Vinyl, CD & Tape 1809 Items

14 tracks feat. Eminem, Nate Dogg, Jadakiss ...

38 Spesh has quietly become tastemakers’ top pick for “next to blow.” Just ask LeBron James, Kevin Durrant, DJ Premier, Sway, Method Man, or Lloyd Banks, all of which have co-signed this Upstate New York emcee. His 7 Shots EP, the third and final instalment in his fan-favorite “Shots Series,” marked the moment that many caught on to the Trust movement. The 8 track offering gives underground Hip-Hop fans exactly what they want, hard bars over soulful beats. The project features guest verses from Freeway, Ransom, Eto, and Che Noir, as well as production from Streetrunner, The Heatmakerz, LT Beats, Thanos Beats, and more. Mixed and mastered by Chris Pinset Cover by Laz Art Direction by Jordan Commandeur A&R by Ransom

NYC’s 75 Dollar Bill began its prolific career in 2012, after percussionist Rick Brown—a veteran of the indie underground (Fish & Roses, Run On, V-Effect)—and noise scene guitarist and multi-instrumentalist Che Chen—connected via MySpace. Since that initial jam session, when Brown began experimenting with his signature plywood crate drum rhythms, they have released three LPs and a clutch of self-released cassette and digital releases. Last year’s double album I Was Real received serious critical acclaim—The Wire calling it 2019’s Album of the Year. On their first live album, Live At Tubby’s, 75 Dollar Bill assembled a unique “little big band” [Sue Garner on bass, Cheryl Kingan on sax, Steve Maing on guitar, Jim Pugliese on percussion and Karen Waltuch on viola] for the small Kingston, NY club show. Recorded on the last day of their spring tour, the record puts a new perspective on themes from their body of work: a little more intimacy, a little more freedom, a little more controlled chaos. Brown’s idiosyncratic rhythms are all the more hypnotizing in Tubby’s cozy setting, and Chen’s furious guitar work cuts and hums with sounds seemingly only attainable on stage. It’s an album both challenging and immediate. The expanded 75 Dollar Bill’s affinity for improvisation and the avant-garde even leads to a rousing take on the Ornette Coleman classic, “Friends And Neighbors” that feels right at home in their own repertoire. The listener can’t help but feel present and part of the communal joy and catharsis being shared here in this room. This performance at Tubby’s turned out not only to be the last show of their tour, but the last show possible as the pandemic hit. Originally offered as a digital-only release on 75 Dollar Bill’s Bandcamp, Live At Tubby’s now documents a highlight and closure of sorts; this kind of musical improvisation and community interaction being on hold for the foreseeable future. This double album on Grapefruit will have to tide everyone over until it can all happen again.

For years, Lee Fields has been asking for and patiently waiting on a
reggae rhythm to sing over. To bring this dream to fruition, EMA teamed
up with frequent collaborator and reggae enthusiast, Nick Movshon,
and busted out this version of the Lee Fields & The Expressions' instant
classic, Never be Another You.
The A side is the vocal version of the tune; EMA cut a killer interpolation
of the original and had Lee lay down the vocals like only he can. The
result is right on time for summer, a feel good side that can hold court
right next to the classics.
The B side finds Michels manning the boards for a proper version of the
tune. Echoes, drop outs, and reverb flourishes all dancing through the
mix in proper reggae style.

The Italians Antonio De Oto (A-TWEED) and Valerio Ebert (OLTREFUTURO) are the names beyond Echinopsis EP, the next release on Haus Of Beats. Three tracks with slow yet heavy tribal rhythms, dark, acid and hypnotic. Two deluxe remixes complete the EP, one by the master of rare rhythms, Toulouse Low Trax, working his usual magic, the second by the label associate Odøn, upping the tempo with a fiery electro take.

A5 shows us his talents for deepness over 4 tracks of sun-kissed grooves!

If you find the time, please come and stay a while in abracadabra’s beautiful neighbourhood; a magically wonky wonderland where strangers leave as friends to a block party soundtrack as eclectic as it is infectious. The California duo’s album shapes & colors is a dazzling collage of psych-fuelled synthscapes and contemporary Baroque-pop of anti-capitalist movements and escapism, precisely pieced around their own working lives in a blue-collar town.

In the heart of Oakland’s industrial Jingletown above a former auto-repair shop in what was once a mechanics’ break room where poker rounds ensued, Hannah Skelton (Vocals, Synthesizers) and Chris Niles, (Bass, Synthesizers) constructed the angular 80s-tinged anthems (think John Hughes montages to Talking Heads) of their new album, to positively offset the pandemic’s amplification of dysfunctional society. “It reflects our current reality: a huge mess that is systematically broken but isn’t entirely lost,” Hannah tells. “We’re inviting listeners to conjure up every drop of hope and willpower left inside them, pour that into the giant vat of anger and frustration bubbling inside us all, and with this potion collectively enact the necessary change to bring love and light into this dark space.”

Compiling Japanese hardcore punk band Aburadako’s earliest recordings, this collection of rarities and early singles is absolutely brutal! With songs taken from their earliest self-released flexi-disc, a Tokuma Japan punk compilation (Greatest Punk Hits (1983)), and their 1984 mini album, ADK is 14 songs of pure, unrestrained punk spirit! Hirotomo’s vocals are at times incomprehensible, and the recording quality isn’t the best - but who needs those when you have some of the heaviest basslines and brutal drum grooves to come out of Japan? Pressed on a limited edition picture disc, this compilation of Aburadako’s earliest recordings is a must-have for all fans of Japanese hardcore!

Record Store Day 2021 Drop 2 release limited to 500 copies.

Every small town encompasses that one long stretch of forest where kids run to get high, jam out, and just escape. For San Francisco-based stoner metal trio, Acid King vocalist, guitarist, frontwoman, and mastermind Lori Woods, Busse Woods offered such a retreat in her native Illinois as a teenager in the ’70s. This 3,700-acre section of the Cook County Forest Preserve system beckoned her during high school with its buffet of dope, frisbee challenges, and Black Sabbath blaring from numerous trunks well past sundown. Those days left such an imprint on Lori she titled Acid King’s second full-length released in 1999 Busse Woods. Celebrating its 20th year with a special reissue on Riding Easy Records and tour in 2019, it represents the heart and soul of the band.
The album still exudes the same sense of mysticism it did upon release in 1999. As the story goes, Lori and bandmates Joey Osbourne (drums) and Brian Hill (bass) entered a practice space to write the full-length follow-up to their debut Down With The Crown. Organically, they jammed out five originals and a take on “39 Lashes” from Andrew Lloyd Webber’s Jesus Christ Superstar.
As everything gelled, they recorded with legendary engineer Billy Anderson. Prominent Bay Area artist Frank Kozik initially released the CD on his Man’s Ruin record label. Then “everything fell apart.” Behind the scenes, personal and professional relationships crumbled. Marriages ended. Lineups shifted. In the face of such tumult, the music of Busse Woods rarely got its due on stage in the aftermath, even though the aesthetic would prove influential.
In the middle of various reissues and re-releases, Acid King kept touring internationally throughout Europe and Japan from 2005-2015. In between this time they jammed on riffs and started to craft songs but ultimately didn’t kick it into high gear to finish the release until 2015. They reawakened in the studio with the 2015 opus, Middle Of Nowhere, Center Of Everywhere. While the new music caught critical acclaim and fan approval, a funny thing happened, and Busse Woods also came back to life. Its songs would generate the most streams on Spotify. They’d generate loud responses in concert and became their most critically acclaimed release to date. The stars aligned. Twenty years down the line, it felt only right for Lori and Co. to revisit this landmark and give it the proper tour it deserves.

ACID KLAUS, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) announces his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris which will be released on Yard Act"s ZEN F.C. label.The album features contributions from Adrian"s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) - there"s the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.

Adam Blackstone is not only a multi-faceted bass player, musician, Emmy-nominated music director and Grammy award-winning writer, but he is also notably the musical mastermind behind the live shows of many of today’s biggest artists (Justin Timberlake, Rihanna, Janet Jackson, Alicia Keys, Eminem,...the list goes on). Blackstone’s TV legacy continues to expand as music director and on-screen personality. He has contributed his talents to today’s biggest shows, including the Oscars, NBC’s “The Voice,” the Grammy Awards, numerous BET, VH1 and MTV specials and as the music director for The hit Fox shows “The Four” and “The Masked Singer.” This is Adam’s debut album and features guest artists including Jazmine Sullivan, Jill Scott, Mary Mary, & Kirk Franklin.

Limited 180 gram vinyl LP pressing of this album from the classic rock band. Released in 1987, Permanent Vacation marked a turning point in the band's career. Here the band worked alongside professional songwriters to craft an album chock full of hits that charted in the Top 20. This came at the suggestion of executive John Kalodner. He also pushed the band to work with producer Bruce Fairbairn, who remained with them for another two albums. It was also the first Aerosmith album to be promoted by heavy music video airplay on MTV. Though Done with Mirrors was intended to mark Aerosmith's comeback, Permanent Vacation is often considered their true comeback, as it was the band's first truly popular album since their reunion. Tracks like 'Rag Doll', 'Dude (Looks like a Lady)', and 'Angel' helped Permanent Vacation become the band's greatest success in a decade.

DJ/producer Ahmed Spins debuts on MoBlack, together with legendary Kologo maestro Stevo Atambire and South African songstress, Lizwi. The Boston-based artist ushers in his two-track EP through a synergetic collaboration with one of Afro House’s most compelling vocalists and gifted musicians. Vitalized by Stevo Atambire’s affective Frafra vocals, ‘Anchor Point’ is a gratifying calibration and an immersion into the deep combers of house - rife with dynamic Afro rhythms, permeating strings and eloquent vocal gradients. ‘Waves & wavs’ concludes the saga - powered by robust percussion and the sorcery of Lizwi’s soul-nourishing balladry. Driven by climactic progressions, euphoric melodies and transcendent Moroccan sounds, this harmonic litany interlaces lucid electronic pulses with elemental acoustics to perpetuate a pensive dancefloor meditation.

Energetic 10 track debut album!

2021 Re-master of Identity the debut album from Oslos biggest prog band – Airbag!! Airbag has created their own, unique sound with elements of classic and progressive rock, chill and jazz, influenced by artists from a wide range of genres, from Pink Floyd and Porcupine Tree to Talk Talk, Radiohead and Marillion (Steve Hogarth era). The album comprises eight songs with Airbag’s unique sound of classic progressive rock blended with scenic soundscapes, epic guitars and soulful vocals Classic Rock Magazine said: “prog at its most chilled, honeyed and soothing”. “Identity” has been re-mastered by Jacob Holm-Lupo (White Willow, The Opium Cartel, + + +), and is finally made available on vinyl again – in a special limited deluxe version with a 12 page booklet and die-cut sleeve! Airbag has managed to create a loyal fan base from all over the world, and their latest studio album “A Day at the Beach” has already been pressed in more than 13000 copies.

Akae Beka's inimitable style of rich, deep, multi-layered songwriting, uncompromising devotion to RasTafari and soulful healing melodies developed over decades performing with St. Croix based band Midnite and countless recordings. At the point of his untimely passing in 2019, he had released over 70LP's. He is without a doubt one of the most prolific reggae artists ever known.

The stellar production trinity that is Zion I Kings have been involved collectively and individually in creating some of the most highly regarded contributions to the vast Akae Beka catalogue. Beauty For Ashes was named as the best reggae album of 2014 according to iTunes. A monumental achievement for undiluted, uncompromising RasTafari roots reggae music this side of the millennium. Two of the LP's tracks, Weather the Storm and Same I Ah One, have been catapulted into global notoriety in part due to the viral success of the YouTube video of the 'Dub in the Rainforest' session organised in St. Croix by Tippy I in 2014. The video offered an unparalleled audio visual insight of the powerful, captivating, energy of Vaughn Benjamin, Pressure Buss Pipe, Ras Batch, and many of the bredrin and sisterin of St. Croix rallying around the I Grade Dub living dub experience.

Following 8 years of anxious anticipation, for the countless Akae Beka fans that are also vinyl connoisseurs, this LP is now being released on as a 12" vinyl LP courtesy of Before Zero Records. This offers the listener not only the chance to enjoy this LP in an analogue form, but also the chance to hold the artwork as a 12" square masterpiece, created by the hands of Ras Marcus, the artist who gave the powerful visual presence that became synonymous to much of the I Grade / Akae Beka works over the years.

Ship to Shore PhonoCo. is proud to present the original video game soundtrack to Capcom’s Breath of Fire III, on vinyl for the first time!

Charging onto the Playstation platform in 1997, Breath of Fire III was notable as the first game in the franchise to present itself with 3D environments and voice acting, along with its expanded gameplay — one aspect of which allowed players to train and develop new skills under a tutorage system, heightening the immersive aspect of this JRPG.Taking advantage of this move to the 32-bit console, Capcom Sound Team’s Akari Kaida & Yoshino Aoki ditched the epic orchestral arrangements as heard in previous games in favour of something that can only really be described as Japanese smooth jazz-fusion, making for a truly unique and pleasurable listening experience.

Presented as a limited edition double LP featuring new artwork by Tbone & AIJax and liner notes by Axe of the Blood God podcast host Nadia Oxford, this is one release that isn’t just for fans of video game soundtracks but also - due to its jazz, funk, rock and J-Pop elements - for Japanese music buffs of all persuasions!

Originally self-released as a digital-only EP in the summer of 2021, Ancient Path Complete folds four additional tracks into its sidewinding saga of hidden mesa house and aerodynamic electronics, delivering on its creator’s lofty vision of music “for looking inward, to the center of being.” These are songs of spiraling tides, spirit guides, and shadowy forward motion, drawn towards some shared beacon beaming like a low moon across the desert.

Akasha System (aka Hunter P. Thompson) speaks of the album as born during a time of “personal darkness, confusion, and uncertainty,” but its exorcism produced the opposite – assured, expansive, and illuminated. It’s the sound of growth and change being sought and found, new trails taking shape, forking towards fresh horizons. Windswept, wistful, and blazed by an inner light, APC “continues the path onward into your pure, creative core… into healing.”

Originally released on Discomagic in 1988, probably it’s one of the last italo disco classics tracks from the 80s. The track was composed by Fred Ventura (not performed) and Gianfranco Bortolotti (Media Records).Very energetic track with a unique structure in its genre, more clubby than an italo classic track. A unique fantastique lead melted into a likely trancy bassline. Dub version a bit more clubby on b-side.

180 Gram Vinyl!

Alessandro Cortini's acclaimed 'Forse' series is available for the first time on CD including an exclusive disc of 'Forse' performed live. Packaged in matte coated digipacks housed in a heavy duty tip-on style outer box. 2021 digital master by Stephan Mathieu.

Composed using only an original Buchla Music Easel, an incredibly rare electronic music instrument designed by Don Buchla, the Forse series features long, romantic compositions full of voluminous, bombastic tones and dripping with thick timbre.

First single from Alex Fernet's debut 2023 album entitled, Lucidanotte. Produced at Overdrive Recording Studio with Edoardo "Dodi" Pellizzari Drums by Diego Dal Bon Cp80 by Little Albert Artwork by Riccardo Michelazzo

Amazing collectors /dj edition of the Italo Classic by Alexander Robotnick including the KDJ (aka Moodymann) and Carl Craig remixes!! Comes on special yellow vinyl and also has a recording of a live version by Robotnick himself! And as extra bonus, there is an added Disco cover of Strauss's 'Also Sprach Zarathustra', known more famously as the opening theme to the film Space Odyssey 2001, produced by Robotnick and Ludus Pinksy (Italcimenti). Recommended!

Mystery-music from the strange and ancient-modern California fringe … thats what the press release says. Kinda fitting!

NYC Wordsmith Allah Preme, founder of the "Free Thinker Clan" and member of the "Umbrella Collective", brings You "The Path". With sharp and reflective raps, it's easy to get lost in this wonderful piece of art, mainly produced by "The Dope God"

‘An Awesome Wave’ is now available on fern green vinyl. Described by The Guardian in their Albums Of The Year coverage as “Remarkable and Rewarding:, ‘An Awesome Wave’ won the band the Mercury Music Prize and an Ivor Novello award, the album has since gone platinum in the UK and continues to receive critical acclaim. This album saw the start of a remarkable trajectory for the band who became one of the most successful British bands of the millennium. alt-J have now sold in excess of two million albums and their songs have been streamed over three billion times. Their follow up album This Is All Yours was a UK number 1, Grammy and Brit Award-nominated album. Released in 2017, album number 3 Relaxer flew straight into the top 10 of the UK album chart and became their second album to be nominated for the Mercury Prize. 2022 saw the release of their 4th album The Dream which reached top 3 in the Uk and was one of the best reviewed records of 2022.

Received an 8.6 Best New Reissue rating from Pitchfork.

In the 15 years since its release, American Football's self-titled debut full-length has quietly become one of the most fiercely beloved titles in the Polyvinyl catalog. Though the trio -- Mike Kinsella (Cap'n Jazz, Owen, Owls), Steve Lamos, and Steve Holmes -- only played a few shows and released just one other record (a three-song EP that preceded this full-length), their influence and legacy has steadily continued to grow in the time after they disbanded.

From its now iconic artwork to the band's unique songwriting approach (highlighted by an emphasis on shifting time signatures and sincere lyrics), American Football proves a record doesn't become a true classic through flashiness or catering to trends, but rather the deep emotional connection it forges between the music and the listener.

The new EP from American Nightmare and their first 10" vinyl release. Dedicated To The Next World is AN refusing to rest on legacy. The legendary hardcore punk band returns with four new songs that sound like classic and future AN, stripped down and sped up to their trademarked urgency and live violence. With stream of conscious lyrics and existential dread, these are revival songs for the modern disenchanted. The band’s volatile mix of traditional American hardcore, dark aesthetics, and singer Wesley Eisold’s (cold Cave) emotional lyrical prose set a new creative standard for the worldwide hardcore community. "How I Got Away" recalls AN's anthemic hardcore sound a la tracks "We Are" and "The World Is Blue." "Self Check-Out" is a minute-long punk blister. "Real Love" flies like speed fueled Stooges and "Praying Hands..." nods to the influences of Bad Brains and Negative Approach. Having started in 2000 and initially breaking up in 2004, the band reunited in 2012 and subsequently launched a second life of lauded shows and records proving that there is life after youth. Recorded live to 2 inch tape by American Nightmare drummer Alex Garcia-Rivera at Mystic Valley Recording Studio in Boston. Mastered and cut for vinyl by Bob Weston at Chicago Mastering Service.

Two stoic nomads in sound, united in difference, emerge on Deep Cover with a brace of cranium rattling reanimations. Mission objective: Rough with Smoove. Lord, have mercy!

12" with insert in stickered sleeve, limited to 300 hand-numbered copies.

Kippis, hold on! Cold Blow is proud to announce the 12-inch re-issue of Andy Romano's sought-after Italo disco EP "Every Time Feel Allright"! The EP has been remastered by the legendary Ed DMX, with all-new artwork by Ed Cheverton. The EP’s titular opening track is a Mike Mareen-esque roller with a playful call-and-response between Andy’s passionate vocals and robotic synthesisers, making it a master class in Italo disco. The instrumental version follows, perfect for those just beginning their personal Italo journey. On the B-side, we are treated to a slightly more modern twist on the classic style. Starting with L’amour Robotique, a dramatic-romantic instrumental of robotic love, perhaps reminiscent of the classic Spacer Woman by Charlie. The final track Sayonara Robot sweeps us to the Far East with its percussive synth leads, rolling bassline, and vocoder vocals declaring “I am the robot, Sayonara Robot!” Originally released not in the 80s but in 2010, "Every Time Feel Allright" was part of a wave of releases by the young Andrea Cofrancesco from Rome. After discovering the world of Italo disco, Andrea was instantly mesmerised and became obsessed with emulating the rough, sometimes sloppy, but always unique sound of 80s Italy. Mastering his craft, Andrea went as far as cataloguing specific sounds by year while finding himself most influenced by 1983 and 1985. Through many solo releases, the young producer eventually wrote and produced songs with his idols Fred Ventura and Clay Pedrini, culminating in his success. Today, Andrea works as an illustrator and concept artist, and can be found on Instagram as @andrewcockroach.

Fresh grief, like fresh love, has a way of sharpening our vision and bringing on painful clarifications. No matter how temporary we know these states to be, the vulnerability and transformation they demand can overpower the strongest among us. Then there are the rare, fertile moments when both occur, when mourning and limerence heighten, complicate and explain each other; the songs that comprise Angel Olsen's Big Time were forged in such a whiplash. Big Time is an album about the expansive power of new love, but this brightness and optimism is tempered by a profound and layered sense of loss. During Olsen's process of coming to terms with her queerness and confronting the traumas that had been keeping her from fully accepting herself, she felt it was time to come out to her parents, a hurdle she'd been avoiding for some time. "Finally, at the ripe age of 34, I was free to be me," she said. Three days later, her father died and shortly after her mother passed away. The shards of this grief - the shortening of her chance to finally be seen more fully by her parents - are scattered throughout the album. Three weeks after her mother's funeral she was in the studio, recording this incredibly wise and tender new album. Loss has long been a subject of Olsen's elegiac songs, but few can write elegies with quite the reckless energy as she. If that bursting-at-the-seams, running downhill energy has come to seem intractable to her work, this album proves Olsen is now writing from a more rooted place of clarity. She's working with an elastic, expansive mastery of her voice - both sonically and artistically. These are songs not just about transformational mourning, but of finding freedom and joy in the privations as they come.

After her highly-acclaimed debut Strange Cacti landed in the hands of listeners, it became very obvious the special presence Angel Olsen offered to listeners. She had a fresh edge to her sound, a warm and wonderful range, and a level of skill and charm out of this world. Obviously, fans ate it up. And now here we are, a mere 2 years since her initial Bathetic release—the original cassette version of Strange Cacti. The release of Half Way Home is something everyone has been excited for. We've always wanted to see and hear what Angel brings out through her music. Half Way Home is a continuation of her elegance brought forth on Strange Cacti, a collection of both new and old music, honed and matured, thoughts revisisted. We're hearing this same beautiful girl with that same beautiful voice, this time brought up to a new level, in no doubt a growth and reach brought on by several roadtrips with the one and only Bonnie Prince Billy and crew. The work of Angel Olsen is entirely her own: a raw, glowing sound that stands out now just as much as it did in 2010. It's an emotional stew with Angel's robust voice up front, bold and engaging, coming out of the background, aching to be heard. With the help of Emmett Kelly (cairo Gang) behind the board and playing throughout the songs, Half Way Home is a natural progression showcasing the wondrous sounds of a songwriter with such a voice that is rarely found. Includes an innersleeve with lyrics and notes.

An intuitively smart, warmly communicative, & fearlessly generous record.

ie belgische Pop-Sensation Angèle veröffentlicht ihr Sophomore-Album „Nonante-Cinq“. Einen beeindruckenden Vorgeschmack lieferte die aufstrebende Sängerin bereits mit ihrer Single „Bruxelles je t’aime“.



Das neue Album hat sie zusammen mit Tristan Salvati aufgenommen, der sie bereits seit dem Start ihrer Karriere begleitet. Der amerikanische Mixer Josh Gudwin (Dua Lipa, Justin Bieber, J Balvin) stieß ebenfalls zum Team, um die Produktion des ersten Songs abzuschließen. Darüber hinaus ist die Künstlerin sehr eigenständig: Sie schreibt ihre eigenen Texte, kreiert ihre eigenen Sounds und entwickelt ihre Musik so, dass sie ihren persönlichen Stil widerspiegelt: knallhart und direkt.



Angèle stammt aus einer Künstlerfamilie und hat die Musik im Blut. Nachdem sie ihr Jazz-Studium abschloss, begann sie, Coverversionen von Pop-Klassikern über Instagram zu veröffentlichen und baute sich eine unglaubliche Fangemeinde auf. Ihr Debüt-Album, „Brol“, zählt global über 2 Milliarden Streams und gewann sogar den French Grammy 2019 für „Record of the Year“. Kürzlich veröffentlichte sie zudem den Welt-Hit „Fever“ gemeinsam mit der Pop-Ikone Dua Lipa.



Nun folgt mit „Nonante-Cinq“ das hoch antizipierte Sophomore-Album des belgischen Superstars.

Fire Walk With Me is an altogether more brooding affair than the Twin Peaks series soundtrack. Badalamenti won a grammy for the title track of this LP and it's not hard to see why- it's dangerous, and bursting with smokey jazz thanks to Jimmy Scott. We went back to the master tapes in the Warner Archives and had this recut to fit across two LPs as the score clocks in at 51 minutes. It sounds incredible and punchy, but super nuanced too.

From the brooding opening bars of the main Fire Walk With Me Theme, Angelo Badalamenti's gorgeous, eerie score introduces us to a cinematic experience which significantly begins with the smashing of a television screen. Just as the Main Title from Blue Velvet echoed the Hitchcockian hues of Bernard Herrmann, so here we have just the slightest touch of Taxi Driver, as Jim Hynes' plaintive, keening trumpet soars above a landscape of melancholy keyboards, drawing us into a world which is at once alien and familiar.

This release is housed in a 425-gsm gatefold sleeve inside a bespoke black die cut outer jacket with black spot varnish finish, complete with obi strip and sleeve notes by film critic Mark Kermode (approved by David Lynch and Angelo Badalamenti The artwork got fully approved by the director as the audio got approved by the composer
The 180-gram „Cherry Pie“ vinyl 2LP got remastered by Tal Miller at Warner Archives, while laquers were cut by David Cheppa at Plush Vinyl.

Produced by Laurel Halo and released via Norway's respected Smalltown Supersound label, Anja Lauvdal's first solo release, From a Story Now Lost, is a gorgeous musical essay reflecting on time, its perception, and lost histories rediscovered. Finally exploring her own voice after more than a decade of collaborative improvisational playing - starting at her time injazz conservatory in Trondheim - the album is a jewel of subtle beauty and innovative detail. A freeform musician on piano, synthesizers, and electronics, Lauvdal's discography stretches back to 2013 and includes her participation in a myriad of ensembles and collaborations exploring the limits of sound andmusic in many forms, including noise, jazz, and more. Following her move to Oslo after graduation, she became deeply embedded in the music community there, touring with Jenny Hval as well as playing on her records. When pandemic hit and isolation was the norm, Lauvdal began working on her own, recording her improvisations in an attempt to capture something new for herself. Connecting to Laurel Halo via Smalltown's founder Joakim Haugland, the acclaimed American artist agreed to work with Lauvdal in shaping her solo record, becoming integral to its creation through all of its stages. Lauvdal credits Halo as a deep listener and gentle "thought-provoker", who contributed ideas as well as helping to shape the finished versions (Haloalso worked alongside Rashad Becker on the final mix of the album). Together, they found a method of recording Lauvdal's improvisations, making small loops from those, feeding them back into the synthesizers, and making synthesizers out of the improvisations, which Lauvdal would then re-improvise with. She describes the end result, "like seeing different pieces of time around in the universe." While the record is based on Lauvdal's improvisations, some tracks were inspired Agathe Backer Grondahl, a Norwegian classical pianist and composer from the latter half of the 19th century. Lauvdal notes that Grondahl is not widel...

Despite her last name, Anna St. Louis was born and raised in Kansas City. She grew up a painter and singing in punk bands, eventually leaving her hometown to attend art school in Philadelphia. After graduating she made the move to Los Angeles where she began teaching herself guitar, writing songs and recording them on her own in her bedroom. First Songs is the sound of someone discovering their talent in real time—a peak into the collage of a wonderful mind that is absorbing their new surroundings and using new tools to put them into the room. Listening to this collection you can feel the sun coming in through the window—St. Louis on the foot of the bed with a guitar on her knee, finding her voice. She wears her influences well—think Patsy Cline singing over John Fahey—but has a style all her own. And while one can take the artist out of the midwest, one can’t take the midwest out of the artist—so let this be known: this is Midwestern music ran through a California filter. Anna St. Louis will have many more releases in her lifetime, but let it all begin here—First Songs.

The artist formerly known as Antony (of Antony & The Johnsons fame) has collaborated with Oneohtrix Point Never & Hudson Mohawke on their latest work. A dance record with soulful vocals & lyrics addressing surveilance, drone warfare & ecocide.

Anohni Has Shared An Emotive Cover Of Gloria Gaynor's 1978 Classic 'I Will Survive'. The Track Was A Staple Of Her Early Live Shows And Opens With A Graceful String Arrangement By Maxim Moston, Paired With Piano Performed By Anohni. Prior To The Track Being Widely Available On Streaming Platforms, Anohni Shared A Video Incorporating Live Footage Alongside Messages Dedicated To Groups And Causes That Anohni Has Long Been An Activist And Advocate For. During The Clip, Anohni Dedicates The Song To "The Sacred Gay People"; "All Endangered Black Trans Lives"; "Those In The Us Who Die From Medical Neglect"; "The Coral Reefs Of The World, Now Rotting"; "All Those Awaiting Execution In Us Death Chambers"; "Black Lives Tortured And Stolen By American Cops" And More. The Messages Reflect Anohni's Longer Values And Work As An Artist, Trans Activist, Environmentalist And Advocate For Social Justice. Alongside The Release Is A Statement From Anohni, On The Track Being The Subject Of A Licensing Offer She Turned Down Due To The Platform In Question Hosting Misleading Pro-Trump Ads. Further On The Track, Anohni Explains: "It Was The First Song I Ever Sang In Nightclubs In Nyc When I Was 20 Years Old. I Sang It Hundreds Of Times. In Those Days I Sang It Thinking Of Marsha P. Johnson And The Underground Queer Community Struggling To Survive In The Face Of Aids. Now It Seems To Me Like An Anthem For The Future Of Life On Earth." 'I Will Survive' Follows A Brace Of Releases From Anohni This Year: Most Recently 'R.N.C 2020', A Track Inspired By The Republican National Convention Which Took Place In August And The Dread Anohni Felt While Watching It. Prior To That, Anohni Released A 7" Consisting Of Two Covers, One Of Bob Dylan's 'It's All Over Now, Baby Blue' With A B-Side Of Nina Simone's 'Be My Husband'.

A viscous embrace, a pulsating pouring out, Anohni's voice is above all else a vessel for political armament. On 2016's Hopelessness, her voice bombarded with explicit illustration of Obama-era atrocities -- of war crimes, of apocalyptic climate change, of patriarchal violence. Now sharing a dual cover set - Bob Dylan's `It's All Over Now, Baby Blue' and Nina Simone's `Be My Husband' - she casts a subtler, but no less powerful incantation towards change. The original tracks dating to 1965, a year marked by the Selma marches, the Watts Rebellion, and the landmark Voting Rights Act, illuminate the eerily parallel struggles of this year. Anohni's rendition of `It's All Over Now_' reads as a hopeful, future goodbye to times dominated by oppression. With `Be My Husband," textually woven with marital submission and want for acceptance, she examines our reliance on the very systems that fail us. In borrowing these songs, Anohni adopts their history along with her contemporary interpretations, respecting the lineage of the people's movement while calling for its continuance today. "When Biden said `Americans don't want revolution, they want a return to decency,' he was wrong," she explained. "We all know deep down that the continuation of our civilizations for much longer will require seismic change." On `It's All Over Now, Baby Blue', Anohni explained: "I recorded It's All Over Now, Baby Blue with Kevin Barker one afternoon a few years ago. I listened to it recently and it reminded me of Now, a nausea of nostalgia for the suffering of the present, or even the future. I did a couple of songs by Bob Dylan at that time, encouraged by Hal Willner, the producer who we lost to Covid 19 in April. I hope that this period, and this repugnant presidency, will be over soon, and that these bigots and apocalyptic capitalists and evangelicals will crawl back into their rotten little holes. But how can this happen unless the American media and social media are forced to tell the truth? I am glad to see the mobilization of Black Lives Matter and the re-emergence of the Occupy movement. When Biden said "Americans don't want revolution, they want a return to decency," he was wrong. We all know deep down that the continuation of our civilizations for much longer will require seismic change." On `Be My Husband', Anohni said: "I saw Nina Simone perform at Carnegie Hall in 1991 while I was still in college. The concert was not properly publicized, and the theater was only half full. I think it may have been her first time back in NYC in many years. She was rumored to be volatile and unpredictable. That night she sang and played with such dignity, so incredibly, and she did 5 or 6 encores. For me, she was the greatest musician of the 20th Century. She didn't write many songs, but the ones she wrote were among the most profound of the era. Be My Husband was one such song. The lyrics spin a paradox of romantic assertion and submission. This live version of the song was recorded at an Antony and the Johnsons concert at the Knitting Factory in NYC in 1999."

1982, Brussels: The former au pair for Rick Wakeman of Yes and two of her teenage friends are at the doorstep of Les Disques Du Crepuscule, ready to cut an album with Gilles Martin. Living on busking wages and next door to Tuxedomoon, their work results in a contemporary bossanova record that would provide a missing link between Antonio Carlos Jobim and Kraftwerk. Camino Del Sol was issued and promptly forgotten, with Isabelle Antena moving toward jazz in Asia and the others returning to France. Twenty years later, it was findable only as a VG+ LP with a sticker price of $4.99. Intrigued by the striking cover's sunlit patio furniture emptiness basking in the south of France, we scooped up Camino Del Sol and grouped the extant Antena recordings from that exceptional period by session. 2LP reissue of the original five-song mini-LP adds the group's first 12" (a cover of Jobim's "Girl From Ipanema," naturally), the Seaside Weekend 12", compilation tracks, and two previously unissued cuts, recasting this short-lived combo's forward-thinking milemarker as a modern-day masterstroke.

Anthony Naples returns with his second full length album, "Take Me With You", arriving first as a ‘Mixed Version’ cassette inspired and commissioned by the Good Morning Tapes series, followed by Digital, Vinyl and even Long Sleeve T-Shirt formats.

Anthony Nicholson Chicago deep house maestro delivers here two amazing soulful deep house tracks for the Attias brothers label Visions. Visions open mind and wide vision returns here with their 15th release continuing their journey into the world of electronic dance music on the a side Anthony and William Kurk have produced an amazing soulful vocal track mixing lush Pads Rhodes and beautiful vocals sustained by a solid house beat. This is a sublime journey into a soft and beautiful Chicago deep house jam that we fell in love instantanely with and wanted to share itwith the music lovers and vinyl collectors. The b side is a jazz funk number that rolls deep into Rhodes chords, Moog leads and funky basseline for an 8min 20 long amazing dancefloor instrumental bomb. With one track per side and with the great mastering and the loud cut , these two chicago slices of goodness will find place in any DJ bag for sure.

Anti Nowhere League best of Part 1. featuring all the hits and more of classic Uk82 punk rock and biker rock - ON Transparent RED Vinyl! The Anti Nowhere League formed in 1980, are a good honest Punk rock band the way it should be.. Singing loud and fast about the stuff they know and as always with fantastic honesty, lyrically a joy to listen too!

Antoni Maiovvi's The Dead Of Winter is a semi-faux soundtrack album in the vein of the British composers more classically cinematic works. Sonically the album resembles a sort of Deathrock Danny Elfman locking horns with Howard Shore piloting Sunn O)))’s dopemobile... at night... in the fog. The Dead Of Winter is a collection of unused themes made for a very real movie that for various tax break reasons were unable to be used. Not wanting to waste the work already completed, the cues were finished without picture and arranged here as their own narrative, with the idea to transport the listener to a snowy, isolated, old building filled with secrets and demons.

‘2 Minutos De Um Novo Dia’ – pacey samba-funk-MPB that originally appeared on a 7” from 1969 released on Odeon Brazil. Soaring vocals, strings and horns over alternating full and half-time funk drum breaks. Very big indeed.

‘Candomble’ has been a resident in our DJ sets for a long, long time. A retrained, deeper opening section drops into drum heavy, rich uptempo jazzy-MPB. Super catchy vocal hooks and piano lines sit over the top from start to finish. Taken from their self titled album from 1975 on RCA.

Four years and ten releases later we can say that Apparel Wax -the vinyl-faced hero- has been able to always renew itself and its sound because, as our manifesto says, we try not to submit to any genre. We wanted every release to be the outcome of a long research through uncommon sounds and Aplwax010, yet again, is an unidentified sonic object picked up by our radar. The last one though! We didn’t plan it, we just felt like the time has come -eventually- to close this beautiful chapter. More than one factor led us to take this decision: the progressive concern about the planet (therefore the impossibility to keep producing plastic bags and gadgets), the desire to leave at our peak and to invent something new are just two of them. The constant process behind the renewal of our sound -which we embraced ten years ago with the birth of Apparel Music- sometimes passes through hard choices and we need to feel again that sensation of ‘void’ in order to create something fresh, different, as we did when we started Apparel Wax. We won’t drag our masked hero to a point of sonic stagnation. We’d like to send you all a big greeting and a heartfelt thanks for every second of your time spent listening to Apparel Wax, it literally meant the world to us. What was initially just a bold idea became a musical reference point for many people around the world, and we will be forever grateful to y’all because, without you, it would have never been possible. Finally, a huge thanks to all the artists involved in the project. They contributed with their art to a bigger cause, the biggest: music. YOU are the true masked heroes, you are Apparel Wax. As for us, we’ll live on and our sound too.

180 gram version!

Arnold Turboust made his first steps in the French rock world in 1980 with the band "Marquis de Sade", contributing to the keyboard parts of their first album "Danzig Twis". He was then part of the local Nantes band "Private Jokes" in 1981. In 1982, he met singer-songwriter Etienne Daho and the two men began a fruitful collaboration that would last into the 90s and beyond. Their first single together was "Le Grand Sommeil", followed by the album "La Notte" in 1984. In 1985 comes the huge success "Tombé pour la France", followed in 1986 by the classic album "Pop Satori". This was also the year Arnold had his own success with the single "Adelaide" in collaboration with Zabou Breitmann. Arnold's first solo album was "Let's Go to Goa" in 1988, produced with his Pop Satori colleague Rico Conning. He has released four more albums over the years, "My Friends and I" (1995), "Any Exit is Final" (2007), "Demodé" (2011), and reunited with Rico for the UNAC award-winning album "Arnold Turboust" (2016). Arnold has composed for artists as diverse as Sylvie Vartan, Brigitte Fontaine, Astrud Gilberto, Enzo Enzo, Barbara Carlotti, Lio, Plastic Bertrand and Jacno. None other than Françoise Sagan has described his special "je ne sais quoi" perfectly: "There is in Arnold Turboust something of Trenet's fluidity, Gainsbourg's detachment, a kind of tender indulgence for others, demanding for himself; a humor without cynicism and a most pleasing musical diversity." Arnold's new album, "Sur la Photo," will be released in February 2023, and the first single "Rue de la Croix-Nivert" has been available since October.

Cool house cuts with a Hip-Hop vibe.

»Tides« marked a radical change in direction for Arovane. After Uwe Zahn had made a name for himself with cutting-edge IDM rhythms and slick ambient textures on a slew of releases, his sophomore album saw the prolific producer opt for a sample-based approach that resulted in a more organic sound and laid-back downbeat grooves. Having reissued Arovane’s seminal »Atol-Scrap« as a double LP in 2021, the Berlin-based Keplar label now makes »Tides« available on vinyl for the first time since its original release in 2000 through the legendary City Centre Offices. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. It shines a new light on a release for which Zahn quite literally ventured into previously unknown territory — »Tides« is an album that emits a timeless, quiet calm and nonetheless stays constantly in motion.

»The idea for the album came to me after a vacation in France«, says Zahn. Inspired by the landscape, especially the coastline and the sea, he made field recordings throughout his trip that were also used on the record, giving it its sensual feel. The foundation of the album however, the loose yet gripping grooves at the heart of every track, result from Zahn working extensively with samples. »I wanted to make use of drum sounds and small excerpts from old jazz vinyl records«, he explains. He maintained the unique sound signatures and rhythmic flutter of the source material while building intricate beats with them. Most of the material was culled from the record collection of Christian Kleine, whose spontaneous guitar improvisations over the first musical sketches were recorded and edited by Zahn and can be heard on four tracks. Also employing the occasional cembalo or spinet sound, he worked with a hardware sequencer and a delay to integrate the different, discrete elements into nine tracks that feel both dense and light at once.

What’s astonishing still 22 years later is how spacious »Tides« sounds. This is due to the fact that Zahn not only paid close attention to the sonic idiosyncrasies of his source material, but also to what happened in between those sounds. »Mark Hollis’s solo album was a huge inspiration at that time«, says Zahn. »What I find fascinating about it until this day is how silence and the subtle hiss of the mixing boards were being used on that record.« Silence was also an important stylistic element on »Tides« and adds greatly to the overall atmosphere of an album that with the appropriately named »Theme« immediately sets the mood with intricate spinet melodies: Zahn opens a door for his listeners and invites them to follow him to see a specific part of the world through his very own lens.

As a whole, the album mirrors Zahn’s trip that took him along the steep cliffs on a foggy day (»Seaside«), to an abandoned house in which he found old maps (»A Secret«), along the coastline during a long car ride (»Deauville«), to a sleepy village and the slowly moving sea (»Tides«) and finally back home to his native Germany where he started reflecting upon his experiences, ultimately deciding to translate them into music (»Epilogue«). »Whenever I listen to this album now, the images and memories it evokes are incredibly vivid and vibrant«, he says. It’s not hard to see — or rather hear — why. »Tides« may have been a deeply personal project, but it effortlessly evokes universal feelings by (re-)building an entire world in the course of only a few pieces of music.

The drum hero’s classic 1963 album
 Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey, during November and December 1961
The Jazz Messengers’ 11th Blue Note album
Featuring the classic Messengers line-up of Freddie Hubbard (trumpet/flugelhorn), Wayne Shorter (tenor), Curtis Fuller (trombone), Cedar Walton (piano) and Jymie Merritt (bass)
Showcasing three classic Shorter compositions (‘Backstage Sally’, ‘Contemplation’, ‘Reincarnation Blues’) plus Fuller’s ‘Bu’s Delight’, Walton’s ‘Shaky Jake’ and a take on Henry Mancini’s ‘Moon River’
Produced by Blue Note co-founder Alfred Lion
Includes photography by BN co-founder Francis Wolff and liner notes by esteemed writer Leonard Feather