Tape Sale 152 Items

Original Tape from the crates of Kutmasta Kurt

8-Track available on Pink, Yellow, Blue or White (Randomly selected). Due to limited capacity the full track-list is not included on the 8-Track Definitive collection of Nancy's rare singles, demos and previously unreleased cuts. Includes 3 previously unreleased tracks, plus 3 tracks making their vinyl debut. Deep booklet includes new Q&As with Nancy & Don Randi (The Wrecking Crew) - both conducted by Grammy®-nominated co-producer Hunter Lea Plus never-before-seen photos from Nancy Sinatra’s personal archive. Features audio freshly remastered from the original analog tapes by Grammy®-nominated engineer John Baldwin. Vinyl pressed at RTI. Double LP housed in a gatefold jacket with 24-page book Light in the Attic continues to celebrate the influential career of singer, actress, activist, and icon *Nancy Sinatra* with a captivating new collection, Keep Walkin’: Singles, Demos & Rarities 1965-1978. Exploring the lesser-known gems from Sinatra’s rich catalog through 25 B-sides, rare singles, covers, demos, and previously-unreleased recordings, Keep Walkin’ was remastered by the *Grammy®-nominated engineer John Baldwin* and available in a variety of formats, including vinyl, CD, 8-track, and digital. The 2LP set, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and accompanied by a 24-page booklet featuring an array of photos from the artist’s personal collection, as well as a new in-depth Q&A with Sinatra, conducted by the reissue’s Grammy®-nominated co-producer, Hunter Lea. The booklet also contains a fascinating interview with keyboardist Don Randi (The Wrecking Crew), who recently spoke to Lea about his hit-filled career and his 50 years of work with Nancy. Keep Walkin’: Singles, Demos & Rarities 1965-1978 serves as a companion to the widely-acclaimed 2021 career-spanning retrospective, Start Walkin’ 1965-1976, and marks the latest release in LITA’s ongoing Nancy Sinatra Archival Series, a partnership with the legendary artist, which honors her musical legacy through lovingly curated reissues (including her 1966 debut, Boots and the 1968 classic, Nancy & Lee), limited-edition merch, and other special releases. In 1965, 25-year-old Nancy Sinatra scored her first No.1 hit with “These Boots are Made for Walkin’,” a bold anthem for female empowerment. Brazen, sassy, and utterly infectious, it was a reintroduction of sorts for the eldest daughter of Frank Sinatra, who had been struggling to find a spotlight of her own amid a changing musical landscape. Suddenly, audiences who had initially brushed off Sinatra as too demure or out-of-touch were paying attention. Written and produced by Oklahoma-born songsmith Lee Hazlewood (with swaggering instrumentals, courtesy of Billy Strange and The Wrecking Crew), the song launched the singer’s career, as well as one of music’s most unlikely, yet compelling, creative partnerships. Over the next decade, Sinatra continued to notch multiple hits on both sides of the Atlantic, including “Sugar Town,” “How Does That Grab You, Darlin?,” and a haunting rendition of the Sonny Bono-penned “Bang Bang (My Baby Shot Me Down).” The singer also paired up with Hazlewood for a series of popular duets (“Summer Wine,” “Jackson,”* and *“Some Velvet Morning”) and collaborative albums. In between best-selling LPs like Boots (1966), How Does That Grab You (1966), and Nancy & Lee (1968), Sinatra performed the theme song to the 1967 James Bond film, You Only Live Twice, and collaborated with her father on the global chart-topper, “Somethin’ Stupid.” While these career landmarks are well-documented in the annals of pop culture history, however, much of Sinatra’s catalog remains sorely overlooked. As Keep Walkin’ co-producer Hunter Lea explains, “With the changing taste of the record-buying public in the late 1960s and the counterculture taking over, artists like Nancy Sinatra weren’t in the mainstream as they once were.” Despite that fact, “[Sinatra] kept working, recording, and performing at a voracious pace.” Lea continues, “This compilation is a celebration of some of the many glorious recordings that may have been overlooked, forgotten, or never even released at the time. The obscurity of some of these recordings doesn’t mask the genius, brilliance, and effort that went into them; on the contrary, it’s incredible to learn that some of the lost gems are just as rich as the national treasures.” Among the highlights is the spritely opener “The City Never Sleeps at Night,” which served as the B-Side to “These Boots Were Made for Walkin’.” Overshadowed by the colossal success of its A-side, it’s no surprise that the cinematic tune never had its proper due. Yet, Lea reveals, Hazlewood initially intended to make it the focus single. Another long-lost B-side is “The Last of the Secret Agents?,” which was paired with the Top 10 hit, “How Does That Grab You, Darlin’?” The playful song, written by Hazlewood, served as the theme to the 1966 comedy of the same name, in which Sinatra co-starred alongside Marty Allen and Steve Rossi. Keep Walkin’ also features several choice A-sides that were never included on albums and were overlooked for one reason or another. Among them is 1966’s “In Our Time,” a rebellious anthem for ‘60s youth, which references drug culture and women’s liberation, among other topics. Speaking to the Hazlewood-penned track, Sinatra recalls, “That was a fun song. Lee was starting to do his ‘anti’ stuff. He was cynical and it showed in his writing at some point.” But, despite the themes of the song, Nancy laments that she was never embraced by the counterculture. “[drugs] knocked me out of the picture completely. I was so far removed from the hip people in those days. I think they probably made fun of my stuff.” Another stylistic departure for both artists is “Love Eyes,” a bluesy, soulful single from 1966. The song, Nancy shares, is “one of my favorites. I think what helped Lee’s writing at that point was the bigger sound.… I really love it. I think it holds up to this day.” She adds that her dreamy vocal performance was inspired by early female R&B stars like Ruth Brown and LaVern Baker. The collection also features several outstanding covers, including a previously-unreleased rendition of the Barry Mann/Cynthia Weil classic, “I Just Can’t Help Believing” (a hit for both B.J. Thomas and Elvis Presley). This 1978 recording, reimagined as a duet, marked one of Sinatra’s brief reunions with Hazlewood, following his abrupt move to Sweden not long after 1972’s Nancy & Lee Again. Another choice track finds Nancy interpreting Neil Diamond’s “Glory Road.” Released as a single in 1971, it features one of the singer’s most cherished vocal performances. “After I worked on my voice and improved as a performer and as a singer, I embraced Neil Diamond. Anything I did by Neil Diamond, to me, is my best work.” Nancy also looks back fondly on her moving rendition of Bill Withers’ “Ain’t No Sunshine," released in 1973 as the B-side to “Sugar Me.” The recording (which features particularly lush orchestral arrangements by Billy Strange) reunited Nancy with another close collaborator, Jimmy Bowen, who produced the singer in the early ‘60s and later introduced her to Hazlewood. “I love Jimmy,” she declares. “The records we did early on…had a depth to them that I appreciated. He heard me and saw me in a different light; he saw me as a much more serious performer, which I appreciated.” Listeners will also be delighted to hear a pair of previously-unreleased demos: “Something Pretty” (the 1968 country hit, made famous by Wynn Stewart) and the theme to the 1965 Richard Rogers/Stephen Sondheim musical, Do I Hear a Waltz?, both of which were intended for a self-described “disco” record. Despite the two catchy takes featured on Keep Walkin’, Sinatra calls the shelved album “A disaster. I called it the disco fiasco!” Offering additional insight into Sinatra’s career is music director, songwriter, and keyboardist, Don Randi. A member of the hallowed *Wrecking Crew* collective, Randi was one of the most prolific session musicians of the ‘60s and ‘70s with hundreds of credits to his name, including The Beach Boys’ “Good Vibrations,” Linda Ronstadt’s “Different Drum,” and “These Boots are Made For Walkin’” – his first recording with Sinatra. For the next fifty years, he would be a fixture at her sessions and live shows. He also appears on nearly every track in this collection. Speaking to Lea, Randi delves deep into his time with Sinatra, with a palpable admiration for the singer. *“She was easy to work with,”* he shares. “She was always wonderful to musicians; nobody even comes close.” The keyboardist, who met Sinatra through Hazlewood, also recalls the magic of that partnership. “I always liked working with Nancy & Lee. They had something very special that they could get out of each other. It was a good team.” He continues, “Sinatra stood up for herself [around Lee]…He could be so cantankerous…but that’s Lee…. [Nancy] saw through it. She was so lovely and helpful to him a number of times when he really needed someone to talk to.” That said, Randi also appreciates the power of Sinatra’s solo performances. “I never thought she really needed [Hazlewood},”* he reveals. “I thought her shows were just as well with everybody else; they were excellent.” After stepping back from the industry in the ‘70s to focus on her young family, Sinatra returned to the spotlight in the mid-90s, releasing a string of new albums, including the star-studded Nancy Sinatra, which paired the artist with some of her biggest fans, including Morrissey, U2, Calexico, and Sonic Youth. Since then, Nancy’s legacy has only continued to grow. In more recent years, her impact has been recognized by the likes of Pitchfork, NPR, and Rolling Stone, while in 2020, “Boots” was inducted into the Grammy® Hall of Fame*. Today, Sinatra remains a force in the industry, as new generations discover her influential catalog, which boasts nearly 20 studio albums and dozens of charting singles.

M.A.V and Pete Twist connect to bring you “Long Story Short “ with guest spots from Eto, Eddie Kaine, Estee Nack , Ambassador Rick and Jay Royale

100 Hand Numbered Tapes on Clear Night Blue Shells!

On his crazy solo debut album, Evol’s Roc hails Eurodance x happy hardcore x acid trance as mutant folk music with a 2 hour collection of live recordings, oddities and installation works directly inspired by the contemporary Catalan dance sound of Mákina - a massive tip if yr into Pastis & Buenri, Nana Makina, The New Monkey, Acid in the Style of Peter Beardsley…

Marking 25 years since Evol’s first record, ‘Principio’ (1999) for Mego, the prolific project’s main man, Roc Jiménez de Cisneros, deploys a distinctly personalised conception of Mákina from his Barcelona IP. After 10 years of adding to its special folder, Roc yields 28 psychoactive cuts marinaded in synthetic bath salts and sweat to wickedly skew the sound’s conventions - virulent 303 arpeggios, see-sawing melodies, and in-your-face beats - with the sort of playfully singular bloody-mindedness that has come to define his Evol works with Stephen Sharp and others. However, the sound here is distinguished by Roc’s personalised inflections and warped nuance that locates unique vitality in the viscera of Europe’s most maligned, but equally beloved, hard dance style.

Although technically rooted in the ‘90s megaclubs of Valencia, Mákina (machine) music also became native to its Catalan neighbours, including Roc, based further up the Spanish coast. And with thanks to a bunch of entrepreneurial Mackems who were bitten by the Makina buzz in the late ‘90s, it more unusually sparked a phenomenon in North East England and Scotland, where it alloyed with happy hardcore and rhythmelodic auction-style MCs to form a whole new offshoot in its own right, heard everywhere from the estates to notorious/legendary clubs such as The Blue Monkey/The New Monkey by Charvers trotting their Rockports off in a sword-dance style hyperfolk step. Roc’s ‘Makina Trax 2013-2023’ follows with a celebration of the sound’s role as regional rave soundtrack and folk signifier, paying no concession to “taste” or normality as he isolates, gurns and exaggerates Mákina’s features to a ludicrous yet immediately functional effect as divisive and energetic as marmite-flavoured wizz.

Pinging from gibber-jawed 303 graffiti to durational 14’+ screwball pounders, and even a killer old skool 808 electro variant (‘Makina Trax 22’), Roc really gets under the hood of this sound with results unmistakably comparable to the style and pattern fascinations of his Evol gear, yet surely tweaked out with a notably more live-wire, hands-on, accentuation. We hear it in the 50 seconds of anthemic fanfare to ‘Makina Trax 16’, the pitching, throaty yowl of ‘Makina Trax 03’, and in the scuttling briskness of ‘Makina Trax 04’, with particular standouts in the screwed, almost bloozy Makina sleaze of ‘Makina Trax 06’, the extreme flange of ‘Makina Trax 19’, and a 180bpm goblin bop ‘Makina Trax 28’. Basically some of the most potent tackle by one of the leading rave experimenters of his generation, whose uncompromising, brilliant work links everyone from the dearly departed Peter Rehberg to Florian Hecker, Mark Fell, to Lorenzo Senni.

Aweee the radgies, pasty droppers and pooter hooligans; it’s your time.

*Available: August 26, 2022*

“To hear a tape containing their earliest demos, recorded on May 11, 1965, and locked away until now, is to hear traces of things rarely associated with The Velvet Underground: blues and folk, earthy and traditional, uncertain and hesitant... yet bristling with that rusty, caustic, Lou Reed spirit. It is a revelation.” - *Will Hodgkinson, Mojo*

Light in the Attic Records, in cooperation with Laurie Anderson, proudly announces the inaugural title in their ongoing Lou Reed Archive Series: Words & Music, May 1965. Released in tandem with the late artist’s 80th birthday celebrations, the album offers an extraordinary, unvarnished, and plainly poignant insight into one of America’s true poet-songwriters. Capturing Reed in his formative years, this previously unreleased collection of songs—penned by a young Lou Reed, recorded to tape with the help of future bandmate John Cale, and mailed to himself as a 'poor man’s copyright'—remained sealed in its original envelope and unopened for nearly 50 years. Its contents embody some of the most vital, groundbreaking contributions to American popular music committed to tape in the 20th century. Through examination of these songs rooted firmly in the folk tradition, we see clearly Lou’s lasting influence on the development of modern American music - from punk to art-rock and everything in between. A true time capsule, these recordings not only memorialize the nascent sparks of what would become the seeds of the incredibly influential Velvet Underground; they also cement Reed as a true observer with an innate talent for synthesizing and distilling the world around him into pure sonic poetry.

Boombap Relickz presents the previously unreleased Volume Two of The Ancient Series. This gem is uncovered after more than 20 years under ground. Diamond in The Sun’s Eye is the follow up of the critically acclaimed Masquerades & Silhouettes and never saw the light of day until now. Don’t sleep!



Limited to following quantities:



300x 2CD in 3-panel matt finish digipack with hypesticker and 12 page booklet with all lyrics and interview. CD 2 includes all instrumentals.



Each format comes with its own coverart. For the real collectors, there’s a Collector Package Deal (limited to 1 per customer) which include an authentic Yupoong snapback cap with 3D embroidered BBR logo on the front and the BBR brush symbol embroidered on the side, dusting off your right ear. Normal price €39,95 but when ordering the Collector Package Deal, you only pay half for the cap! Available in multiple colours.

The first word of the album says it all: 'Bang!' On their new album Midnight In A Moonless Dream the Buttertones dig deep and discover something dark. Where their previous album Gravedigging played like the soundtrack of a good spaghetti-western heist movie, Midnight moves to the dark cityscapes of '70s New York and tells the story itself - a perfect and intricate crime executed by a crew of professionals under cover of night, a biting sound befitting of CBGB's while staying true to their LA roots. There are echoes of Suicide and Bauhaus, nods to the spirit of sax and violence that powered the Deadbeats. Midnight is music made for dancers but also for doomed romancers that will appeal to fans of The Cramps, The Gun Club, Car Seat Headrest, Black Lips, King Tuff, Thee Oh Sees, Ty Segall, and Parquet Courts.

Formed by Toronto DJ/ producers K.Cut, Sir Scratch, and Brooklyn MC/producer Large Professor, Main Source was one of the seminal groups of the East Coast’s hip-hop scene in 90’s. The original trio’s first and only album Breaking Atoms, was released in 1991 to critical and commercial acclaim, before Large Professor left the group. They recorded a second album, The Science, and even ran ads for it in The Source, before the group’s breakup led to its indefinite shelving. Until now! P-vine Records is proud to announce that we’re giving The Science its long deserved official release, almost three decades after it was initially set for release. This gem among gems of 90’s hip-hop, which had never seen so much as a bootleg release, is going to be released on CD, Analog vinyl (1xLP and 1xLP+7 Inch), and cassette tape. With tracks such as “Bootleg”, “Raise Up, “Time (Alternate Mix)”, and “Hella Vision”, taken from master tapes owned by the three original members, as well as well-loved classics like “Fakin’ The Funk” and “How My Man Went Down In The Game”, this record is sure to be killer. Large Professor’s flows are as smooth and lyrical as ever, and the sample-heavy beats that the producers lay down are supreme. Trust me when I say, that this is one record you’re not going to want to miss.

The golden standard of Jazz-Hop! Windmills of the Soul, California-based producer/rapper Kero One’s 2005 debut, is finally getting a long-deserved analog reissue as a 2xLP set! Lead single “In All The Wrong Places” sampled jazz pianist Ahmad Jamal’s “Dolphin Dance”, combining it with hip-hop beats and smooth rhymes to define Kero One’s iconic west-coast Jazz-Hop sound.16 years after its initial release, the album sounds surprisingly fresh, truly illuminating Kero One’s undeniable influence. With DJ Mitsu The Beats’ Japan CD-exclusive Bonus-track “My Story (DJ Mitsu Remix)” on cassette for the first time ever, this is a reissue you absolutely must not miss!

Limited to 100 tapes. "We Do Good" is an energetic and soulful boom-bap hip-hop album by the legendary artist Edo.G, that pays homage to the classic sounds of the genre. The album features powerful and thought-provoking lyrics that touch on a range of topics from social justice and inequality to personal struggles and triumphs. The beats are expertly crafted with intricate drums and smooth samples that showcase Edo.G's production skills with additional production by Curt Cazal, Geronimo X, Torch and others. The album is a celebration of the power of music to inspire change and uplift communities, and it's sure to leave listeners feeling empowered and motivated to make a difference in the world. With its infectious energy and powerful messages, "We Do Good" is a must-listen for anyone who loves hip-hop and wants to experience the authentic sound of boom-bap, as delivered by one of the genre's most respected and talented artists, Edo.G. The title also spells out Edo.G

Ol’ Burger Beats’s new opus, 74: Out of Time, is a multifaceted and stunning exploration of sounds and eras. In addition to every track being produced at 74 beats per minute, the album harks back to the year 1974; particularly the music, the records, the activism, the artwork, and the aesthetics. But it’s also incredibly current, as the Out of Time portion of the title very much refers to the present. It promotes a sense of urgency in the face of current affairs such as the Covid-19 pandemic, climate change, as well as contentious politics sweeping across the US and Europe. Beyond those deeply resonating elements to the record, 74: Out of Time is a truly gorgeous representation of hip-hop through the lens of the Norwegian composer, which is undoubtedly his most ambitious undertaking to date. Using 74bpm as his basis, he constructs sublime, jazzy instrumentals that feature some of hiphop’s finest emcees and vocalists. And to say they all gel perfectly together is an understatement—and it would be underselling OBB’s meticulous approach here. Each song blends seamlessly from one to the next spread across the album’s 17 tracks, with the help from a standout supporting cast that includes Fly Anakin, Awon, Quelle Chris, Pink Siifu, Yungmorpheus, Lojii, billy woods, Tha God Fahim, Vic Spencer and Vuyo, among several others.

Sealed OG copies!

"Smashing Pumpkins Live Riviera Chicago 95" captures a live performance by the alternative rock band The Smashing Pumpkins at the Riviera Theater in Chicago in 1995. Known for their distinctive sound, emotional intensity, and captivating live shows, The Smashing Pumpkins' concerts were an essential part of their musical legacy.The setlist for the album showcases a mix of tracks from different albums, highlighting the band's range and their ability to transition between melodic and intense moments.

The day after Christmas, December of 1972: Lou Reed and band (The Tots) in Hempstead, NY, recording live for radio at Untrasonic Recording Studio. Recorded just a month after therelease of Transformer, the set finds Reed pulling from the new record, riffing on five Velvets tracks and the penultimate “Berlin” – the track that would title his next release six months later.

Cd digipack of MC Doc X's first 8-track EP.

Printed on 500g paper, with soft-touch lamination on the entire digipack. 12-page booklet with full lyrics. EP produced by Kohndo, Ringo, Keor Meteor, Undamusic and Moment Uv truth. Limited pressing of 200 copies. Life Boom Bap And Death Editions.

C-thru - The Otherworld is a collection of introspective cosmic-leaning dance music that gives a healthy nod to the golden era of trance, ambient, and down- tempo from Austin, Texas based producer Jesse Edwards. Inactive for several years, these 10 tracks mark a new chapter for Jesse Edwards. Previous works include his well received psychedelic project, Red Morning Chorus, that included Boards of Canada amongst its fans. Edwards began his musical journey in the late 90s playing shoegaze and experimental music with Jessica Bailiff (Kranky). The pair collaborated on several albums together including works with Flying Saucer Attack, His Name is Alive, & Odd Nosdam (Anticon).

"Fabric played a huge role in shaping me as a music fan and years later became the London home for me and my label. This wouldn’t have happened without the help and support of Shaun Roberts, who left us far to soon in Dec of 2022 after an 18 month battle with colon cancer.

When the Never Sleep crew asked me to contribute to their mix series I knew id like to honour Shaun and help raise some money for Bowel Cancer UK.

Without Shaun and people like him taking chances on people like me the music landscape would look very different.

This is mix is taken from the Critical Sound 15th birthday event in 2017.

Shaun Roberts RIP x."

Song In The Air is Elliott’s third fulllength album. But for all of its beauty, energy, and human spirit, Song In The Air is not Elliott’s moment of finding “the answer.” What we have is a record that shows us the value of the moment of asking the question...of looking at a thing and figuring on it. Elliott’s songs glow, spiral around, get messed up, come back home, get really sad, get worked up, fight against melancholy, are pissed off... they are “alive.” Song In The Air is the first record that Elliott made with the addition of Benny Clark on guitar and Jason Skaggs on bass.

Based in Tokyo, Southpaw Chop has been active as a producer and DJ for years, independently releasing vinyl featuring MCs from Hip Hop’s golden era, such as Tragedy Khadafi, Kool G Rap, Craig G, Diamond D, AG, and Large Professor. This EP brings together five of these releases, previously available only in limited seven inch vinyl pressings, plus a bonus remix of “Laced With Tragedy feat. Tragedy Khadafi [Funky Soul Brother Remix]" by the unit Funky Soul Brother, comprised of Southpaw Chop and DJ Koco aka Shimokita. This Special Limited Edition Vinyl is exclusively Manufactured and Distributed by Red Line Music Distribution, Inc.

OKO DJ’s first mixtape, landing on Accidental Meetings. 90 minutes of head banging rock & metal, screwed up saxophone & weirdo dub.

Stone Temple Pilots live at the Centrum, Worcester, MA on August 22nd 1994. Taken aback by the huge success of their 1992 debut album, Core, and drained by the heavy touring that ensued, this San Diego band almost fell apart before recording its follow-up, Purple. Issued in June 1994, it debuted at #1 in America, cementing their star status. This superb concert was broadcast on syndicated radio two months later, and captures the quartet at the height of their powers, before singer Scott Weilands drug problems derailed them.

The project by Jens-Uwe Beyer and Thomas Venker boasts a remarkable origin story. In 2017, Venker, co-founder and co-editor-in-chief of Cologne’s Kaput magazine, hosted a gathering at Beyer's house, bringing together journalists, creatives, and musicians. To mark the occasion, the pair decided to join forces for an impromptu ambient-electronic performance, presenting themselves as a two-man band. That evening, donned in special costumes designed by artist Sarah Szczesny and fuelled by a generous amount of Japanese whisky, Hasan Poppu was born. Over the course of the pandemic, the duo thought about creating a record based on the live recording of their premiere show. However, the synergy of their collaborative creative energies led them in entirely novel directions. Their self-titled, double-sided album traverses a wild and raucous terrain, moving swiftly from hybrid noise-techno to giddy party ecstasy, to strange and shadowy atmospheres.

Including remixes by YPY, Hibotep, Lena Willikens, Efdemin and Barnt, the 11 tracks span a dizzying array of experimental dance-facing styles. 'Die-Biden' kicks off as a high-vibrational vocal experiment seemingly voiced by a sentient German vocoder. 'Kodō' follows, featuring Venker's playful mantra set against a stomping beat. Willikens' reimagining of 'Teiko' transports the track to obscure realms inhabited by strange creatures emitting ungodly sounds. Meanwhile, Efdemin's take on 'Ekusutashī' pulsates with a kinetic buzz. Flipping over to the B-side, 'Sakura' is a euphoric wall of drone punctuated by eerie whispers and mystical singing. Then, the second installment of 'Kodō' takes a fresh trajectory with a touch of Barnt’s electronic groove stylings. Finally, Hibotep's 'Shojo no yo ni flp' serves as the finsher – an unrepentant trance belter that disintegrates into sampled fragments. Loosely translating to "broken pop music," Hasan Poppu is informed by Beyer and Venker's shared love for Japan. The band takes their cues from the country’s rich sonic cultures while also drawing on Venker's wordsmith background and Beyer's flair for melding melodic tech-house with song-based synth-pop. Originally out on Beachcoma Recordings, Hasan Poppu’s debut album gets a new lease of life on Osàre! Editions with a digital and limited edition cassette tape release. Sarah Szczesny reprises her role in shaping the visual identity of Hasan Poppu by creating beautiful, painterly artwork for the record. words by Hannah Pezzack

Onda Tapes is proud to present you "Togetherness.", a compilation made with love and affection, showcasing a mixture of different beat-styles around the world. Onda is “bringing different people together”, as is the label’s motto, with this compilation by gathering friends, favourite producers and artists to make a beautiful collection of the “SoundCloud Era” beats from back in the day. It’s like a nascent dream before the label started back in 2017 while listening to all our favourite labels like Dirty Tapes, Paxico Records, Leaving Records, El Sereno Records, Burnt•tapes, Hot Record Societe and maaany many more! But the dream came true!

Sonically, the tape rides to a classic sample based hip hop instrumental album. A variety of moods, dynamics and unique touches of each producer appeared putting their craft and using ethical and sustainable sounds to serve you a very special and energetic project.

Big hug and thanks to all the artists who contributed to make this project happen.

La La Land doubles down on the intricate proggy-pop displayed on Guided By Voices’s last album Tremblers And Goggles By Rank. On a hot streak of critical acclaim, Robert Pollard continues expanding his songwriting towards extremes of prettiness, heaviness and poeticism. As always, unforgettable hooks are everywhere. But with thsi latest, it seems Pollard is playing with the extremes of his abilities as a songwriter, emboldened by the power of this lineup now on their fourteenth album together since 2017. The prettiest stuff is prettier than ever (“Queen Of Spaces”) and odder, more complex songs like “Slowly On The Wheel” combine minimalism, whimsy, and cinematic inclinations. There are the exquisite power pop bangers that fans come to expect like “Ballroom Etiquette” and “Pockets.” Tracks like “Instinct Dwelling” and “Caution Song” effortlessly display a cranked-up weight and complexity most bands could never muster. Celebrating forty years in 2023 with their thirty-eighth album, GBV has lately been garnering rave reviews from Rolling Stone, Stereogum, Brooklyn Vegan, Uncut, Mojo, Shindig, Paste, Popmatters, The Quietus and many more.

The newest longplayer from Tio'tiá:ke/Montreal staple Cedric Noel lands with a stunning sense of surety and self. Hang Time stands as a high water mark for a songwriter who's spent the past decade quietly expanding the borders of his music. Longtime fans will recognize the fluid elements of the album's open-ended rock formations: reflective strumming, soaring choruses, searing guitar lines, subtle bass grooves; all occasionally dissolving into pools of pure ambience. New listeners will find surprises throughout: threads of folk pop, ambient and sound collage fasten the foundations of this expressive whole. However, what's most striking on Hang Time is Noel's newfound sense of voice, both literal and metaphorical. Written primarily in 2017-18 during an intense period of self-reflection, this collection of songs finds Noel wrestling profoundly with his sense of identity, self and place. Born in Niger, adopted by Canadian and Mozambican/Belgian parents, he spent his youth moving around the globe with his adoptive, multi-racial family, eventually landing in Fredericton, Canada for university. While studying, Noel embedded himself in a predominantly white indie rock community that left him feeling, as a Black man, both seen and unseen in complicated ways; both welcome and not. This tension would follow Noel through a move to Montreal in 2016 wherein he found himself again moving within predominantly white music communities. This (dis)placement would encourage Noel to find respite in Ottawa, holed up temporarily in a family home, studying the pieces of himself and putting them to place in music. Listening to Hang Time, one can feel the tensions of this process being held and released, as if being allowed to breathe for the first time: forms open and close, surfaces are seen through, feelings go supernova. The album's material was captured faithfully at The Pines, a beloved downtown Montreal studio whose doors shuttered shortly after amidst the strain of the pandemic. Noel worked closely and patiently with friend and engineer Steve Newton, ensuring the songs had the time and space needed to come fully to fruition. Hang Time features subtle rhythm work from drummer Liam O'Neill (suuns) and guest spots from Brigitte Naggar (Common Holly), Ella Williams (Squirrel Flower) and Tim Crabtree (Paper Beat Scissors) among others.

Inspired by films he grew up watching and a passion for vintage recording equipment, Eyot Tapes has crafted ten pieces of music recording only to cassettes, using cassette loops, spring reverbs, tape delays and a modular synthesiser. Weaving in and out of different moods, with ‘Edgar Rice Burroughs’ stories never far from his mind, he takes you on a trip through an off world, tropical fantasy.

The tenth studio album by Bjork on cassette tape.

each album always starts with a feeling
that i try to shape into sound
the feeling was landing
( after my last album utopia which was all island in the clouds element air and no bass )
on the earth and digging my feet into the ground
it was also woven into how i experienced the "now"
this time around 7 billion of us did it together
nesting in our homes quarantining
being long enough in one place that we shot down roots
my new album "fossora" is about that
it is a word i made up
it is the feminine of fossore ( digger, delver, ditcher )
so in short it means "she who digs" ( into the ground )
so sonically it is about bass , heavy bottom-end ,
we have 6 bass clarinets and punchy sub
i would like to especially thank bergur þórisson and heba kadry
and side project , el guincho , hamrahlíð choir , soraya nayyar , clarinet sextet murmuri , siggi string quartet ensemble , emilie nicolas , serpentwithfeet
viibra and last but not least : sindri and dóa .
visuals were made by viðar logi , james merry , m/m , nick knight , andy huang , edda , isshehungry , tomi , sayaka , sunna , sara and heimir
and my ever so loyal and magnificent team : derek , rosamary , catherine , chiara , hilma and móa

Death Is Not The End presents a collection of haunted, brooding flamenco recordings taken from the early 1900s through to the late 1930s.

Brilliant album from the legend LeRon Carson on Sound Signature. Raw dusty early Chicago flavoured house in the same style as his previous 12's on Sound Signature and early Virgo 4.

Tasha's Second Album, Tell Me What You Miss The Most Mingles Pockets Of Introspection With Wide, Expansive, Marveling At What's Yet To Come. Born And Raised In Chicago, Tasha Is A Musician Who Writes Songs That Take Loving And Longing Seriously. Whether Dwelling In The Sad Thrum Of An Impending Break Up Or The Dizzying, Heart Thumping Waltz Of New Infatuation, Here Is An Album That Traces One Artist's Relationship To Herself In Love. Full Of Deep, Invigorating Inhales And Relieved, Joyful Exhales, Tell Me What You Miss The Most Is An Exquisitely Crafted Breath Of Much Needed Air.Tell Me What You Miss The Most Isn't Just A Catalogue Of Tenderness - It's Also A Showcase Of Tasha's Growing And Formidable Musicianship.For Fans Of Julia Jacklin, Molly Burch, Orion Sun, Lucy Dacus.

After decades on the road and the never-ending hustle of life as an artist, Lou Barlow has tapped into a new confidence in the chaos. In 2021, the concept of balance feels particularly intimidating. Now more than ever, it's clear life isn't just leveling out a pair of responsibilities. Instead, we're chasing after a flock of different ideals with a butterfly net. On Barlow's new solo album, Reason to Live, he has come to an understanding of that swirl rather than trying to contain it. As a long-time indie legend, Barlow has found a life akin to a middle-class musician. In recent years, he's moved from Los Angeles back to Massachusetts, where he lives with his wife and three kids. And yet rather than settle into a comfortable malaise or yearn for the open road, Barlow's strengthened urgency finds a way to merge the two instincts. Reason to Live is shambolic and grand yet intimate and doting, warmly acoustic and crackling with grit. "I had been struggling for a way to connect both my home life and my recorded life, but this record is the first time I've integrated that," Barlow says. By folding the many facets of his life into one package, Reason to Live radiates with a renewed balance and calm. That comfort in complexity shines through even in the recording process, with select songs having origins in decades past and others written in the early stages of 2020. The multitude of whirring messages of Reason to Live are united by Barlow's roiling multilayered arrangements and the understanding that change is inevitable - and that it can bring you a new reason to live in the darkest times. "This album is me really opening up, and the album follows that through its many different themes," he says. "Some of my other work could be almost claustrophobic in its insistence on being all tied together but there's space for people to live inside these songs." After albums with Sebadoh, Dinosaur Jr., Folk Implosion, and under his own name, listeners may have felt they knew the construction of a Barlow song, even that they knew Barlow himself. "People have this vision of me as this heartbroken, depressed guy, but this record feels so true to who I am, to this rich life I now have full of people I love," he says. "The songs culminated over the last five years to show that music has returned to its central comforting role in my life. Now I'm home."

Featuring Krisengebeat

What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots, and records done with his various other bands (Dinosaur Jr., The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), well, to paraphrase Lou Reed, "J's week beats your year." What Do We Do Now began to come together during the waning days of the Pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. "When I'm writing for the band," he says, "I'm always trying to think of doing things Lou and Murph would fit into. For myself, I'm thinking more about what I can do with just an acoustic guitar, even for the leads. Of course, this time, I added full drums and electric leads, although the rhythm parts are still all acoustic. Usually, I try to do the solo stuff more simply so I can play it by myself, but I really wanted to add the drums. Once that started, everything else just fell into place. So it ended up sounding a lot more like a band record. I dunno why I did that exactly, but it's just what happened." Two guest musicians are playing this time out; Western Mass local Ken Mauri (of the B52s) plays piano on several tracks. Since J himself has some experience with keys, when asked why he needed a hired gun, he says, "Ken is great, and he plays all the keys. I tried playing some keyboards on the first Fog album, but I'm really only comfortable playing the white notes, so it's kind of limiting. [laughs] Nowadays, I could just turn the pitch on a mini Mellotron to play different sounds, but black keys just seem hard. For whatever reason, I just like banging on the white ones. Seems like it's harder to figure out how to stretch your fingers around the other ones." Mauri has no such qualms and plays all the keys very damn well. He sounds especially great on "I Can't Find You," where he is Jack Nitzsche to J's Neil Young, creating one of the album's loveliest tunes. The other guest musician, Matthew "Doc" Dunn, is also prominent on this track. Dunn's steel guitar manages to both widen and soften the musical edges of the music, giving it a full classicist profile. Dunn is an Ontario-based polymath who J met through Matt Valentine. After J played on Doc's great 2022 Sub Pop single, "Your Feel," he figured it was time for payback. Both Dunn and Mauri add beautifully to the songs here, helping to transform them from acoustic sketches into full-blown post-core power ballads. What Do We Do Now is the finest set of solo tunes J has yet penned, and the way they're presented is just about perfect. Asked if he would be touring to support the album, J says he'll be doing some weekend dates, but he probably won't be putting a band together. And I'm sure these songs will sound great solo and acoustic, but the arrangements on this album are truly great and put a cool, different spin on Mascis' instantly Recognizable approach to making music. So, what do we do now? Not sure. But apparently, what J does is to make one of his most killer records ever. Hats off to him. - Byron Coley

It's been a little over ten years since Hailu Mergia reemerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival. Finally, we have a recorded document of the keyboard player's powerful DC-based trio _ which practices each weekend in his basement _ featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA's expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities. Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like "Tizita" or "Anchihoye Lene") upside down and inside out until they emerge as molten new works, often spontaneously. Mergia's original compositions (like "Yegle Nesh") shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments _ often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age. "Pioneer Works Swing (Live)" brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents. Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he's been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

With features from world-class soul singers such as Ben Westbeech and Toumo, the good vibes on Early Believers are unparalleled! Catchy hooks elevate the smooth, nostalgia-inducing flows of Kero One, making this an album more than worthy to follow up Kero One’s legendary debut. Featuring both the artwork from the Japan-exclusive CD, and the Japan-exclusive bonus track “When The Sunshine Comes (Cradle Remix feat. Anan Ryoko)”, this album has never looked, or sounded this good! Get Kero One’s Early Believers on cassette tape, from P-vine Records!

Hazy, gentle almost euphoric explorations and improvisations made in Leeds and Manchester throughout 2019 and 2020. Sam and Chris understand, lean in to, and translate those wonderful relationships and historic personal moments that smudge in to your DNA forever. Their language is of classic genre playing and hardware samplers, and they’ve made a record about low down personal shit; our deep trauma, beautiful platonic love, isolation, connection, it's all there; Blunches look and listen to the world around them and have created their own version of it. It’s like those summers watching skate videos, feeling upset all the time, getting into bed at 4am, being with your mates, just getting through it. This record doesn’t have a lyric in it, yet it speaks to me as a kid from a grey-ass town as clear as any pop song ever has. I dare you to play this and not feel it.

Riyl/ffo - 90s skate videos, jazz, hop hop, fourth world, Eno, Hassel, Sanders

LBD Sounds present the new album from World Wild Web. Based in Berlin, this one man band machine from France offers up a beautiful collection of balearic jams, soaked up with instrumental psychedelic keyboards, influenced by traditional music from all over the world. 10 organ-based tracks sound like a dreamy new age voyage from the 70s, yet this music is very here and now.

All the little live jams that this album comprises of have been tweaked and edited, some more and some less, but the feeling of raw improvised music has remained untouched. These don't mean to be no chart hits, actually quite the opposite. It may almost be called a set of B-sides and it would still carry this badge as proud as it gets. It's simple and complex at the same time, this collection has a potential to suck you in, take you for a ride through places unknown and spit you out at the other end.

Was that a dream?

SMK aka South Memphis King is one of the real godfathers of Memphis rap. He released his first album in 1991 and is still active today. This is one of his early recordings, never released on vinyl before, Straight bangin' underground shit for the streets of your city. Roll a blunt and enjoy the sick madness over here.

The Menu is a 16 track album by Leaf Dog & BVA. The album features M.O.P and Keith Murray with most of the production done by Leaf Dog but featuring production from Illinformed and Stevi Beats

Japanese sound artist Saskia hits it out of the park with her debut LP, showcasing stunning textures & provoking moods. Saki Yamada aka Saskia hails from Tokyo but has resided in Bristol for the last two years, this is where she has been crafting her debut album, which is mixed & mastered by Miles Whittaker of Demdike Stare. It's a deep listen, an ever changing and challenging mood, with sub aquatic ambience and dub-techno textures glistening throughout. The combination of Saskia's sound palette and Whittaker's touch contrasts perfectly, finishing in a beautiful and sometimes haunting listen.

Rare tape version that includes 2 remixes and the instrumentals not found on the full album! Sealed copies!

The 4th Pumpkin Witch album released by Deathbomb Arc, and their first non-reissue for the label. Nothing can keep the Pumpkin Witch dead for long. The Witch is back! And her web of evil is larger than ever, her vile plans call for nothing short of world domination... The Three Dark Figures have conjured up 11 new tracks of creepy cackles and crazed cacophony that create an audiological kaleidoscope of terror. An emphasis on percussion and an evident influence from goth club music blends with the horror soundtrack-fueled dark ambience of albums past, making this perfect listening for any unholy ritual or cemetery soir e. You can lock your doors, board up your windows, and say your prayers but nothing can protect you from "The Return of the Pumpkin Witch"!

This tape is a prison tape made for inmates of prisons in the USA. It comes without screws and without an inlay as it should be. Manufactured in 2012 or 2013.

Fiendsh returns to Cold Busted with Hayashi Reborn, the Bangkok-based producer’s long-awaited follow-up to 2016’s To The End. The title refers to the Hayashi, a group of instrumentalists in Japanese Noh theater. Noh often revolves around themes of life, so with this album the Fiendsh alter-ego takes on the role of the Hayashi of the young beat-producer’s life. The album’s sounds are introspective and rich, combining deep rhythms and warm melodies. Sometimes a hint of Fiendsh’s Thai culture drops in, but mostly the influences are straight from the well of hip-hop, soul, and jazz classics.

Psyched out guitar experiments from Iris. Dedicated to the fight against double standards, ignorance and corruption of our Western world.

All songs written and recorded in 2021, revisited in 2023.

Tax Free Records™ 2023.

A short visit to the Indochinese Peninsula at the wrong time of the global pandemic breakout, led Ian Richter to over a year and a half of living in Vietnam, and to a deep love affair with the Vietnamese folk religion. Ian was intrigued to find a place drenched in culture and mysticism existing hand in hand with hyper capitalism (yet officially committed to socialism). Over the course of the last 18 month Ian recorded, mentally and physically, the sounds of his encounters and experiences. From daily life, through industrial and natural landscapes, to ancient and modern dance, forging foreign with familiar, mysticism with science, and claustrophobia with liberation.

The Chicago-based artist, real name Andres Ordonez, has been a fixture in US house music circles since the '90s, releasing a string of EPs on labels like Sistrum, Semantica and Sound Signature. Theo Parrish's outlet, which last year put out a live mix from Ordonez, will handle his first album.

Access, The Second Album By Major Murphy, Is An Album Born Out Of Being At A Crossroads. It's Also, Without Question, An Album To Blast At An Unruly Volume To Soundtrack An Experience Onemight Have Standing At That Crossroads. It's Remarkably Cohesive - A Striking Relic In An Age Where Ardent And True"Album-Making" Is A Fading Art Form - Full Of Heavy Rock'n'roll Sounds And Textured Atmospheres Fused Withpro-Idea, Hyper-Creative Jittery Warmth. In Nine Songs, It Somehow Takes A Listener Backwards And Forwards Atonce, Reckoning With Intrinsic Anxieties While Conceptualizing A Fantastical And Vibrant Happening, Soothing In Itsfamilia Familiar, Occasionally Childlike Tone.Behind The Sturdy And Poetic Architecture Lies A Story Of New Parents, Navigating Uncertainty And Seeking A Senseof Agency In The New Unknown. Throughout Access, Songwriter Jacob Bullard Recounts Memories Of Teaching Hisyoung Son To Breathe Through His Nose And Laments Missing His Son And His Partner And Bandmate Jacki Warren.On "In The Meantime", Bullard Expresses The Timeless Anxiety Of Recent Parenthood, Written In The Wake Of Theterrifying Experience Of Their Son Suffering From Lead Poisoning. While The Title Track "Access" Is As Much Apersonal Plea For Patience And Humility...

Waking the Dreaming Body is the follow-up to Tucson artist Karima Walker's 2017 standout album Hands In Our Names, which garnered praise from Pitchfork, Mojo, and Bandcamp. The album includes dense harmonic arrangements of synthesizer, guitar, piano, percussion, field recordings, tape loops and Karima's dulcet singing voice. The final result is a 40-minute dream-narrative of her conscious and subconscious minds that oscillates between the rich textures of her ambient work and the melody and poetry of her melancholic, Americana-tinged songwriting, their ebb and flow recalling liminal states of half-sleep where images and emotions are recalled and forecasted from the previous night's dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking and dreaming.

Originally released in 2019, Tapes Not Dead Vol.2 is getting a UV reissue! Featuring bands that release their music on cassette which include Juliana Hatfield, Antarctigo Vespucci, Culture Shock, Thelma and the Sleaze, Warm Drag, Clown Sounds, The Bobby Lees, The Advertisers, Gymshorts, The Loving Paupers, Dragon inn 3, The Prize Fighters, Jumpstarted Plowhards, Mount Sharp, Shellshag, Adult Magic, Glasses, Worlds Fair, Living Room & Tanya Donelly.

Edna Martinez pays a heartfelt tribute to her birthplace in Valledupar with another entry of Cintas Elefandes- a colorful showcase of Vallenato, the passionate, accordion-driven genre that spreads from the tributaries of the Cesar river in northern Colombia. A bittersweet mix that sits just right with an open bottle of rum, or the soul remedy of your choice.