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No one can doubt that Lightnin' Hopkins is the king of Texas country blues. P-vine is reissuing on LP for the first time in 35 years the classic album, which was originally released on Crown in 1961 and is a compilation of Modern/Kent recordings from 1950-51, one of the pinnacles of the Lonesome & Dirty Blues world. With its deep, withering vocals, which sometimes sounded even terrific, and a guitar that moved nimbly and uninhibitedly, this is one of Lightnin's top-class recordings in his storytelling style. No one can escape the devilish charm of these dense blues.

This album is the work of Copeland Davis with his own band, released in 1975. He continues to perform energetically as a pianist to this day, and later gained attention and popularity in Japan during the Free Soul and Rare Groove movements. The opening track, "NO Arms CAN Ever Hold YOU," features a beautiful melody played by Davis's refreshing piano. In contrast, the instrumental numbers are also superb, including "PERFIDIA," where light, lively touches intertwine with percussive beats, and the high-tempo, driving groove of "SO IN LOVE." Additionally, the medium-tempo soul track "JET," where Davis himself takes on the vocals, and the mellow "Morning Spring" (m6), famously sampled in Pase Rock's "It's About Time" produced by Nujabes, are standout tracks.For this reissue, the vocal version of "NO Arms CAN Ever Hold YOU," which was previously only available on a 7-inch single, has been included on an LP for the first time. This album is marked by its solid sound quality and a rich variety of songs.

10, 9, 8, 7, 6… the countdown to blastoff has started! Paris-based band Setenta is preparing for their upcoming 20th anniversary by releasing their sixth album, Apollo Solar Drive. The record is poised to be their best yet and is the culmination of an odyssey of artistic discovery. Setenta has been constantly striving for illumination through the years, yet also exploring the dark side of the human condition along the way. As the band describes it, this record is an Afro-Latin retro-futurist tribute to the sun. If their previous album, Materia Negra, launched the Setenta space shuttle crew into the void of “dark” matter and black holes, they now change course and valiantly approach the sun at full warp speed, taking us from darkness into the light. Miraculously, Setenta manage to bring some of the rhythmic and harmonic material they’ve explored on Earth with them, yet boldly dare to go where no one has gone before, challenging themselves to take their music, and their audience, to uncharted dimensions and new realms of existence.

In keeping with the themes of Materia Negra, FIP (Radio France) selection in 2020, Setenta’s sixth mission to explore “the great beyond” of “inner space” is aptly titled Apollo Solar Drive, emphasizing the band’s turning to the life-giving light of the sun for inspiration while playfully echoing the title of Eddie Palmieri’s Latin funk and social commentary masterpiece, Harlem River Drive. The overall vibe is warm and positive, propelled by the dual energy thrusters of funky, fierce beats and deceptively complex arrangements, yet going down smooth in the best sense of the word, like your favorite tropical cocktail or classic jazz dance fusion record of the 1970s. Of course this delicious treat is served with a special Setenta flavor all its own.

This time around, Apollo Solar Drive celebrates the trajectory of the band’s unique interstellar journey by deploying a resolutely jazzy, “funkadelic” angle to their beloved Afro-Latin music. Setenta’s band members tell their truths as a collective, with an emphasis on instrumental sections, focusing on the interweaving of multiple keyboards and guitars, while condensing the vocals to group choruses, as opposed to the solo voices of the past. The overall approach is more futuristic in its conception and realization, from the arrangements to the sonic engineering, although the rhythmic base still remains rooted in Afro-Cuban traditions as well as those of other Caribbean nations.

Pablo E. Yglesias (DJ Bongohead) of Peace & Rhythm (usa)

Yuyakeshiwasu, a New Neet, lost even what he had to lose, and what changes happened to them? Disappointment and exhaustion with modern society have made Yuyakeshiwasu into a New Neet, and he has rebelled against it. Currently, Yuyakeshiwasu has established a religious organization called “Rock ‘n’ Roll Kyodan” and is engaged in missionary activities in the hope of the revival and prosperity of rock 'n' roll. Here is the story of how Yuyakeshiwasu transformed themselves from an invincible band to a missionary.

San Jose slowcore/space rock outfit Dusterreturns with surprise album "In Dreams,"continuing their of inclination of sonicallycapturing an open-ended question. Thesethirteen tracks hone in on their trademarkdark, droning guitar tones, dialed back percussion, and alluring hard-panned vocalswhile expanding and exploring synth-heavyand drum machine avenues.it's the fifth duster album, ok

En Esch's corrosive new album decimates both standards and dance floors alike. Anyone familiar with industrial luminary En Esch and his essential work in groups like Kmfdm and PIG knows he is no stranger to political statements through his art. Now, on his first LP in eight years, Dance Hall Putsch, Esch decimates your standards and dance floors with vitriol. With carefully-sown and complimenting features from fellow Kmfdm alumnus Raymond Watts, Guenter Schulz and Mark Durante, plus Vas Kallas (Hanzel und Gretyl), Mea Fisher and Erica Dilanjian (Lords of Acid), Hope Nicholls (Pigface) and more, Dance Hall Putsch delivers everything an industrial fan could want. From opener "Get Lost," with its categorically punishing industrial-metal riffs to the slicing EBM electronics of "Yum Yum Beauty & The Nasty Thief," it's all here and in no less than four languages throughout. En Esch's signature rasp is often contrasted by the sparkling vocals of his female counterparts, and the album is lush with brutal honesty, humor, and even a bonus En Esch-lullaby. "I began work on Dance Hall Putsch in the early days of Covid-19. I was trying to create an upbeat, rather positive and very danceable album to leave the pandemic days behind us. Then it happened that a war began near where I live with tens of thousands of civilians killed and wounded so far. Everyone was caught by surprise and it influenced me, especially lyrically. "This current conflict is just 500 miles away from Berlin, and while that does not make it more horrific than other wars, it is very close to home. From living with this 'war next door,' the album turned out much more sinister than originally planned. It became a rather political album that reflects on the senselessness and nastiness of all the current wars around us. It's always the innocent and those who hold no power that suffer the most. Their fate isn't always death, but many times indescribable and long-term suffering. We must not forget them or turn a blind eye. "I’m very pleased that I had the opportunity to collaborate with different and interesting colleagues here. Thanx everybody for your interest in my musical works and for your love and support." -En Esch

The two-piece rock band Taika’s (帯化) 3rd album ‘On Chitou Jichi’ (御池塘自治), originally released in 2023, is now available on vinyl. The album’s folkloric vocals and krautrock-inspired repetition swirl together with environmental sounds, creating an immersive atmosphere. The interplay between the post-Fourth World Revival soundscapes and the raw, earthy physicality rooted deep within the music blurs the line between the nostalgic and the novel, each reflecting echoes of the other.

In this album, Taika explores the residual sense of "foreignness" within the now-commonplace rock band format in Japan, re-examining it and injecting new possibilities for "translation" and reinterpretation into those gaps.

This release includes a large poster-style lyric sheet. Additionally, it comes with a download code for the digital version of ‘On Chitou Jichi,’ as well as a code for a destructive remix of Taika’s track “Kouraku Biyori” by the up-and-coming dub techno artist Yo, who is signed to Taika’s independent label, Zōen Keikaku.

Random coloured re-vinyl. Limited to 300 copies.Everything was better in the old the days. Everything but CHRISTMAS, whom became more unstoppable from year to year. While other bands pop up and quickly burn again, CHRISTMAS have decided to simply survive all assholes.The band has not let up over the last 14 year with other 20 releases, 550 gigs across 18 countries and 21 worn-out former band members. The hardcore train rolls, armored with tons of bottle caps, powered by all-burning insane idealism (with emphasis on insane). Always demonically grinning in the face of the seemingly dead spirit of Rock-n-Roll, just on the abyss of post-punk history and CHRISTMAS looks still damn good!

Sekai NO Owari is set to release their first-ever vinyl record with their 7th original album, 'Nautilus'. The vinyl jacket is a brand-new illustration by the up-and-coming artist Yoshiki Muramatsu, who also worked on the CD artwork. This collector's item boasts luxurious specifications, including a 33 RPM 2-disc set with 180g heavyweight vinyl, a tri-fold jacket, and a 24-page booklet, making it a must-have for fans.

Akiyuki Nosaka was a Japanese novelist, singer, lyricist, and politician mainly active in 1970s~80s. He is also famous as the author of the semi-autobiographical story "Grave of the Fireflies", based on his experience under WW2 and which is well known with Studio Ghibli animation.

The debut album called "Utsu To Sou" is consistent with 4 live recordings and 7 studio recordings which are full of his cynical and humorous lyrics. One of his classic song "Virgin Blues" was covered by Jun Togawa and included in the album "Showa Kyonen" (1989 / reissued by P-vine in 2022)

1973 Meeting OF Santana AND John Mclaughlin Yields Spiritual Transcendence: Love Devotion Surrender IS Inspired BY John Coltrane AND A Quest FOR Enlightenment

Sourced from the Original Master Tapes: Tones, Textures, and Notes Float Amid a Large, Open Soundstage on Mobile Fidelity's Numbered-Edition 180g LP 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Two guitar giants. A band comprised of virtuosic instrumentalists. One shared goal. And one tremendous album. The only meeting of Santana and John McLaughlin on record, Love Devotion Surrender more than lives up to the promise offered by its principal creators. Based in divine faith, religious toleration, meditative intent, and the forward-thinking philosophy that music can take us closer to the truth, it is a spiritual journey. These enlightening concepts are reflected in the inspired playing of Santana and McLaughlin, who repeatedly hit a higher plane on this 1973 set.

Sourced from the original analogue master tapes and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g LP of Love Devotion Surrender benefits from the reissue label’s painstaking engineering efforts. The windows on the record’s give-and-take passages, sustained notes, and varied textures are thrown open with palpable transparency and detail. Laden with delicate acoustic touches and gentle piano touches, as well as powerful staccato bursts and fast-paced percussion, Love Devotion Surrender contains a dynamic mix of tempos, tones, and contrasts crucial to its optimal enjoyment. This collectible edition brings those aspects to the fore with extraordinary realism.

In addition, the pinpoint imaging — Santana primarily on the left, McLaughlin on the right — invites you to picture the musicians in the act. You’ll sense a newfound freedom and naturalism to the playback, as well as black backgrounds and an openness that allow the widespread array of textures, atmospherics, echoes, and neo-psychedelic shapes to float in the air. Call it jamming guided by a higher power or surreal art brought together by time, circumstance, and purpose; there really is no other album completely like it.

Having each become a follower of Indian guru Sri Chinmoy, who wrote the album’s extensive liner-note essay and is seen in several jacket photos, Santana and McLaughlin began playing together in 1972. Both legends found themselves in the midst of personal and creative transition. Santana was moving away from rock-based songs in favour of exploratory jazz-rock. A contemporary of Miles Davis, McLaughlin had already achieved fame with the Mahavishnu Orchestra, then on the brink of collapse due to internal disagreements.

On Love Devotion Surrender, the duo pools its interests in discovery and transcendence into gorgeous music steeped in improvisational lines, ecstatic chords, and sensitive organ accompaniment courtesy of the record’s best-kept secret, Larry Young. The former Blue Note recording artist had already connected with McLaughlin in the Tony Williams Lifeline, which began as a power trio and turned jazz on its head with its groundbreaking 1969 debut. Young’s ear for melody and fearless penchant for chasing down adventurous fusion leads — not to mention keeping pace with the headliners, no small feat — make him an ideal foil for the proto post-rock happening throughout.

Credited under his Muslim name, Khalid Yasin, Young isn’t the only standout. Several Santana contemporaries — bassist Doug Rauch, drummers Mike Shrieve and Billy Cobham, percussionists Mingo Lewis and Armando Peraza — play alongside Mahavishnu Orchestra member Jan Hammer and Tony Williams Lifeline drummer Don Alias, who already had credits on Davis’ seminal Bitches Brew and On the Corner. Complemented by Santana and McLaughlin, the ensemble sounds and feels unstoppable. In addition to the band’s search for sacred soulfulness, the common denominator throughout is John Coltrane, who engaged in similar pursuits during the 1960s. Two of the five compositions — “A Love Supreme,” “Naima” — are interpretations of Coltrane standards while the lynchpin, a nearly 16-minute investigation into the traditional “Let Us Go Into the House of the Lord,” integrates free-form structure, jazz phrasing, gospel mysticism, cross-cut dynamics, and tonal shaping into one of the most uplifting pieces of music you’ll ever hear. The same can be said for the entirety of Love Devotion Surrender. Bow down.

This project in a “12 inch form has been created to push the talent of the students from the online music production courses of Alex Font. Giving the students the first chance to sign a record on their names and got fully promoted under the Acmé branch. Here you can listen to a variety of sounds that we are sure will fulfill different scenarios or set time of your forthcoming performance. AF MPC (Alex Font Music Production Course) goes live online weekly • if you want to be part of the group just go to the IG page for more info.

Stamp Records is back with a special split EP, the two label managers offer a collaboration with the maestros of vibrant Romanian tech house Direkt and Lizz, a high quality EP perfect for the dancefloor ! Artwork by Call me George(s)