Limited first pressing of 1000 numbered copies on transparent 180 gram Vinyl. Soft Machine released their third album, surprisingly called Third in 1970. It is a double album with each side of the vinyl consisting of a single long composition. Its music explores the emerging Jazz Fusion of the type present on Miles Davis' Bitches Brew, which was released just a few months earlier. Third marks the most major of Soft Machine's several shifts in musical genre over their career, completing their transition from psychedelic music to Jazz. It is a significant milestone of the Canterbury scene, featuring interplay between the band's personnel: Mike Ratledge on keyboards, Robert Wyatt on drums, Hugh Hopper on bass and newest member Elton Dean on saxophone.
"Welcome to "Don't Look Down". This album is my ode to the ebbs and flows of life. It's ultimate credo is to keep your head up in the toughest of times. This collection of songs in its own way asks us repeatedly if we can stand up after being knocked down. With music born from my own successes, failures, and hard learned lessons, this poetry is woven as a cloak to conceal & nurture me when times are tough and as a consistent and reliable conduit to bliss in my attempts to live life vividly. Thematically, the album begins by following the main character through a harrowing set of circumstances (Pounds of Pressure and The Abyss). Due to the emotionally jarring nature of what occurs in tracks 1 & 2, the protagonist falls into a state of depression on track 3 (Everyday We Pray). By the end of "Everyday We Pray", optimism starts to seep back into the protagonist's outlook and the song "Let Go" represents just that. He is letting go of the challenging situations that have caused him despair. "A Better Day" is perhaps the height of his optimism shone through a lens of clarity & realism. "Whizdom", "Mission Accomplished", & "World Renown" represent ways in which I dive deep into poetry in order to create my own world and provide myself a respite from the ills of society . "iLL" is a turning point in which vulnerabilities creep back toward my surface. A deeply reflective state sets in, and I am left to ponder the ways of the world as I wish for something more. The closing track, "Don't Look Down" continues this reflective & humbled state, yet hauntingly echoes our mantra of resilience. I hope this album finds a place in your life as it is truly me sharing some important pieces of mine..." -Mr. Lif
David Bowie's The Rise and Fall Of Ziggy Stardust and the Spiders from Mars erased borders, eliminated stereotypes, broke open cultural possibilities, and spawned a legacy like no other. More than four decades after its release, the record remains one of the most electrifying and brilliant works ever released. Again available on 180g vinyl LP, it is here presented in freshly remastered sound that does justice to Bowie, Mick Ronson, and company's creative genius. Ziggy Stardust is an album written by an aspirant rock star in the guise of a hugely successful one. This nifty deceit has led to it being dubbed the first post-modern pop record. Its songs obtusely referenced aspects of rock history, whilst at the same time tell a story of a future world of extraterrestrial intervention and space-age androgyny. Ziggy Stardust works so well because it's a concept album with the ‘concept' taken out. So much of pop music would have been unthinkable, unimaginable, without this record. In pop, you're always best remembered for your initial breakthrough. Bowie's career trajectory through soul, electronica and avant-garde pop is perhaps, in part, an attempt to free himself from this stereotyping circa 1972.
Limited to 2000 copies. Remastered from the original master tapes and pressed on heavy 180 Gram Blue/White Evil Fog-Colored Vinyl. In August of 1985, Tom Holland’s Fright Night debuted in multiplex cinemas around the world, going on to become one of the most beloved horror films of all time, taking cues from 1960′s Hammer Films, the work of director William Castle and horror icon Vincent Price. The film follows teenager Charley Brewster, who discovers that his next-door neighbor, Jerry Dandrige, is a vampire. When no one (including his girlfriend Amy or best friend Evil Ed) believes him, Charley begs Peter Vincent, a TV show host who acted in films as a vampire hunter, to end Jerry’s killing spree once and for all. The Fright Night Original Motion Picture Soundtrack includes some of the biggest hitmakers of the day, including J. Geils Band, Devo, Ian Hunter, Sparks and many more. The decision to blend New Wave and Brad Fiedel‘s synth score adds spectacular creepiness to the overall vibe of the film. The soundtrack has since gone on to become highly sought-after among collectors and fans of horror.
It’s about change and the power to change. It’s about metamorphosis and evolution. It’s about sticking to your guns and toughing it out. It’s about now, not tomorrow. It’s about recognizing your potential. It’s about self-doubt and inaction. It’s about you. It’s about me. It’s about you and me and the others. It’s about the choices we make. It’s about finding the poetry and avoiding the cliché. It’s about being the solution, not the problem. It’s about showing weakness to be strong. It’s about digging through your dirt to look for diamonds. It’s about claiming your right to think unacceptable thoughts. It’s about boredom and the things we do to drive it away. It’s about being on your own so you can be with people. It’s about knowing what it means to be human and what it might mean one day. It’s about the parts and the sum of the parts. It’s about the music and the message: together, one and the same. It’s about bass, guitars, drums and vocals. It’s about opening-out and never, ever dying. But most of all it’s about love, every kind of love. Love is the answer. Savages’ second album, Adore Life, was recorded at RAK Studios, London in April 2015. Johnny Hostile was the producer and Richard Woodcraft the engineer. Anders Trentmøller took care of the mixing in Copenhagen.
Grouper's stunning 2008 ambient classic that cemented Liz Harris as a fixture in contemporary experimental music is an album unlike any other, an essential for any fan of the genre. The album marked a departure of sorts for Liz, which sees her turn down the fuzz boxes which caged her sound and allows her voice to ring out above everything else a bit more than before. An album steeped in the world of dream-pop - a genre pioneered by the likes of Cocteau Twins & This Mortal Coil & far from shying away from the reference, Liz has instead grabbed on with both hands, creating an album's worth of perfect, left-field pop songs.
Double colored 180gm LP housed in a tip-on gatefold jacket. Following on the success of the ROBOCOP reissue, Nicolas Winding Refn and Milan Records are proud to present the vinyl reissue of the original score to The Terminator supervised and mixed by composer Brad Fiedel himself!
Originally out in 2006, EP C/B EP was a double header from Battles that pulled together the previously released C and B EP's. Across the joint twenty one tracks the group cement themselves as one of the most audacious cult groups operating in the folds of alternative rock and electronica right now. The tracks on show spin webs of poly rhythms, complicated time signatures and abstraction that crosses electronic and guitar band lines with intense and captivating power and force! Experimental and astounding creating vast waves of increasingly exciting music that crosses boarders and genres with ease while creating something vast, expansive and utterly unique. Available now for the first time as a double 12" set, EP C/B EP stands as a timely reminder of the innovation and importance of Battles within the current musical climate.
After becoming a 3-piece, 'Gloss Drop' was Battles' follow up to 2007's incredible 'Mirrored' and did not disappoint. Drafting in the vocal help of Gary Numan, singers from the Boredoms and Blonde Redhead, and Bleep's Top Artist of 2009 - Matias Aguayo. The live instrumentation and experimental structures again prove why Battles are one of the most cherished bands on Warp's roster.
2016 repress includes Battles' stellar Warp debut on 2LP vinyl with gatefold packaging, download card and a poster insert. Few albums can match Battles' Warp debut for innovation coupled with accessibility. On Mirrored, Ian Williams, Dave Konopka and Tyondai Braxton found the subverted soul of glam, pushed it through the avant-machine (Reich, Riley), grew some overdriven metal guitar chops, listened to a whole lot of African music and consorted with the Aphex devil. It might sound like a mess written down, but the way the band pull these disparate influences together makes for some of the most continually thrilling music, even when considered several years down the line. 'Atlas' must be one of the strangest and catchiest instrumental pop songs ever made, and there are plenty of other thrills to be found here, like the playfully glinting vocal abstractions of 'Tonto' or the twists and turns of 'Rainbow'.
LP Reissues of Mirrored and Gloss Drop out April 1 2016 in original deluxe packaging with EP C/B EP out on vinyl for the first time. Battles' seminal first two albums Mirrored and Gloss Drop are being given a much needed vinyl reissue, and for the first time ever, a vinyl pressing of the EP C/B EP. The music across these releases spans from 2005 until 2011 and if there ever was a need to, reminds us of just how forward-thinking, yet accessible the group were when they first appeared. These releases have gone on to gain huge admiration from both alternative rock and electronica communities and you will be hard pressed to find an alternative music fan who doesn't recognize tracks like Atlas, Tonto or Ice Cream. Out of print for years and now highly collectible, these classic recordings are being made again for new audiences to enjoy while sure to take space on shelves of long time fans of old who missed them first time around.
Intent on creating something that contrasted their own individual projects, Moderat — the trio comprised of Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) — complete the trilogy with III. III pairs an emotional pull with sensual imagery, creating dynamic sound and depth with sophisticated lyrics and themes as they direct their gaze inward. Apparat gives unfiltered insight into his personal take on the journey we call life – he is opening up, discussing his shadow, his fears and doubts. Modeselektor reach another level, develop an intoxicating energy with their distinct rhythmical textures. One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. With III, they update the songwriting tradition with an intriguing palette, born of careful attention and skill, informed by their experiences with sounds of nearly 25 years of sub-and-club culture. These three were initially brought together by Berlin’s now legendary rave scene and with this as their common foundation as individuals, III signifies Moderat’s maturation in modern pop and mastery of the group.
Limited edition double LP on 140 gram White Vinyl housed in a gatefold sleeve. Gore is the upcoming eighth studio album by the American alternative metal band Deftones, set to be released on April 8, 2016.
Amen & Goodbye is the fourth studio album from Brooklyn-based band Yeasayer, and it will be released worldwide via Mute Records on April 1st, 2016. Yeasayer offer a peek into the world of Amen & Goodbye with “I Am Chemistry,” the first track to be heard from their highly- anticipated forthcoming album. Featuring guest vocals from the legendary folk singer Suzzy Roche of The Roches, “I Am Chemistry” is a linear psychedelic journey proving Yeasayer still has the knack for writing very odd pop songs. Amen & Goodbye is the follow up to 2012’s work Fragrant World. Moving away from a digital - heavy approach, Yeasayer recorded Amen & Goodbye to tape at Outlier Inn Studio in upstate New York, then brought on board Joey Waronker (drummer - Atoms For Peace / Beck) to deconstruct everything to make the final document. Amen & Goodbye features Yeasayer’s trademark sound without sounding like anything the band has done before. They have created a collection of strange fables from the Bible from a universe that does not yet exist.
LIMITED TO 1000 COPIES WORLDWIDE, EACH WITH AN INDIVIDUAL COVER. Featuring new music from Zomby, MssingNo, Kaytranada, Powell and more. Twenty years after the 5th Chapter, the story continues. Chapter VI celebrates the very best of today's underground. When XL Recordings released The 5th Chapter in 1995, the world was a very different place. Tupac Shakur was still alive, America was yet to elect a black president and the internet was just something you’d read about. Ecstasy, jungle and hardcore were shaping club culture in the UK and defining the way that a generation of youth moved, sounded and looked. The government had just passed the Criminal Justice and Public Order Act in a bid to kill off free parties, the tabloids doggedly printed page after page on the sins of raving, while the soundsystems of Britain rumbled hard underground. Two decades later and our world is unrecognisable. Kids MC off phones at the back of buses, artists collaborate without ever meeting and ecstasy came, went and came again. But one thing has always remained defiantly present – the underground. XL may have spread its antennae far and wide but at its core its DNA is made up of weird, outsider, two-fingers-up electronic records that crawl out of the concrete and onto wax. XL began as a label by selling 12”s to rave DJs, with the best releases pressed onto an annual compilation. The last in the series dropped in 1995 as the label widened its scope. Twenty years on and now is the time to reconnect with the genesis of XL. XL Chapter VI is a vinyl-focused release that wholly embraces the chosen audio format of the decade – all artists on the compilation will be releasing club-ready 12” EPs on XL, a throwback to the dancefloor artillery attitudes that were cultivated at the turn of the 90s. The Chapters provided a regular platform for artists concerned with reshaping the underground and consequently, culture. Think of Liquid’s “Sweet Harmony”, “Everybody In The Place” by The Prodigy or “DJs Take Control” by SL2. These are names and songs that led a new wave of dance music. Fast forward far into a different millennium and those names have been replaced by a different crew forging a path into new futures. Zomby, Powell, KAYTRANDA, MssingNo, GILA, Homepark, Hugo Massien, rLr, Mumdance, Novelist and Special Request are the artists that are endeavoring to shape not just a way of dancing, but a way of thinking. This part of the story may feature different production techniques and new aesthetics to the last installment but its spirit remains totally the same. It's a celebrated tenet of dance music that it must look back to move forward, so the snaky acid basslines, brutally sparse beats and the synth melodies that soundtrack the post-club early hours, are all still there. Electronic music is more than listening to records. Our appetite for lowly lit basements packed with people and equipped big soundsystems is endless. This collection is a celebration of that primalism, an uncompromising look at the very best of the world’s underground – a journey through the clubs, the cities and the culture. The story continues.
First coming in to being when they filled an immediate need for a support band for The National after the scheduled opener was waylaid, LNZNDRF has grown into a fully realized, kraut-psych-prog band. Their self-titled debut album was recorded between an old church in Cincinnati, OH and a hilltop lodge in Woodstock, NY.
In a new urban development on the far west side of Detroit, Florida, it's mandated by a 5 to 4 city council vote that a new housing structure be erected that has both luxury condominium units available for private ownership and section 7 housing in the same building. Via separate entrances the Cavanaugh building services two very different populations. And though the lifestyles of the residents vary, each unit relies on the same system of pipes and wiring and are serviced by the same crew. Mike and Dave have a combined 14 years of experience in Cavanaugh maintenance. They usually work drunk, mumbling greetings to the residents, soaking up all the disdain that the higher and lower income inhabitants have for each other. They talk shit to each other all day. Complaining about their home lives, spinning passive aggressive tales where they pretend to be angrier, stronger, more expressive men. produced by open mike eaglemixed by commitee. inquire within for detailsmastered by daddy kevcover photos by stephen eichornn
Sold Out - $24.99
This Fat Beats exclusive bundle features the LP and flexidisc 7" test pressings, limited to 10 hand-stamped copies. Fat Beats Records is proud to present Baker’s Dozen, an exclusive vinyl series that shines a light on the best minds of instrumental hip-hop, ambient, and electronic music. Each installment gives one artist carte blanche to capture their signature sound. Every volume’s 500-unit, strictly limited vinyl pressing features one artist and twelve tracks, but only 250 units will contain the thirteenth track -- the eponymous “baker’s dozen bonus” -- on a flexi disc. The LPs also come equipped with a 5x7” postcard insert that features a photo of the artist’s workspace along with the equipment used in their music-making process. Visually cohesive and packaged with the utmost attention to detail, Baker’s Dozen is a series that speaks up for artists whose craft renders voices superfluous, whose instrumentals alone suffice to make a statement. Volume One highlights Los Angeles born / Sacramento based beat maker Dibiase, whose style is best described in his own words: “It’s crazy to think that my equipment collection and beat making process started back in high school with just an 8 second Gemini sampler and a Sony Walkman. It was a super basic set up. Back then I used whatever I could get my hands on. Finding different samples, looping them up, running the layers back through the Walkman. Adding more layers and repeating that process until I had a beat. It worked. My process is a lot different now but in some ways it’s the same. I still do a lot of layering. I use a combination of hardware and software. Sometimes I start with a sample. Sometime I start with drums. It depends on my mood and the genre. Sometime I use a kit. Other times I will sample and layer drums, run them through another piece of equipment like the SP-12 or 404 to dirty them up, then dump them back into Ableton. I really don’t have a set way of doing things musically. I like to experiment with different technics and styles. I like my music to have a certain sound. Most of the time I let the process happen naturally.”
Fat Beats Records is proud to present Baker’s Dozen, an exclusive vinyl series that shines a light on the best minds of instrumental hiphop, ambient, and electronic music. Each installment gives one artist carte blanche to capture their signature sound. Every volume’s 500-unit, strictly limited vinyl pressing features one artist and twelve tracks, but only 250 units will contain the thirteenth track -- the eponymous “baker’s dozen bonus” -- on a flexi disc. The LPs also come equipped with a 5x7” postcard insert that features a photo of the artist’s workspace along with the equipment used in their music-making process. Visually cohesive and packaged with the utmost attention to detail, Baker’s Dozen is a series that speaks up for artists whose craft renders voices superfluous, whose instrumentals alone suffice to make a statement. Volume One highlights Los Angeles born / Sacramento based beat maker Dibiase, whose style is best described in his own words: “It’s crazy to think that my equipment collection and beat making process started back in high school with just an 8 second Gemini sampler and a Sony Walkman. It was a super basic set up. Back then I used whatever I could get my hands on. Finding different samples, looping them up, running the layers back through the Walkman. Adding more layers and repeating that process until I had a beat. It worked. My process is a lot different now but in some ways it’s the same. I still do a lot of layering. I use a combination of hardware and software. Sometimes I start with a sample. Sometime I start with drums. It depends on my mood and the genre. Sometime I use a kit. Other times I will sample and layer drums, run them through another piece of equipment like the SP-12 or 404 to dirty them up, then dump them back into Ableton. I really don’t have a set way of doing things musically. I like to experiment with different technics and styles. I like my music to have a certain sound. Most of the time I let the process happen naturally.”
From the moment you hear the bristling boom-bap chorus on album-opener "Totally Mutual Feeling," it's apparent that Lushlife's third full-length finds the Philadelphia rapper-producer at his most introspective. Themes of isolation and mortality permeate Ritualize, a cinematic hour-long odyssey co-produced by enigmatic production trio, CSLSX (pronounced "Casual Sex") and featuring contributions from Ariel Pink, Killer Mike, Marissa Nadler, RJD2, and more. With CSLSX at the boards, an entire universe opens up for Lush, where the pulsating Juno synths of '80s LA night music sit side-by-side with gorgeously propulsive indie-leaning jams, and low-fi soul burners too. The resulting LP is a post-blog-era joint that seems to exhale the whole of the 20th century in a single, fascinating breath.
Bibio will release his seventh album, A Mineral Love, on April 1st through Warp Records. According to the artist: "This album celebrates the sacred and precious struggles of human insecurities through many windows of familiar musical forms. It's also a celebration of my love of the craft of record making, drawing influences from many sources across all decades from the late sixties to the present. All these referential forms have a twist, some are more full on cocktails."
White vinyl LP pressing in gatefold sleeve, limited to 600 units worldwide. 2016 album from legendary singer Bobby Caldwell and Grammy Award winning producer and writer, Jack Splash. The album combines Caldwell's classic voice with Jack Splash's updated sounds. Features guest appearances from Cee-Lo, Mayer Hawthorne, and others. Tracing a twenty-five year history from acclaimed soul stylist to in-demand pop and R&B songwriter, Bobby Caldwell is truly one of the most revered vocalists and songwriters in contemporary music today. As a singer, he has a successful career with numerous solo releases, which have earned accolades far and wide. This project will introduce the vocalist to a whole new generation of music fans.
Continuing our tradition of unearthing hidden treasure, we are excited to present another rare classic, pressed to heavyweight vinyl. 'Moods' was the self titled debut (and only) album from a local St. Louis vocal group headed up by band leader, musician and producer Melvin Turnage. The group met in high school and disbanded soon afterwards, although Turnage is still touring with his own band, performing alongside Harry Belafonte, Shalamar and Sammy Davis Jr. over the years. Originally released in 1978, 'Moods' is a fantastic example of the 'Modern Soul' sound which bridged the gap between Northern Soul and Disco, introducing synthesisers alongside incredibly tight vocal harmonies and lush instrumental arrangements. Only a tiny number of copies are still in existence, making this LP highly sought after by record collectors. With a track from the album featured on BBE's recent 'Private Wax Vol.2' compilation which garnered support from Gilles Peterson among others, it's surely time for this gem of a long player to be discovered by a new generation of crate diggers.
R2 Records is happy to present the first full-length project from Karizma's alter-ego Kaytronik. From his earliest days as part of Baltimore's premier crew - The Basement Boys - Kris Klayton was never one to stay in a musical box, always probing beyond the constraints of the soulful house domain. His Kaytronik persona (previously reserved for remixes of other artists and a single on Atjazz Recordings) has allowed him greater freedom to explore beat syncopation, mood and impassioned expression further with an album that showcases his ability to work at any tempo, with a variety of styles, but always with the emotional content intact. "Thee Album" contains electronic explorations of down tempo emotive beats, club bangers and impossible to categorize grooves, with a mindfulness to the 'state we in'.