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LP
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A 043LP
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Following the first two singles by Freiwillige Selbstkontrolle from 1980 and 1981, as well as their debut LP Stürmer and the 1982 EP Magic Moments, a-Musik is now releasing Ça c'est le Blues, another of their early works, all of which were released on Alfred Hilsberg's legendary Zickzack label and have long since become rarities. Ça c'est le Blues was originally released in 1984 and marks nothing less than a milestone in F.S.K.'s already impressive discography. While numerous bands from the West German underground of the early 1980s, following the Summer of Pop of 1982 and the associated breakthrough of the Neue Deutsche Welle, either moved toward the mainstream or began singing in English, Justin Hoffmann, Thomas Meinecke, Michaela Melián, and Wilfried Petzi took a different path. The songs became more elaborate, the production -- influenced by bands like Gang of Four and Dexys Midnight Runners -- more opulent, and the instrumentation now included wind instruments for the first time, which have since become an integral part of F.S.K.'s sound. At the same time, the Munich-based band's music-historically motivated focus was directed more toward the US than was typical of the bands in the West German scene of that era. To their signature blend of post-punk and experimental music, as already evident on Stürmer, they now incorporated funk (on the opener "Faire Le Chicken") and jazz (on the heartbreaking cover version of "My Funny Valentine"). From then on, this "transatlantic feedback" was an essential component of F.S.K.'s musical practice. The discursive twists and turns, the incorporation of references, and the insistence on German lyrics would influence bands in the coming decades, not just those of the "Hamburg School." At the same time, the album features legendary hits by Freiwillige Selbstkontrolle which are still played at every concert to this day. With this reissue of Ça c'est le Blues, one of the most impressive releases in 20th-century German avant-pop history is finally available again. The reissue includes a comprehensive booklet featuring an in-depth interview about the album with all band members, as well as numerous previously unpublished photos.
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LP
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BEWITH 180LP
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2026 restock. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things Be With has ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. Daniel first pitched it as "Liquid Swords meets Michael Nyman". A "unique hybrid orchestral music," it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland, and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur, and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape. O'Sullivan's first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise. Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O'Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music.
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2LP+CD
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BEC 5156505
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2026 repress. Originally released in 1999. Double 12" vinyl edition in gatefold sleeve. Includes CD. The CD included in the LP features the 16 tracks in the same order. 1999: after the global supremacy of Oasis and Blur, the world is looking for some musical freshness. Some artists such as Daft Punk and Air have already contributed to globally popularize what the English called the "French Touch", a new term that refers to a large musical French movement. 1999, the first album by Cassius, is one of the key pieces of this growing genre, and demonstrates once again the variety of the trend. Indeed, after have cooperated for a long time with MC Solaar, one of France's '90s best rappers, the hip-hop influence of both Cassius members had to have an impact on their personal concept, and it seduced a lot of listeners hungry for new musical flavors: more than 250,000 units sold worldwide and numerous unconditional fans.
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2LP
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BORNBAD 105LP
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2026 repress; double LP version. Includes insert. Born Bad Records present the second volume Chebran, a series focusing on French boogie. The French in the '80s were not faint-hearted: as some threw themselves heart and soul into music or business, others wouldn't mind going bottomless to get themselves noticed. While Bernard Tapie soon realized his own fortune was rather to be found in business, many music-loving dreamers already imagined themselves in the sun, in an enchanting world made of funky rhythms and synthesizers. While the French National Front was growing in the shadow of François Mitterrand, these guys mixed New York-style funk with electronic, Eastern, or African sounds. With their genre-crossing arrangements and often chanted lyrics, they brought honor to the "SOS Racisme" generation, unconsciously outlining the nascent French contemporary urban culture. The French, while admiring Grace Jones' "savage beauty" in Jean-Paul Goude's advertisements, were enjoying their freshly-gained fifth week of paid vacation, tanning on the beaches of Maghreb. Following The Clash's example, punks and rockers converted to reggae, and the new independent radios opened up their programming to "world music". At the other end of the pyramid, the successive waves of immigration enriched France in a much better way. With the rise of "Youth and Culture Centers", the practice of musical instruments became affordable for those of humble background, allowing for new bands to appear. Caught between the spirit of Gallic bawdiness and their own community hopes, the musicians from this singular scene probably didn't succeed in life the way Bernard Tapie meant it. But their explorations left no room for doubt: by facilitating the rise of a new hybrid culture about to give birth, among others, to French hip-hop, those little-known artists indeed were off on an adventure, quite simply. Since the '60s, numerous venues destined for the North-African community had appeared all over France. In those bars and nightclubs, Eastern 45s were broadcast as well as local productions combining Raï, Frenchy funk, or proto-hip-hop. Thanks to the cassette tape medium, new songs kept circulating between Paris, Lille, Strasbourg, Marseilles, and many other urban areas -- mainly among the working class. The artists appearing on these compilations progressively shaped a new style, blending sounds from their original cultures and from their adopted country. Features Phil Barney, JM Black, Ettika, Sammy Massamba, Shams Dinn, Alfio Scandurra, Philippe Chany, Nordine Staiffi, Brigitte Et Michot, Alec Mansion, Marie Jose Fa, Hamidou, Ganawa, Creole Star, Manu, Ethnie, and Joel Ferrati.
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12"
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ENV 001R-EP
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2026 repress! In 1994, with only a single 12" in his discography, Morgan Geist decided to start his own record label. His debut on Dan Curtin's Metamorphic label was inspired by the sounds of Detroit techno and Chicago house. But Geist was equally fascinated by UK imports from labels like Warp, B12, and ART. He sought to combine these inspirations on the first release of his new label, Environ. Featuring a remix from The Connection Machine, whose unique "Bitflower" was released the year before on Carl Craig's Planet E, Premise EP (1995) was recorded in Ohio and mastered in Detroit by the legendary Ron Murphy. The release also marked the end of four years of Geist living the midwest and his return to the metro area of New York City, a dramatic shift that would soon be reflected in Environ's sound. This reissue of ENV001 Premise EP is remastered from the original tapes and features the original artwork by Todd Sines.
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12"
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ENV 042EP
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2026 repress. Duper, the new release from Morgan Geist, is a not-so-subtle callback to his 2001 EP, Super. "I was working most days with Kelley Polar on our new vocal project, Au Suisse, which isn't really dance music at all," he explains. "I started fooling around with these instrumental tracks at night for fun. Each track was in a different style, but they seemed to work nicely as a group. By the time I asked Kelley to contribute strings to the A-side, the record really started feeling like the sequel to Super." Super Duper -- get it? Indeed, the playful synth riffs and sweeping disco strings of "Twilight Express" echo the palette of Geist's cult classic "24K" and early Metro Area. "Black Test Car" is a unique collision of minimal, almost krautrock-style drums, sound library textures and spacy electro percussion. Meanwhile, "Feeling Is Mutual" is a rare acid outing that pushes beyond the usual comfort zone, the 303 acting more as feather than hammer on top of major-key modulations. "I love a lot of Aphex Twin and I love sweet, 'quiet storm'-style R&B," says Geist. "I figured, why not?"
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LP
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GET 51297LP
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2026 repress. "In 1994, hip-hop was going through a painful growth spurt. Since N.W.A. and Ice-T's ascent in the late '80s, the rap game was no longer owned by the east coast. After the worldwide popularity of Dr. Dre's The Chronic in 1992, things were looking even worse for hip-hop's hometown. The east coast/west coast feud that would indirectly claim the lives of Biggie and Pac was still in its infancy, but New York needed a shot in the arm. And as soon as the first lines of 'N.Y. State of Mind' kick in, bolstered by perhaps DJ Premier's darkest beat of all time, the entire east coast breathed a collective sigh of relief. God's son had arrived. Backed by an absolute all-star cast of New York's top-shelf producers -- Premier, Pete Rock, Large Professor, Q-Tip, and a youngster named L.E.S. -- the album never lets up. Serious to a fault, and lyrically dense to an extent that has possibly never been matched, the 20-year old Nas stood on the shoulders of his predecessors and proudly proclaimed, 'Don't f*** with the east? we are back.' It was a dark, hard record, made for heads in New York, not teeny-boppers in Des Moines. There were no dance beats, no crossover love songs. Just boom-bap and rhymes, skills, and heart."
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2LP
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GET 51301LP
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2026 repress. "The first act signed to The Neptunes' newly formed Star Trak label was a Virginia based duo known as the Clipse. The first single 'Grindin'' impacted the streets with its bare boned but infectious drum beat in the same way that 'Sucker MC's' did almost 20 years earlier. These brothers - Pusha T and Malice combined with The Neptunes groundbreaking production sent a clear message to the rap world ? 'we are not the same' (as rapped by Malice on his opening verse on 'Cot' Dam'). Clipse brings an authentic Virginia sound into the game and created a movement, with not only their darkly layered raps but The Neptunes as well. Pharrell Williams and Chad Hugo were able to combine their cyberpunk production with just the right group to create a street masterpiece. Following in the footsteps of such rap criminologists as Kool G Rap, Nas, Jay-Z, and Mobb Deep, the Clipse offer the Virginia hustler's viewpoint with clever, hard-hitting lyrics that is sprinkled throughout the entire album."
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2LP
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GET 51479LP
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2026 repress. "Illmatic, the 1994 studio debut of Nasir 'Nas' Jones, was more than just a critical success for the Queensbridge-based rapper. At a time when East Coast hip-hop was increasingly being taken less seriously than their West Coast counterparts, Illmatic's raw jazz and soul-based production, dire atmosphere, and lyrics, coupled with Nas' uncompromising flow was integral in restoring interest in the East Coast as a hotbed of hip-hop artistry. Along with key releases from Wu-Tang Clan and Notorious B.I.G., it shifted attention away from the funky, dayglo synth-based G-funk coming out of California and back to the grimy streets of New York. After such an unprecedented debut record, expectations were understandably high for Nas' follow-up. The 1996 sophomore follow-up is titled It Was Written, and in contrast to the urban bleakness of his debut, has Nas dipping his toes into the world of mafioso rap. Amidst production from heavy hitters like Trackmasters, Dr. Dre, L.E.S., Havoc of Mobb Deep, and Illmatic-collaborator DJ Premier, among others, Nas weaves evocative narratives of gang warfare, downtrodden neighborhoods, drug deals gone awry, and gangsta triumph, against a backdrop of samples from Sam Cooke, Etta James, the Isley Brothers, and even Chuck Mangione. It Was Written is not hard up for top-tier guests either, featuring major guest turns from Lauryn Hill and Joel 'JoJo' Hailey of K-Ci & JoJo. It also introduced the world to The Firm, the brief Nas-led supergroup featuring rappers AZ, Foxy Brown, and Cormega. It even managed to cause some minor controversy in the hip-hop community for its collaboration with West Coast producer Dr. Dre, at a time when the East Coast/West Coast rap feud was reaching a fever pitch, briefly attracting the ire of one Tupac Shakur. Not only was It Was Written received warmly by critics, but it also became a major commercial success, reaching the top of the Billboard 200 charts, reaching platinum sales status four times, and alongside albums like Raekwon's Only Built 4 Cuban Linx, helped usher in the era of mafioso rap in the mainstream. It rendered chart hits out of singles like the Eurhythmics-mimicking 'Street Dreams,' and the Grammy-nominated 'If I Ruled The World (Imagine That),' and proved to be a major influence on artists like Kendrick Lamar, Lupe Fiasco, and many more."
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2CD BOX
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LMS 1725575
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Limited 2026 restock. Alongside Joy Division, The Durutti Column were amongst the first artists to be released by Factory Records. Their debut album, produced by Martin Hannett, showcased the filigree guitar work of Vini Reilly, awash with reverb and early experiments with synthesizers. It would be a first album of a five-decade career, in which The Durutti Column would quietly emerge as one of the most influential acts from the Manchester scene and beyond. To celebrate the album's 45th anniversary, London Records revisits the album with new editions, with audio sourced and remastered from the original tapes, with vinyl cut at half speed. 2CD version includes original album, bonus tracks, home and studio demos, and early live tracks (33 tracks total). Features two home demos exclusive to this format. Housed in a special hardback tall storybook edition (dimensions 147mm (w) x 196mm (h)). Includes 48p page booklet, restored 1985 "cassette edition" artwork with textured "tall book" sleeve, and the exact textured card for the outer sleeve has been accurately sourced. Features three essays by The Durutti Column/Factory Records expert James Nice, Primal Scream's Bobby Gillespie and MOJO editor Ian Harrison.
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LP
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LMS 1725735
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LP version. Originally released in 1990 by Happy Mondays, this album captured the chaotic, euphoric spirit of the Madchester movement, blending indie rock, acid house rhythms and funk grooves into a sound that helped reshape British alternative music. Featuring era-defining tracks such as "Step On" and "Kinky Afro," the record became both a commercial breakthrough and a cultural snapshot of a generation fueled by dance culture and Northern nightlife. More than three decades later, its grooves, attitude and genre-blurring production still resonate strongly with contemporary audiences, influencing modern indie and electronicartists alike. This 2026 reissue of Pills 'n' Thrills and Bellyaches is presented in multiple formats, and marks the first major reissue campaign for one of the defining records of the late-'80s/early-'90s British club and indie crossover era. Available as: 5LP Boxset (LMS 1725740), which includes 64-page hardback bound book with brand new essays from James Brown and Central Station, previously unseen photos and more, plus a Slipmat and folded tour poster. Includes the remaster album, remixes, rarities, the Baby Bighead Bootleg live album from 1991 restored; 4CD Boxset (LMS 1725734), which includes 60-page booklet with brand new essays from James Brown and Central Station, as well as previously unseen photos and more. Includes the remaster album, remixes, rarities, the Baby Bighead Bootleg live album from 1991 restored; 2CD version (LMS 1725733) , featuring the remasted album plus 12 remixes; red color LP version (LMS 1725739), featuring the remastered album; black LP version (LMS 1725740), featuring remastered album. All Audio fully remastered on all formats.
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3LP
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NA 5066LP
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2026 repress. Twenty-one fully restored tracks from Kourosh's original master tapes Subtitled: Pre-Revolution Psychedelic Rock From Iran: 1973-1979. "The only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh's recordings were thought lost after Islamic fundamentalists took control of Iran. They weren't: Kourosh had protected them -- along with key ephemera from the '70s. Their collection here bolstered by Kourosh's first person recollections of Iran's '70s rock scene and its death after the Revolution, tells the story of an immensely talented artist's desire to persevere in the face of terrible adversity. Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran's musical landscape in the late '60s and early '70s. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them." No longer comes in gatefold sleeve, no booklet or DL card.
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LP
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PALTO 007LP
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2026 repress; LP version. "Originally released in 1982, Kakashi is another high water mark in the 80s Japanese underground. This album, which has gathered cult status in recent years, is the project of musical visionary Yasuaki Shimizu, and considered to be a highlight of his solo career. Shimizu was the bandleader of Mariah, who also saw their album Utakata No Hibi reissued by Palto Flats in 2015. Kakashi offers a similar blend of saxophone experimentations, jazz fusion and ambient dub excursions."
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RADK 7027CS
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2026 reprint. Reissue, originally released in 1980. Dead Kennedys' incendiary debut still screams some of the most brilliant cynical songs the genre has ever seen. It's not wholly consistent, but its manic, rapid-fire approach retains momentum throughout. It's an absolute riot: the sound of true rebellion.
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LP
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RRS 121LP
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2026 repress. Adventurous southern California punk trio Agent Orange was the first band to mix surf rock with punk. The group was formed in1979 in Placentia, a small town close to Fullerton and Anaheim, by front man Mike Palm on guitar and lead vocals, Steve Soto on bass, and Scott Miller on drums. That early line-up recorded the classic version of "Bloodstains" in 1979 as a demo produced by Daniel R. van Patten (of the group Berlin). A year later it was included on the seminal Rodney On The Roq compilation album released by Posh Boy Records. Meanwhile, James Levesque had replaced Steve Soto (Adolescents) and the new line-up released their own self-produced and self-released 7" EP in 1980. A year later, the group signed with Robbie Fields' Posh Boy Records for their debut LP, Living In Darkness, co-produced by Fields and former Simpletones guitarist, Jay Lansford. The album was recorded at Brian Elliot's store front studio in North Hollywood (a few years before Elliot struck gold writing Madonna's "Papa Don't Preach"). A milestone in California punk rock history. Includes five bonus tracks. Black vinyl.
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LP
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RRS 141CV-LP
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2026 repress. By the time Toy Doys issued Bare Faced Cheek as the inaugural LP of their own Nit Records label, bassist Flip had been replaced by Dean Robson and drummer Happy Bob by Martin Yule, with Olga still the vocal focal point. "Yul Brynner Was A Skinhead" is the best of the bunch, "Neville Is A Nerd" and "Quick To Quit The Quentin" are typical Toy Dolls punkpiss-takes, and there are digs at a hotel and a local launderette too. Everything is delivered in lightning-fast bursts of energy, poking fun at all and sundry, the Toy Dolls punk way.
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LP
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RRS 218LP
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2026 restock. Reissue, originally released in 1980. After the demise of Teenage Jesus and the Jerks, Lydia Lunch launched her solo career with Queen of Siam, arguably her greatest LP. In true No Wave style, the album is a mishmash of irritants, but her palette is far broader here, lurching from slow dirges, excessive feminist exhortations, and raucous personal purges to a touch of disco and lounge music exoticism, as conjured by Voidoids/Lou Reed guitarist Robert Quine, Contortions bassist Jack Ruby, and John Cale's drummer, Douglas Browne. Spirited, surprisingly broad, and defiantly dissonant, Queen of Siam's dense layers were designed to provoke and inflame; listen closely to fully decode. Red vinyl.
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LP
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RRS 291LP
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Color vinyl LP. Under the Influence is a raw and powerful covers album by The Business, originally released in 1999. The record is a heartfelt tribute to the bands and sounds that shaped the group's identity, interpreted through their unmistakable street punk attitude. From punk and Oi! classics to unexpected influences, the album showcases the roots behind The Business' sound while retaining their trademark energy and grit. This color vinyl edition includes a printed inner sleeve featuring exclusive, previously unpublished photographs, along with liner notes by Mark Brennan and Steve Whale, offering a rare visual and personal insight into the band's history. A must-have for fans and collectors alike, Under the Influence stands as both a celebration of punk heritage and a key chapter in The Business' legacy. Only available on CD until now, limited to 500 copies on red vinyl!
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2LP
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SDBAN 001LP
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2026 repress. Double LP version, part 1. 15 tracks on 180 gram gatefold 2LP with liner notes. Artists: Chakachas, Mad Unity, René Costy, Alex Scorier, Open Sky Unit, Plus, André Brasseur, Les Hélions, Chicken Curry & His Pop Percussion Orchestra, Placebo, Black Blood, S.S.O. (feat. Douglas Lucas & The Sugar Sisters, Nico Gomez & His Afro Percussion Inc., and Chocolat's.
The best Belgian dance tracks from the beginning of the '70s. Dire times, they were, full of poverty and hardship. To make a living out of popular music was a near-impossibility in a small country like Belgium. This precarious situation, though, proved to be a blessing in disguise for creative minds. When it's hard to get your hands on some money, trying out as many things as you can seems the logical thing to do. On the other hand, if there's hardly any money to be gained anyway, you may just as well play what you bloody well like. That's what Belgians like to do anyway. Moreover, living in a country where virtually every musical wave passes through also inspires. In the early '70s, those waves were (Afro-)funk, soul, and Latin. The situation as a whole was a favorable one for some visionary musical entrepreneurs. Jean and Roland Kluger created a musical dynasty, American-style, with successful acts like Chakachas and Two Man Sound. Their rival, Marcel De Keukeleire, scored worldwide hits with Amadeo, Chocolat's, and "The Birdy Song." Relying on zealous energy and a shamelessly commercial logic, every effort was aimed at success, so they jumped on as many international bandwagons as they could and tried out their own variants on the local market. Nearly every style in the post-war scene is represented here: Hein Huysmans' jazz-funk, the jazzy prog-rock of Cos, or the fusion of Open Sky Unit. And of course there's Marc Moulin, a name that needs little or no introduction. This is the missing link between the variety orchestras of the '60s and the electronic triumphs of Telex in the late '70s and early '80s. These tracks offer the same sense of adventure and slightly surreal pigheadedness that are also present in the best Belgian contributions to dance music. Think Front 242, Technotronic, or Soulwax/2manydjs. This is the ground they built upon.
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2LP
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SDBAN 002LP
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2026 repress. Double LP version, part 2. 14 tracks on 180 gram gatefold 2LP with liner notes. Artists: Chicken Curry & His Pop Percussion Orchestra, Amadeo, El Chicles, Plus, The Mol Percussion Band, Cos, René Costy & His Orchestra, The Rapture, Doug Lucas, Hein Huysmans Kwintet, Placebo, Leo Cavallo, Chakachas, and Super Funk Special.
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LP
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SVVRCH 065LP
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"Penelope Spheeris' ground-breaking documentary The Decline Of Western Civilization captured the agony and the ecstasy of the Los Angeles punk scene of the late 1970s and its excellent soundtrack is required listening for all west coast punk fans. The raw, jagged live sets by icons such as Black Flag, the Circle Jerks, the Germs, and Fear must be heard to be believed and the numbers by X point to their later commercial breakthrough; Catholic Discipline, with Claude Bessy of Slash magazine, provide another nugget. Totally essential!"
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LP
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TW-Z LP
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Few artists have expanded the possibilities of the voice as radically and masterfully as Berlin based voice artist, composer and improvisor Ute Wassermann. For her, the voice is an ecosystem: a living field of relationships between body, object, space, and the listener's ear. Her music moves between the transcendental and the quotidian at once -- breath as ritual, sound as touch, acoustic experience as something simultaneously otherworldly and utterly present. Dissolving the perceived boundaries between mind and body, she offers instead a full-bodied immersion in ever-changing stillness, an idiosyncratic engagement with sound that is all-at-once fierce, tender, and free. On her new album chimeric, Wassermann extends her voice with a wide array of implements; breath-driven drums, hydrophones used as throat microphones, bird whistles, jaw harps, brass megaphones. These objects don't just function as embellishments or demonstrations, but rather, as companions -- materials with which she communicates and is herself transformed. The result is a music in which the lines between self, object, and environment are constantly blurred, erased and redrawn. Across six pieces, Wassermann's voice moves with uncanny immediacy: lips smacked, gurgles roared, harmonic tails snapping through space. Recorded with a striking spatial presence -- using stereo microphone placement that allows sound to shift with the smallest movement -- the listener is placed almost between the ears of the performer, inside the throat's resonant chambers as it flickers from whisper to warning, from animal cry to sculptural multiphonic bloom. What emerges is not theatrical representation but embodiment: a confrontational tenderness, a call to arms meant for hugging. Steam valves and pistons of breath cycle into quick rhythmic stabs; ritual supplants noise, noise tilts into song. Wassermann reverses the trained control of the voice to discover empowerment in growls, screams, baby-animal whines, and undersea calls. These are song forms not as fixed structures, but as living organisms -- colorful tendrils of sound, improvisation as feedback between inner listening and the outside world. In the album's final movements, her voice becomes something both larger than a person and tinier: an army of intimacies, gnawing at the root, feeding. chimeric is an album teeming with vivid colors and transcendental beauty that reveals the voice as a truly limitless instrument.Deluxe LP housed pressed at Optimal, Germany housed in die-cut neon spot-color sleeve with spot UV gloss with two full color inserts and printed inner sleeve.
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CD
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THRILL 645CD
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"The Chicago trio of Black Duck is a natural fit for collaboration with acclaimed Basque musician Elena Setién. Black Duck's bassist/guitarist Douglas McCombs, guitarist Bill MacKay and drummer Charles Rumback have been lauded for their adaptability as live performers and collaborators for decades, performing in countless ensembles from Tortoise to Brokeback to collaborations with Ryley Walker, Bill Callahan, James Singleton and many more. Setién honed her improvisational skills in duo Little Red Suitcase before going on to collaborate with the likes of Steve Gunn, Mary Lattimore, and Glenn Kotche (Wilco) to name a few. Black Duck and Elena Setién's combined preternatural ability to converse at the boundaries of improvisation and composition makes for fertile ground in which every subtle gesture carries weight. On their debut, self-titled collaborative release, Black Duck and Elena Setién alchemize the ease of their live chemistry and their wealth of experience into a refined menagerie. The quartet first played together in early 2025 having only just met, trading off sitting in on each other's sets on a run of shows throughout Spain. Recorded just a few months later in Chicago at Palisade with Nick Broste after only a few hours of rehearsal time, the record embraces the spontaneity of those performances. The freewheeling compositions take on added layers of depth with skillfully layered overdubs. The album perfectly balances the openness and core electric energy shared between each musician in the room and sumptuous, detailed arrangements. Together, Black Duck with Elena Setién sounds like a singular unit and four powerhouses all at once. Their collective compositional acumen makes for an exquisite diversity of sounds and movements that all cohere into a singular album only they could make. Black Duck with Elena Setién is a gem of collective work, the sound of a quartet of masters of their craft moving in tandem."
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LP
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THRILL 645X-LP
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LP version. Coke bottle clear color vinyl. "The Chicago trio of Black Duck is a natural fit for collaboration with acclaimed Basque musician Elena Setién. Black Duck's bassist/guitarist Douglas McCombs, guitarist Bill MacKay and drummer Charles Rumback have been lauded for their adaptability as live performers and collaborators for decades, performing in countless ensembles from Tortoise to Brokeback to collaborations with Ryley Walker, Bill Callahan, James Singleton and many more. Setién honed her improvisational skills in duo Little Red Suitcase before going on to collaborate with the likes of Steve Gunn, Mary Lattimore, and Glenn Kotche (Wilco) to name a few. Black Duck and Elena Setién's combined preternatural ability to converse at the boundaries of improvisation and composition makes for fertile ground in which every subtle gesture carries weight. On their debut, self-titled collaborative release, Black Duck and Elena Setién alchemize the ease of their live chemistry and their wealth of experience into a refined menagerie. The quartet first played together in early 2025 having only just met, trading off sitting in on each other's sets on a run of shows throughout Spain. Recorded just a few months later in Chicago at Palisade with Nick Broste after only a few hours of rehearsal time, the record embraces the spontaneity of those performances. The freewheeling compositions take on added layers of depth with skillfully layered overdubs. The album perfectly balances the openness and core electric energy shared between each musician in the room and sumptuous, detailed arrangements. Together, Black Duck with Elena Setién sounds like a singular unit and four powerhouses all at once. Their collective compositional acumen makes for an exquisite diversity of sounds and movements that all cohere into a singular album only they could make. Black Duck with Elena Setién is a gem of collective work, the sound of a quartet of masters of their craft moving in tandem."
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CD
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THRILL 659CD
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"Stargazing Brooklyn noise-rock cosmonauts Upper Wilds -- the power-trio led by Parts & Labor co-founder Dan Friel -- return with another set of lean anthems filtered through a flamethrower. Their speediest, most explosive album yet, Mercury, is a meditation on death, with Friel expounding on his brush with skin cancer, climate change, funerals, Henry Kissinger, and a world seemingly on fire. Buoyed by recent tours with acts like Pelican, Uniform, Psychic Graveyard and Savak, the trio's increased speed is met with a precision that gives every hairpin turn more wallop. Mercury's molten, non-stop riffing is captured with grit and punch by engineer Travis Harrison (Guided By Voices, The Men) and is bolstered by longtime collaborator/saxophonist and fellow-New York mainstay Jeff Tobias (Sunwatchers) and vocalist Erin Dawson of LA-based experimental black metal band Genital Shame. Jason Binnick's basslines shine brighter than before dancing in tandem with Friel's guitar licks on 'Death Song #3' and bringing equal parts melody and thunderous weight to 'Green-Wood Cemetery.' Jeff Ottenbacher's drumming oscillates between machine gun fills and sledge hammer pounding, giving each riff more momentum and bite. Upper Wilds' space-rock adventures through their recent albums Mars, Venus, and Jupiter came replete with stories of the heavens and humanity alike. On this fourth installment, the closest planet to the sun, things take a darker turn. The small, barren planet Mercury was named after the gods' speedy messenger and guide to the underworld, and the album syphons Upper Wilds' fuzz-pop aesthetics into concise, scorched anthems about the brevity and fragility of life with the ferocity of a band playing on the edge of extinction."
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