2020s 2461 Items

An instrumental edition of the critically acclaimed 2022 album, Foreverandevernomore written and produced by Brian Eno. 1LP Crystal Clear Colored Vinyl + Eco Packaging

To celebrate Record Store Day 2023, American-British soul singer, Celeste, will release a limited edition pink vinyl, 6 track EP, titled "Lately". Featuring her latest single ‘To Love A Man’ for the first time on vinyl, as well as the extended version of her break through track, ‘Strange’; cut at 45rpm by Alex Gordon at Abbey Road Studios. This EP is an adaptation of the highly sought after 2019LatelyEP, which was only released as a limited run promo in North America.

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE INCLUDES LINER NOTES
• 2LP FEATURING CAREER-SPANNING OVERVIEW OF HIS BIGGEST HITS, INCLUDING “I WON’T LET THE SUN
GO DOWN ON ME”, “THE RIDDLE”, “WOULDN’T IT BE GOOD”, “WIDE BOY”, AND “DON QUIXOTE” A.O.

Nik Kershaw came to prominence in 1984 as an artist. After releasing his solo debut album Human Racing in February 1984, Kershaw's career went into hyper overdrive. He released eight singles that entered the Top 40 of the UK Singles Chart during the decade, including "Wouldn't It Be Good", "Dancing Girls", "I Won't Let the Sun Go Down on Me", "Human Racing", "The Riddle", "Wide Boy", "Don Quixote" and "When a Heart Beats". Kershaw follow-up album The Riddle came out only nine months later and he appeared at the dual-venue concert Live Aid in 1985.

The career spanning overview on Nik Kershaw Collected features all his hits and is available as a 2LP-set, housed in a gatefold sleeve with liner notes.

Revered composer, pianist, DJ and acknowledged bridge between jazz, dance and hip-hop, Mark de Clive-Lowe (MdCL), links up with jazz vocalist/flautist Melanie Charles and Detroit drummer/producer & DJ, Shigeto on Hotel San Claudio, a collaborative LP of spiritual jazz and live deconstructed beats. Following Melanie Charles" formidable Verve album Y"all Don"t (Really) Care About Black Women and MdCL"s lauded 2022 Soul Bank album, Freedom - Celebrating the Music of Pharoah Sanders, the three forward-thinking musicians unite for a sonic exploration across jazz, hip-hop and soulful house.

Acclaimed Australian indie-dance trio Crooked Colours deliver their eagerly anticipated third studio album, Tomorrows, via Sweat It Out.

Tomorrows further showcases a spectacular array of recently released singles, including 'Feel It,' 'Light Year (Feat. Masked Wolf & Jasiah),' 'No Sleep,' 'Falling,' and 'Love Language'.

Angel Deradoorian and Kate NV are Decisive Pink - Ticket To Fame is their highly anticipated debut. After teasing the single ‘Haffmilch Holiday’ the duo amassed a rapturous response, with The Guardian calling it “a space-age-dancefloor swoon that brings to mind Kate Bush’s Waking the Witch” and the New York Times highlighting the single as “substantive and thoroughly hypnotic”. On their first LP they do not disappoint, calling on Kate NV’s experimental pop leanings and Angel Deradoorian’s taste for atmosphere and otherworldliness, Decisive Pink have created a playful and abstract album designed for escape and enchantment. Electronic pop at it’s finest, the debut points to the fact that life is a puzzle, but you can still get a lot from living it. ‘Destiny’ is a smart take on the nature of belief, built on a question-and-answer format, where Angel plays a role as the seer, and Kate the enquirer. The poppy beat is reminiscent of Talking Heads’ ‘The Great Curve’, from Remain in Light. There again, it could be a sinister take on Will Powers’ ‘Kissing with Confidence’. The synth squeaks, squelches and toots sound like the timid affirmation of the initiate. Ticket to Fame is also unashamedly romantic in atmosphere and tone. Romance is to be found in the simple pleasures, such as listening to a blackbird on the instrumental ‘Rodeo’, where warm synths, a melancholic guitar pattern and hissing rhythm combine with some vocal snippets to form a soothing contemplation. Then there is ‘Ode to Boy’; a perfect pop track. The walking into the room of “more than just an ordinary boy” (doubtless “drunk with fire”) allows a set of initially different, and shortened synth patterns to build to a glorious affirmation of the power of love. “Perfect pop music” Marc Riley, Bbc6 Music

Tracklisting: A - Free Yourself / B: Free Yourself (Paul Woolford remix) (new track from upcoming album!)

In 2022, Twice finally celebrated the 5th anniversary of their debut in Japan! Twice, who have prepared many thanks and gifts for their fans, will release the analogue version of Twice Japan 4th Album "Celebrate" this winter, a much talked about work to celebrate the 5th anniversary of their Japanese debut in a grand way. The memorial piece will be a limited-quantity production disc!

Hot off the press, Danny James’ debut full length album “Heatwave” is hitting the shelves on February 9th and warming our hearts with groovy neo-soul and r&b that we all need in our lives. Co-produced with long time friend and collaborator Es-k, a legendary beat maker in his own right, the two have delivered an album that’s a breath of fresh air; a revelation in the weight of lightness. Split equally between instrumental grooves and the buttery vocals of James and his friends Maari and Stephanie Wilson. Sprinkle on top a little extra sweetness with ultra smooth guitar licks by Max Bronstein-Paritz (aka Steen) and soulful trumpet by John Culbreth. The whole crew showed up on “Heatwave”, a debut album baked to perfection.

The first analog reissue of Tomoko Aran's 6th album 'Last Good-bye' released in 1986 is now available!

The 6th album produced by Yukio Seto, released in 1986 by Tomoko Aran, who has become a household name because she was recently sampled by The Weeknd!

This album contains 11 songs including the exotic pop groove track 'Nanairo Rakuen', the new wave song 'Oishii ne!' and the addictive cosmic synth song 'Last Good-bye'

The 2023 remastered sound source is used, and the cutting is done by Warner Music Mastering

After a first mini-album Dr Bolivard which took the form of a funky and electronic tragi-comic self-psychotherapy, a series of interviews with creators on YouTube (Jacques, Myd, L'impératrice...) where he played a zany psychiatrist character asking existential questions, Bolivard is back with a new mini-album which will be released on January 27th 2023: M. Bolivard.

Composed between 2020 and 2022, he gives his impressions of a turbulent period: pandemic, confinements, American and French elections, global warming, war in Ukraine, worsening mental health... Bolivard keeps his black humour and his taste for nonsense while adding a good dose of satire. On the agenda: social anxiety, radicalisation of opinions, narcissism, psychopathy...

Musically, French pop and funk are always mixed with electronic music. Bolivard sings, raps, slams, speaks, above all to tell stories that are more or less crazy, often funny, sometimes disturbing, definitely creative

Hikaru Utada “First Love/Hatsukoi” will be released on a 7 Inch Vinyl format as a limited edition on December 9 to celebrate the launch of Netflix TV Series “First Love” (coming November 24 on Netflix). The 7 Inch Vinyl is comprised of 2 Disc Set, and it includes “First Love (2022 Mix)” which is newly stereo mixed by a Grammy award-winning mixer and producer Steve Fitzmaurice, and also includes “Hatsukoi (2022 Remastered)”. The tracklisting also includes an a cappella version of both “First Love” and “Hatsukoi”.

This album compiles most of the songs by Sistema de Entretenimiento released on various tapes. Arcade Synth Punk at its best from Barcelona. Recorded between 2020 and 2022 by Skiper at Fast Food Records HQ.

To honour twenty years since the release of Sugababes’ iconic debut album ‘One Touch’, the band released a series of brand-new remixes, These remixes are available on blue vinyl for the first time as a RSD exclusive. The reworks from Majestic, Metronomy, Blood Orange and Mnek offer a fresh take on classic singles “Overload’, ’Same Old Story’ and ‘Run For Cover’ Pressed to blue vinyl with new artwork featuring archive photographs.

Following up last year's orchestral album opus “Overtones For The Omniverse", Mocky has been releasing a number of upbeat and uplifting instrumental tracks and now collects them as "Goosebumps Per Minute, Volume 1" on classic vinyl and digital. Putting his vocals and songwriting to the side for this project, Mocky employs harps, horns, and 70’s analogue synths to provide a funky soundtrack that spreads a little of that California sunshine in the listeners direction. Built around Mocky's signature basslines and ensemble vocal arrangements that include his son Telly and his daughter Lulu, all recorded to his vintage ampex tape machine, Mocky did away with the normal metronomic BPM calculations in modern production and instead measured his music in "gpm" (the tempo at which music transmits Goosebumps) - and on top of a multitude of summery bass, drums & strings perfection, Vicky Farewell drops a blistering Rhodes solo on "Flutter" and Carlos Niño lends a percussive hand on the sublime "Iridescence”. Todd M. Simon handles the horn duties, and Liza Wallace infuses the dance tracks with live harp which recalls the floating approach of Alice Coltrane. Titles like "Refractions", "Wavelengths" or "Conduction" are hinting at a scientific approach to creating the conditions for "Goosebumps Per Minute" - his own calculus for the timing of how and when to hit and strum the things in his studio to make it raw & funky.

The songs were also inspired by his time hanging out at the Goldline bar in LA’s Highland Park. “Throughout the pandemic it was the one place I could go and sit outside and hear incredible music as I listened to my friend DJ Phonecalls playing from the Goldline's vinyl collection. He would be dropping these uplifting funk and disco cuts - and at the end of the night I would go home to my studio and make a track and upload it to my Bandcamp and the streaming services immediately … It reminded me of my time in Tokyo's vinyl bars so "Goosebumps Per Minute" owes a lot to that inspiring culture as well“.

There are many Ninas – so many iterations and incarnations; so many images, moments, voices and songs; so many faces with mouth ripped open, an array of faces that now spans five decades. The same is true in the video for her new single "16 Tons." Nina Hagen is a legend – "the Godmother of punk rock," activist, fictional character, phenomenal performer, Jesus disciple, extraterrestrial emissary and Brecht connoisseur. Nina is the beginning and the end. She breaks down walls and begins again, keeps on and never stands still. Nina is many, and yet there can only be one of her. The woman who fell to Earth cannot be replicated.

Nina Hagen, the most beautiful, and most strident, hell-raiser to toe the line between punk and pop, East and West and outta space that Germany has ever produced is finally back. On 09.12.2002 her new album UNITY will be released on Grönland Records. It is her first album since VOLKSBEAT in 2011. The time was more than ripe.

The 12 songs on UNITY take us on a wild journey through a densely woven musical jungle full of chirruping, buzzing and chittering. Country twang sung over spacey synth grooves and rock pop playing over dub and sexy slow funk. Some songs tell of biblical miracles, others are feisty political tirades, and then there are covers: a country classic, a Sheryl Crow hit and even a Bob Dylan song with German lyrics ("Die Antwort heißt ganz allein der Wind") – really something that only a larger-than-life songstress can dare to do. UNITY plays with a multifaceted mélange of textures, samples and everyday sounds. Amidst this rich foliage of sounds and themes there is, of course, that voice; in the wink of an eye it transitions from operatic to demonic, hitting insane high notes then plummeting to awe-inspiring deep bellows, as if she is trying to interfuse the sexes. Nina Hagen screams and hisses, belts out lyrics and performs recitatives, rasps and reverberates in electronic distortions. She launches into musical dialogues and soliloquys. It is as if her voice is echoing into our time from another world.

In short, UNITY is a piercing, warm-hearted and varied Nina Hagen spectacle. She is as prolific at 67 as she has ever been.

The master sleuths at Dark Entries bring us Forbidden Overture, another tantalizing mystery from the hidden depths of sleaze. It all began years ago when Bijou Video’s Jules Zinn introduced the label to the soundtracks of the pornographic films of legendary filmmaker Steve Scott and gay superstar Al Parker. It wasn’t until The Magazine’s Bob Mainardi gifted a cassette copy of the soundtrack to the film Turned ON—a bathhouse fantasy from 1982—that the wheels started turning. The steamy, hypnotic sounds were credited only to “Forbidden Overture…” but who was that? This question remained unanswered for some time, and countless hours of research, Venn diagramming, and elaborate flow charts all proved fruitless. It wasn’t until a chance screening of BAD Girls Dormitory, a 1986 women-in-prison movie from gay porn director Joe Gage that happened to reuse some of the same music did the answer become clear: Forbidden Overture was none other than the mighty Man Parrish! The soundtrack to Turned ON consists of two epic side-long pieces, both of which employ classic Man Parrish production techniques. “Primal Overture” slinks along with brooding pads and ominous chords, building and oozing throughout its 27 minute runtime like a sultrier Goblin soundtrack. “Strictly Forbidden” takes a similar groove to a major key, but it’s optimistic chirp conceals a wry, mysterious wink. Says director Steve Scott: “It took us about two weeks to find the right piece for the jockstrap scene. But it's like anything else—you know when it’s right.” Also included is a 20 page booklet featuring photos, archival material, a pull-out poster, and interviews with Steve Scott and stars Al Parker and Scott Taylor. Turned ON is an exciting musical rediscovery as well as a vital document of queer history.

The 2013 action-adventure game The Last Of Us was originally published in 2013 by Sony Computer Entertainment and was developed by Naughty Dog. The game is played in a third-person perspective and its player controls Joel, a smuggler who is escorting the teenager Ellie across a post-apocalyptic America. The game received critical acclaim, with praise for its narrative, gameplay, visuals, sound design, characterization, depiction of female characters. The Last Of Us became one of the best-selling video games, selling over 1.3 million units in its first week. The game won multiple Game of the Year awards and has been cited as one of the greatest video games ever made. The Last Of Us also received acclaim for its score, which was made by composer Gustavo Santaolalla. Santaolalla is also known for his work on Brokeback Mountain and Babel, for which he both won the Academy Award for Best Original Score. The Argentinian composer also created the music for the series Jane The Virgin and Netflix’ Making A Murderer. His soundtrack to The Last Of Us was his first in the video game industry. In 2020, he also returned to compose the music to the sequel, The Last Of Us Part II. The Last Of Us is available on black vinyl. This 2LP is housed in a deluxe gatefold sleeve, includes printed innersleeves and an 8-page booklet with liner notes by writer and creative director Neil Druckmann.

* Limited edition * Pressed on pink vinyl * Includes an acoustic version of 'Voyage, Voyage' for the first time on vinyl!

Black Friday Record Store Day 2022 Reissue. Color: Yellow. Limitation: 1000. Featuring Prince. Fast Freddie The Roller Disco King is an album by Imperials, released in 2022. Fast Freddie The Roller Disco King includes a.o. the following tracks: “Fast Freddie The Roller Disco King”, “I Just Wanna Be Your Lovin' Man” and more. The album is a Black Friday, Colored Vinyl, High Quality pop 12in.

Kehlani - Blue Water Road - 13x Platinum, 2x GRAMMY Award-nominated, singer & songwriter Kehlani has announced her highly anticipated third album blue water road. "blue water roadi s a destination in my mind,"Kehlani explains. "I'm giving everyone access. It's an emotional journey, a sexual journey, and a spiritual journey. To me, the album is like a glass house. It's light, transparent, and the sun is shining right through it."

K. FLAY INSIDE VOICES / OUTSIDE VOICES - Flay has released a new album, Inside Voices/Outside Voices. The record combines the 10 songs off the "Blood in the Cut" artist's two 2021 EPs, Inside Voices and Outside Voices, and adds two brand-new tunes: "The Muck" and "Good to Drive. "

The tenth studio album by Bjork on CD coming with a Digipak sleeve.

Public Possession proudly presents Aiden Ayers debut album „Venus Copper Rose“. A few words by the artist himself: „ Venus Copper Rose came to me in a dream. The three words are all the same thing, symbols of beauty and material formations of love. Together they are a VCR (videocassette recorder) - a memory machine, a portal into fantasy and myth + a transcriber of dreams. The songs on the album represent the past five years of my life. The oldest of them were written and first recorded in 2017 and the youngest barely made it to the mastering session on time. I am always writing and recording, travelling to and fro, on little islands off the coast of BC, down to the California desert, or in makeshift basement studios throughout Vancouver. Every song has grown up and been captured in a different way - the album is a wild garden of misfits, flowers and weeds. I hope that people feel nourished by this album - I believe that is the ultimate role of music, like another kind of food, light, or love. I hope these songs and this album can help people see the beauty and poetry that flows through their own lives.“

On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he also delivers, with a warm and moving voice, the texts of three poetesses from the past. Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums, he switched between songs inspired by poetry, instrumental ballads and electronica with hummed choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and "Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and 19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786-1859) and Renée Vivien (1877-1909).

The Last Thing is one of Lebanon Hanover's best songs yet-an arresting and sorrowful dirge, it is a song that evokes the ray of hope that lingers after Pandora's Box has opened. And this is undoubtedly the feeling permeating the still air of silent cities and towns worldwide where human beings have never before been further apart. The song features the most haunting vocals from Larissa Iceglass to date, like a warm exhalation of light under the veil of seemingly perpetual darkness, standing toe to toe with the passionate work of luminaries such as Marianne Faithfull, and Velvet Underground chanteuse Nico herself. "In these morbid times once it's over it is over. Looking back at your life there is basically nothing that counted more than love." Living On The Edge, is a strong opener, with vocals helmed by Larissa, is a sighing electronic music track, with buzzing guitars droning in the distance, and the clever blue allusion instilled in the witty lyric: "Monday Morning, listening to The Cure". Golden Child is playful yet haunting nursery rhyme recounted by William Maybelline, that is both complex in its production and driven by that classic kind of Lebanon Hanover bassline. Garden Gnome opens with caustic guitars that vacillate between echo-laden strumming. The song is both beautiful, jarring, idyllic, and bitter. Digital Ocean features a melody that would be at home on early Cocteau Twins records, counterbalanced by Maybelline's baleful growl. Angel Face is an acoustic guitar piece that is almost neofolk in compositions, highlighting the genre-spanning dynamic range across the album, and some of Maybelline's best crooning vocals. Hard Drug once again tapes into that early sound championed by Ivo Watts Russell, with folky acoustic elements led by Larissa's resonate voice guiding the way through the rueful melody. Third Eye In Shanghai is an unsettling track whose Gothic Rock guitar riff whose detuning evokes Eastern Ritualism, with dual vocals shared between Larrisa and William that overlaying distorted buzzing, and humming sounds reminiscent of Mongolian throat singing. Your Pure Soul is a slow cinematic journey along the pews and corridors of the religious subconscious. Led by Larrisa's mesmerizing vocals, this creates a sonic palette of such a caliber, as only been previously explored through the early work of Dead Can Dance. Come Kali Come, invoking the Cheif Shakti, divine mother, and destroyer of evil in Vedic mythology, is a perfect closer for Lebanon Hanover's most experimental album to date. The song's bubbly theremin sounds quivering like radio interference over sitar-esque strumming, with the sinister whisper of the song's title and refrain giving way to William Maybelline's bellowing croon. Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci-Fi Sky is Lebanon Hanover's most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade's worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Limited to 100 copies on red vinyl. Only at HHV.

Violet HHV Exclusive edition limited to 100 copies.

The millennium was one long bad prank / we looked at each other and knew right away: that's it." The world out there is going to the dogs. Well, not just since yesterday. And it won't be over tomorrow either. Shitty times, then. Of course, you could meet them with cynicism. Or with despair. But maybe not. Maybe we could also draw hope, precisely because it would be so much easier to lapse into doom and gloom and bitter laughter now. And maybe it's okay to need something to keep our spirits up in the midst of the apocalypse.

And that's how WIR SIND SCHÖN came to be, Jens Friebe's ninth album, which, like the previous albums, is also released on Staatsakt, punctually four years after the last one (2018's FUCK PENETRATION). It is a cheerful-melancholic, ironic-serious, nonchalant piece of music, which just has no desire for staleness and contemplation. The hymn-like, beautiful title track "Wir sind schön" (We are beautiful), which embraces kitsch with self-deprecating seriousness and is above all comforting, gets to the point: the better world out there, we can build it ourselves. Despite everything. "It's an anti-nihilist album," Friebe says. No Future is already not wrong, but not so funny anymore, if the Future really rather scorching earth in prospect. But it's not that the problematic is erased. It appears on the record in the most diverse forms: In the almost socially realistic depiction of a youth friendship destroyed by the multi-tiered education system with the beautiful title - shimmering between urban sociological treatise and fairy tale - "The Shrinking City", in the devastating protocol of failed self-care ("Das Nichtmehrkönnen") or the enigmatically gloomy fantasy "What Have We Done". But the listener never gets bogged down in these low points of mood, but is always pulled out and up into the euphoric, utopian. Or, as in the rousing protest song "Sing it to the Converted", into the militant. But what sounds at first like the sheer repetition of banal slogans, turns out in the next moment to be a reflection on the necessity of repeating banal slogans. Because, as the last few years have shown, even the seemingly self-evident must be reminded again and again. Or, as Friebe puts it, "Doesn't the priestess preach to the converted / How long would they be converted if they never heard her?"

Similarly immediately poignant and intricate at the same time is "Free": what is freedom? Neoliberal exploitation, a privilege of the better-off, as preached by certain federal finance ministers? Or naked skin in the sunlight, partying, wind in the treetops, rage unleashed? Yes, this is somehow also satire, but not only: Friebe does not leave it at simply denouncing a grievance like a tired cabaret artist. Between the shifted drums, minimalist instrumentation and velvety grooves and background vocals (as on other tracks by Elektrik Diva MALONDA and Pola Lia Schulten), the actual, truthful longing for a freedom that is not characterized by anti-social economic order and commercial exploitation also comes through.

Should we laugh or cry? Maybe just both, as on "Ende aller Feiern," a sixties-poppy, subtly queer love triangle, with probably one of the best lines ever to make it into a German-language break-up song: "Wir haben uns alles erzählt/Nur zuletzt wollt' ich nicht alles wissen/I think you noticed that/And bit me goodbye."

Standing still has never been Jens Friebe's thing, but this time it's musically a bit further from the indie rock habitus that still made up FUCK PENETRATION or NACKTE ANGST ZIEH DICH AN WIR GEHEN AUS (2014). Yes, a penchant for anthems, crooner-like and storyteller is always part of Jens Friebe, but this time Afrodiasporic musical styles play a bigger role. More soul, more grooves, a certain smoothness that suits the hope that flashes again and again between ironic distance and realistic description of the present on WIR SIND SCHÖN.

Although the real drums have been almost entirely replaced by the drum computer, Staatsakt colleague Chris Imler again has a style-defining role on this album with synths and additional percussion. On "Die Schrumpfende Stadt" (where Herman Herrmann can also be heard on bass) he programmed the beat. Mense Reents (Goldene Zitronen, Sophia Kennedy) mixed "Der Wahn" and "Ende aller Feiern". As with all albums since DAS MIT DEM AUTO IST EGAL (2007), Berend Intelmann was again responsible for the production.

WIR SIND SCHÖN is an antidote to our times, an embrace of all the ambivalences we have to endure every day and an adrenaline injection into the heart of apathy. The world is complicated, but that's okay. Because, "When our eyes get used to the dark / Look at us and you'll see: We are beautiful!"

Lyrics: Aida Baghernejad