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CD
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AR 171CD
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A journey -- that's how musicians like to describe working on a new album. In the case of krajenski.'s new LP B-3 Vol. 2 it really was a journey. Many ideas were born and discarded, several sessions were played for inspiration, plenty of songs were produced in advance -- the journey is the journey. Then the decisive missing link: krajenski. was able to find the two musicians and producers Dirk Berger (Peter Fox, Seed, Marteria) and Samon Kawamura (Joy Denalane, Max Herre, Till Brönner) for this project. And suddenly the production took a completely different magical turn -- away from a "band album" towards a musical experiment. These three musicians locked themselves up in a studio for two days, let the inspiration flow and recorded everything that happened spontaneously and unplanned. The nucleus can be a small, melodic phrase, a beat or simply a sound from the Hammond organ. The tracks, some of which last ten minutes, were then reduced to their essence and refined with great care and diligence and finally produced -- without changing the original DNA of the material. As there were basically no musical guidelines, the songs have a wide range of styles -- from groovy-funky to atmospheric to boogaloo, bossa nova and Latin. The common thread, however, is always the wonderfully diverse sound of the Hammond organ. But B-3 Vol.2 is not just an instrumental album: Nené Vàsquez from Mo' Horizons recites a hymn to the most legendary of all Hammond organs and MOORE, a rising star from Italy, enhances two further tracks with his voice.
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B 153LP
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Warehouse find, last copies. "At The Bunkhouse Coffeehouse was English-born folk singer David Wiffen's first solo album, recorded live in 1965 at the Bunkhouse Coffeehouse in Vancouver, Canada. Throughout the 1960s Wiffen played in numerous bands on the Canadian folk scene, but in 1971 tasted mainstream fame when his self-titled studio debut, David Wiffen, was released. The album included two hits, 'More Often Than Not' (which went to the top of the charts) and 'Driving Wheel', famously covered by Tom Rush, the Byrds, Cowboy Junkies, etc. For his next album, 1973's Coast To Coast Fever, Wiffen famously collaborated with Bruce Cockburn, who both produced and played on the album." 140 gram vinyl. Clear yellow vinyl in transparent PVC sleeve with blue lettering. Limited edition 500 copies.
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BT 126LP
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Carrying on a string of stunning archival releases from major figures of Indian classical tradition (including releases from members of the Dagar family and Amelia Cuni), Black Truffle presents an unheard recording from tabla master Kamalesh Maitra (1924-2005). For over fifty years, Maitra devoted himself to the rare tabla tarang, a set of between ten and sixteen hand drums tuned to the notes of the raga to be performed. While the tabla tarang has its origins in the late 19th century, Maitra was the first to recognize its potential as a solo concert instrument, using the set of tuned drums to perform full-length raags. Seated behind a semi-circular array of drums, Maitra produced stunning waves of melodic improvisation enlivened with the rhythmic invention of a master percussionist. Across his career, Maitra performed in ensembles led by Ravi Shankar, collaborated with George Harrison, and led his own East-West fusion group, the Ragatala Ensemble. However, it is in the solo setting that his remarkable artistry and the otherworldly timbral qualities of the tabla tarang are most strikingly on display. Recorded during the same 1985 Berlin sessions that produced Maitra's self-released solo LP Tabla Tarang: Ragas on Drums, on Raag Kirwani on Tabla Tarang listeners are treated to Maitra stretching out for over forty minutes on the late-night Raag Kirwani, accompanied by Laura Patchen on tabla and Mila Morgenstern and Marina Kitsos on tanpura. The performance begins with the traditional free-floating exposition section, where Maitra's spacious melodic improvisation at times almost resembles a plucked string instrument (like the sarod, which Maitra also played). For the listener unaccustomed to the tabla tarang, the sound of these microtonally inflected melodic patterns played on drums has a magic quality. As Maitra begins to imply the rhythmic cycles more strongly, Patchen joins on tabla, beginning half an hour of rhythmic-melodic exploration, where virtuosity sits side by side with delicacy and meditative attention. Accompanied by beautiful archival images and extensive liner notes from Laura Patchen, for many listeners Raag Kirwani on Tabla Tarang will be the perfect introduction to the magical world of Kamalesh Maitra, released to coincide with the hundredth anniversary of the master musician's birth.
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BBI 043LP
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Can Con, the debut album from the enigmatic Canadian collective The Psych Fi's, comes via Bobo Integral. The group is an offshoot of Canadian singer-songwriter Jerry Leger's rock 'n' roll side project, The Del Fi's. Just as The Psych Fi's describe themselves as "spontaneous psychedelic rock," The Del Fi's recorded two albums characterized by spontaneity, spirit, and trust. This time Leger brings his songs to a revolving door of musicians and singers (18 members, including Jerry, in the case of Can Con). Most of the performers have not heard these compositions before recording them. They have no chance to second-guess; they must be fearless and jump in with both feet. Recorded live in a haunted Toronto studio on a cold January 2024 day by fellow "Fi" Aaron Goldstein (Espanola, Kathleen Edwards, Daniel Romano), Can Con captures a moment in time (which is relative). Leger acts as a sort of loose conductor, allowing certain soloists to emerge from the musical collage. Listeners will get lost in "Summer's Right Around the Corner", which also features Don Stevenson (founding member of the legendary '60s psychedelic rock band Moby Grape) on backing vocals, alongside Kate Boothman (Katie Cruel) and Angie Hilts. This sound has evolved out of Del Fi performances, specifically when musicians Nichol Robertson, Jason Kenemy, Dave Clark (The Rheostatics, Woodshed Orchestra), and Michael Eckert were involved. Leger and these "Fi's" eagerly ventured down less-traveled roads to destinations unknown. Other Psych Fi's include Ken Yoshioka, Matthew Cooke, Les Armstrong, Chris Bennett, Shawn Clarke, Katie Methot, and members of Jerry Leger & The Situation (Dan Mock, Kyle Sullivan, Alan Zemaitis).
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BB 026LP
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2024 restock; LP version. Formed in Germany in 1971 when Hans-Joachim Roedelius and Dieter Moebius left Conrad Schnitzler's group Kluster, Cluster can be counted among the most important protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, while to others they are firmly embedded in the Krautrock universe. There is some truth in all of these notions. Although Cluster and "rock music" are seldom mentioned in the same breath, their early works in particular are marked by a lack of structure and futuristic, cold soundscapes typical of the Krautrock variation known as "kosmische." Recorded and released in 1979, Grosses Wasser was Cluster's fifth album as a duo. The cover art is the first indication of minimalist tendencies, reflecting the concentration, transparency and maturity of the content, almost like chamber music. While nothing is left to chance, each of the six Cluster pieces effervesces with a certain joie de vivre, providing ample scope for artistic spontaneity. Grosses Wasser was recorded at Paragon Studio, which had been set up by Peter Baumann (Tangerine Dream) not long before. Baumann had set aside plenty of time for the recording sessions, enabling Cluster to experiment with sequencers for the first time and explore some of the most up-to-date (for that period) studio gadgets on offer. Moebius and Roedelius made intelligent, measured use of the latest paraphernalia without being overwhelmed by it. New technology was deployed with an exactness designed to refine their sophisticated and fully-developed musical ideas. More than ever before in Cluster's history, acoustic elements can be heard, with the dulcet tones of Paragon's Steinway grand piano taking center stage. Electric bass, guitar, percussion and voice are all embraced. Consequently, Grosses Wasser is anything but a solely electronic album. It is, however, one of those rare LPs whose musical substance transcends its age, never sounding outdated. Grosses Wasser is the first in a series of 23 albums to be reissued by Bureau B, comprehensively documenting the superb electronic/ambient/Krautrock history of the Hamburg label, Sky Records, from whom the material has been licensed. Cluster (in their various guises) will feature heavily in the series (solo albums as well as collaborations with Brian Eno, Conny Plank, Gerd Beerbohm, Mani Neumeier, etc.). Printed inner sleeve includes liner notes by Asmus Tietchens.
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BB 469CD
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The enigmatic and expressive Chikiss breaks a three-year silence with Between Time and Laziness, a brand-new LP of dramatic and dreamlike synthpop perfectly suited to Hamburg's unfaltering Bureau B. Written in St. Petersburg, Berlin, and Athens, and co-produced by Finnish multi-instrumentalist Jaakko Eino Kalevi, the album renders the existential, psychological, and philosophical in song form. Exploring motivation and self-doubt, the long shadow of the Soviet Union, and collective empathy with a cinematic flair, Chikiss weighs darkness and light, landing on the side of hope in her most considered and polished vocal album to date. Over the past two decades, Galina Ozeran, AKA Chikiss, has followed her own desire line through post-punk, minimal wave, experimental electronica, and live improvisation to build an impressive catalogue of emotive and innovative music. Taking an intuitive approach to her craft, Galina acts as a conduit for her own experiences and the turbulence of the world around her. Between Time and Laziness represents a rebirth. Though Galina makes a conscious effort to exclude any musical influences, the album is haunted by a history of electronic expression, and listeners will hear distant echoes of Soviet-era film scores, Lynchian disquiet, the Sheffield of both the late seventies and mid-nineties, and the kosmische most closely associated with Bureau B. Chikiss sets a hypnagogic tone in the intro, presenting poet Sergey Danilov's discussion of laziness and time as a broadcast from another world, crackling with radio static interference. The artist pays homage to Mikael Tariverdiev's film scores and the existential poetry of Boris Podiko with the seductive noir fantasy of "DKN," before shifting into the moody synth-psych of "Nevesta," a slow-grooving, sci-fi trip with hints of prog and post-rock, which drifts further into deep space via a dubby reprise on the title track. Galina's return as a solo artist, and to song form, is rich with groove, meaning, and melody, marrying pop perfection with emotional depth.
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BB 469LP
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LP version. The enigmatic and expressive Chikiss breaks a three-year silence with Between Time and Laziness, a brand-new LP of dramatic and dreamlike synthpop perfectly suited to Hamburg's unfaltering Bureau B. Written in St. Petersburg, Berlin, and Athens, and co-produced by Finnish multi-instrumentalist Jaakko Eino Kalevi, the album renders the existential, psychological, and philosophical in song form. Exploring motivation and self-doubt, the long shadow of the Soviet Union, and collective empathy with a cinematic flair, Chikiss weighs darkness and light, landing on the side of hope in her most considered and polished vocal album to date. Over the past two decades, Galina Ozeran, AKA Chikiss, has followed her own desire line through post-punk, minimal wave, experimental electronica, and live improvisation to build an impressive catalogue of emotive and innovative music. Taking an intuitive approach to her craft, Galina acts as a conduit for her own experiences and the turbulence of the world around her. Between Time and Laziness represents a rebirth. Though Galina makes a conscious effort to exclude any musical influences, the album is haunted by a history of electronic expression, and listeners will hear distant echoes of Soviet-era film scores, Lynchian disquiet, the Sheffield of both the late seventies and mid-nineties, and the kosmische most closely associated with Bureau B. Chikiss sets a hypnagogic tone in the intro, presenting poet Sergey Danilov's discussion of laziness and time as a broadcast from another world, crackling with radio static interference. The artist pays homage to Mikael Tariverdiev's film scores and the existential poetry of Boris Podiko with the seductive noir fantasy of "DKN," before shifting into the moody synth-psych of "Nevesta," a slow-grooving, sci-fi trip with hints of prog and post-rock, which drifts further into deep space via a dubby reprise on the title track. Galina's return as a solo artist, and to song form, is rich with groove, meaning, and melody, marrying pop perfection with emotional depth.
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JACK 044CV-LP
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Limited restock; orange color vinyl version. The Stooges were a no brakes act who careered inexorably towards annihilation. They finally hit the wall in 1974, after the most horrible blow out imaginable at the Michigan Palace, where Iggy practically begged to be crucified by an angry mob. But remember this kids, Iggy hated himself so much he wanted to live.
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DMOO 080LP
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In a long line of rock and roll outsiders hailing from Ohio, Screamin' Jay Hawkins may very well be the first. Born and raised in Cleveland, Hawkins' 1956 single "I Put A Spell On You" is one of the most instantly recognizable songs in the history of R&B and rock. Baptize Me In Wine compiles that classic track along with 18 other specimens of pure, unhinged, guttural R&B madness into what is sure to be considered the definitive Hawkins collection on the vinyl market. Most tracks were originally released as singles on the Okeh label except for the last four, which are outtakes from the first album. Before Devo, before Pere Ubu, before Guided By Voices, there was Screamin' Jay. There really must be something in the water out there.
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DMOO 081LP
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Clear color vinyl. Recorded September 20, 1963, at the Monterey Jazz Festival, this set featured Miles Davis's new quintet, with George Coleman, Herbie Hancock, Ron Carter, and Tony Williams. This group, minus Coleman and with the addition of Wayne Shorter, would soon go on to make some of the most highly regarded jazz LPs of all time. This smoking set features a wonderful rendition of "So What," among others. Essential live jazz classic.
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ESPDISK 5079CD
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From Howard Mandel's liner notes: "Reut Regev is a boundary-crossing composer-trombonist born in Israel, living and active in New York City and its metroplex since 1998, noted for four previous albums with drummer and coleader Igal Foni (her husband), three featuring the quartet R*time, the last two co-starring electric guitarist Jean-Paul Bourelly, all loaded with spiky, funky, free-wheeling originals, performed with a bang. Meeting Hammond after a concert in Austria, Regev and Foni were delighted to discover the man whose oeuvre they had long admired was equally enamored of their sound and attitude. Correspondence led to It's Now: R*time Plays Doug Hammond, a unique collaboration setting the eminence's mature reflections on life, love, and music with the energy to render them timeless. Doug Hammond is a veteran American composer, drummer, percussionist, bandleader, singer-songwriter, essayist, and educator who is not nearly as well known in the U.S. as his music warrants. That may be largely because he's been based in Linz, Austria since 1989 as a professor at Bruckner University, making only periodic visits back to his native Detroit. Hammond's sixty-year career, begun with bluesman Earl Hooker and the R&B duo Sam & Dave, comprises more than a dozen albums under his own leadership starting with Reflections in the Sea of Nurnen from 1975, on which he played melodica and ARP synthesizer as well as drumming, crooning, and directing an octet. Independence, originality, fundamental tunefulness, and a spirit of inquiry characterize those Reflections as well as his subsequent releases, which include an anthology spotlighting hometown colleagues and first recordings of singer Angela Bofill (Doug Hammond Special), Steve Coleman's nascent M-Base (Spaces), through-compositions for flute, piano, and cello (Pictures and Hues), trios with trumpet and bass (May Be Blue and Singing Smiles), an ambitious, eponymous (Tentette), live solo 'griot' shows (Be You). He's had professional associations with Smokey Robinson, Sonny Rollins, and Charles Mingus (who recorded 'Moves,' heard here with lyrics, as an album title track), among others. Musicians abroad regard him as a beacon.
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HPS 317CD
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Three years after appearing on Doom Sessions Vol 5 split, High Reeper are back with their most ambitious album yet, Renewed By Death. A true heavy metal assault of eight tracks that take you on a journey to the darkest depths and leave you there to rot. Featuring monolithic riffs that pummel you from the opening of the album to the close, guitar solos reminiscent of George Lynch and Dave Navarro, and powerful vocals that deliver a knockout blow. This album showcases the band's desire to keep evolving and exploring new sounds and ideas. Renewed By Death was produced, recorded, mixed and mastered by Shane Trimble at the band's brand new studio Sletner Sound, in Wilmington Delaware with Justin Di Pinto also engineering. The cover was done by Solomacello and photos of the band were done by Drew Wiedemann. Also available on black vinyl (HPS 317LP), yellow color vinyl (HPS 317LTD-LP), and orange/pink/purple color vinyl (HPS 317ULTRA-LP).
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SUBURBIA 045LP
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Originally released in 1996, Calgary, Alberta punk rock pioneers Chixdiggit's debut album finally reissued in its original format. Scattered with hits like "Hemp Hemp Hurray" or "Henry Rollins Is No Fun", this is pure '90s pop-punk for the light-hearted. Exclusively licensed by the indie rock label "par excellence", Sub Pop Records.
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SUBURBIA 046LP
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Originally released on Toxic Shock records in 1989, this is the debut album of junk rockers Sloppy Seconds. It makes you want to jump around, dance, party and roll through town with the windows down and the volume up to eleven. Shirtless, sweaty and unleashed, not for the faint of heart. The junk-rock classic is back! Pressed on green vinyl.
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ANGELICA 057CD
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Francesco Serra (Cagliari, 1980) is a self-taught guitarist living and working in Bologna. His research focuses on identifying performance practices aimed at extending the timbre qualities of the guitar and emphasizing the evocative potential of sound. Throughout his musical journey, particularly in the three albums released between 2008 and 2019 under his solo project Trees of Mint (Micro Meadow, Trees of Mint, and NW, released by Here I Stay and Trovarobato Parade), he has progressively deconstructed the song form through sound experimentation, making the physical phenomenon of sound and its interactions with the performance space the focus of his exploration. His previous album, Guest Room (i dischi di angelica, 2022), born of a residency project promoted by AngelicA/Centro di Ricerca Musicale, was actually structured as a form of dialogue between the signals generated by the minimal electro acoustic setup prepared by the musician (electric guitar, two amplifiers, three snare drums, and loop machine) and the physical and emotional responses of the unique sound architecture of Teatro San Leonardo (a former three-nave church) that hosted him for a month during the pandemic. Personal, his new release for the Angelica label, continues the musician's "reductionist" and abstract approach with an even greater essential rigor. Here the initial setup is acoustic: a sound flow beginning with sparse, exploratory phrases of acoustic guitar that, after a temporary completeness found in movement three, starts falling apart in the encounter with the resonances of a drum snare in movement four, eventually dissolving into a completely different "soundscape" (Sardinia, Serra's birthplace): a long field recording of distant night echoes, on which the guitar returns only at the end, now extended in the drone of the e-bow.
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ANGELICA 058CD
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Antonio Della Marina is an electronic music artist and composer who has been working for over twenty years almost exclusively with sine waves, focusing his research on the exploration of the physical properties of sound and on tuning systems derived from the laws of natural harmonics. Active in a liminal space between music and visual arts, his compositions are conceived as actual sound sculptures, for which he uses mathematical abstractions and self-built generators. For several years he has been collaborating with Alessandra Zucchi, an architect and multimedia artist who predominantly works on the physical and psychological perception of space. Drawing inspiration both from La Monte Young and Marian Zazeela's Dream House, as much as from visual artists and designers such as James Turrell, Dan Flavin, Verner Panton, and other visionaries, Della Marina and Zucchi favor the creation of spaces where the audience can enter to listen and experience a journey through sound in an all-embracing environment. Their work has been showcased in galleries and at international festivals (Electro Media Works in Athens, Logos Foundation in Gand, Experimental Intermedia in New York, etc.) and from 2011 they manage Spazioersetti in Udine, Italy, a gallery/workshop permanently hosting one of their sound and light installations. Given the hybrid and expansive nature of his production, recording media have rarely been explored by Della Marina, who in fact had only one album published under his own name so far: Fades, released by i dischi di angelica in 2006, two years after his eponymous concert hosted by AngelicA Festival. This new CD Sanje also originates from a multimedia performance: "nella notte, al cinema: The Dream" was a midnight concert for sounds and video projections by Alessandra Zucchi, which took place in July 2021 at Stazione di Topolò/Postaja Topolove, a small festival which ran for a few years in a tiny village of 20 inhabitants on the Italian-Slovenian border of Benecija.
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KSLP 022LP
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2024 repress. Pat Kelly possesses one of the great soul voices to come out of Jamaica. Influenced by the fantastic American singer Sam Cooke, Pat Kelly could ride over any tune that came his way and with his outstanding falsetto voice, always added a little magic to each recording. Pat Kelly (born 1949, Kingston, Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of The Techniques, his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin. Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune "You'll Want Me Back" re-titled "You Don't Care," which held the #1 position in Jamaica for six weeks. Their next hit was another Curtis Mayfield cover of The Impressions' "Minstrel and Queen" again re-titled for the Jamaican market as "Queen Minstrel." Further hits followed with such cuts as "My Girl" and "Love is Not a Gamble" before Kelly, in 1968, decided to become a solo artist and hooked up with producer Bunny Lee. Bunny decided not to break the tried-and-tested formula and put Kelly on another Curtis Mayfield track, "Little Boy Blue," a style that suited his voice so well. This paid dividends and was followed with "How Long (Will I Love You)," which gave them the biggest-selling Jamaican hit of 1969. This track broke the mold in that often-used tradition where Jamaican tracks are sweetened for the foreign markets by adding string arrangements. This was reversed on this occasion, as the tune had already been released in the UK and dubbed over with strings, so it came back to the Jamaican shores and was released there. Another one of Pat Kelly's attributes was his engineering skills. Having already spent a year in America studying electronics, he put this to good use and became little-known to many as one of the chief engineers at Channel One Studios in the late 1970s and early 1980s. For this release, Kingston Sounds have focused on the fabulous singing skills of Mr. Kelly and have compiled some of his finest recording moments for your listening pleasure. The aforementioned timeless cuts of "How Long (Will I Love You)" and "Little Boy Blue" are set alongside some other killer lost classics, such as opener "It's a Good Day," "Somebody's Baby," "Give Love a Try," and "I'm in the Mood for Love." His version of "Twelfth of Never" in a rocksteady style sounds as good now as it did then. The label has also included his interpretation of the James Carr soul-hit "Dark End of the Street" which has Pat Kelly working over the same rhythm as "How Long," but giving it a different slant with these fresh lyrics. A fine set from one of the island's finest.
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KSLP 079LP
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2024 repress; LP version. Alton Ellis is one the finest soulful voices to come out of Jamaica. As well as writing hit singles himself, he could make a cover version known as a foreign tune sound like a Jamaican reggae tune with the greatest of ease. As the more upbeat rhythms of the earlier "ska" period began to slow down around the turn of 1966 some say due to the extreme heatwave that hit the island of Jamaica that year, slower rhythms suited the people to groove to at the various sound systems and dances. This also allowed the singers to express themselves more and allow the song to shrine through. No one did this better than Alton Ellis. Alton Ellis (b.1944, Kingston, Jamaica) started off singing at an early stage as part of a duo with singer Eddie Perkins and recorded for both Studio One and Randy's as Alton and Eddy and had a massive hit with the song "Muriel". The singing pair went their separate ways with Alton going solo with Studio One and being a much in demand voice also recorded with Duke Reid's Treasure Isle Studio as Alton Ellis and The Flames. As stated earlier, as the beat slowed down the top singers shined through, and Alton Ellis reigned supreme. One of his tunes featured on this set, "Get Ready (Do The Rocksteady)", even gave this period in reggae's history its name "rocksteady". It's this fantastic period in rocksteady, 1966 to 1968, that Kingston Sounds feature on this release. This set carries all the big hits "Ain't That Loving You", "Girl I've Got A Date", "Cry Tuff", alongside many more classics. All the cut at Treasure Isle songs that really defined the era. So sit back and enjoy the Rocksteady sound at its finest. Enjoy the set. Features Phillis Dillion.
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MIND 882LP
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Embark on a sonic time-capsule journey through Pink Floyd's pre-Ummagumma era with this unique compilation. Explore rare studio sessions and electrifying live performances, each a shimmering fragment of the band's metamorphosis in 1968-1969.
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PAMPA 042EP
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DJ Koze, Arnim Teutoburg-Weiß aka arnim, and the Düsseldorf Düsterboys enchant with a touching homage to Holger Biege -- one of the legendary architects of East German soul. DJ Koze once again proves his unparalleled sense for the extraordinary. Arnim Teutoburg-Weiß aka arnim (frontman of the iconic Beatsteaks) opens listeners hearts with his heavenly radiant voice. With full sincerity -- pure and straightforward -- he sings the love declaration of a lifetime. Floating on a cloud, the Düsseldorf Düsterboys sprinkle lyrical stardust with their brilliant harmonies -- fluffy and bizarre at the same time. It feels as if this cosmic quartet boarded a time machine and returned to the present to plant the essence of days gone by into today's matrix. "Wie schön du bist" is not just a tribute to Holger Biege's work, but a loving bow to his entire musical legacy. It is an anthem to the timeless magic of music and the enduring power of love that connects all listeners. Koze, arnim and the Düsterboys have created something truly unique here: a gem, a time travel, and a love letter all in one. Music can indeed be something magical. "Amor," a dandelion of a song, was created in collaboration with Brazilian singer César Lacerda. It is an acoustic love letter in its purest form-warm, crackling, and everlasting.
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PROFAN 050LP
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Studio 1 and Freiland are the classics of Wolfgang Voigt's formally minimalist 1990s concept techno. Disc one is a continuous mix of Studio 1 classics and disc two is a continuous mix of the greatest Freiland hits! Don´t DJ!
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PROFAN 051LP
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33 abstract, electronic arpeggiator sound frescoes from 1995. For the first and last time on vinyl. Because de-interpretation times timelessness equals re-enchantment.
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RRS 059SPL-LP
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Reissue, originally released in 1982. Absolutely essential UK OI! classic, originally released on the band's own label. Limited reissue on red/white splatter vinyl limited to 500 copies only, with double-sided lyrics insert included. "An unequivocal title gives way to an unrelenting sound! The Last Resort's debut album might have kicked off with a wall of noise lifted straight from Black Sabbath's 'War Pigs' ('Freedom'), but skill Skinhead Anthems does exactly what it says on the tin, ripping a dozen self-composed monsters out of the band's set list and nailing them to the studio with brutal disdain for any of the niceties. Certainly, the band's influences are loud on their sleeves -- Sham and the Cockney Rejects hang heavy over the proceedings. But Last Resort's refusal to lose their own instincts within the trappings of sociology and 'relevance' conquer all; 'Skinheads in Stapress,' 'Rebels with a Cause,' and 'Resort Boot Boys' speak to the very heart of the skinhead movement, and if it all sounds a little dated today, then that's your look-out." --AllMusic
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RRS 203CV-LP
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Reissue, originally released in 2003. The first punk band from Peterborough, northwest of Cambridge, the Now spun off from the Faderz, with singer Mike McGuire, guitarist Steve Rools, drummer Joe MacColl, and bassist Paul Wicks, later replaced by Faz Farrow. Debut 45 Development Corporation charted, but the band split after Into The 80's; in 2002, German label Last Year's Youth re-released the 45s, which led to Here Come The Now, where vintage songs share space with the re-formed band's new takes of earlier work, a best-of-both-worlds approach that puts everything together in one place. A must for all fans of the Now and lovers of intelligent British punk.
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LP
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SOW 005LP
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2024 repress. Sowing Records present a reissue of Dorothy Ashby's debut album, The Jazz Harpist, originally released in 1957 by the Regent label. Recognized as the woman who gave the harp a jazz voice, here, Ashby is at the head of a highly distinctive combo featuring Frank Wess on flute, Eddie Jones or Wendell Marshall on bass and master Ed Thigpen on drums. The Jazz Harpist is an unprecedented mix of evocative classic sounds and jazz soul, awarded by AllMusic as her first and best album, period! Clear vinyl.
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