Katalog

Neuheiten

  • 01. Werewolves on Wheels (Main Theme)
    02. Mount Shasta Home
    03. Ritual
    04. “One”
    05. Ritual 2
    06. The Devil’s Advocates
    07. The Devil’s Advocates (reprise)
    08. One Foot in Heaven
    09. Burning Grass
    10. Tarot
    11. Tarot Trail
    12. Dust Bowl
    13. The Devil’s Advocates 2
    14. Ritual 3
    15. Werewolves On Wheels (End Theme)
    16. Radio record 1 (Bonus Track)
    17. Radio record 2 (Bonus Track)
    cover

    DON GERE

    Werewolves on Wheels

    [engl] B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploito double bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protege and future Russ Meyer art director (another heady cocktail) is the product of one writing duo’s fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line. Werewolves On Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany’s emerging Krautrock scene or the more localised stoner psych of Skip Spence (whose radically ahead of its time LP OAR was recognised by Columbia Records as their lowest selling record in the company’s history). Imagine guitarist Sandy Bull jamming with Munich’s Amon Duul 1 or some Swedish prog outfits like Trad, Gras och Stenar or a sedated Kebnekaise. In comparison to the Curb/Allan scores, for films like Wild Angels, Devil’s Angels, Thunder Alley, and Born Losers (often released on Curb’s own Sidewalk or Tower records), the new music made by Don Gere, only three years down the line, sounds like it’s from an entirely different generation…
    Format
    LP
    Release-Datum
    05.03.2011
    EAN
    EAN 50600995030361
     
  • 01. Eco Blue / Toadstrip
    02. Race
    03. Head Off
    04. Pigs
    05. Cosmic Funeral
    06. Amanda
    07. Septic
    08. Smoke
    09. Stone
    10. Undertaker
    11. Gravediggers
    12. Swim
    13. Klaude Kool & The Kats
    14. Toad
    15. The Death Of Dr. Death
    cover

    BILLY GREEN

    Stone

    [engl] Meet Stone. The trailer says it all. A deep Australian drawl narrates the scene over a psychedelic swamp-funk rhythm section doused in electronic percussion and treated keyboards. “Stone Is A Trip… The grave diggers are on the move – a new breed of motorbike gang.” The screen fills with images of slo-mo bike accidents, hallucinogenic trips and a death defying cliff stunt which could easily mistaken for a doppelgänger scene in Psychomania. “Vietnam veterans with their own style of life, their own rules, their own religion.” The scene swathes to a satanic ritualistic burial at the hands of a denim-clad crew of outlaw bikers with strangely familiar faces. To many global record collectors, DJs, music producers and general retrophiles living outside of Australia “Stone” was primarily known for its electronic sound effects, psychedelic guitars, cosmic sound scapes and funky basslines… In the 80s and 90s, before the global DVD boom, Stone to many people was first and foremost a Soundtrack… The kind of soundtrack that makes you wish you could see the film but it’ll probably never happen. The LP artwork alone was beyond enigmatic with its contradicting embroider logo (designed by sandy) alongside its striking futuristic airbrushed chrome insignia (designed by comic artist Peter Ledger and realised by airbrush whizz Errol Black). The huge parade of brand new Kawasaki bikes inside the gatefold looked like something from the future compared to the classic full-dresser Harleys from the American Hells Angels movies. And when the needle drops into the groove and the freakish blend of didgeridoo and Moog (played by Johnny ‘Didge’ Matthews and synth expert Andy Cohan) blended with unidentified clicks belches and pops fly out the speakers it is literally impossible to put a date, never mind a story line, to this acid fuelled soundscape. The use of confusing and contradicting musical influences alongside bizarre noises is actually the secret sauce in this concoction and when the swampy psychedelic funk-rock rhythm section kicks-in you are left with a 45 minute programme of skewed. Forward-thinking avant-pop that would stylistically fill a very lonely section in the record shop racks. There are not many records quite like Stone.
    Format
    LP
    Release-Datum
    05.03.2011
    EAN
    EAN 5060099506055
     
  • 01. Aschta Chamma
    02. House I'll Never See
    03. Midnight In This Town
    04. By And By
    05. If Thoughts Could Kill
    06. Flower Store
    07. Lasso
    08. Every Evil Thing
    09. Two Minutes
    10. Silver Spoon
    11. Life Fades In And Death Is Distorted
    cover

    GRAHAM, WAYNE

    Songs Only A Mother Could Love

    "Über zwei Alben hinweg haben sich Wayne Graham, eine Folkrockband aus Kentucky, die selbst in ihrer Heimatstadt Whitesburg kaum jemand kennt, hierzulande in die Herzen der hartleibigsten Musikkritiker gespielt. Ohne große Geste, subtil störrisch und doch immer eingängig und zeitlos. Ihr Geheimnis ist so perfide wie einfach: Sie machen Platten, die man gern immer wieder hören möchte. Platten, die sich nicht aufdrängen, die nach und nach ihre Geheimnisse preisgeben. Es ist die Band zweier Brüder, die scheinbar endlos talentiert und produktiv tatsächlich nach wie vor im Keller ihres Elternhauses schreiben, aufnehmen und produzieren. Sie leben weiterhin in Whitesburg, einer ehemaligen Bergbau-Stadt in einer der ärmsten Gegenden der USA. Sie haben da schon als Kinder ihren Vater, der dort einst eine Kirche gründete und inzwischen einen Reparaturservice für Elektrogeräte betreibt, bei Gottesdiensten an Bass und Schlagzeug begleitet. „Songs Only A Mother Could Love“ erscheint gerade einmal acht Monate nach „Joy!“, das für die Band so eine Art bescheidenen Durchbruch markiert hat. Sie sind nun in diesem Sommer auf einigen der feinsten Festivals des Landes zu hören. Kritiker wie auch mancher Leser des Rolling Stone zählten „Joy!“ zu den besten Platten 2018: „Die sublime Americana der Brüder [...] braucht eine Weile, bis sie ihre volle Pracht entfaltet. Dann aber will man ihre Stücke zwischen J.J. Cale und The Band, zartem Blues und schwelendem Folkrock immer wieder hören.“ (Rolling Stone 12/2018) „Songs Only A Mother Could Love“ bildet zusammen mit „Mexico“ (2016) und „Joy!“ (2018) eine Art Trilogie. Sänger und Songwriter Kenny Miles sieht es indes eher als Prequel zu diesen beiden Alben, denn es versammelt Songs, die sie aus verschiedenen Gründen nie fertig gestellt haben. Songs, denen man als Labelbetreiber manche Träne nachweinte, als sie im irgendwo im Entstehungsprozess von der Tracklist verschwanden („House I’ll Never See“, „Silver Spoon“), Live-Favoriten vorangegangener Touren, die nie aufgenommen wurden („By and By“, „Two Minutes“), und solche, die noch nicht einmal als Demoversion mitgeschickt wurden. „Flower Store“ zum Beispiel ist nahezu klassische Americana, jedoch mit Worten versehen, die so wunderbar geschrieben sind und so perfekt in die Musik gesetzt, dass man sich einmal mehr darüber wundert, die Musik dieser Band nicht längst in jeder staubigen amerikanischen Jukebox zu finden. Das neue Album haben sie ihrer Mutter gewidmet und überhaupt ist es eine Familienangelegenheit: die namensgebenden Großväter Wayne und Graham blicken mürrisch von den beiden LP-Labels. Auf dem Cover schaut Mama Kim voller Liebe über ihre Schulter zu den beiden Brüdern auf der Rückbank des Autos. Fertig gestellt wurde es schließlich innerhalb weniger Wochen im Herbst 2018. Nun erscheint „Songs Only A Mother Could Love“ exklusiv zum Record Store Day am 13. April 2019 - streng limitiert für Europa auf 400 Exemplare weißen Vinyls, mit inside-out bedrucktem Cover, Download Code und Lyrics Sheet. „You sewed the flag they carried to the moon / You are my favorite silver spoon.“"
    Format
    LP [incl.DC]
    Release-Datum
    13.04.2019
    EAN
    EAN 4260016924240
     
  • CRAVIC, DOMINIQUE & LES PRIMITIVES DU FUTUR

    Resume des Episodes Precedents

    [engl] • First ever anthology of Les Primitifs du Futur with new exclusive cover artwork by legendary comic book author Robert Crumb Nicknamed the Primdufs, they are neither Smurfs nor cave dwellers, just a happy collective of musicians who always have their instruments at the ready. They all have an inexplicable passion for a musical genre that some could consider obsolete, outdated and antique: the French ‘valse musette’ (a kind of popular swing waltz music, ndlt). But let’s be clear, this has nothing in common with the smutty chords of popular balls and singalongs in little town halls, nor with the trills of another generation linked to names like Horner or Verchuren in afternoon tea dances. No, this is ‘bal musette’ with balls, genuine, virile, authentic, and athletic, which used to get the blokes and the birds jivingin the no-man’s land of demolished forts around what the Parisians call Paname. Seen like that it is easy to imagine that the Primitifs du Futur, for that is their name, enjoy carefully recreating in minute detail museum pieces from the pungent remains of past festivals. It is more than that. Because though these noble savages like rummaging around in 1920s Paris, they don’t shy away from including rhythms from all over the planet, rhumba from Zaireto, gypsy jazz, Hindu waltzes or Argentine tango, blues, ‘paso doble’ or ‘chanson réaliste’. It all began in 1986, when Dominique Cravic, ‘’ukukeke’’ champion and a renowned guitarist who learned from jazzmen like Lee Konitz or Larry Coryell and also played with Georges Moustaki and Henri Salvador, met a certain Robert Crumb. Yes, the legendary comic book author from the great days of the US psychedelic underground in the 70s, the creator of Fritz the Cat and Mr Natural in person, the same man who also created the cover for ‘’Cheap Thrills’’ by Janis Joplin. Crumb plays banjo and mandolin, collects 78 sof blues, jazz and… musette. The two cronies then composed their own made-to-measure orchestra, alongside many famous names including accordionist Daniel Colin, clarinettist Bertrand Auger, saxophonist Daniel Huck, bassist Jean-Philippe Viret or singer Claire Elzière (sorry, it’s impossible to name them all). This great group has recorded four albums since 1986 (all with sleeves drawn by Crumb), some including guest stars such as Pierre Barouh, Jean-Jacques Milteau, AllainLeprest, Sanseverino or Olivia Ruiz. For thirty years, the Primitifs du Futur have carried the torch of musette to the four corners of the earth, from fiestas to festivals, and today release a double vinyl, entitled ‘Résumé des épisodes précédents’ which brings together the best of their adventures. It is a refreshing and heartening cocktail of ‘’world tribal musette’’, as they call it, which, in these electro digital times, has a rejuvenating effect, amagic swing potion. Les Primitifs du Futur take us back to the future. ‘’THE PRIMITIFS DU FUTUR travel on sound waves back in time to the early twentieth century and make the world seem like a far better place than it ever actually was. I cant get the band's music off my turntable or out of my head. Accordion, mandolin, harmonica, saxophone, musical saw, and beautiful haunting melodies—what’s not to love? Even their sad songs make me happy.’’ Art Spiegelman. • 2xLP with 20 page booklet with all Crumb previous artworks for the band’s albums plus unseen photos 1500 copies - No Repress
    Format
    DoLP
    Release-Datum
    13.04.2019
    EAN
    EAN 3491570057827
     
  • 01. Pirlo
    02. At the heart of Seoul
    03. A boy can dream
    04. Surf green (feat. KATTHEM)
    05. Television will not be revolutionized
    06. A letter to the king
    07. Will there ever be a rainbow? 
    08. Good boys don’t stop the music
    09. Shanghai nights
    10. The Right way, the wrong way and the way we do it
    11. Shu bop
    12. Where I turn
    13. Bullets

    DREAM BOOGIE

    Sorry to disappoint all music lovers

    Es ist immer wieder faszinierend, welche großartigen Popsongs sich doch im Gewand des Garagepunk verstecken können. Dream Boogie schaffen es mit ihrem Singalong-Garage-Pop-Punk-Powerpop einfach, daß ab Sekunde 2 das erste Bein und ab Sekunde 3,5 das zweite Bein mitwippt , sodaß, sollte man stehen, man sich ab Sekunde 5 tanzend im heimischen Zimmer oder wahlweise an der Kopfhörerstation des bevorzugten Plattenladen wiederfindet. Man kann es Magie nennen, was diese mittlerweile zum Vierer gewachsene Band aus Göteborg betreibt oder einfach nur erfreut sein, über all diese kleinen Perlen zwischen dem Pop von M.O.T.O. und dem Sunshine-Psychedelic der mittleren Black Lips, die sich auf ihrem ersten Album "Sorry to disappoint all music lovers" verstecken und auch bei Runde hundert auf dem Plattenspieler nicht langweilig werden. Ich würde mich festlegen, „Sorry to disappoint all music lovers“ rettet jede Party. So und jetzt zurück zur Anlage und Musik wieder lauter gedreht.
    Format
    LP [incl.DC]
    Release-Datum
    12.04.2019
    EAN
    EAN 4260016921881
    Format
    CD
    Release-Datum
    12.04.2019
    EAN
    EAN 426001692189
     
  • 01. Rainy Day
    02. Paint A Lady
    03. For The Love Of A Soldier
    04. Ghost Riders In The Sky
    05. Yesterday, Where’s My Mind?
    06. Echo In Your Mind
    07. When Love Comes
    08. No One Can Hear You Cry
    cover

    SUSAN CHRISTIE

    Paint A Lady

    [engl] A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain. Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like “acid folk” and “soft rock”, it’s difficult to imagine a time when the legendary Susan Christie album didn’t exist. When Finders Keepers Records first shared the unheard 60’s songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan’s new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an “instant classic”. Which is why it’s hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP. The oft over used term mythical applies to this album on many levels. Perhaps it’s the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960’s copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where’s My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase “unbelievable” as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market… No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan’s won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday… could easily allude to the haunting melodies that sat in the can on John Hill’s studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it’s future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender – at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60’s America simply wasn’t ready for. It is just over 12 years since champion record rustler Keith D’Arcy (who you’ll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it’s almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades. Whether this album has been on your wish-list for what seems like a lifetime, or you are taking a plunge into this deep puddle for the first time, when the needle drops on the first track you’ll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day
    Format
    LP
    Release-Datum
    05.03.2019
    EAN
    EAN 5060099507045
     
  • 01. Rotten Bait
    02. Lottery
    03. Best Years
    04. Falling Trees
    05. No Hero
    06. Feel Your Pain
    07. True Capacity
    08. Saving Up
    09. Wear and Tear
    10. Body Parts
    cover

    ASTPAI

    True Capacity

    TIPP! Astpai sind zurück mit ihrem sechsten Album. "True Capacity" knüpft nahtlos an ihr hochgelobtes 2015er Album "Burden Calls" an. Seit mehr als 15 Jahren ist Astpai eine der führenden Punkrock-Bands Österreichs. Aus der Wiener Neustadt stammend, spielen sie schnellen melodischen Hardcore Punk für Fans von Samiam, Kid Dynamite, None More Black und The Hold Steady.
    Format
    LP lim
    Release-Datum
    22.06.2018
     
  • Zero Zero Zero:
    01. Moloch!
    02. A Boy Named Zero
    03. REAL
    Video Store:
    01. A Boy Named Video
    02. Factory
    03. Priceless
    cover

    ZERO ZERO ZERO / VIDEO STORE

    Split

    300 Stück auf silbernem Vinyl!
    Format
    10''
    Release-Datum
    22.09.2018
     
  • 01. Breathe Sleep
    02. Said and Done
    03. Miss the Aim
    cover

    IRISH HANDCUFFS

    Comfort in Distraction

    [engl] Limited edition 10 inch, 300 copies pressed on white mixed with orange and yellow vinyl. Comes with awesome looking printed B side!
    Format
    10''
    Release-Datum
    22.09.2018
     
  • 01. Station Approach
    02. Plague Your Heart
    03. Black Dog
    04. 300 Cigarettes
    05. Nancy Downs
    06. Lower Ground
    07. Caught Up
    08. Drive At Night
    09. Sometimes Death Is Better
    10. Endless Eight
    cover

    HARKER

    No Discordance

    eit 2014 formte sich das Akustikprojekt von Sänger und Gitarrist MARK BONIFACE über drei seitdem veröffentlichte EP?s zu einem festen Band-Line-Up, das heute die Vorzüge der elektrischen Verstärkung und Verzerrung wieder voll auskostet. Mit WIRETAP (USA), DISCONNECT (UK), FUTURE VOID (UK), FIXING A HOLE (JP) und SHIELD RECORDINGS (NL) sind insgesamt gleich sechs Labels an der Veröffentlichung dieses Albums beteiligt. Und während man den zehn Songs deutliche Einflüsse der Punkrock-Schulen von New Jersey und Chicago attestieren muss, sind auch Noise- und LoFi-Einflüsse im Geist von REPLACEMENTS, WEDDING PRESENT und HÜSKER DÜ nicht von der Hand zu weisen. Und wer Bands wie NOTHINGTON, DESCENDENTS oder HOT WATER MUSIC zu seinen Favoriten zählt, wird ohnehin schnell dem hochmelodischen Emo-Punkrock der Briten erliegen.
    Format
    LP lim
    Release-Datum
    09.02.2018
     
  • 01. The Weight
    02. The Violence
    03. The Slit
    04. The Rift
    05. The Plea
    06. The Drudge
    07. The Blade
    08. The Estrangement
    09. The Cull
    10. How I Wish Having Skeletons in My Closet Was Still Just a Figure of Speech
    cover

    LOTUS

    The Road To Calvary

    Format
    LP lim
    Release-Datum
    19.06.2018
     
  • 01.Scenes Are For Sinners
    02. Hindsight Bias Blues
    03. Broken Record
    04. No One Knows
    05. Making Waves
    06. On The Beat Of Repentance
    07. Scars
    08. Back-up Plan
    09. A Swing And A Miss
    10. Glimpses
    cover

    DOWZER

    So Much For Silver Linings

    [engl] 300 x Crystal Clear with Black Mixed vinyl
    Format
    LP lim
    Release-Datum
    19.06.2018
     
  • 01. My Dark Friend
    02. Ghouls
    03. A Bedpost, A Belt and a Batman Suit
    04. What's Left to Love
    05. To A New Beginning
    06. Rain
    07. Hope is a Beggar
    08. Little Critters
    09. This Pale City
    10. Sugar Schemes
    cover

    RIVERSHORES

    Dizzy Lows

    10 neue Poppunk-Perlen!
    Format
    LP lim
    Release-Datum
    19.06.2018
     
  • 01. See you back again
    02. Nothing there
    03. The girl I don't understand
    04. Wait for rain
    05. When I'm with you
    06. Little runaway
    07. Too hard
    08. That's not you
    09. Drinks after work
    10. Plan Ahead
    11. Dreaming
    12. Destroy the rest of me
    cover

    WINDOWSILL

    Dizzy Lows

    [engl] limited on 300 copies
    Format
    LP lim
    Release-Datum
    19.06.2018
     
  • 01. Encante
    02. When People Result In Name Calling
    03. Ruffian
    04. Home Is Where The Heart Aches
    05. Half Friend Town
    06. Like Strings
    07. Coffee Black
    08. The First Song On The Tape You Made Her
    09. Perfect Stranglers
    10. We On Some Next Level Shit
    11. Laughing Out Loud
    12. Won't Be The First Time
    13. Born With A Silver Spoon Up Your Ass
    14. More Than Just Music It's A Hairstyle
    cover

    AS FRIENDS RUST

    Greatest Hits?

    [engl] Formed in 1996, Florida's AS FRIENDS RUST delivered energetic, melodic hardcore. Often compared to Dag Nasty or Avail, and in later years Samiam, AFR found themselves at the intersection between several genres, making them not only difficult to pigeonhole, but infectious to listen to. Fronted by Damien Moyal, also of Culture, Morning Again and (currently) On Bodies, AFR, lyrically, was endearingly honest and approachable, and - in a manner quite uncharacteristic to the hardcore scene at large - surprisingly personal. Combined with songwriting that effortlessly blended punk rawness, hardcore urgency, rock n' roll riffage and indie rock production, AFR was a refreshing break from the increasingly bland 90s hardcore scene so fraught with dogma and chugging metal. Until disbanding in 2002, AFR churned out several highly celebrated EPs and one LP, and spent every minute outside of the studio in their van, bringing anthemic singalongs to cities across the US and Europe. In 2008, AFR reunited for one show in their hometown of Gainesville, Florida, followed by a handful of shows in Europe, and in 2014 they got together again to play four shows in Japan. 2015 sees AFR returning to Europe to play the esteemed Groezrock Festival, and they'll play Brooklyn, NY on their way out of town. "The Greatest Hits?" LP release is an assortment, curated by the band, of the best material from across three lineups, six releases and six years.
    Format
    LP lim
    Release-Datum
    19.06.2018
     
  • 01. Useless ID - Yearbook
    02. Useless ID - True Punkrocker
    03. Useless ID - Ghetto Limits
    04. Tarakany! - How to Dismantle An Atomic Bomb
    05. Tarakany! - Night Stalker
    06. Tarakany! - Live or Die
    07. Useless ID/Tarakany! - Among Other Zeros and Ones
    cover

    USELESS ID / TARAKANY!

    Among other zeroes and ones

    [engl] Two bands, two countries, two languages but friendship and a creative way of perception that the world around us can never be separated. Tarakany!, a punk band from Moscow/Russia and Useless ID, punk rockers from Haifa/Israel have put out the split record called "Among Other Zeros and Ones". Both bands not only have recorded each other's songs but also translated the lyrics. Initially Russian got to be English performed by USELESS ID and the other way around by Tarakany!
    Format
    10''
    Release-Datum
    20.04.2018
     
  • 01. On Repeat
    02. Live Numb, Die Bored
    03. Sun Up, Sun Down
    04. Soil and Dust
    cover

    EATEN BY SNAKES

    s/t

    [engl] Limited one sided 12 inch with printed B-Side. Artwork by Shawn Higgins. The cover is screenprinted in 5 colors (that's more than songs people!). Limited edition out of 300 copies.
    Format
    LP lim
    Release-Datum
    07.09.2018
     
  • 01. Rats
    02. Knife
    03. Movement
    04. Love
    05. Spring
    06. Forward
    07. Foundations
    cover

    CIRCLES

    Demo 2017

    [engl] For fans of 80's hardcore punk, Dag Nasty, Embrace and Husker Dü!
    Format
    LP lim
    Release-Datum
    19.06.2018
     
  • 01. Anne et Gilles - Conversation
    02. Christine Combe - Transformations
    03. Jean-François Gaël - Prefiteroles
    04. Steve Waring - Image
    05. Anne et Gilles - Le Gnou
    06. Christine Combe - Conseils aux enfants sages
    07. Jean-François Gaël - Sucre Candi
    08. Le Groupe Organon - Adieu
    09. Alain Savouret - La dictée
    10. Anne - Vendredi, les caramels au chocolat
    11. Anne - Lundi, les croûtes aux groseilles
    12. Le Groupe Organon - Vivre
    13. Anne et Gilles - Le soleil
    14. Steve Waring - Me uno Me douno
    15. Naomi Moudi - Who dat
    16. Anne et Gilles - Les Hiboux
    17. Steve Waring - Fais voir le son
    18. Anne et Gilles - Le môme néant
    19. Anne et Gilles - Cela est certain
    cover

    V/A

    CHEVANCE - OUTREMUSIQUE pour ENFANTS ( 1975-1984)

    [engl] France at the crossroads of the 70s: the Chevance collection revolutionizes music for children. Mixing forward-thinking folk and avant-garde jazz, driven by a strong literary spirit, its exceptional catalog was created under the direction of producer Philippe Gavardin, in the tradition of the Saravah label or iconoclastic publisher Harlin Quist. Anti-fables, songs from mysterious countries, wild bestiaries... It brought together a band of classically inspired free musicians, propelling its singers into orbit by exploiting all the fantastical potential of texts by Jean Tardieu, Robert Desnos, Jacqueline Held and many others. More strictly instrumental, its younger sibling, the Sonoriage collection completed the company, dedicating itself to the acousmatic exploration of children's familiar environments. In the land of Presidents Giscard and Mitterand, thermal clothing and elbow pads, Sautet films and Sunday roasts, the carpeting of a nursery is strewn with a handful of 7-inches. There, exotic birds and courteous elephants guarding a castle built with cakes form a Front for the Liberation of the Imaginary: colourful, systematically framed illustrations standing out against the cream background of gatefold sleeves… doorways to a maze of sounds at the crossroads between the neatest form of chanson and the most prospective jazz. Founded in the course of the 1970s by Philippe Gavardin, the small collection named Chevance is above all the story of buddies who were out and about between the twilight of the Trente Glorieuses and the disenchantment that followed the socialists’ rise to power, gravitating around this mentor known for his kindness and curiosity. Originally a linguist, Gavardin was one of these open-minded intellectuals, with one foot in the Contrescarpe cabarets and the other in step with the avant-garde, combining his apparently classical tastes with a keen interest in the novelties of his time. It is notably with Jean-Louis Méchali—a drummer from the free jazz scene who became Gavardin’s team-mate and arranged a good deal of the releases—that he forged the identity of this series of recordings for the younger generations: musically janus-faced, definitely literary, impregnated with a surrealism that echoed the decade’s psychedelic and libertarian experiments. The label developed a real editorial policy disregarding commercial constraints. Each record took a clear direction: modern fables, bestiaries, musical tales, cookbooks… Words were the backbone and every release was both carefully designed and perfectly manufactured. Several teams were built up in the course of meetings which were more like congenial brainstormings. In the chanson category, Anne and Gilles, a duet regularly performing in the left bank area, alternated with the Swiss actress Cristine Combe who had recently settled in Paris and wanted to sing Kurt Weill. As for the folk projects, Imbert and Moreau, who were more in the hippie vein, took turns with the canonical pioneer Steve Waring, whose famous Grenouilles were then turning round and round in José Arthur’s Pop Club. The musicians included many a jazzman from some of the most adventurous factions of the French scene: Méchali’s fellow travellers involved in the Cohelmec Ensemble; The Marvelous Band, a gang from Lyon that had also co-founded the “Association à la Recherche d’un Folklore Imaginaire” (Association in Search of an Imaginary Folklore); and various mavericks like multi-instrumentalist Teddy Lasry, or the intriguing, so often credited Jacques Cassard, whose track seems to have been completely lost today. Initially distributed by the label Le Chant du Monde, Chevance was definitely included in the catalogue of this venerable parent company when Gavardin started directing it. Thus, it joined a selection of traditional music and work songs also including chanson, poetry and recordings that just can’t be categorised. While bookshops for kids knew a historic boom in France, the collection eventually enjoyed the monopoly of the prizes awarded by “Loisirs Jeunes” or the Charles Cros Academy, a key factor to reach school and library networks. If the collection gives a striking change from mass-produced music for kids, its spirit is nevertheless akin to other singular attempts that were made at the time. Mixing songwriting and avant-garde jazz, Chevance seems to be, first of all, Saravah’s younger sibling. Founded by Pierre Barouh, Saravah showed the same balance between moderation and radicalism, with oddities like those of Brigitte Fontaine, Alfred Panou, Barney Willen and so many other musicians feeding the creative frenzy that characterised the French jazz scene.1 As the Cohelmec Ensemble bridged the two worlds, the teams got to know one another and often worked in the same studios. As for the literary dimension, it is right in the lineage of the American iconoclastic publisher Harlin Quist, whose activity in France left its mark on the genre. Similar selections, a common taste for playful uses of language, and the same distancing from both conventional and outcome-based education… A universe excluding the mundane to make room for cosmogonic visions in which, at the turn of each page, everyday life is relentlessly assaulted by the incongruous. The parallelism with Chevance goes even beyond questions of editorial, graphical or typographical choices: the two worked with the same team of illustrators, which included Henri Galeron, Nicole Claveloux and Patrick Couratin. While Chevance had strong literary roots, Le Chant du Monde developed, in the middle of the 1980s, another collection in a more abstract, rigorously instrumental line, far from textual concerns. Initiated by Anne H. Bustarret, a critic, a major activist in the field of creation for kids and a friend of Gavardin’s, Sonoriage openly campaigned for ”an active initiation to the listening and reading of today’s music based on the attention to every day sonic environments.” Inspired by the many situations she experienced in workshops and the hundreds of hours she spent stirring the imagination of children with a bunch of keys hanging at the end of a string, Bustarret carefully presented each record, systematically adding an illustrated, notebook-like insert to guide the kids’ listening. Bernard Baschet—the sound sculptor who invented, along with his brother François, the “crystal” bearing their name, and worked with Pierre Schaeffer on the typology of sound objects for the Treatise on Musical Objects—was an old friend of Anne Bustarret’s. She therefore naturally turned to him for the Musiques de table project, before he oriented her towards Jean-François Gaël. A cornerstone of the amazingly hybrid band Sonorhc, a student of acousmatics and a first-class arranger who had worked for many of the decade’s singers, Gaël was a crystal lover who followed Baschet around his interventions, including in schools. When Gaël set to work, Bustarret called the composer Alain Savouret, asking him to select excerpts from his tape-recorded Sonate Baroque, so as to compile another volume entitled Musiques en Bande. Renaud Gagneux, who was in charge of the Louvre’s carillon, had just been ringing his bells for Musiques sur la place when she contacted the outsider naturalist Knud Viktor about a project which, unfortunately, was never carried out. As a rather up-to-date though not-so-commercially-successful collection, Sonoriage constitutes a kind of ideal illustration of François Delalande’s theories.2 This very serious member of the GRM also worked as a research supervisor at the National Audiovisual Institute. His theories emphasised the unexpected parallelism between the methods of the most respectable practitioners of concrete music and the way the youngest children explore their sonic environment. Necessarily incomplete and subjective, this very partial overview deliberately draws attention to the most peculiar tracks. Unfortunately, some equally valuable works could not be included: Jean-Louis Méchali and François Ruy-Vidal’s Petit Poucet (a monolithic musical tale that cannot be sized down), Colette Magny’s rough and raucous lullabies, B-sides from the Antifables series, La Promenade de Picasso, a record that had to be destroyed and therefore seems definitely lost… May the most curious listeners feel like putting these fragments back in their broader context so as to (re)discover the vast inheritance this uncommon project bequeathed us.
    Format
    LP
    Release-Datum
    12.04.2019
    EAN
    EAN 3521381551105
    Format
    CD
    Release-Datum
    12.04.2019
    EAN
    EAN 3521383451090
     
  • 01. Hotel Sheet
    02. I’ll Fly To Your Open Arms
    03. This Ain’t Just Another Dance Song
    04. Hi Mom Hi Al
    05. Shar
    06. Get Right On Top (Cause I Need Someone)
    07. Baby I’m So Glad
    08. Funky Disco Party
    cover

    JACK ASHFORD

    Hotel Sheet

    [engl] SHORT: A crown jewel of the US American soul music of the 1960s. The earthy production and vivid feeling makes this album way more tangible for fans of the genre than most polished and slick major productions. A true gem for all collectors of underground soul from the USA. DETAILS: Oh, sweet soul music, you make my life so wonderful. Well, especially when I have the pleasure to rediscover long lost treasures from the late 60s soul music scene that were not the obvious albums by the obvious bands or artists like Four Tops and Marvin Gaye but appeared and fell under the radar despite the great quality of the songs. Now here we have Freddy Butler, a man with a smooth and soft, yet powerful voice that you will be able to recognize from a dozen or more soul singers oft he same era. A kind expression lies on his face when you look at him smiling from the cover of his sole album “With a dab of soul” released in 1967. Original mono copies of this gem already fetch 150 US$ or even more when they turn up in a more or less good shape. So it was time for a vinyl reissue and this comes from Dutch label Everland Records. And they dug out a vinyl treasure par excellance here. “With a dab of soul” is a jewel of Northern Soul or Street Soul far from the mainstream productions of the 1960s big labels that held most positions in the charts. It has this earthy feeling, a simmering atmosphere that highlights its authenticity. This man is for real and his music comes as honest as music can. For sure he offers sweet ballads, steaming dancers and thoughtful tunes with a certain pop appeal just as many of the mainstream acts also did but the vivid production that only focuses on the main instruments such as drums, bass, guitar, piano, blues harp and a sparingly used brass section with Mr. Butler’s vocals upfront makes this feel like something real. Freddy Butler has this lush voice that pushes the songs with great emotions into the heart and soul of the listener. This power and his charisma make him an outstanding star at the sky of soul music but this album makes one thing crystal clear. Talent alone will not bring you fame and fortune. Being on par musically with all the big names will not get you to the top positions of the charts. We can only thank Everland Records for dragging this album by the long gone Freddy Butler back to the light. Soulfanatics who love a good mix of moods will certainly enjoy these tunes. Freddy Butler puts an emphasize on the song, the melody and the longevity of his works rather than just going for a hot blooded groove that stays with the listener as long as the song lasts. He wanted to create anthems for a generation to come and voil’, here we go. As good as everything the FOUR TOPS have ever put on vinyl, as good as BABY HUEY might have been if he just stayed with us for longer than just 26 years. These are songs so timeless that they will always sound fresh and vivid when you give this record a spin. And be sure, this album won’t let you go with just the occasional round. You feel like one turn per side is not enough when you are in the mood for good soul music. There were even two 45s released from this album, “There was a time / This thing” and a promo 7? “That’s when I needed you / Give me lots of lovin'”. Just to mention that. Band and singer of course are top notch, musicians who really deserve the title. They play with passion and fire while staying precise at any moment. On top of the instrumental substructure you will find vocals with a great range and good variety of intensity levels. Freddy Butler was a crooner who could sing like a gentleman and be a savage the next moment. He always had the situation under control and knew to bring in the right emotion at the right time. They don’t make them like this anymore. He should be listed with the greatest of his genre whenever people talk about soul music. And now go and buy your copy of this jewel.
    Format
    LP
    Release-Datum
    22.03.2019
    EAN
    EAN 0710473184519
    Format
    CD
    Release-Datum
    22.03.2019
    EAN
    EAN 0710473184526
     
  • 01. Star From The Sky
    02. Heart And Soul
    03. Take A Chance
    04. Universal Funk Affair
    05. Desire
    06. Take Some Time
    07. Crazy Feelin’
    08. Searchin’
    cover

    STANDING ROOM ONLY

    Heart And Soul

    [engl] SHORT: STANDING ROOM ONLY’s “Heart and soul” is a masterpiece of 80s soul funk with a pop edge that will excite fans of Chaka Khan, Sade, Luther Vandross, THE TEMPTATIONS or Marvin Gaye with well crafted memorable songs that show a great production and lush arrangements that reveal many quirky only with further spins on the turntable. A holy grail for collectors finally made available again. DETAILS: 1982, funky dance music, disco, pop and soul, sounds like something familiar. But try to score a copy of this beauty and you will splutter getting aware oft he price which lies at 750 USD or even more for a copy in perfect condition. So feel grateful for Everland Music and their brandnew reissue if you are a fan of black 80s soul pop with a funky edge. This is music that was very present in the early 80s and could be heard nearly everywhere in movies such as “Beverly Hills Cop” or similar flicks, which gave us an overplayed insight into the lifestyle of those days, especially in the black community. I can see good ol’ Axel Foley chasing gangsters before my inner eye listening to this record. The production is typical for the release year. In some of the tunes you find synthies allover the place, but still the recordings feel handmade by highly skilled musicians. Flashing horn arrangements dance around your mind, the bass guitar pumps a jittery groove and the beats of the drum pulsate with a very clean sound. You have to dig deeper into the arrangements for more little details and will be surprised how many layers of rhythms and synthesizer lines with little solos added here and there can be traced within the complex, yet not complicated structure of such a song. These were the 80s and despite being up to date with sound and production values, this record offers so much depth. The vocal harmonies and all the melodies on this album point back to the huge mid to late 70s soul pop landmarks. And within all the very modern black pop songs on this album you can still find some of these lush anthems of silky soul that just blow your mind. This is certainly more than just a dance album which lasts with you for the time it rotates on your turntable. This record tells a story, probably not with the actual lyrics but with the music itself. And each song is different and has only one thing in common with the forthcoming song, namely the good vibrations, the expression of utter joy and love for the sunny side of life. The atmosphere here is great and puts the listener in a happy mood. My favorite tune here is the modern pop funk of “Take a chance” with loads of synthesizer lines duelling with the brass section, cool verse and chorus melodies and a steady groove. Now you may jump up from where you sit and swirl around in your place like a tornado, or you do it the other way round and stay there, listen to the music, listen more and more deeply and discover all the details and little quirky ornaments hidden in the thicket of the arrangements. Either way this album will soon become a regular guest on your stereo and those very memorable tunes even play in your head when you’re somewhere out there so that you cannot stop humming and whistling these harmonies. So get hooked on this record and discover one of the holy grails for collectors of 80s funk and soul music, you will realize right away why lovers of this style have laid down half of their salary of a month for a copy of this gem. Finally a new generation of fans gets the chance to listen to and fall in love with STANDING ROOM ONLY’s “Heart and soul”.
    Format
    LP
    Release-Datum
    22.03.2019
    EAN
    EAN 0710473184717
    Format
    CD
    Release-Datum
    22.03.2019
    EAN
    EAN 0710473184724
     
  • 01. We Belong Together
    02. I Love You I Want You
    03. Try A Little Tenderness
    04. I’m A Lucky Guy
    05. I Don’t Really Care
    06. The Whole Town’s Laughing
    07. Dancing Girl
    08. Danny Boy
    cover

    L.V. JOHNSON

    We Belong Together

    [engl] SHORT: A sacredly rare but utterly joyful example of lush soul pop that recalls the best songs of artists like Barry White. An entirely handcrafted piece of naturally happy music made for the cuddly moments of the day, but still with compositions that are lasting with the listener for a long time. A must have. DETAILS: L.V. Johnson was a very active composer, singer and instrumentalist since the early 70s and probably beyond but did only release his debut album at the ripe age of 35 in 1981. A soft and silky soul pop effort named “We belong together” which goes up to 500 US$ when it could be found in mint condition. EVERLAND MUSIC, home of the greatest but most rare black music, have mercy on us and give us a nice reissue on black wax. The deeper, powerful voice of Mr. Johnson strongly reminds me of the also late Barry White but still the songs carry the sign of L.V. Johnson in every note played on this album. What we get here is soul music with a pop approach, clothed into several layers of silky sound arrangements with string section, horn section and some synthesizers giving this album a nearly symphonic expression. Beneath the surface we find an utterly precise rhythm section hammering a captivating, yet catchy groove. The album creates an atmosphere of utter joy and deep relaxation. Every song here feels so lightweight despite the depth of the actual composition and the intense emotions expressed through the very rich and fervently blared vocals. And as you will realize quickly, everything here is still handmade, crafted by utterly talented and professional musicians. The sound is perfect, it builds a closed up surface and while you can dig through it and discover all the little details in the depth of each song, it makes the composition appear in it’s entirety and this is what you will first experience when you put this goodie on your turntable. Finally again one might say. All these songs here have this special factor that make them outstanding anthems of soul pop. As I mentioned before, this music will give you relief when you spin the record as it only expresses joy of life and shines in bright colours, while the songs are meant to be classics of their genre on par with the greatest hits that ever climbed up the pop charts. A perfect record to either listen to, or to play at a party as it will never get intrusive, but still lacks the superficiality of many pop productions. This is true music created with love and passion and if you love the softer side of soul music, like the band AIR or Barry White, you will find your personal Eldorado here. And now let me drift away peacefully and leave you with this gem on your turntable.
    Format
    LP
    Release-Datum
    22.03.2019
    EAN
    EAN 0710473184595
    Format
    CD
    Release-Datum
    22.03.2019
    EAN
    EAN 0710473184601
     
  • 01. Intro
    02. Patti Duke Hustle
    03. Wiggle On Up
    04. Trying To Get Out Of Here
    05. It’s Gonna Be Alright
    06. Lady Of My Life
    cover

    MEL PRODUCTION BAND

    Trying to Get Out Of Here

    [engl] SHORT: Hot and groovy jazzfunk that turns every dancefloor into a simmering witch cauldron on Side A, meeting silky soul pop ballads on Side B. A catchy and memorable affair that will give you goosebumps as long as you are a fan of funk and soul on the threshold from the 1970s to the golden era of pop, the 80s. For fans of Lionel Richie, Stevie Wonder, The Four Tops, The Temptations, Stanley Clarke, Hot Chocolate and the likes. It’s the first album of the later Blues legend Mel Waiters. DETAILS: Swirling synthesizers drag your mind into space, the slapped bass guitar throbs like a frantic pulse and there are hissing percussions that back up the slick drum sound. Here we go, straight forward into the 1980 album by the MEL PRODUCTION BAND, a private release that reaches high prices if a copy ever appears for sale somewhere and that comes as a product of it’s time. This is club music made for discos, soul pop that has all the great trademarks, as those tunes that would storm the charts only a few years later, it heads into two different directions with two steaming, yet slick power funk songs successing the intro on side A and three soul pop ballads on the flipside. While these B Side tracks invite you to dive into an ocean of lush melodies and complex arrangements that form accessible and especially memorable tunes with overwhelming vocal performances, the three jazzfunk compositions on the A side make you jump up from your seats and dance your soul out. The slapped bass guitar can be found in all three tracks, the vocals are a mix between singing and shouting in a joyful, euphoric way. Mostly simple phrases get repeated over and over again to create something like a disco mantra for everybody who is in for a wild dance. It is all glitter here and and a never ending party. You still find musical greatness in these dance songs, for the performance is just wild and the musicians are up on par with the greatest of their genre, tight and determined, still passionate in their playing and they truly love their music, their funk. So, this is a beast first and then turns into a beauty for side two. Since the original private press simply never ever turns up these days, this new reissue on EVERLAND MUSIC is more than welcome to rediscover this rare gem. Take your time to listen and take your time to dance for this album is a great occasion for both. The sound on this record is clean and slick, but vibrant. The music has the real feeling, everything is handmade and you can hear it. Even the synthesizer carpet sounds like coming from the gifted hands of a real keyboard wizard. A blast to spin on your turntable.
    Format
    LP
    Release-Datum
    22.03.2019
    EAN
    EAN 0710473184731
    Format
    CD
    Release-Datum
    22.03.2019
    EAN
    EAN 0710473184748
     
  • 01. Punish Me
    02. Steal Your Love Away
    03. Loving You Is So Easy
    04. Our Love Is Special
    05. Rushing To Meet You
    06. Woman
    07. Your Love Is Like The Morning Sun
    08. Steal Your Love Away
    09. Rushing To Meet You
    cover

    CLYDIE KING

    Steal Your Love Away / Rushing To Meet You

    [engl] SHORT: This is certainly one of the best produced and arranged records of the 1970s soul funk era with a whiff of a disco flavor and some of the greatest songs that were ever written in this genre. But this is also one of the least known and best hidden jewels waiting to be discovered by the legions of fans loving mid to late 70s soul queens such as Donna Summer, Diana Ross, Gloria Gaynor or the mighty Supremes. Reissued in the two original versions on Everland Music. A must have! DETAILS: Clydie King originally released a couple of solo singles from her early teens in the late 50s onward before she worked as one of these many more or less nameless session musicians providing backing vocals for many releases of which a few went to eternal fame such as “Sweet home Alabama” by LYNYRD SKYNYRD or the “Exile on Mainstreet” album by the ROLLING STONES. Along with this supposedly fairly well paid session work also for Linda Ronstadt, Diana Ross, Supremes or Ray Charles, with whom she already cooperated as member of the Raelettes, she was able to record a few albums worth of her own material in the 70s. “Rushing to meet you” was first released in 1976 and got a second release under the title “Steal our love away” with a different cover and song order in 1977, the first version on Tiger Lily Records, the second one on Baby Grand Records. We can tell that the original Baby Grand version in good shape fetches prices up to 450 US$ these days in splendid shape and one could get the idea the first issue on Tiger Lily Records might be even more scarce and therefore expensive when it turns up. Everland Music now brings us relief with a beautiful reissue in both original layouts. So much for a cool reissue but who will go wild for this record’ Well, fans of slick, well crafted 1970s soul and funk music with pop flavor, who love memorable songs and a steaming performance that either gets you rocking and rolling within the walls of your home more like a mad dog rather than an Englishman ” pun intended as Clydie King performed with the ensemble that accompanied Joe Cocker on the tour in support of his “Mad dogs and Englishmen” album ” or sitting back to let the music pour into your soul. These tunes really go with the hot stuff of their time but have enough depth, edges and landmark moments to stand out from the faceless masses. Made for eternity but lost in the mists of time, a fate that many of the greatest records met since the invention of vinyl albums. But I digress. Some tunes are up paced and powerful, some have a rather mellow atmosphere with haunting melodies, all of them though showcase the extraordinary voice of Clydie King, who would not need to hide behind the soul and disco legends such as Diana Ross, Gloria Gaynor, Donna Summer or Linda Ronstadt, to throw in a white 70s pop great as comparison. But who dares to compare Clydie King to all these ladies’ It would not even scratch the surface concerning style and expression of Clydie King, it would not let you know a tiny percentage of her talent and magic. As with many rock albums that disappeared quicker than they had been issued, these 12? of soul give most popular mainstream releases of their era a run for the money. The whole piece of art will please the listener due to its vibrant production, which makes the music feel like being played by a band plus string and brass sections right now in this moment with Clydie King’s intense crooning topping it as the icing on the cake. This album will definitely ask for repeated listens, for the fan of 70s soul funk music will get addicted to these everlasting songs within the wink of an eye. I love to use the term “lush” to describe the way the music on such albums in the late 70s was arranged by the producers but this is a level only the greatest men behind the recording desks were able to achieve. There is no favorite track here for me, since all of the songs give me goosebumps. This is music that shows fire, passion and dedication, despite having commercial potential of the highest level. If this is your style, go no further. You have found what you always wanted to bring musical joy to your home.
    Format
    LP
    Release-Datum
    22.03.2019
    EAN
    EAN 0710473183758
    Format
    CD
    Release-Datum
    22.03.2019
    EAN
    EAN 0710473184250