrangements and technical brilliance, Chet Sounds’ forthcoming new album Changes Happen To Everyone, Everywhere will win the hearts of any listeners who celebrate the outsiders and underground geniuses in today’s rock music. With throwbacks to some of America’s best rock bands such as The Band, James Taylor, Todd Rundgren, David Axelrod and a slew of others that may come to mind, Chet’s new record merges nostalgia with imagination and takes his listeners on a complete journey that is sure to warm your soul.

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Ian Helliwell

Velocity Press

12" | 2023 | UK | Original (One Level)

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Tape Leaders is a richly illustrated A-Z compendium featuring over 100 composers active with tape and electronics in the analogue era. Containing information never previously uncovered, it shines a fresh light on many sound experimenters unacknowledged in the history of British electronic music. First published by Sound On Sound Magazine in 2016, this is the first time it’s been available outside their shop.

Tape Leaders is available as a hardback and the 224 pages are printed and bound on heavyweight 130gsm paper. The specially compiled 15 track CD of mainly unreleased early British tape and synthesizer works is exclusive to the Velocity Press shop.

In the form of a richly illustrated compendium, Tape Leaders: A Compendium Of Early British Electronic Music Composers is an indispensable reference guide for anyone interested in electronic sound and its origins in the UK. For the first time, a book sets out information on practically everyone active with experimental electronics and tape recording across the country to reveal the untold stories and hidden history of early British electronic music.

With an individual entry for each composer, it covers everyone from famous names like William Burroughs, Brian Eno and Joe Meek to the ultra-obscure such as Roy Cooper, Donald Henshilwood and Edgar Vetter. There are sections for EMS and the BBC Radiophonic Workshop and amateurs, groups and ensembles that experimented with electronics, including The Beatles, Hawkwind and White Noise. Author Ian Helliwell draws on his experience and extensive research into electronic music. After six years and dozens of interviews, he has amassed information never before brought to light on this fascinating subject.

Included with the book is a specially compiled 15 track CD of mainly unreleased early British tape and synthesizer works (exclusively available to the Velocity Press shop), making this an essential book for anyone interested in electronic music history during the 1950s and 60s.

This hardback book is 22.7cm x 17.7cm, and the 224 pages are printed and bound on heavyweight 130gsm paper.

Quotes:
“Until now, the Radiophonic Workshop has somewhat eclipsed other players in British early electronic music history. The extent of this is laid bare in the revelatory book Tape Leaders – a landmark survey by the composer, film-maker, instrument-builder and researcher Ian Helliwell, who has uncovered hitherto unacknowledged independent electronic music composers.” Fortean Times

“For anyone with an interest in the early years of electronic music, Ian Helliwell’s book takes the reader on an enthralling tour of the pioneering British contributors to this genre.” Sound On Sound

“The work of computer music pioneer Peter Zinovieff, home-build guru FC Judd, UFO-believer and Spitfire pilot Desmond Leslie, and Tristram Cary – have all been reissued. Ian Helliwell’s new book, Tape Leaders, A Compendium of Early British Electronic Music Composers, goes further. It reveals that these figures collectively represent the tip of a hitherto unimaginably vast iceberg submerged for decades. Profiling dozens of composers, amateur and professional, and augmented by a 15 track CD of electronic music… it truly is a portal into a lost world.” Shindig

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Aleqs Notal

Big Tal's Elements

18,99 €*

2LP | 2023 | UK | Original (Nunorthern Soul)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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ONE Level is delighted to announce its latest release, the captivating 'Big Tal's Elements' EP by French DJ/Producer, Aleqs Notal.

Following the resounding success of One Level's debut release, the awe-inspiring Afro-futurism of Hagan's 'Forward Focus' EP - a production that ignited a dynamic and fruitful chapter for the London-based artist - the label has been meticulously crafting its return. One Level prides itself on championing quality over quantity, and this ethos is beautifully demonstrated in its second release...

Aleqs Notal, the former scratch champion and consistently evolving producer, joins the label family with a collection of four remarkable tracks. Despite his years of experience, Aleqs admits that he's still in the process of refining his own sound and with 'Big Tal's Elements’, a nickname affectionately bestowed by longtime friend and fellow artist Manaré, his four carefully curated house joints encapsulate a wealth of influences, all beautifully combining to create a modern and innovative soundtrack.

Following his early years of turntable virtuosity, and having embarked on a new creative chapter in the studio, it was 2014 and as a founding member of the innovative ClekClekBoom collective - a group of young French talents who spearheaded a groundbreaking movement that reshaped the Parisian electronic landscape - that saw Notal continue to cultivate his own sound, one rooted in the sounds of Detroit and Chicago. He became a respected DJ on the cities’ club circuit, and has gone on to to feature his music on esteemed labels including Phonogramme, Salon Recordings, Release Sustain and Patrice Scott's Sistrum Recordings.

The EP opens with 'Untwisted Delight', a homage to the timeless sound of the Motor City. A bass-driven DJ tool, pulsating with the resonance of the 808, evoking echoes of Pittman, and igniting a powerful dancefloor energy.

‘Save Ya’ is an ode to determination and self-preservation. A track with its roots deeply embedded in the dancefloor and featuring an archive sound-bank vocal alongside glorious hi-hats, it is a firm favourite of Notals. “I think its from my scratch background. I always work with the hi-hats. For me, when I hear the hats its as though I hear somebody singing." Fully road-tested at Fabric London, Save Ya is now set to rescue many a night.

'Come Get It' channels the spirit of early Chicago house. A fusion of spirited 606 and 808 drum patterns, coupled with the enchanting allure of resounding hi-hats, it offers a heartfelt homage to the revolutionary sounds that defined an era and continue to influence so much of today’s music.

Concluding the EP is 'Hymn Of Passion', a track inspired by Ron Trent's Future Vision imprint. Drawing on a diverse palette of Nigerian percussive elements and samples garnered from past projects, Aleqs weaves a sonic mosaic. Crafted in a single jam session, the track elegantly melds a rhythmic finesse with resonant congas, intertwining with the emotive Rhodes piano, to craft an unforgettable finale.

With a diverse array of influences seamlessly interwoven, Aleqs Notal’s ‘Big Tal's Elements’ EP is a journey through sound that fully captivates the listener.

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Tambores En Benirras

Ondas Horizontales

Little Orphan Boy - Two Soul Fusion Remixes

Release: 2023 / UK – Original

Genre: Electronic & Dance

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A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

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Brian Jackson

2x12" | 2023 | UK | Original (BBE Music)

28,79 €* 31,99 € -10%

Fatboi Sharif X Steep Tipped Dove

Release: 2023 / UK – Original

Genre: Electronic & Dance

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‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan. The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day... Until now. Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement. “A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. He and Gil from way back to my early years in the Bronx, through to my DJing and producing career into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create an epic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next in the horizon with us and the one & only Brian Jackson.” Brian Jackson: "I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen - with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! What Louie, along with Two Soul Fusion partner Josh Milan and I do are alike in so many ways, I knew that if we ever got together, magic would happen and well... here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”

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Decay

LP | 2023 | US | Original (Backwoodz Studioz)

34,19 €* 35,99 € -5%

12" | 2023 | Original (Planet E)

Release: 2023 / US – Original

Genre: Hip Hop

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Junior Sanchez

Art O Fact

14,99 €*

LP | 2023 | UK | Original (Wisdom Teeth)

Release: 2023 / Original

Genre: Electronic & Dance

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Revered house mainstay Junior Sanchez makes his debut on Carl Craig’s renowned Planet E Communications imprint today with the digital release of his latest EP ‘‘Art O Fact’ out now with a 12” to come this July. Hailing from New Jersey, Sanchez remains a pioneering force in house music for over three decades and a close ally of Craig’s.

‘Art O Fact’ is an exemplar of the energized rhythm and infectious groove that has become synonymous with Sanchez’s work and genre defining productions. The package seamlessly connects scenes and eras, paying homage to the soulful sonic atmosphere of Detroit, Junior Sanchez’s says:

“Art O Fact -- was created purely and simply out of creative inspiration. I walked into the studio one morning not really knowing what to do, so I let my inspiration guide me and my inspiration really was Detroit. I thought about that city, what it meant to me and what techno really meant to my heart. I have loved so many records by Carl Craig, DJ ROLANDO, Derrick May, Kevin Saunderson and Juan Atkins, so the result is something really beautiful and organic, and the fact that it's coming out on Carl Craig's planet E imprint is such an honor.”

In addition to the original mix, the ‘Art O Fact’ EP features a bouncy ‘Luv4Detroit’ Dub, energized edit, and melodic reprise.

Sanchez’s eclectic palette can be credited in part to his time spent in the sonic melting pot of New York City in the 1990s. A pillar of the underground club scene, Junior Sanchez began DJing at iconic New York City institutions such as Limelight and Club USA at the mere age of 13 and released his first track on iconic house imprint Strictly Rhythm at age 15. Sanchez went on to co-found Da Mongaloids collective, composed of the likes of Daft Punk, Armand van Helden, LaidbackLuke, and more which laid the foundation for him to form multi-generational turntablism trio S-Men alongside Roger Sanchez and DJ Sneak.

Sanchez's extensive repertoire of collaborators includes Madonna, Ariana Grande, Good Charlotte, Azealia Banks and more while his own imprints Cube Recordings and Brobot Records have seen releases from the likes of Felix Da Housecat, Sébastien Léger, and Steve Mac.

Led by legendary Detroit techno pioneer Carl Craig, Planet E Communications has been an integral force in shaping electronic music for the past thirty years. Standing testament to the timeless spirit of techno, over the past two years alone Carl has released the leftfield ‘Attenuator’ jazz fusion project from himself and Moritz Von Oswald, DJ Holographic’s multi-genre Detroit Love Vol. 5, and the first electronic music album from Mexican-American percussionist Francisco Mora-Catlett. Planet E continues to transcend the dance floor, as it perpetuates the unifying spirit and unwavering creativity of Detroit.

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K-Lone

Swells

19,99 €*

2LP | 2015 | UK | Original (Bel-Air Glamour / The Vinyl Factory)

Release: 2023 / UK – Original

Genre: Electronic & Dance

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Wisdom Teeth co-founder K-lone returns with his second full length project, ‘Swells’: a kaleidoscopic and expansive record that looks to deep house, synthpop, leftfield R&B and beyond for a spellbinding masterwork of melodic electronica. His debut LP ‘Cape Cira’ became the accidental soundtrack of the long strange summer of 2020 - its lush marimbas, hazy atmos and synthesised bird calls providing the ideal soundtrack for some much needed collective escapism. The record was widely deemed one of 2020’s standout electronic LPs, gaining glowing reviews in Pitchfork, DJ Mag, Mixmag and Resident Advisor, and ranking highly in end of year lists by Crack Magazine, Bleep.com and beyond. Approaching its follow up, the Brighton-based producer felt a fresh perspective was needed. Originally landing on the name ‘Swells’ as a secret pen-name to write the record under, the intention was to keep the project as separate as possible from ‘Cape Cira’ to avoid settling into familiar territories - but as the record took shape it became clear that it made perfect sense amongst his already diverse discography. Like ‘Cape Cira’, there is a distinct and intentionally limited sound palette at play on ‘Swells’. Looping vocal cuts, rich cluster chords and undulating arpeggios sit front and centre here - as does the lo-fi plonk of of the Cr78 drum machine. But while the record clearly takes influence from a range of vintage sound sources, its overall aesthetic is unmistakably contemporary. Sounds are not artificially degraded nor obscured under washes of sampled tape hiss. Rather, everything 2 is processed with a gloss, hi-fidelity sheen. The record’s rhythms are bright, dry and snappy, and its melodies are processed with a neon poppy glow. The producer’s unabashed love of contemporary pop music is most obviously exemplified by the appearance of British singer-songwriter Eliza Rose. The pair met for a session at a North London studio back in 2021, and the now Brit Awardnominated singer’s warm, emotive vocal takes became an immediate source of inspiration early in the record’s conception. As such, Rose’s voice is heard in various states of manipulation throughout its duration - initially as reduced and looped phrases, and then finally in full form on ‘With U’: a low-lit, dubbed-out slice of leftfield R&B that beckons comparisons with Tirzah, Little Dragon and even Erykah Badu. Elsewhere, there are references to G-Funk (‘Oddball’), Autonomic drum and bass (‘Shimmer’), hip-house (‘Love Is’) and even Metronomy-era electro pop (‘Love Me A Little’). As always, the true magic of K-lone’s artistry is to present complex, subtle and original ideas in ways that feel familiar and immediate. Melodies are introduced as effortless earworms, only to be twisted out of shape into strange and unusual formulations. Looping rhythms unspool into washes of hazy, dubbed-out ambience before rebuilding themselves. Refined and endlessly creative, ‘Swells’ marks a captivating next step for a producer and record label that have both reliably positioned themselves at the very forefront of contemporary electronic music

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Kristin Anna

Howl

36,99 €*

LP | 2024 | EU | Original (You Are The Cosmos / Pretty Olivia)

Release: 2015 / UK – Original

Genre: Electronic & Dance

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Bel-Air Glamour Records is a new label created by Icelandic artist and musican Ragnar Kyartansson in collaboration with The Vinyl Factory which will feature some of the most innovative music coming out of Rekyavik and beyond. The first release is an album of "ritualistic ambient music" by Kristín Anna, the much celebrated ex-singer from múm, which is the result of a site-specific artistic residency in the Mohave Desert in California. Recorded in the wilderness the resulting 82.36 min of music is a pure reflection of Kristin's artistic ambition at its very rawest, emotional and unfettered. The accompanying sleeve artwork, shot on location by photographer Elísabet Davíðsdóttir, is equally stunning.

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Daniel Mcgeever

Spirals

12" | 2011 (Not On Label (Kenny Dixon Jr.))

Release: 2024 / EU – Original

Genre: Rock & Indie

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The new album of Daniel is -again- an exclusive collection of beautiful songs. A little more introspective than its debut (Cross the Water, 2017) and recorded in Edinburgh with the help of many friends, he sings better than ever, always with the spirit of Brian Wilson and Lennon (among others) around his mind.

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V.A.

Private Collection 1

18,99 €* 19,99 € -5%

Release: 2011

Genre: Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: Generic

Buddy Guy & Junior Wells With Bill Wyman, Pinetop Perkins, Terry Taylor & Dallas Taylor

Drinkin' TNT 'N' Smokin' Dynamite

LP | 1984 | US | Reissue (Blind Pig)

33,99 €*

The Dancing Devils Of Djibouti

Release: 1984 / US – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG+

Cover is close to NM. Vinyl seems unplayed. 1984 reissue.

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Groupe RTD

LP | 2020 | US | Original (Ostinato)

Yuri Landman Ensemble Feat. Jad Fair & Philippe Petit

Release: 2020 / US – Original

Genre: Organic Grooves

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The first ever international album from Djibouti and Ostinato's first studio recorded album. This ain't a compilation or reissue!

A stunning collision of Indian Bollywood, Jamaican dub and reggae, sleek horns inspired by Harlem’s jazz era, Somali funk, and the haunting and joyous synthesizer melodies of the Red Sea by Groupe RTD, one of East Africa’s best kept secrets.

Recorded in three days -- as per the strict limit set by Djibouti's national radio authorities -- with a state-of-the-art mobile recording studio replete with the very best audio interfaces and carefully positioned microphones around a less than soundproof room to achieve a vibrant, professional sound while maintaining the analog warmth of decades prior.

A portion of Bandcamp sales will be donated in equal parts to:

• The Djiboutian Embassy in Germany to purchase masks and other essential supplies for Djibouti.

• Amref Health Africa Covid-19 Fund (amref.org/donations/covid19/)

-------------

More than one news report refers to Djibouti as “a place where nothing ever happened” that “would not register significantly in the global consciousness except for its strategic location in East Africa."

These deeply ill-informed observations could not be further from the truth.

While the music of Somalia is widely celebrated, its neighbor, the Republic of Djibouti, formerly known as French Somaliland, is home to an equally deep reservoir of its own unique Somali music.

The small but culturally grand country on the mouth of Red Sea remains one of the few places in the world where music is still entirely the domain of the state. Since independence in 1977, one-party rule brought most music under its wing, with almost every band a national enterprise.

No foreign entities have been permitted to work with Djibouti’s rich roster of music — until now.

In 2016, Ostinato Records met with senior officials of Radiodiffusion-Télévision Djibouti (rtd), a.k.a. the national radio, to discuss a vision for lifting the shroud on Djiboutian music as the young country of less than a million people increasingly opens up to the world. Three years later, in 2019, Ostinato became the first label granted full authorization to access the national radio’s archives, one of the largest and best preserved in Africa, home to thousands of reels of Somali and Afar music.

But just next door, in RTD’s recording studio, a world class band entirely unknown outside the country, whose songs are a living embodiment of the archives, lay in waiting. Composed of sensational new, young talent backed by old masters, the band — Groupe RTD — is the national ceremony outfit. By day, they perform for presidential and national events and welcome foreign dignitaries.

By night, when no longer on official duty, Groupe RTD is clearly one of East Africa’s best kept secrets.

Helmed by Mohamed Abdi Alto, possibly the most unheralded saxophone virtuoso in all of Africa, a Djiboutian national treasure, and the horn maestro on track 8 of our Grammy-nominated Sweet As Broken Dates compilation, and mentored by Abdirazak Hagi Sufi, originally from Mogadishu and composer of track 9 on the same compilation, Groupe RTD is the finest expression of Djibouti’s cosmopolitan music style.

Situated on the Bab El Mandeb (Gate of Tears) strait, a historic corridor of global trade connecting the Suez Canal and the Red Sea with the Indian Ocean, Djibouti is blessed with influences from East Asia, the Arabian peninsula, India, and even more distant sounds.

Djiboutian music, particularly the addictive brand wielded by Groupe RTD, is, by their own admission, the juncture where Indian Bollywood vocal styles, offbeat licks of Jamaican dub and reggae, sleek horns inspired by Harlem’s jazz era, Somali funk and the haunting and joyous synthesizer melodies of the Red Sea collide.

Sax player Mohamed Abdi Alto — so talented that they added “Alto” to his legal name — honed his trade from a steady diet of John Coltrane and Charlie Parker. Abdirazak’s guitar style draws heavily from his love affair with Jamaican music. Young singers Asma Omar, who won a youth talent contest to join the band, and Hassan Omar Houssein are fluent in the classic hits of Bollywood and Indian music. Synth player Moussa Aden Ainan brings a distinctly dexterous Somali touch, reminiscent of the exceptional keys work of Somalia’s Iftin and Waaberi Band. Their sound is kept afloat by measured Tadjouran rhythms, courtesy of drummer Omar Farah Houssein and dumbek player Salem Mohamed Ahmed’s perfect interplay.

But recording this album was Ostinato’s biggest challenge yet. A web of bureaucracy and strict rules had to be navigated. Djibouti’s authorities gave us only three days to record the entire set, with no extension. Up for the task and eager to deliver, the musicians promptly tore down the “no smoking or chewing khat” sign in RTD’s recording studio and began a heated, three-day, khat-fueled devilish feast of music amid a smokey haze, unleashing the very reason the band was founded: to strut Djibouti’s majestic music on the world stage when the opportunity arrived.

The recording equipment in the radio had not been upgraded in decades and technical neglect meant we had to devise a novel approach to ensure the highest quality recording possible. With the help of Djibouti’s head of customs, we flew in a state-of-the-art mobile recording studio replete with the very best audio interfaces and carefully positioned microphones around a less than soundproof room to achieve a vibrant, professional sound while maintaining the analog warmth of decades prior.

This game-changing setup, a far cry from the old days of field recordings, is Ostinato’s vision for the future: to capture the contemporary sounds of Africa and the world flawlessly, in any environment or circumstance.

We proudly present Ostinato’s premier studio recorded album and the first ever international album to emerge from Djibouti — Groupe RTD: The Dancing Devils of Djibouti.

This album, if listened to at an inappropriate volume, should firmly register Djibouti in the global consciousness, shifting its image from a strategic outpost of geopolitical games to cultural powerhouse.

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That's Right, Go Cats

LP | 2012 | EU | Reissue (Siluh)

16,99 €*