Rock & Indie Vinyl 12 Inch 638 Items

Record Store Day 2023 exclusive release limited to 1600 copies.
This exclusive 12’’ single released on transparent red vinyl, includes three previously unreleased tracks, alongside the previously rare track ‘Witness to Your Love’, which was only officially release on the band’s 2022 ‘Anthology’ album. The LP features the single artwork created for ‘Witness to Your Love’s’ digital release and this will be the first time the cover is being released physically, accompanied by a newly designed printed inner.

Ambient Pop from Brooklyn who do dreamy pop with jangly, reverby slow-mo guitars like Mazzy Star of old.
EP one includes four songs aching with rich, dark melancholy and sung breathily by the band’s chief and songwriter Greg Gonzales.

Packaged in an old school, tip-on sleeve. Includes hi-res digital download.

Legendary debut album by Junko Tange (mystery woman who showed up on the NWW list), originally issued by Osaka’s Vanity Records in 1979. Dadaesque recitations and sparse guitar, piano and electronic meanderings combine for a beguiling, hypnotic dreamworld. Officially licensed from the custodians of Yuzuru Agi's Vanity Records archives, this edition has been fully remastered from new transfers of the original analog tapes by Stephan Mathieu.

Record Store Day 2023 exclusive release limited to 6750 copies.

A classic amongst seasoned record collectors, “Blow Out” has not only been heard on some our most esteemed mixes by favorite diggers world-wide, but also would have been the soundtrack to beautiful sunset sets in Ibiza's most “Balearic” dancefloors during the second half of the 80's. A poppy melody that catches the attention of even the less sober party enthusiast, mixed in with Dubby digi/stepper elements and playful yet somewhat sleepy vocals topped by Dire Straits style guitar smoothness. Highly appropriate for lower latitudes. Goes well with cocktails, not to be played bellow 23 degrees Celsius – cruise along.

Today, LA producer and underground dance-fantasy legend Benedek has shared his new EP “Zebrano” via Steven Julien’s Apron Records. It’s his first release for the London label, and features a stellar line up of featured artists, from rising Canadian-Ghanaian LA-based singer Akua and DC's man of the moment dreamcastmoe, to R&B future icon Devin Morrison. It serves as Benedek’s first featured release since his 2011 single with Dam-Funk.

While originally lauded for his own hybrid of boogie, garage house, and downtempo grooves, Benedek is traversing new realms with his esoteric innovations. These are all facets of Benedek's sunny and seductive hometown of Los Angeles, and are sonically expressed in his catalog. But as much as he’s embraced the shimmer on the surface, he’s also familiar with deeper, more hidden worlds. His work has found its home on such labels as PPU, LI.E.S., Leaving Records, Music From Memory and more. His expansive catalog includes collaborations with Steve Arrington, Delroy Edwards, Dam-Funk, Joyce Wrice, Tom Noble, Jamma-Dee, Kirin and more.

Grammy Award-winning band Ghost have announced the Popestar U.S. headlining tour - a 34 city run that will include two rituals at The Wiltern in Los Angeles this October. To support this, the band will be releasing a brand new EP by the same name, Popestar. This new EP features one new original song and five newly recorded cover songs.

Attn.: We did not receive this record in time for RSD, but we will get it this week.

Fleetwood Mac's only #1 single in the UK was Peter Green's “Albatross.” This Record Store Day 2023 reissue of the original Fleetwood Mac/Blue Horizon single brings to light the greatness of Peter Green and his time with Fleetwood Mac. The red vinyl 12” single has individually numbered sleeves.

Die Benjamins ist ein intergenerationelles Projekt mit Wahnsinnsmelodien. Max Gruber aka Drangsal, Charlotte Brandi, Julian Knoth (Die Nerven) und Thomas Götz (Beatsteaks) haben gemeinsam mit der legendären Hans-A-Plast-Sängerin Annette Benjamin eine erste EP aufgenommen, sie erscheint am 2. Juni 2023. "Ich habe hier so eine Supergroup für dich zusammengestellt", sagte Drangsal eines Tages am Telefon zu Annette Benjamin, nachdem sie jahrzehntelang - nach Hans-A-Plast - ein bürgerliches Leben geführt hatte. Als erstes fragte Drangsal Julian Knoth von der Gruppe Die Nerven. "Ich wusste, dass Julian Hans-A-Plast-Fan ist", sagt Gruber. Knoth wiederum trifft kurz darauf auf einem Konzert den Beatsteaks-Schlagzeuger Thomas Götz. Schließlich kam die Songwriterin, Pianistin und Sängerin Charlotte Brandi dazu, die Gruber bei einem Tristan-Brusch-Konzert getroffen hatte. 2022 nahmen DIE Benjamins die fünf Songs der Benjamins-EP in drei Tagen in Thomas Götz' Studio auf. Produziert hat Max Rieger von Die Nerven, das "Mastermind des deutschen Indie-Rock" ("Der Spiegel") hat unter anderem mit Casper und Stella Sommer gearbeitet. Wie gesagt: Supergroup.(Torsten Gross)

Record Store Day 2023 exlusive release limited to 1300 copies.
Mute / BMG announce A WAY OF Life - Rarities by influential electronic-punk duo Suicide for Record Store DAY 2023. Although the band barely received any credit during their career, Suicide are cited as one of the most inspirational bands of the 1970s, influencing the likes Soft Cell, Depeche Mode and The Jesus And Mary Chain, whilst garnering fans in Nick Cave, Jim Thirlwell, M.I.A., Spiritualized, Lydia Lunch, Bobby Gillespie and Savages to name a few. Celebrating the 35th Anniversary of Suicide’s 1988 studio album ‘A Way of Life’, this brand new collection features four previously unheard rarities from the era, including a live cover of Bruce Springsteen’s ‘Born in the Usa’, live versions of ‘Devastation’ and ‘Cheree’ and an early version of ‘Dominic Christ’. The collection features brand new artwork and is pressed on 12” Transparent Vinyl.

The third and final instalment in Fu Manchu's 30th Anniversary vinyl 10" series, Fu30, Pt.3, includes 2 new original Fu Manchu songs, as well as a cover of The Plimsouls' "A Million Miles Away," featuring Clutch's Neil Fallon on vocals. This is the final edition in this 10" series, making a total of 30" of new Fu Manchu music for the Fu30 anniversary. This limited edition 2,500 unit run is pressed on purple vinyl at 45 RPM for maximum heaviness with a package design that pays homage to the cover of The Plimsouls' original single, which was popularized in 1983's Valley Girl.

Limited to 3000 copies.

Doves & Ravens is Dermot Kennedy’s debut EP. It was released on April 14, 2017. Five years since it's release, it will be pressed on clear vinyl for the first time.

Degrees of Freedom is a Canadian musical group founded in 1984 in Montreal by Janet Cadman (vocals and percussion), Martin Chartrand (bass, guitar, rhythm programming and vocals) and David Curtis (keyboards, vocals, and percussion). Established as a 5-piece New Wave cover band, Degrees of Freedom evolved into its classic quartet configuration following the departure of the original guitarist and drummer, and the subsequent enlistment of Santino Mastrocola on drums. With this lineup change came a new musical mission: the writing, recording and live presentation of original material only. Since Santino's withdrawal from the band in 1988, Degrees of Freedom has carried on as a trio in the studio while augmenting concert performances with additional musicians.

In February 1985, Degrees of Freedom performed at the newly formed S.O.S. (Save Our Songwriters) Club in Montreal. Like other participants in the S.O.S. project, Degrees of Freedom was rewarded with studio time to record some of its own songs. One of these, "August is an Angel" was selected to close out the locally produced 1985 band anthology album "Listen - A Faze Compilation of Montreal Music." The next year, a new track "In This Room," was included in the follow-up release "Listen 2." Both songs, with four newly recorded works, were issued in 1988 as Degrees of Freedom's eponymous sole vinyl release, informally known as the “China” album.

In 2015, the music of Degrees of Freedom experienced a renaissance thanks to a new generation of club DJs, traditional and internet-based radio hosts, vinyl disc collectors, and other aficionados of synth-based music. Local and international recognition has come in the form of record sales to fans in Canada as well as in the USA, Germany, Scotland, England, Ireland, Belgium, The Netherlands, France, Spain, Lithuania, Sweden, Bulgaria, Australia, Vietnam, and Japan. Responding to the resurgence of interest, Degrees of Freedom has twice re-issued the disc (2017 and 2019). Today, with eyes on the future and the past, Janet, Martin and David continue to collaborate on new material including the songs, "Metal Flesh" and "Be This Way" both accessible on the band's YouTube channel.

XYZ = the transatlantic (USA/France) duo made of Ian Svenonius (singer extraordinaire with Escape-ism, Chain & the Gang and the legendary Make-Up) on vocals + Memphis Electronic (Dum Dum Boys, NON!) on instruments. Fuzz guitars! Drum machines! Analog synths! Groovy Glam! Sexy soul! Dancefloor rockers! FIVE hit singles on one 12", a real "5 Stars EP

Yellow / red splatter Vinyl.Stay What You Are is the breakout third studio album by the American alternative rock band Saves The Day. Produced by Rob Schnapf (Elliot Smith, Beck, The Vines) in early 2001 it's a record that remains incredibly influential within the emo and rock scene to this day, showcasing the band's signature blend of upbeat catchy melodies, with dark lyrical undertones. Features the standout singles 'At Your Funeral' and 'Freakish'. Originally released on July 10th 2001, the album saw Saves The Day crack the Billboard 200 at the same time other that emo acts like Jimmy Eat World and Dashboard Confessional were enjoying mainstream success. This new pressing comes on double 10" splatter vinyl, packaged in a hand-numbered gatefold sleeve with lyrics and accompanying insert; released via Hassle Records for the UK/EU in conjunction with Vagrant Records to celebrate their 25th Anniversary.

Emotional Response's 10th-anniversary celebration are brought to a superb close with Benedikt Frey. He serves up a magnificently dubbed out and psychedelic cover version of Joy Division's 'She's Love Control across four different versions. The vocal version might be the best for us - it retinas that compelling dark drum funk you expect from the band with eerie synth additions and hefty bass. The instrumental is more slow and dubbed out in a traditional sense with the Lucas Croon dub doused in endless reverb. Last of all is a dub by Frey himself that is full of open space and bass bin distorting headiness.

Gatefold jacket White/Black ASideBSide LP with Red, pink and blue splatter Lyric insert Download card

Newly created DIO art picture disc celebrating the two legendary appearances at the Donington Festival! Side A features “Stand Up And Shout” from DIO’s 1983 appearnce while touring behind debut album Holy Diver. Side B is the classic “Rock And Roll Children” from DIO’s triumphant return to Donington as one of the Festival Headliners on 1987’s Dream Evil tour. A Double Dose OF Donington and prime era DIO. 12" Picture-Disc.

“Humblekids” is the first studio album by Fiasko Leitmotiv. This work is a journey in multiple dimensions of music and narrative, and even if its deep roots are certainly electronic, the listener will land in different atmospheres, different genres mixed together in new keys, with new meanings, all in a post punk environment. from a narrative point of view, “Humblekids” presents two main styles, one metaphisical and one surrealistic, and somehow the second seems to carry the first one in a mix of tragedy and irony. “Hanako” and “Balls” , the two singles from the album, underline the presence of theese two different but coexisting approaches,tied together in a necessarily sense, like darkness and light , day and night.

Limited edition for Record Store Day 2022.

It seems like it was only a few months ago that Jim O'Rourke changed everything with the release of the incredibleEureka. And if you actually think that, then by George, you're the Rip van Winkle of 90s rock! It hasn't even been a few months since Jim's big comeback record The Visitor, his first record in the mold of classic "pop music" O'Rourke albums like Bad Timing, Eureka and Insignificance. The Visitor was Jim's first solo e"ort in that arena in eight freakin' years too! Even if you're not an O'Rourke freak, if you're losing that much time in your life, you'd better have your head examined. Well, never mind-as long as people love it, here's another few sides of long-ago and far-away O'Rourke back on vinyl for the first time since way back in the mid-aughties. It's the "Halfway to a Threeway" 12"ep back to set turntables a-spinnin'! Fans of Eureka and Insignificance (not to mention Jim's tomfoolery as part of the Loose Fur band) will appreciate the analog pressing of these four slices of the pop music party-pooper combination of folk, classic rock, smooth jazz and a bit of the old avant-garde to help communicate the twisted ways of the misanthrope that made Jim such a perennial in the fickle world of record sales. A quick listen to the title track will hip you to our meaning: "Halfway to a Threeway" exposes our sweet soul-crusher as a lustful man-beast on the make. The song is a straight folk number-straight, that is, until you listen through the haze of those 6-string overtones and chirpy harmony vocals to hear the true perversity of O'Rourke's fantasies. The decadence of stardom seems to have turned Jim into not only a sex freak, but also a man who loves women of all persuasionsparticular the crippled and brain-dead kind! Don't listen to this song alone-at least, not with the drapes open. The whole record's a blast, and it hasn't really aged that much in the-what'th! elevenish years since it first spread like the strangely appealing odor that it is was and is. And now that it's back, the whole O'Rourke "There and Back Again" pop saga is available on LP once again, which brings us up to date-but not for long. Later this year, we're going to be bringing new O'Rourke tunes your way-possibly the greatest thing since he first sliced white bread way back on Eureka. You remember that? Ah, nevermind...

This very one Lost Boy from Brazil washed ashore the Lowlands' 'Finis Terrae', a produce of first-generation 'Shock Doctrine' and a real 'carioca' borne on the New World's 'Bossa Nova' and 'Esplendor Geometrico' of old 'Ancien Regime' para-military junta hat delivers quite some maximally dark and manic minimal wave of late, at times even slightly reminiscent of Siouxsie and the Banshees and of Joy Division, and all sung through old and charming, slightly dissonant 'Samba' melody lines vaguely hailing from certain sinister up-hill 'Cicade de Deus' margins of a distinctly distant 'Vagamundo' Purgatory past in either the Portuguese, the English or the Spanish tongues, rendering the paranoia 'facsimile in Limbo' of the coming Futurist Global Orderly State, this deep-state 'Novo Estado Novo' within the current 'Nova Bossa Nova', this 'Guerra Nova Prometheida por uma Terra Nova Prometida', the World's Electronic New Wave 'Fado' of Digital Panopticon and similar forms of purely A.I.-bot-generated (nothing personal!) Totalitarian Torture 'Technique du coup d'Etat' in genuine random numbers as already foreseen and shown to all some long time before in the Magic Green on that 'Funky Dollar Bill', 'Novus Ordo Seclorum'... Mastered by Guy Tavares

Record Store Day 2021 Release.

Danish genre bending hardcore quintet Eyes release their 7-song 2018 debut EP for the first time on vinyl through Indisciplinarian limited to 200 black copies. The first EP saw them receiving a super hype in the hardcore scene resulting in great reviews, a European tour and DK shows with Konvent, Morild and many others. Eyes then released its first album ‘Underperformer’ through Indisciplinarian on September 25th 2020, and Underperformer’ received massive attention in UK, Europe and the USA The album’s ten songs are produced by Tobias Munk Tønder (Église, Drukner), mastered by Jacob Bredahl (Lifesick, I Am Bones) - who also contributes guest vocals on the record - and Jon Gotlev/No Heroes has created the notable artwork.

12inch release of highly sought after Colored Music edits by Tokyo's, Chee Chimizu (Organic Music). The two cuts originally featured on the the bands seminal self titled album (from 1981) that remained a cult DJ secret weapon, for many years, all over the world. This heavy EP includes an alternative version of 'Heartbeat' that featured on the Japan only "Individual Beauty" LP of 2018 (also compiled by Chimizu)

Permeated by a dark a eerie synths, a perfectly programmed Roland TR-808 and an outstanding analog production, "On and On (Fears Keep On)" belongs to what we like to define "dark italo disco" or "italo wave". Here's there's an extra touch of cosmic / interstellar feeling, sharing the same feelings (and the same synthetic hardware) of "Spacer Woman". Not a intergalactic travel this time, but the wait for somebody to come from the sky.

Tool's debut EP!

Following on from Soundway’s 2022 compilation, Padang Moonrise, are two late 1960s tracks from Java, Indonesia. one instrumental psychedelic organ version of Classic Indonesian track ‘Bubuj Bulan’ and the other a raw funk cut sung in Arabic. Rully Djohan recorded this unique, psychedelic instrumental version of Benny Corda’s classic ‘Bubuj Bulan’ for his album of instrumental organ versions of popular Indonesian songs recorded in 1971-72. With echoes of Indian, Ethiopian and Egyptian jazz melded with traditional Javanese music this version is a shimmering, dubbed-out take on a song that has been recorded by many Indonesian vocalists. Djohan is backed by The Galaxies Band, and led by one of Indonesia’s most original band leaders and arrangers Jopie Item, who also plays sitar and guitar alongside Djohan’s electric organ. On the flip-side, Munif Bahasuan delivers a deep funk track sung in Arabic. Munif was a Jakarta-based vocalist who sung mostly in Arabic and English. Jakarta has a small population of Arabic, ethnically Middle Eastern people who settled in Indonesia via connections with Islam and Islamic culture, the dominant religion in Java, Sumatra and many other of the main islands in the Indonesian archipelago.

Kolonel Djafaar"s "Cold Heat" packs a mighty punch, combining the irresistible charm of Ethio jazz and psych rock with the power of a big band brass section, that has made them a formidable live force across Belgium. As they come into their own cinematic sound, now is the time for them to be enjoyed more widely, thanks to masters of exotic groove, Batov Records. Kolonel Djafaar"s debut release for Batov is an all-killer-nofiller EP. On "Bactrian Camel"" the four-man brass section picks up a thundering groove, only for the organ-led rhythm section to answer with their own snaking retort. Joris Wendelen"s electric guitar riffing adds a further Middle Eastern flavour to the stew. Written by trombonist Willem De Mol, who delivered the song after two months alone in Russia, "Lamentation" continues the Ethio vibe with a little Latin panache. The brass-led tone here is mysterious, the melody lingers. An almost surf-esque guitar solo transports the listener before the main groove on organ and brass recalibrates us to the solid rhythm.

A razor sharp recording that effectively proves how lethal this band was in the flesh. As the title states this album was recorded live in Seattle at Neumos 5/28/18.

Milk Music was conceived in the late aughts as brothers Alex Coxen (guitar, vocals) and Joe Rutter (drums) drove around the Northwest jamming on tunes in a shitty old Volvo. Inspired by music that their friends were making, the young brothers rented a space, enlisted first bass player Eric Yates, and wrote the songs on this record. Side A begins with the blistering “Nervous Wreck”—in and out of tune at the same time, fast but somehow feels slow—totally fucked. “Beluga” conjures a deranged image of a mystery whale, as the listener imagines the brothers as Ishmael and Queequeg leaving their hometown of Port Townsend, WA behind on their epic coming-of-age hunt for revenge and white blubber. “No Life” finds this newly hatched band laying down the mood and sonic foundation that would define them up to this present day. “Ripped” ends side A with racing, lysergic skate-rat rambling over a thumping mudslide of scuzz. Side B begins with “Pipeline,” an absolutely massive, almost unbearable eight minute bong-toke of a song. Bonus crucial early track “Violence Now” wraps it up with a brutal sonic speed-bag to the groin, leaving the listener reeling and dazed, coughing in a fog of their own crotch smoke. Recorded by Sam Stabler (Sex Vid) in the practice space in 2009 and mastered in 2022 by Randy Randall. On two hundred gram vinyl with a sturdy tip-on sleeve for one’s consideration. Includes a poster.

Includes The Clash Art Print! Ten Punk Bedrooms This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside… Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style: Side One 1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!! 2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was Hugh…. Side Two 1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray. 2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements and as stated on one of their early badges ‘skipping off school to see them play’. 3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the same age that he could relate to and forge an identity with. Hopefully to hang on your bedroom wall… it’s never too late Punk….

Hailing from Athens, MOb is a three-piece group, simulating an avant-garde/jazz-punk sound, using synthesisers, effects, loops, and drones that lacerate with tonal discrepancies to create their iconic soundscape. 'MOb' - powered by the crowd, harbours a dynamical system and wave of musical disorder that characterises their compositions. Their music is carved into a world of melodious electronic jazz, kraut, filmic and exploratory post-punk. The compositions are mainly based on open forms of tonal and non-tonal linear material, while improvisation lends a balance to the production of melodic material and the creation of multifaceted sonic atmospheres.

March 3rd 2023 sees the release of a collaboration between Massive Attack’s Robert ‘3d’ Del Naja and Ukrainian artist Slava Vakarchuk, the frontman of Ukraine’s most popular rock band Okean Elzy. Vakarchuck has performed 179 impromptu shows for civilians and soldiers across Ukraine since the invasion began 12 months ago. The track, “Obiymy (Legacy of War Mix)”, was re-worked by Del Naja and Euan Dickinson in March last year and is now released through his Battle Box label. In April we’ll see a vinyl release featuring a B-side “Field Recordings / 2022” in a gatefold sleeve press by Deepgrooves, the world’s most eco-friendly vinyl plant. You can pre-order this now.

All profits go to the Legacy of War Foundation; an international charity providing support to civilians affected by conflict, founded by Giles Duley - a photographer, writer, campaigner and UN Global Advocate. Duley shot all photography for the digital and vinyl release, which was then designed by Robert Del Naja. Legacy of War Foundation will be partnering with United24, a global fundraising platform, (launched by president Volodymyr Zelenskyy in May 2022) to help restore destroyed homes in Kyiv Oblast, under the Rebuild Ukraine program.

About Legacy of War Foundation: Legacy of War Foundation was set up to do things differently: operating localised, beneficiary-led projects to support civilians affected by conflict and raising awareness of the lasting impact of war without big offices, international teams or unnecessary overheads. Founded in 2017, the Foundation now runs projects around the world including its innovative land transfer and sustainable agriculture program Land for Women in Rwanda, refugee support in Lebanon, and an extensive Ukraine crisis response supporting marginalised groups with specialist evacuation support, shelters and humanitarian aid.

www.legacyofwarfoundation.com / @legacyofwarfoundation

A note about proceeds:

Legacy of War Foundation will use the proceeds from the single to partner with United24’s Rebuild Ukraine program, which aims to restore residential buildings in the Kyiv Oblast damaged during the Russian invasion. This program will enable 4237 Ukrainians to return to their homes in Irpin, Borodyanka, Hostomel, Buzove and Mila.

United24 was launched by the President of Ukraine Volodymyr Zelenskyy as the main venue for collecting charitable donations in support of Ukraine.

This 12" 'single' by post rock legends Bark Psychosis, is a beautifully haunting masterpiece, with an incredibly cool sleeve to accompany. Improvised and recorded live in the band's 'home' of St John's Church in 1992, SCUM experimented with the use of space and extreme dynamics, with music that varied between minimal jazzy chording, airy acoustic drums, clamorous noise guitar, space-ambience and random vocal snippets. You can hear why the band have been credited as genre defining. Now a complete reinvention of the original 1992 release on 3rd Stone Records, and the first ever release on Rolling Heads. With updated artwork true to the original, SCUM has been fully remastered at Abbey Road Studios by Miles Showell, with the help of frontman Graham Sutton. Luxury 300gsm card sleeve, boasting something a little different to the original.

Record Store Day 2023 exclusive release on Black vinyl. * * * Italian Library Music Obscure Cult Release! * * * * * * Officially Reissued FOR THE First Time Ever!!! * * *

Originally released in 1977, “Psycho Analysis” remains today one of the most obscure and mysterious titles inside the vast catalogue of Edizioni Leonardi, from the points of view both of its musical content and of its realization.

Musically, in fact, we are facing a collection of short dark-tinged and gloomy compositions for piano and synthesizers, characterized by a slow and unrelenting pace, a perfect soundtrack for a thriller/noir or a 50s/60s sci-fi horror movie, with the exception of the closing piece “Seagull”, a more bright and relaxed song that almost seems to ‘liberate’ the listener from the shady sounds of the previous tracks, accompanying him on the shore of a tropical beach. "Psycho Analysis” has become with time a highly sought-after title among collectors and library music enthusiasts.

Basically impossible to find in its original edition, it is finally reprinted on vinyl for the first time: a Redi Edizioni exclusive, distributed by BTF, on the occasion of the Record Store Day 2023.

LORI finds Iron & Wine's Sam Beam drawing from the songbook of noted singer-songwriter and multiple Grammy winner Lori McKenna. Recorded at the famed Sam Phillips Studios (Memphis, TN) with producer Matt Ross-Spang, Beam takes on four of his favorite McKenna tracks with help from Sima Cunningham and Macie Stewart, known collectively for their work in the indie-art-pop band Finom (formerly known as Ohmme.)

Tribal Earth is an ongoing project created by Canadian artist Michael Bennett. Tribal Earth's 1983 recording “Interaction/Reaction'' features a fusion of post-punk, DIY mutant wave and minimal synth-pop that is backed by infectious funk and dub elements alongside Linn Drum machine rhythms. Heavy basslines and synths swirl, stab, and ring alongside Bennett’s smooth vocal delivery into 3 timeless art-avant pop gems “Interaction/Reaction,” “Got to Move,” and “Who Are You (In the Movies).” This 40th anniversary edition is remastered directly from the master tapes and is a collaboration between Invisible City Editions and Michael Bennett. For fans of 99 Records, This Heat, and Lifetones. An underrated one of a kind IC fave. Limited Pressing.

Aroma Di Amore is/was Belgian’s premier cult band. Since the early eighties ADA innovatively combined electronics with rock. With a mix of razor-sharp Flemish lyrics and unconventional song structures the group earned a cult status in Belgium and abroad. 40 years later they conclude their career with a few last concerts and a vinyl box set spanning the years 1983-1987.

At the notorious Rock Rally of 1982 Aroma Di Amore stands out with their wonderful handling of the Flemish language, a deep bass, typical cold new wave drums, biting guitar riffs with the occasional flavor of absolute madness. Frontman Jos Verlooy adopts the stage name Elvis Peeters. The explanation for this remarkable pseudonym choice: in 1977 – the period of the singer's musical awakening – one of the two famous rocking Elvises (not Costello, but Presley) succumbs to his pill addiction. So, dixit Verlooy, there is an Elvis vacant. A banal surname belongs next to that exotic first name. A combination that breathes rock 'n' roll, according to the singer.

His companion Gerry Vergult – who very much determines the sound with his metallic riffs, somewhat indebted to Jean-Marie Aerts – adopts the stage name Fred Angst. Completely in line with the depressing zeitgeist of the 1980s. Gerry eats and breathes music. Besides composing most of ADA’s songs, he records & self-produces a few fantastic dark en loner solo minimal wave tracks as Fred Angst. He is still musically active, more towards the electronic leftfield nowadays under the moniker Zool.

It is clear from an early age that companion Elvis Peeters possesses the gift of the word. As an adolescent he published the punkzine “Dus”. The punk spirit stimulates Peeters. He begins to transform the poetry that he has been entrusting to paper for some time into song lyrics. It is on a whim and without any stage experience that punk friends Peeters and Angst register for the Rock Rally as Aroma di Amore. On a bed of post-punk and cold wave (Joy Division, Wire and Sisters of Mercy are the main influences), they initially let out playful, minimalist and nonsensical slogans such as "Doe De Mafia" (1982) and "Gorilla Dans De Samba" (1983). Later on, the tone becomes more serious, although Peeters' choice of words continues to show a penchant for absurdism and sarcasm. No one in Dutch songwriting imitates this verbal elasticity, certainly at that time.

The numerous songs about war are downright horrifying. In the 1980s, an arms race is underway. When the Belgian government decides to install nuclear missiles in 1981, Aroma di Amore asks for one minute of silence in the hall during performances. In "Lauwe Oorlog" (1983), Peeters exposes the core of his unrest: “paraat voor de parade / de vrede wordt begraven / met militaire eer”. To this day, the frontman of AdA still proudly wears his at least 30 year old 'atomic energy, no thanks!' button.

In 1984 Aroma releases Koude Oorlog on the new and independent Brussels label Play It Again Sam. The traditional press and radio ignore the record, but in the alternative circuits the mini-album does not go unnoticed, and the group starts to build a solid fan base, resulting in more and more offers for gigs. There's also interest in the Netherlands, and due to the international contacts of PIAS, the record also ends up in France, Switzerland, Spain and Canada.

Encouraged by this modest success, the group returns to the studio for a 12" single. With new group member Frits De Cauter on sax, they record "Voor De Dood". To this day, Voor De Dood remains the most popular AdA song, as evidenced by the countless compilations on which the song has appeared.

AdA goes to the Netherlands to record their next album “De Sfeer Van Grote Dagen”. The people from Nasmak have built a new studio in Eindhoven and one of the members, Theo Van Eenbergen (later Henry Rollins), will be the producer. “De Sfeer Van Grote Dagen” is the group's most adventurous album, and the reviews are again unanimously favorable. However, sales are disappointing and PIAS proposes to recruit Chris Reed of Red Lorry Yellow Lorry and record a new single with him. "Zonder Omzien" is recorded at the prestigious Pyramid Studio. However, PIAS is waiting to release the album and in the meantime AdA is recording a number of extra tracks with producer Ludo Camberlin, including "Koekoek In De Stad". Towards the end of the year, Lo and Elvis travel to Africa for a few months and as a result the group comes to a standstill. In this period, Zonder Omzien is released.

At the beginning of 1986, Peeters and Meulen return, and Andrea Smits leaves the group. Luc Pillards is hired as a replacement, and when Ludo Camberlin presents himself as a new label boss and producer (Anything But Records), they start recording their first full album for the label. “Harde Feiten" kicks in immediately, and the group is back up to cruising speed. In the first week of release, the record even appears in the bestseller list of the record stores.

At the beginning of 1987 the recordings for the second album start, this time in a production by Peeters and Angst themselves. Shortly after the shooting, AdA goes to Switzerland for a short but successful tour, with Men 2nd and Cas & Organized Crime as support act. "Koudvuur" is published in the autumn and considered to be their strongest record so far by the group, the reactions are rather low. Both the reviews in the press and the sales are disappointing and put a damper on the joy. Nevertheless, the group is invited to perform in Valencia, Spain, where they have an unexpected success.

MUTANT SOUNDS BLOG

Aroma Di Amore have always been outsiders, even within the confinement of the alternative rock circuit. Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgian "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, Aroma Di Amore toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.

From beginning to end the nucleus of Aroma Di Amore consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound. Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.

"I only started playing the acoustic guitar last year. I'd always preferred the idea that the guitar converts a sound into voltage and then becomes really loud. I thought the acoustic guitar was a little bit too twee for me or something. But after being offered some opportunities to play various acoustic sessions to promote the new record, in situations where it wasn't possible to record the whole band, I decided to treat it like a challenge to try and play acoustic and not have it be lame. After all I was really into Arthur Lee's ability with an acoustic and started wondering if I could make it sound convincing. Anyway, after being somewhat forced to develop some skill on the acoustic through these various radio sessions and things like that I decided to record some songs acoustically an...

As we enter the fall season, the weather is turning cooler and grayer, but UK’s THE Primitives have something to warm your heart and get your feet moving. Hhbtm is proud to present the band’s latest single and first new material in five years. “Don’t Know Where To Start” is a three minute blast of pure pop perfection; with its organ-driven melody and vocalist Tracy Tracy's superb singing, we’re equally reminded of the late Ronnie Spector and The Muffs’ Kim Shattuck. In other words, “Don’t Know Where To Start” ticks all the Primitives’ pop charm boxes for those who know. It’s followed by the moody punk edge of “Till I’m Alive,” sung by Paul Court. Also included is a live recording of “Panic,” taken from the band’s 2017 Part Time Punks session. The single closes with a fuzzy acoustic version of “Don’t Know Where To Start.” The Primitives won hearts and minds in 1988 with their debut album Lovely and its Top Ten UK hit single, “Crash.” They would have more charting singles over the course of the next four years, releasing two further albums before disbanding in 1992. They reformed in 2009 and have since released two albums and a handful of singles. This single is something of a one-off, a single released because the band felt they had some good songs that deserved to be heard—and they’re right, it does deserve to be heard. While next year is still months away, but 2023 will be the 35th anniversary of Lovely, so you can expect some activity to celebrate that delightful album’s birthday.

The meeting of Alieu and Randomized Coffee gives light to this new project, in which the Roman duo tackles a production that skillfully links Mediterranean influence to ancestral Africa in a patchwork woven of typical African ethnic elements to those of house and electronica in a "groovy" body that enhances the classical side of the African country in a modern musical mood and rhythm. The story tells about the day before an arranged marriage ceremony. Masanneh is a handsome and well-known man in his village of the Mandinka Tribe, born and raised in the village of Kudang, near the river that flows through the entire country; the Gambia. Many in the village believe him to be charismatic and generous, others believe him to be a venal materialist devoted to money. Masanneh decides to consult Cherno Jallow, a wise Marabout, to figure out how to deal with his future. He therefore moves westward to the village of Bondali, in Foni, where before practicing his work as a skilled trader he talks to Landing Sawo, the district chief, from there he hears the sound of a Kora played by Jali, while across the road he sees a beautiful woman Mariama Gomez passing by.

Zum 10-jährigen Jubiläum erstmals auf Vinyl Irgendwann vielleicht 2010 sind sich Moritz Krämer und Francesco Wilking zum ersten Mal in Berlin Prenzlauer Berg über den Weg gelaufen, nachdem sie einen (weiten) Steinwurf voneinander aufgewachsen waren und ein paar Jahre in Freiburg nebeneinander hergelebt hatten. Wahrscheinlich machte es sowas wie Zoom, Klick oder Klonk, denn es genügte ein sanfter Schubs von ihren Konzertagenturen und die beiden standen gemeinsam auf der Bühne, begleiteten sich gegenseitig und sangen zweistimmig. Das war 2011 im Societaetstheater Dresden und Francesco und Moritz fassten auf der Rückfahrt von dort schon viele zukünftige Auftritte und eine dystopische Rockoper ins Auge. Die Konzerte wollten sie mit Freund*innen spielen, das erste mit Gisbert zu Knyphausen in Halle, das zweite mit Judith Holofernes in Berlin. Danach ließen sie die Gastsänger*innen weg, spielten aber weitere Shows mit den anderen Livemusikern der ersten Shows: Max Schröder am Schlagzeug, der damals noch mit einem Bein bei Tomte war und Felix Weigt am Bass, der für Spaceman Spiff alle Instrumente spielte und bei den tollen Kid Kopphausen mitmachte. Wir wissen nicht mehr wann die Frage fiel: "Sind wir jetzt eine Band?", aber es muss irgendwann im Prozess der Aufnahmen zur EP "Unzufrieden" gewesen sein. Dort hört man zwar noch den Feature-Ansatz - Gisbert und Judith singen auf "Vergangenheit" - aber vor allem hört man zum ersten Mal den Sound der Höchsten Eisenbahn: Ein-Finger-Casio, Chorus Gitarren, Pluckerbass, Rasseln und Handtuch auf der Snare. Dazu Geschichten von Losern namens Jan und anderen Leuten die zwischen jung und alt und Nacht und Tag ihre Anschlusszüge verpassten. Es ist 10 Jahre her, aber ein paar Sachen vergisst man nicht. Wie, dass sie eine ganze Nacht Chöre aufgenommen haben für "Die Uhren am Hauptbahnhof", nur um sie morgens aus Versehen zu löschen. Oder dass Felix einige signature Keyboard-Lines im Liegen eingespielt hat. Das Schreiben der Songs und Aufnehmen ging ziemlich schnell, wie das Coverfoto mit dem Handy im Hof vom Proberaum. Die vier wussten, dass sie auf jeden Fall mehr Platten machen und Konzerte spielen wollten. Es folgten drei bunte Alben mit großen kleinen Songs und award winning live-Shows, aber so leicht ging ihnen nie wieder etwas von der Hand wie diese erste EP.

Gatefold jacket Pinwheel LP with Coke Bottle Green and Red with Blue splatter Lyric insert Download card

Gatefold jacket White and red moonphase LP with RED center labels Lyric insert Download card

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

“This is how it all started. Refused debut studiorecording from January -94. The released as Cd-single as the first ever release on Startracks. A classic single who is now released on vinyl for the first time. A-side with music and b-side with etched art. Comes with sticker with text and picture of the etchning. Limited edition 1000 copies worldwide.”

The EP is the Hull and Leeds-based band's first major release since their debut album, Bedroom, which was hailed as a latter-day shoegaze classic when it came out in July 2020. 'Port', which was originally released as a single last October, marked a major step forward for the band. Sounding not unlike the Low of Double Negative or Hey What deconstructing The Temptations' 'I Know I'm Losing You', it's a much darker sounding song; its distorted drones and beats burst into life with frenzied guitar and howls of anguish. "It helped us consider the band in a much more fluid perspective," says bassist and synth player Jordan Smith of the pivotal track. "Swapping instruments and redefining roles gave us time to spend working on new and more intriguing sonic ideas." This new experimental and more electronic approach was expanded as the standalone single release grew, almost accidentally, into a full EP, which features radical reworkings by Daniel Avery (a fearless, all guns blazing techno stomper); Working Men's Club (New Order's 'Sub-Culture' meets a long-lost early Warp Records classic); A Place To Bury Strangers (a feedback frenzy of total sonic annihilation); Tom Sharkett from Manchester krautpoppers W.H. Lung (dfa Records goes down to the death disco); Jonathan Snipes from LA-based experimental hip-hop trio Clipping (glitchy beats imploding into a wall of white noise); and Jordan himself, as Mouth Company, who brings proceedings to a close with a slow-mo trip-hop treatment. "To have so many influential artists to us putting their own piece of DNA on what has become such an important track to us is so humbling," gushes Ryan. "It's brand new territory for us, and we just feel so lucky to have everybody involved." The EP is being released ahead of bdrmm's dates supporting shoegaze legends Ride in April and will be followed by their eagerly-awaited second album, which they are currently working on."I am so excited to embrace the next chapter of bdrmm,"

Limited to 1 copy per customer.

Salar Salman (1959), an exceptional musician and composer, was born in Kirkuk, a city in Kurdistan — the North of Iraq. As a young boy he was famed in his village for his rich and warm voice. When he develloped his talent as a guitar player he was seen as one of the best guitar players from North Iraq. As his fingers found a way to accompany his moving voice, he was able to share his songs with a broader audience. Salar Salman's songs about love, tenderness and soreness affected many people and delivered him the nickname 'Santana of Kurdistan'. Unanswered love, hidden love, lost love, failing love — his lyrics resonated with his peers in their integrity and honesty. But it was not only his new way of storytelling that moved many; the way he composed music was something new. Moving away from the more traditional, folkloric, often monotonous sound, his melodies moved freely. Inspired by Afro-Western sounds from the 70’s and 80’s, like jazz, psychedelic rock or flamenco, he was able to give a new meaning to his own musical heritage and to create an alternative sound that is still influencing younger generations of Iraqi Kurdish musicians today.

An unbelievable post-punk shuffler from 1981, by Tel-Aviv-Brussels band Minimal Compact! This tune is one of our favorite tracks ever and we've been wanting to reissue it since day one. But this is no ordinary reissue! The 12'' includes an unreleased instrumental version plus a spaced-out extended dub mix by the living legend, Mad Professor!

Killer stuff as ever from the Fortuna Records crew!!!

Beach House, Cocteau Twins, Cigarettes After Sex, Slowdive. Isolated from any kind of music scene and enveloped by the cold Brutalism of Preston, White Flowers are a young, enigmatic band developing their own eccentricities away from the influence of big cities. New EP ‘Are You’ is a sonic and aesthetic collage drawing deeply from their environmental and social surroundings. The songs on the EP may at first seem delicate and beautiful, but closer listening reveals dark undertones and dry humour fuelled by the frustration of feeling trapped with no way out. Driven by this sense of claustrophobia, the duo have sought to create a form of escapism outside of their physical and 3 geographical limitations. Recorded late 2021 between Preston and Bristol, ‘Are You’ weaves together a mixture of intuitive home recordings and refined studio production aided by producer Ali Chant (PJ Harvey, Portishead, Perfume Genius). The four songs on the EP are an intentional collection of contrasts and paradoxes - beauty and repulsion, calmness and mania, anxiety and stasis - all combined to form a balanced whole. Whilst influenced in part by the writings of the late Mark Fisher and his idea that we are haunted by futures that failed to happen, that what might have been may yet be the dream that saves us, White Flowers have also found inspiration in the Brutalist architecture that adorns their hometown - futuristic yet dated buildings that serve as an appropriate visual metaphor for Fisher’s theories. Bleakly imposing yet comfortingly familiar, the monochromatic starkness of these structures has fed into the imagery for the record, as well as the sounds found within. Not intending to wallow in cynicism, however, White Flowers’ art ultimately aims to provide a way out of these dystopian fever dreams and spiralling thoughts into a forward facing place

10" Mini LP featuring outtakes and re-recorded B-sides from the 'Back In Mono' sessions! Back in Mono, The Courettes' third album, was critically acclaimed worldwide and made it onto numerous best -of -the-year lists in 2021. If, like us, you can't get enough of Back in Mono, here's some good news! Back in Mono - B-sides & Outtakes is bringing some more "spit 'n' snarl garage-meets-Phil Spector pop" (Mojo) in three brand new unreleased tracks. Look forward to hearing the three new smash tunes 'Daydream', 'Tough Like That' and 'Talking About My Baby', all wrapped in a new mix by Wall of Sound aficionado Seiki Sato (Japan) and produced by the hit wizards Soren Christensen & C.T. Levine. Also included are the three non-album B-sides from the band's most recent singles. These B-sides have been newly spruced up with extra instrumentation. Making up the eight tracks is the inclusion of a Courettes rarity - 'So What' was previously only available on a split single with The Jackets released on Chaputa Records.

Obsessions' is clearly a cult single of the era and one of their personal highlights. The band recorded the 4 track live in April 1982 and then reprocessed the take at Kindergarten Studio. The twelve inch was then released on the highly influential indie label Materiali Sonori. Neon is still considered as a legend of the Italian new-wave scene, one of the leading figure of the Florence underground movement that spread between the late '70s and the early' 80s.

Strictly limited. Originally released as a Picture Disc via Capitol in 1984, ‘I Wanna Be Somebody’ was the first single from heavy metal band W.A.S.P.’s self titled debut album. Ranking at #84 in VH1’s 100 Greatest Hard Rock Songs, this single is backed with the incendiary ‘Tormentor’ as on the original release. 2,000 only Limited Edition Picture Disc for Record Store Day 2022. The band will be embarking on a world tour in 2022 to celebrate the band’s 40th Anniversary.

Suzi Moon’s effortless channeling of classic ‘77 punk rock spirit with a modern twist continues to evolve and grow. This second twelve inch with Pirates Press Records picks up where her debut left off - blowing us away with more incredible songs that will continue her upward trajectory as one of the most engaging women involved in punk right now! The response to her first release was fantastic, though not surprising - with the first press selling out before street date and the likes of Iggy Pop singing her praises on the BBC! The touring opportunities have been flooding in, despite the covid restraints, and the show reviews have been phenomenal. We’re all poised to see her fanbase grow immensely over the next year, and this release will be one of the biggest things propelling her forward. When asked how she remained so focused and productive during 2021 Moon said "I am definitely a workaholic and since “Call The Shots” was literally my first and only guaranteed shot at getting my solo music out into the world, I didn’t want to waste one second. Between designing artwork, writing & recording songs, photoshoots, press interviews and all of the administrative stuff that goes on day to day, there was not much time for me to even stop and process the reality of my record coming out! My record with my face on it! Something I have dreamed of my entire life. This huge opportunity kept me motivated and focused, and I am super grateful to my label Pirates Press Records for believing in me and giving me a platform to do this crazy shit. I’m ready to do it again!” So, we’re doing it again! And later this summer we’ll be releasing her full length, Dumb & In Luv. We can’t wait to see where 2022 takes us!

Just one week after the outbreak of the First Intifada in 1987, Riad Awwad brought his sisters Hanan, Alia and Nariman together in their living room and began recording The Intifada album on equipment he had made himself. One of these was co-written with their friend, the acclaimed Palestinian writer Mahmoud Darwish. Riad printed 3000 copies of the cassettes which he began distributing in the Old City of Jerusalem and across the West Bank. The Israeli Army immediately confiscated all the copies they could find, the vast majority of which remain in the military archives to this day. Riad was arrested, interrogated and detained for several months. Straight after his release, he formed a band, Palestinian Union, and put out a new album. He then founded a school, offering kids in the West Bank an alternative musical education, teaching them how to create their own electronic equipment. In 2005, Riad was tragically killed in a car accident. His legacy lives on through his family, his timeless music and his powerful story, which continues to inspire to this day. Over several years, Mo’min Swaitat has amassed an archive of rare tapes and vinyl from Palestine and beyond. Many of these were acquired from a former record label in his hometown of Jenin, in the north of the West Bank. The Majazz Project is a research project and record label borne out of the archive, focused around sampling, remixing and reissuing vintage Palestinian and Arabic cassettes and LPs, shedding new light on the richness and diversity of Arabic musical heritage.

The Brilliant Adventure E.P. has four unheard tracks from the 1.OUTSIDE era; ‘johnny Downloader’, an early version of‘I’M Afraid OF Americans’ recorded during the sessions with Brian Eno for the album and mixed in November 1994 but not released on a Bowie album until 1997’s Earthling, an alternative single mix of ‘I Have NOT Been TO Oxford Town’ and two tracks, 1.OUTSIDE’S ‘A Small Plot OF Land’ and the Jacques Brel cover ‘MY Death’, performed by Bowie and pianist Mike Garson at a fundraiser for the New York Public Theater at the Shakespeare Festival in New York on 18th September, 1995.

Limited to 14340 copies. Originally released in 1990 as promotional-only, Alice In Chains’ first studio EP We Die Young will see a limited edition commercial release on Record Store Day. With remastered audio by Bob Ludwig, the three-track EP includes two songs that later ended up on the band’s debut album, Facelift, along with “Killing Yourself,” exclusive to this EP.

One of Alan Vega's greatest talents was his ability to bring the past and the future together into a suspended place of timelessness. His groundbreaking duo Suicide was often seen as future primitivism and most of his musical output has exemplified this blending of the primordial human condition and visionary thinking. With Invasion b/w Murder One, the next release from the now infamous Vega Vault following 2021's Mutator, we see this innate power in full effect. The two tracks "Invasion" and "Murder One" were recorded two decades apart from one another in New York City. "Invasion" was recorded toward the end of the 2012-2015 studio sessions for the posthumous album IT and was one of his last recordings, while "Murder One" was recorded in 1997-1998, (after the Mutator sessions) and is part of a cluster of material that was recorded but never mixed prior to the sessions for his album 2007, released in 1999. Pairing these two songs together as a release illustrates the timelessness of the 30 plus years of unreleased material that he deemed the Vega Vault.

The nightmare continues. Last summer, Pozi's 176 EP came out just as the coronavirus pandemic was offering us its first false dawn. Fast forward twelve months and another devastating wave later, we're still a disorientated, shell-shocked mess; moving once again towards normality, but with the energy-sapping tension of continued restrictions. A grimly perfect time then for the south London three-piece to return with new EP 'Typing' on Prah Recordings. The five tracks here reflect another stage in Pozi's evolution. Since coming out of the gate they've been a bristling, frenetic presence, toeing the line between dissonance and pop sensibility. As the 176 EP was a refinement of what they did on PZ1, Typing sees the trio becoming yet more comfortable in their relationship as a band and increasingly confident in how far they can push their sound. Typing isn't a lockdown record, but it has been informed by it. More importantly, though, it's yet another significant step forward from a band who've so far felt like something of an underground secret, despite being championed by BBC Radio 6 Music and in various places by contemporaries such as Sleaford Mods, Squid and Sports Team. Once restrictions do finally lift, that may no longer be the case.

Welcome to the End of the World delivers the Dead Milkmen's trademark twisted humor along with some underlying dark elements.Welcome to the End of the World delivers the Dead Milkmen's trademark twisted humor along with some underlying dark elements that will creep in to your consciousness if you pay close enough attention. The six tracks run the gamut of weird and wild--from the heavy, Ramones-influenced lead single "Only the Dead Get Off at Kymlinge," a ghost story about the haunted trains terrorizing passengers on the Stockholm Metro; to "Battery-Powered Rat," a jangly instrumental about two popes, a chess game, and a rat at the Vatican. ("Battery-Powered Rat is one of the weirdest things we've ever done," says drummer Dean Clean.) Musically, the band draws on industrial influences, with a strong beat-driven aesthetic. "It's a pretty good representation of the different styles of things that we do," Dean Clean explains. "It's got some sort of heavy stuff and some groovy, almost dance-oriented stuff--which is fun to say."

On DES Demonas’ new seven-track EP Cure For Love there’s a whalloping drum beat driving everything. But the throbbing, pumping bass, clanging, slashing guitar and whirling, swirling Farfisa are no mere passengers in this vehicle! I’m told by the other band members Paul [vivari], JOE [halladay], Mark [cisneros] and Ryan [hicks] that vocalist Jacky Cougar Abok is the loudest drummer they’ve ever heard. But here he sings! In motifs. He sings out a beat, he sings minimalist melodic hooks. He half speaks/half shouts his lyrical content in rapid fire that is closer to beat poetry than rap. His voice is insistent and demanding to be heard! And it is! By having it slightly submerged, the listener is forced to strain to hear the words because they won’t wanna miss something important! The sonic fuel of the band is a blend of post-punk, punk, funk, blues, psych-rock, Afrobeat, even bubble-gum—but the noise you hear is pure Des Demonas! Titles like the ‘Ballad Of Ike & Tina’ and ‘Black Orpheus Blues’ add to the intrigue rather than explain the content. The listener is both confronted and lured by something bigger than themselves! Desire, intrigue, fear and exuberance are the rewards to those unable to resist! But will yout love be cured? You could look to Shakespeare, or simpler, you could buy this record and find out!” —Kim Salmon

Pink Vinyl 12”. To celebrate the 20th Anniversary of Joe Strummer’s critically acclaimed Global A Go-Go album Dark HorseRecords will release a 12” Color reissueof the original Joe Strummer & TheMescaleros 7” single “Johnny Appleseed.”

12” Black Vinyl Single EP w 4 tracks Brand new 4 track EP from the critically acclaimed partnership between guitarists & vocalists Adrian Smith (Iron Maiden) & Richie Kotzen (Winery Dogs).

IN Virus Times is an acoustic instrumental piece by LEE Ranaldo. Composed during the pandemic, In Virus Times will be released as a 1-sided LP with an etching on Side B. The cover is a beautiful photo by Lee’s friend, the great Brazilian photographer Anna Paula Bogaciovas. Originally released as one track as part of a collaboration with Lucien Jean for Le Presses du Reel, the music was featured on a mini CD that accompanied a book that featured 2 short stories. In Virus Times, released by Mute, sees the track transformed into 4 pieces and is available on Limited Edition 12” Transparent Turquoise Vinyl with an exclusive poster designed, signed and individually numbered by Lee Ranaldo. The poster design is based on an electron microscope photo of the Covid-19 molecule.

Y2K prepper-rock for the underemployed. Tracked at home in 1999, the 1975 EP expands on Stratosphere's slacker-positive dreamscape, with layers of guitars both clean and fuzzy, humming organ, and "gasp!" a drum machine. Needle down, candles on.

Y2K prepper-rock for the underemployed. Tracked at home in 1999, the 1975 EP expands on Stratosphere's slacker-positive dreamscape, with layers of guitars both clean and fuzzy, humming organ, and "gasp!" a drum machine. Needle down, candles on.

It follow's last year's underground hit EP 'Idol Eyes', which saw strong support from DJs across BBC 6 Music - including Gilles Peterson, Huey Morgan, Nemone, Stuart Maconie and Tom Ravenscroft - as well as Amazing Radio, Bandcamp Weekly, Kcrw, Radio X, Soho Radio and Worldwide FM. The original 500 vinyl copies of the EP have changed hands for £75 on Discogs while the title track has upwards of two million streams.

Having produced for the likes of BTS, Jorja Smith and Maverick Sabre in his South London studio;Common Saints is Charlie J Perry's personal project, inspired by warm '70s production, crafted arrangements and natural grooves. 'Starchild' further explores these areas through fusions of psychedelic soul & funk and Balearic tendencies, all tended by memorable songwriting and production nous. "Starchild is kinda a letter to younger generations" explains Charlie. "Are we hardwired to be programmed? Like, is change possible? I've lived with that track for a while now and I always go back to it. It came very naturally, and to this day I get new meanings for it almost every time I listen to it."