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The album "Lo-Fi Ghibli," became a hit worldwide with covers of Studio Ghibli songs in a Lo-Fi hip-hop style, and it made Grey October Sound known not only in Japan but also overseas. This series became a topic of discussion even on Japanese television, and it's now common to see tourists visiting Japan carrying the "Lo-Fi Ghibli" LP from record stores to the register.

P-VINE is thrilled to announce the release of the highly anticipated sequel to this popular work, "Lo-Fi Ghibli 2." In this new release, Grey October Sound's producers have arranged Ghibli songs not included in Vol. 1, and the visual imagery, including the jacket, continues to be produced by illustrator Rika Hase. Placing this record on your turntable will instantly provide you with a relaxing chill time accompanied by memories of the Ghibli films.

Svart Records proudly present the vinyl reissue of Grave Pleasures’ modern classic album Motherblood

There are still those rare bands out there in the world that have a unique ability to combine macabre, mystifying rock with a more pop-oriented flare, a la early Bowie or early The Cure. Grave Pleasures are such a band that is equally suited for playing on a stadium stage, or in some Lynchian nightmare. It’s that duality and electrifying contradiction that makes their music so exhilarating.

Lead guitarist Juho Vanhanen (Oranssi Pazuzu) steps up to write the majority of the songs together with British-born outcast Mat McNerney (Hexvessel, ex- Beastmilk/DHG/Code). His screaming telecaster and unique interplay of discord and harmony has become a trademark of the band’s sound. Together with guitarist Aleksi Kiiskilä (ex - Kohu 63), their strings shimmer, hammer and howl out a web of sound which is distinctly Grave Pleasures. Fleshed out by the hypnotic signature rhythms of Valtteri Arino (ex- Beastmilk) on bass and Rainer Tuomikanto frenetically pounding the funeral drums (Ajattara, ex- Shining Swe), this group of well-established punks have started to reach up to their zenith on their sordid testament Motherblood.

Motherblood was recorded at Orgone Studios in the UK with Jaime Gomez Arellano (Ghost, Ulver, Paradise Lost) in March 2017 and originally released by Century Media on the same year. The studio was suitably situated on the site of an old WW2 coding bunker and brought with it the isolation of the bleak British countryside. The setting helped give the album an intense and smiling urgency that picks up where 80s UK bands such as Magazine, The Wire and Echo And The Bunnymen left off, but never stopping long enough to look back too much into the past. Featuring guest vocals from David Tibet from Current 93, the band sets the tone for their inspirations, from the esoteric underground of England’s hidden reverse to Manchester’s sound of misery. With their own metallic raw tone clashed with pop hooks, Motherblood is a furiously passionate and contemporary record, which re-defines post-punk as a “war-cry for the eternally doomed.”

They have been described as "A post-punk wet dream," or perhaps more honestly as "bat-shit lunatics," and their music is in a funereal world of its own. Motherblood is a truly danceable, pop-feast of raw, banging pleasure – in all its primitive, gothic tribalism. Dance-floor death rock that brings with it an uncanny sense of inspired song craft that made Bowie’s Berlin era sound so fresh and revolutionary, Killing Joke’s tribal anthems so desperately ominous and dark throbbing melancholy of Depeche Mode’s atmospheric pop so damn sexy. Just about every part of this record bleeds menace, or emanates nuclear fumes. It’s unsafe territory which in turn makes it thrilling, sexy and most dangerously of all, catchy.

Svart Records proudly present the vinyl reissue of Grave Pleasures’ modern classic album Motherblood

There are still those rare bands out there in the world that have a unique ability to combine macabre, mystifying rock with a more pop-oriented flare, a la early Bowie or early The Cure. Grave Pleasures are such a band that is equally suited for playing on a stadium stage, or in some Lynchian nightmare. It’s that duality and electrifying contradiction that makes their music so exhilarating.

Lead guitarist Juho Vanhanen (Oranssi Pazuzu) steps up to write the majority of the songs together with British-born outcast Mat McNerney (Hexvessel, ex- Beastmilk/DHG/Code). His screaming telecaster and unique interplay of discord and harmony has become a trademark of the band’s sound. Together with guitarist Aleksi Kiiskilä (ex - Kohu 63), their strings shimmer, hammer and howl out a web of sound which is distinctly Grave Pleasures. Fleshed out by the hypnotic signature rhythms of Valtteri Arino (ex- Beastmilk) on bass and Rainer Tuomikanto frenetically pounding the funeral drums (Ajattara, ex- Shining Swe), this group of well-established punks have started to reach up to their zenith on their sordid testament Motherblood.

Motherblood was recorded at Orgone Studios in the UK with Jaime Gomez Arellano (Ghost, Ulver, Paradise Lost) in March 2017 and originally released by Century Media on the same year. The studio was suitably situated on the site of an old WW2 coding bunker and brought with it the isolation of the bleak British countryside. The setting helped give the album an intense and smiling urgency that picks up where 80s UK bands such as Magazine, The Wire and Echo And The Bunnymen left off, but never stopping long enough to look back too much into the past. Featuring guest vocals from David Tibet from Current 93, the band sets the tone for their inspirations, from the esoteric underground of England’s hidden reverse to Manchester’s sound of misery. With their own metallic raw tone clashed with pop hooks, Motherblood is a furiously passionate and contemporary record, which re-defines post-punk as a “war-cry for the eternally doomed.”

They have been described as "A post-punk wet dream," or perhaps more honestly as "bat-shit lunatics," and their music is in a funereal world of its own. Motherblood is a truly danceable, pop-feast of raw, banging pleasure – in all its primitive, gothic tribalism. Dance-floor death rock that brings with it an uncanny sense of inspired song craft that made Bowie’s Berlin era sound so fresh and revolutionary, Killing Joke’s tribal anthems so desperately ominous and dark throbbing melancholy of Depeche Mode’s atmospheric pop so damn sexy. Just about every part of this record bleeds menace, or emanates nuclear fumes. It’s unsafe territory which in turn makes it thrilling, sexy and most dangerously of all, catchy.

Step inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound _ handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul _ takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer's resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking "exactly what Ginger Root should sound and feel like," he says. "In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self."

SUPERB GEORGE MICHAEL PERFORMANCE AT THE WORLD’S BIGGEST MUSIC FESTIVALIn January 1991, George Michael began his Cover To Cover Tour, comprising 30 shows across the UK, Brazil, Japan, Canada and the USA. The tour was not billed specifically to promote his new album but was more about Michael singing covers of his favourite songs, mixed with a smattering of new tracks, and a selection of oldies. On 27th January ’91, George performed at the second Rock In Rio Festival in Brazil’s second city, where he gave one of the tour’s very finest performances. The show included an unexpected appearance from George’s old Wham! partner, Andrew Ridgely, for a three-track encore to conclude the concert which included versions of Careless Whisper, I’m Your Man and Freedom. Recorded for live TV and Radio Broadcast, the full concert is now available on this new double LP set, which features this magnificent performance in its entirety. SIDE A:1. Killer / Papa Was A Rolling Stone 10:282. Father Figure 5:443. Fame 3:56Total side length – 20:08SIDE B:4. Ain’t No Stopping Us Now 5:275. Calling You 6:136. Back To Life 5:23Total side length – 17:03SIDE C:7. Everything She Wants 8:028. Baby Don’t Change Your Mind 3:149. Don’t Let The Sun Go Down On Me 5:2810. Ain’t Nobody 4:29Total side length – 21:13SIDE D:11. I Knew You Were Waiting For Me 4:1312. Careless Whisper 7:0013. I’m Your Man 6:0114. Freedom ’90 7:10Total side length – 24:24

2xSACD

180g 2LP 45rpm

Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

First Genesis album to feature drummer/vocalist Phil Collins!

180-gram 45 RPM double LP

Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering

Pressed at Quality Record Pressings

Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Genesis' album Nursery Cryme, released in November 1971, marked a significant moment in the band's evolution and showcased the burgeoning talents of their new drummer and vocalist, Phil Collins, plus guitarist Steve Hackett.

Nursery Cryme saw the band take a more aggressive direction of some songs, with substantially improved drumming. The opening piece, "The Musical Box" combined the band's trademark mix of twelve-string guitars with harsh electric guitars and keyboards. The song, a macabre fairy story set in Victorian Britain, became the inspiration for the album cover, and went on to be a live favorite.

This album played a pivotal role in establishing the band's progressive rock sound and laid the foundation for their future success.

Although Peter Gabriel remained the band's primary vocalist, Collins' distinctive voice began to shine through on tracks like "For Absent Friends" and "Harlequin." Collins' vocals added a new dimension to the band's sound, blending seamlessly with Gabriel's, and hinting at the vocal prowess that would later define his solo career. His emotive and versatile singing style contributed to the album's overall charm.

Nursery Cryme is regarded as a crucial stepping stone in Genesis' discography, and with time, became recognized as a progressive rock classic. The album received acclaim for its adventurous and intricate compositions, combining elements of folk, rock, and classical music. Genesis' signature storytelling lyrics, often filled with surreal and whimsical imagery, captivated listeners and added depth to the music.

Critics praised the band's musicianship, with particular attention to the intricate guitar work of Steve Hackett and the melodic basslines of Mike Rutherford.

All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.