Tape Sale 92 Items

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

Cashier is a band from Lafayette, LA that plays a washed out, fuzzy blend of shoegaze & indie rock. This two song cassette captures a unique ebb and flow between sonic intensity and harrowing urgency with melancholic flare and a DIY attitude.

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

This listing is for a cassette copy of Big Sonic Chill by Sparkler on a blue & green glitter cassette.

Sparkler is a four-piece shoegaze band from San Diego, CA. Drawing influences from the 90's shoegaze movement and harnessing sounds that span from growling distortion to massive swirling textures, Sparkler gives classic shoegaze a new line on life with a modern twist of all natural lemon and lime flavors. The songs cut through the modern take on shoegaze and dig back into the roots where it all began.

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

Absolutely ripping dirty & melodic pop-punk from BC, Canada! This was one of our favorite punk EP's of 2020, so listen up and don't say we didn't tell ya so. Limited to 100 on White Cassette Tapes. (Comes w/ download code)

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

Edition of 150 | JAPAN IMPORTw/ Photo & Collage Booklet (10,5 x 12,7cm) by Alex Besikian

Founded 1988 in Stockholm/Sweden, Dismember were among those responsible for Death Metal's big break through. The debut album, Like An Ever Flowing Stream from 1991, clearly showed that Dismember are an uncompromising band which resulted in their rise to cult status and within a short period of time the album took the scene by storm. Extensive touring with bands like Death, Morbid Angel and Cannibal Corpse showed that Dismember are a live force to be reckoned with and the number of fans grew steadily. The band then released the 5-track EP, "Pieces", and went out on tour again with Napalm Death and Obituary. They played for thousands of fans throughout Europe thus reinforcing their status as one of the best live bands on earth. "Dismember" is the ultimate death metal album from one of the finest Swedish bands. Dismember have lost nothing in terms of intensity. The sheer pace and passion of the songs are blistering and the vocal sounds as pissed off as ever. Powerful riffs that are not in short demand, plenty of lead works and amazingly melodic harmonies are what the metal scene needed and Dismember have them in huge spades. This is definitely one of the best death metal releases in many, many years.

In the summer of 2019, a newly formed, Oklahoma City-based rock band called Chat Pile would release its debut four-track EP, This Dungeon Earth. Little did anyone know at the time, but this initial taste of grotesque, confronting, and visceral noise rock courtesy of four slacker Okies would kick off the story of what would soon be one of the most widely lauded underground acts in years. Like the towering mounds of toxic waste from which it gets its namesake, Chat Pile’s body of work is emblematic of a distinctly midwestern flavor of American dread, with This Dungeon Earth being no exception to the rule. While raw in presentation, Chat Pile’s debut EP comes across as anything but a rough draft. Much of the band’s hallmark traits, spanning the unhinged vocals of frontman Raygun Busch, the grotesquely contorted guitar riffage, and the industrial smack of heavily processed percussion, appear as far back as this earliest chapter. If anything, the raw, DIY-rooted origins of these uncompromising thirteen minutes of sludged-out carnage make This Dungeon Earth all the more impactful. Between its biting social commentary and gratuitous grindhouse insanity, the unfiltered brutality of Chat Pile’s debut recording has seen tracks like “Rainbow Meat”, “Face”, and “Ratboy” become mainstays in its notorious live shows. Although it depicts the band’s monstrous amalgamation of noise rock, sludge metal, hardcore, and more as it is just beginning to congeal, This Dungeon Earth comes off as the furthest thing from a simple intro and more of an essential first chapter in Chat Pile’s story.

Released only a handful of months following the band’s breakthrough debut EP, Remove Your Skin Please signaled that whatever Chat Pile was doing wasn't just a one-off novelty of Midwest metal nihilism. While the band’s foundational sound of caustic and cacophonous noise rock crystallized with its debut, the release of Remove Your Skin Please signposted the vast extent to which Chat Pile could stylistically tinker and conceptually iterate atop it. Heard in the gothy post-punk dirge of “Mask” and the dissonant extreme metal fervor of “Davis'', the more experimental ideas present on Remove Your Skin Please come off less like a selection of the band’s conceptual prototypes and more like fully realized reflections of its member's own tastes and preferences. That doesn’t mean Chat Pile’s noise rock foundation is diluted in the slightest as EP bookends “Dallas Beltway” and “Garbage Man” push its twisted take on the genre to new aural extremes in its instrumentation and subject matter spanning grisly serial murders to the slow festering death of the environment at the hands of mankind. For as ugly and unhinged as Chat Pile’s tales of 21st-century American dread are, Remove Your Skin Please asserts something that is somehow subtly even more terrifying: If a quartet of otherwise ordinary Okies can convey such apocalyptically bleak yet resonate messages in its music, that may mean we feel that same nihilism, too.

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

Metallica, live at the Reunion Arena, Dallas, Texas on 5th February 1989. Metallica became huge stars following the August 1988 release of …And Justice For All. The following month they embarked on the mammoth Damaged Justice world tour. The remarkable show featured on this double set was broadcast on Z-Rock FM five months in. It captures them on ferocious form, performing many of their best-loved songs, as well as a handful of covers, and is presented here with background notes and images. [2 cassette set]

Produced by Jeff Kleinman (Beyoncé, Frank Ocean, FKA Twigs), Life on the Edge of You finds Lontalius aka Eddie Johnston elevating his intimate, confessional indie-folk songwriting across a new musical landscape. The pair had worked briefly in Los Angeles in 2017, then over the pandemic took to trading files from opposite ends of the word, building tracks in a surprisingly fruitful collaboration melding alt-indie with flavors of hip-hop and R&B.

Raised in Wellington, New Zealand, Lontalius embraced making music since getting his first guitar at the age of eight, and spent his preteen years honing his craft in his bedroom with all the resources of the internet at his disposal. After uploading intimate covers of pop songs from an eclectic range of artists, from Crowded House to Beyoncé to Yung Lean, to fanfare on YouTube and Soundcloud, Johnston released his debut LP, I’ll Forget 17, in 2016 on Partisan Records.

His subsequent albums, 2019’s All I Have and 2020’s Someone Will Be Here For You, have followed in its acclaimed footsteps, attracting over 110 million streams and over 650k monthly listeners on Spotify, alongside collaborations with Grammy Award winning producer Om’Mas Keith (Frank Ocean, Erykah Badu) and Jim Fairchild (Grandaddy, Modest Mouse).

Sorrow Wave duo BRING HER return with their second LP and first album since 2019, Comfort In The Shame. Based out of Pittsburgh, BRING HER play a distinctive brand of somber darkwave, defined by haunting and magnetic vocals over pounding and obsessive drum machines, penetrating guitar chords, and eerie and harrowing synths. Using DIY recording methods coupled with sound shaping, heavy layering, and meticulous editing the new album sees the two-piece at a new height, adding to the urgency and crushing weight of their already brooding sound. Elements almost industrial in nature shine through these 10 new tracks, yet the duo stays as gloomy and dismal as the self-described Sorrow Wave moniker implies.

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

Red Apples 45 presents: Rap is Art by Ray Wes.t A limited Cassette instrumental EP release crafted with the SP12,MPC 2000xl & a Moog little phatty. Rap is Art is an exploration into sample based creation & analog craftsmanship. Packaged in a cassette single style case, Ray West crafts 7 instrumentals & one guest vocal piece by Queens’ own JUNCLASSIC. Rap is Art pays homage to the great Guru's line.... Rap is an art you cant own no loops .... so take it personal .....

The Dead Mauriacs return to Sucata Tapes. After Cocktails pour la fin des temps (Discrepant, 2016) and Beauté des Mirages (Discrepant, 2017) the mysterious (french?) artist recalibrates his/her tools into another head rush journey of concrete exotica and space lounge plunderphonics. Lush vistas from broken verandas and confusing cocktail parties brush shoulder with the most original musique concréte experiments this side of the jungle. ‘Eléments d'une Diplomatie Fantôme’ does it again in brilliant eléctrique style, a mesmerising addition to a unique catalogue from an exploratory artist doing his thing!

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

The collaboration album from Cookin Soul & Jinsang, beats for the summer time inspired by Brazil.

NINE is the new album from Grammy nominated California rock heavyweights, blink-182. The album features soon to be classics ''Darkside,'' ''Happy Days,'' ''Generational Divide,'' ''Blame It On My Youth,'' and others.

blink-182 is Mark Hoppus (vocals/bass), Travis Barker (drums) and Matt Skiba (vocals/guitar). Since their humble beginnings in 1992 in San Diego, blink-182 have sold over fifty million albums worldwide and rocked audiences around the globe, becoming one of the defining and inspirational rock bands of their generation.

TRACK LISTING:
1. The First Time
2. Happy Days
3. Heaven
4. Darkside
5. Blame It On My Youth
6. Generational Divide
7. Run Away
8. Black Rain
9. I Really Wish I Hated You
10. Pin the Grenade
11. No Heart To Speak Of
12. Ransom
13. On Some Emo Shit
14. Hungover You
15. Remember To Forget Me

Long Drag spent the Winter of 2022-23 recording their third release, One Snake Smarter Than Us All. A punk band that puts their effort into crafting songs with depth, and thought. Long Drag dives into humanity with compassion, and a desire to better understand ourselves and others.

Introducing Thallus' latest album, "Infinite Layers," a genre-bending space odyssey in sound that is sure to take you on a journey through the vast expanse of the cosmos. The album features 16 intricate tracks, each with its own distinct flavor and texture, making it a true feast for the senses. With its multi-layered soundscapes, "Infinite Layers" is the perfect album for fans of experimental hip-hop music who are looking for something new and exciting.

Experimental And Improvisational Psychedelic Rock, For Fans Of White Heaven, Les Rallizes Denudes, Headroom, Düngen, Heron Oblivion, Comets On Fire, The Renderers, Bardo Pond. Mountain Movers Arguably Are The Perfect Band For All The True "Heads" Out There. The New Haven Quartet Have Been At It For 15 Years, And The "Newest" Lineup (Now At It For Well Over A Decade; Vocalist/Guitarist Dan Greene, Bassist Rick Omonte, Guitarist Kryssi Battalene And Drummer Ross Menze) Have Firmlygrasped What It Takes To Fry Brains; Achingly Beautiful Melodies Buoyed By A Life Raft Of White-Hot Guitar Scree And Mind-Melting Feedback. "World What World" Is The Band's Eighth Album And Third For Trouble In Mind Records. "World What World" Is The Newest Chapter Of The Group's Continued Explorationsand Efforts To Refine Their Sound. The Lyrics Of "World What World"S Songs All Imply A Protagonist On A Quest; The Title Itself Is An Implied Query With No Question Mark; Is It A Question, Or A Statement?. The One-Two Punch Of Opener "I Wanna See The Sun" And "Final Sunset" Lay Out What's In Store; Crazy Horse-Inspired Sandpaper Melodies Sit Comfortably Next To Improvised, Psf-Influenced Six-String Ragers. The Group Performs Together Effortlessly And Telepathically, Subverting The Loud/Quiet/Loud Dynamic That Has Saturated Independent Music Since The Late-Eighties. The Loud Parts And Quiet Parts Are Like Waves; Indistinguishable From Each Other, Creating A Fluid Dynamism And Intensity That Swallows The Listener Up Inits Current, Sweeping It Toward Oblivion. Hyperbole, You Say? Watch Out For Midway Through "Then The Moon" When The Tune's Lilting Waltz Pivots Into A Casually Blistering Solo By Battalene Before Fading Into The Melancholic "Haunted Eyes" -Beckoning You With A Mournful Sidelong Glance. Side Two Opens With "Staggering With A Lantern", An Elegant, Lumbering Instrumental Improvisation Again Showcasing The Synergistic Shredding Of The Group's Guitarists. The Sticky Lyrical Hooks And Sideways Jangle Of "Way Back To The World...

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

A more upfront and streamlined proposition than last year's 'Dias da
Aranha' on Souk, 'Cornos' is a reflection of Serpente's solo live
apparitions throughout this last year.
A cycle tainted by tragedies and a maze-like feeling of loss, 'Cornos'
mirrors both the urge of overcoming and its ghostly remnants through
five digressions that pulsate with crippled rhythmic symmetries and loner
harmonic motifs. Maybe just the sound of moving on with broken legs.

Moments of eternity: the first plucks at the strings, a bass note cementing the drift into place a little more than a minute in. The organ drones, iterating unrelivable ancient history, a chiming note of the church. Guitars strings, climbing that stairway to heaven. Gossamer-light when viewed from a distance; up close, the gears grind with a visceral physicality. With Bcmc, Cooper Crain and Bill MacKay unite to create Foreign Smokes: provocalogues, equal parts avant-garde noir and fire-and-icy jams to recall bright shades and warm stretches of infinity drawn through the buzzy overdrive of this side of life"s strange and sunny days. Cooper"s organ and synths and Bill"s guitar draw songs from spontaneous statements and elegiac scraps, floating closer, then farther, and closer again to the sounds of the other. Starting with a melody, as set of progressions or even as little as a scale or just a key, gives room for either one of "em to take the lead, depending on where they are or are going at any given time. The reigning motif most often seems to be, to melt and wind around each other"s sound, part of a singular undulation, handed back and forth, a slowly emerging trip up into and through an ideal of exuberance.

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

The reputation of the Japanese hip-hop production team Grey October Sound is spreading both in Japan and abroad. While they have released quality albums such as "Timeless" and "The Cave," their two lo-fi hip-hop cover albums, "Lo-Fi Ghibli" and "Lo-Fi City Pop," have become hits in record stores around the world. For the third installment of this series, they have set their sights on Japan's world-famous anime songs!

They will be covering songs from "Bleach", "Saint Seiya", "Puella Magi Madoka Magica", "k-on! and "Dragon Ball", all of which are lo-fi arrangements of theme songs and insert songs of high quality, while still showing respect for the originals. The cover of this album was designed by Rika Hase, an illustrator who also created the artwork for "Lo-Fi Ghibli" and "Lo-Fi City Pop".

Hear Current Joys tear through a live set of fan favorites recorded last winter at Kilby Court in Salt Lake City, Utah. This 14 track set is the first time one of Current Joys' visceral live performances has been captured for vinyl and released digitally online. The four-piece plays full-band arrangements of Current Joys classics like "Blondie" "Kids" and "My Motorcycle" as well as a new unreleased track "Altered States."Recorded February 22, 2019, at Kilby Court in Salt Lake City, UtahGuitar & Vocals: Nick RattiganKeys & Vocals: Maddy BoydBass: Aaron JassenoffDrums: Jackson Katz"Current Joys (and its former incarnation TELE/VISIONS) is the quiet and affecting solo project of Nick Rattigan (...) You can affix it with any number of labels - minimalist bedroom pop, spare indie balladry - but whatever the assignation, the music is devastatingly pure. (...) Current Joys is the rare project that manages to transcend its simplistic trappings and achieve something like musical grace. " [Alex McLevy] - AV Club "Nick Rattigan sings and plays drums in the surf-rock band Surf Curse, but he's been doing more and more with the solo bedroom pop songs he writes under the name Current Joys. Propelled by sinewy guitar lines and sweeping synths, songs like "Fear" reflect on the underbelly of modern life without resorting to self-pity. " [Stephen Thomson] - NPR Music

Featuring Krisengebeat

Around the Songster's Commune was made quite quickly and purposefully without a lot of fuss -- made to preserve the spirit of its making -- at Diana Duta's generous Jambes studio in Brussels. It's a collection of meditations: compositional fragments, whimsy ditties, field recordings and (live/d) experiments with troubadour song-making methodologies. It's a sonic drift -- sonically drifts. Here, Bergur seems to be exploring the looseness of world-making. Or, maybe better said, exploring how loose he can get with world-making and the realization of sonic realities. Exploring how unconscious, how trusting of himself, as an artist/composer/sound-maker/human, he can be. (Katrina Niebergal)

Lank002 is a compilation that gives a future listen of what’s to come for the new Belgian label. Side A starts out slowly whilst side B highlights the up-tempo vision of the label. The release focusses on different electronic styles but it also takes a look beyond. Every track, put aside the exception, is performed and recorded in one take. The cassette is numbered, limited to 50 copies and comes with a download code, including some extra bonus tracks.

In the fall of 2019, WETBACKMANNY dropped the single "Fuck Ice 2" which turned into a runaway viral hit, gathering over 2.5 million views on twitter alone. Combining charm and humor with deadlly serious pro-Latinx activism, WETBACKMANNY steals hearts with every note he raps. Rancho hip hop is here for a new decade.

Video Age's third album pairs neon-bright 80s pop melodies with a vast range of influences (including Janet Jackson, David Bowie, and Paul McCartney) to create an optimistic sound all their own. The influences vary song to song, but they're all tinted with the same rosy hue, and Singer and multi-instrumentalist Ross Farbe says, "I'm often trying to create a more idealized version of the world I'm in." Video Age's first two albums were about loneliness and discovering oneself, but Pleasure Line takes on a whole new attitude, considering both Ross and songwriting partner Ray Micarelli are getting married this year. "We're feeling the love," Ray says, laughing. But these aren't expressions of one-dimensional puppy love-this is euphoria with depth, ecstasy with complications. Darkness is always lurking somewhere beneath happiness, but in the Video Age, even melancholy sounds like something you can dance to. Ray and Ross share a love for dancefloor hits. Experimentation and play is crucial to their approach, as is collaboration. Joined by band members and multi-instrumentalists Nick Corson and Duncan Troast, Video Age recorded the album together in Ross' New Orleans home studio. Pleasure Line is a salve that protects against cynicism-listening to this album, you can't help but feel the world around you is full of romantic potential.

Somatic Suspension is the new album from Stockholm based Spanish composer and pianist Hara Alonso. Emerging from a classical contemporary background, her current work fuses electronic and instrumental music along with interactive works. Composed at the EMS studios is Stockholm, Somatic Suspension arises from a meditative process of introspection and inward listening. This work attempts to translate various somatic experiences into the sonic plane through the exploration of gestural repetition in a biofeedback continuum. The piano used, an electroacoustic Yamaha Cp-70, is a rare instrument with a piezo pick-up system, outputs, a built-in equalizer and a tremolo effect. It’s unique sound quality invoked the overall atmosphere of the album, sustained like a winter forest covered by scattered golden leaves. The digital processes that accompany the piano dissolve its pure sound into a mesmerizing superposition of layers and glitches. Intimate melodies, minimal electronic beats and teared textures merge together echoing the memory of an uncertain future. File next to: Klara Lis Coverdale, Ryuchi Sakamoto, Alva Noto, Kelly Moran Released on March 5th on white cassette & digital

Lair returns to Eotrax with a new 4-track EP. Following her 2017 self-titled debut EP, releases on Urban Legend and Rhod Records as well as collaborative projects in the visual arts and dance she returns to Eotrax to release I Hurt So I Cry this summer. Created using elements of sound healing and sacred sound I Hurt So I Cry can be engaged with from a purely musical perspective or listeners can take advantage of its sound healing qualities and use this EP as an active sound bath- active in that the listener intentionally uses the music to support them in going within and releasing, resting and restoring their body, nervous system and heart. As with all Lair’s work, the music is composed using only her voice with one exception, a sampled cello in the EPs first track Foreshadow. This brooding opener inhabits the dark ambient world we've come to expect of her music but as the EP unfolds ethereal vocal lines mix with her darker sound and a new, lighter sound world is revealed. In the artist’s words: “A shadow falls across our lives, we hurt so we cry, the feeling starts to shift and from that shift hope can spring." Both intimate and expansive, the tracks create a feeling of existing outside time. Lair’s profound connection to nature can be felt through all the tracks - at times in a deep cavern, at times moving through an elvish forest and at times in an Otherworld. Released on June 29th on red cassette & digital with artwork and design by Goldmoth Media. Mastered by Dominic at Declared Sound.

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

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

100 Hand Numbered Tapes on Clear Night Blue Shells!

*Available: August 26, 2022*

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

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

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

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

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

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

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

The tenth studio album by Bjork on cassette tape.

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

You can always rely on zake to serve up some of the most magnificent ambient of the moment. He does it at an almost unbelievably frequent rate, too. This latest project is a seance part of the Orchestral Tape Studies series he minted back in 2019 and finds him paying homage to minimalist symphonic composers and orchestras through a series of pieces that focus on tone and timbre, with subtly shifting layers of carefully manipulated sounds, absorbing drones, field recordings and fragmented orchestral loops. Soundscapes shift subtly and manipulate your emotions just as deftly. This is a limited cassette version with several different vinyl versions also available.

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

It doesn't stop. NRW is proud to present something very special for your ears. Beautiful soft synths with vast and dynamic chords make "Fermi Paradox" an instant definitive Retrowave album. A must listen to for all synth lovers.

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

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

Was that a dream?

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

Welcome to round two on our mission to be a spotlight for the best in contemporary funk, soul & positive vibes. We are proud and happy to present another colorful compilation including very talented and funky artists from this lovely planet. Dive into 50 minutes of funk & soul. Visit our Soul Library on goldenrules.de, follow our Soul Stories via @goldenrules.soul on Instagram, find great vinyl in our soul shop and support the artists and labels directly on their channels.

We are very proud to finally present you the long awaited debut compilation "Free Improvisation" with some of the most talented and cool cats around Greece!

The concept of the album is the improvisation, as the title reviles. We wanted all artists to express their passion freely without any filter!

Spread love!

Live From The Gonsch showcases Sydney head (and O.T.I.S. label boss) Hugh Burridge aka Hugh B’s lesser known domestic dub mode, low-slung and low volume, tracked on headphones during hidden hours, often with his daughter strapped to his chest. The album’s eight cuts are built from rhythmic modular loops layered with snaky bass, swampy guitar, and occasional hazed vocals, dub-mixed to 2-track cassette through hand-built FX (Burridge runs a boutique delay pedal business). The mood throughout is loose, soupy, and slippery, shaded in echo and spring reverb, glimpsed through tall grass.

The title alludes to Burridge’s recently retired Skylab radio show, “Mornings From The Gonsch,” which repped a spectrum of home recorded modes, from bedroom dub to hybrid new age to lost synth songcraft. Here he blends these muses into a woozy fusion all his own, dub-adjacent daydreams of time, money, stasis, and absence, hummed and half-heard beneath a bleached blue sky.

DSC is a music-graffiti crew based in Greece since 2006.
Wa(bbnz) is on the drum machines and dj mechs on the wheels of steel.

"Fonky science" is our debut LP specializing in jazzy beats with a
boombap-chill essence and funky mechanical cuts.
Sit back relax and enjoy..ONE LOVE!

All the beats produced by Wa (bbnz)

All the cuts performed by Mechs

Mix & Programming by DSC

Cover art by Themis Dervenjas (only graffics)

Propeller was the fifth album by Guided By Voices, and was intended to be the group’s last. Released as a limited edition of 500 LPs in 1992, the album featured handmade covers and blank labels to keep expenses as low as possible. Their other albums hadn’t sold much, why would this one? Robert Pollard had a family to support and his musical aspirations had not exactly been a boon to their bank account. As fate would have it, the band wound up releasing an album chock full of gems Pollard had stockpiled, and for the first time sounded distinctly like the band that fans have since come to love. Propeller also marks the return of Tobin Sprout to the GBV fold, along with an increased songwriting presence. From anthem-to-be “Over the Neptune” to the effortless melodies of closer “On the Tundra,” Propeller is a hell of a ride, and remains one of the most important albums in the band’s discography. The vinyl edition has been out of print for a decade, and features different cover art than previous pressings. The CD edition has been out of print for a minute as well, and is now housed in digipak format, also with a new, unique cover from one of the original pressings. And for the first time Propeller is available on cassette.

Excellent Ambient Techno/House album