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Limited Edition of 500 copies. No repressing! Revivez les belles années du Rocknroll avec ces rééditions soignées des 5 premiers EPs Français dElvis Presley contenant DES TITRES EXPLOSIFS QUI CHANGÈRENT À TOUT JAMAIS LHISTOIRE DE LA MUSIQUE ! Ces

Limited Edition of 500 copies. No repressing! Relive the beautiful years of Rock'n' roll with these neat re-releases of Elvis Presley's first 5 French EPs containing EXPLOSIVE TITLES THAT NEVER EVER CHANGE THE HISTORY OF MUSIC! These 5 EPs' form the

Limited Edition of 500 copies. No repressing! Relive the beautiful years of Rock'n' roll with these neat re-releases of Elvis Presley's first 5 French EPs containing EXPLOSIVE TITLES THAT NEVER EVER CHANGE THE HISTORY OF MUSIC! These 5 EPs' form the

Limited Edition of 500 copies. No repressing! Relive the beautiful years of Rock'n' roll with these neat re-releases of Elvis Presley's first 5 French EPs containing EXPLOSIVE TITLES THAT NEVER EVER CHANGE THE HISTORY OF MUSIC! These 5 EPs' form the

Limited Edition of 500 copies. No repressing! Relive the beautiful years of Rock'n' roll with these neat re-releases of Elvis Presley's first 5 French EPs containing EXPLOSIVE TITLES THAT NEVER EVER CHANGE THE HISTORY OF MUSIC! These 5 EPs' form the

Limited Edition of 500 copies. No repressing! Relive the beautiful years of Rock'n' roll with these neat re-releases of Elvis Presley's first 5 French EPs containing EXPLOSIVE TITLES THAT NEVER EVER CHANGE THE HISTORY OF MUSIC! These 5 EPs' form the

DELUXE TRIPLE VINYL including RARE material from personal home recordings Elvis made during the 1960s – all of which have now been cleaned, repaired, and restored, using the most sophisticated technology available.

DELUXE GATEFOLD EDITION 180 GRAM

There are records with empathy, records which are your friends and then there's the others... There might be little difference between them, a certain "je ne sais quoi", an "almost nothing but still something" which makes the difference between almost pointless and vital records. Despite, or rather thanks to his cynical despair, Matt Elliott's music never holds up a moralizing mirror to us - on the contrary, it creates a compassionate dialogue with listeners like the rhythm of two steps that synchronize to become as one. In 2016, Matt Elliot brought out his seventh solo album The Calm Before whose obscure title is neither exactly threatening nor comforting... the calm before what? Before the storm for sure but maybe also before the great record, the immediate classic we felt might be coming for a long time in the dual discography of the Bristol-born artist working under his own name and his electronic alias Third Eye Foundation. The elegant details and perspectives of Little Lost Soul (2000) already hinted at the upcoming masterpiece from the English singer-songwriter. The Mess We Made (2003) was Matt Elliott's first solo album and portrayed a universe in a kind of flight towards Balkan horizons made up of visceral despair. With the Songs trilogy, he put aside the electronic side of his work to continue working with a minimalist, stark and lucid style of writing. The Broken Man (2012) was full of tears and long laments sometimes carried by Katia Labèque's piano on a record which painted new shades of grey. On this record Matt began working with the producer, arranger and multi-instrumentalist David Chalmin (La Terre Invisible) who has kept on collaborating with the Bristol-born singer since then. Their partnership continued on Only Myocardial Infection Can Break Your Heart (2013) and The Calm Before (2016). Stéphane Grégoire is the head of the Ici D'Ailleurs label which has accompanied Matt Elliott since 2005 and perhaps he describes this album the best: "This new record by Matt is without a doubt his best album to date, a record that takes him into another dimension where he fully asserts himself as a songwriter and singer of the calibre of artists like Bill Callahan, Leonard Cohen or Johnny Cash." Matt Elliott's other records all seemed like empathic links between each other. Farewell To All We Know is an instant classic based on the sensitive piano and superb arrangements of David Chalmin, the sensitive cello of Gaspar Claus, the subtle bass of Jeff Hallam (who has also played with Dominique A and John Parish). There is a clear form of alchemy in all of this and still we find Matt Elliott's usual atmospheres and scenery, the same Eastern European folk music, long songs that take time to settle over time. Everything is the same but also is transfigured. By making his music stark and purifying and redefining the subject matter, Matt Elliott's work became so much more delicate. However this work is never frail nor really turned in on himself and thus becomes like a vital tune that vibrates and unfolds. The opening song Farewell To All We Know seems torn between the fear of what tomorrow may bring, inevitability and hope for the future in a permanent and progressive dramatic tension expressed by his Spanish guitar, the impressionist style piano and Matt's voice teetering on the edge of whispers. A funereal tribute to endless twilights and the dawns we all dream of seeing. There are touches of Leonard Cohen from Songs from a Room or Thanks For The Dance in The Day After That with Gaspar Claus's counterpoint cello. There is no spirit of resignation in Matt Elliott's work - life's path has to be followed against all odds. We have to follow the river's flow to reach the immense ocean and its infinite freedom. The haunted instrumental Guidance Is Internal harks back to the atmospheres of Howling Songs (2008) with its guitar parts full of scansions and muted threats. The music is transcendental but never seems afraid of the risk of falling. This is also what Bye Now tells us with its quasi-obsolete simplicity and sunburst melancholy reminiscent of the work of Luiz Bonfá, Bill Evans on Peace Piece or laidback crooners of the 50s. In Farewell To All We Know, Matt Elliott incessantly alternates between the dual desires to face up to the world or to protect himself from it. Hating The Player, Hating The Game is a lucid statement about the dullness of our daily lives sometimes, our right to get out of the game and no longer want to be part of it. Matt Elliott is tender but spares no one, particularly himself. Aboulia speaks of the tiredness of living and of looming death while Crisis Apparition says that there is always a time for reconstruction after chaos. This is like initially wearying wandering in the ruins of Aleppo with the slow dilution of the melody into a hallucinated drone. However the smell of great fires always fades and the earth always regenerates. Matt Elliott seems to suggest that the survival instinct is stronger than any cold winds could ever be. Matt Elliott never sings of certainties and prefers possibilities. Possibly the worst is over? Maybe... Maybe the storm has passed and devastated everything, now we just have to rebuild and live again. Farewell To All We Know shows us the distance that still needs to be walked and he walks next to you - right next to you, he is the friend who doesn't spare you the truth like all true friends really do.

The second record of the five-piece band from Brighton was recorded in Frankfurt/Main at Lotte Lindenberg Studio by producers Wolfgang Gottlieb and Fakir Ayoub (The Miserable Rich, Daniel Johnston, King Khan & The Shrines...). The band knows how to

Ellen Allien emits a powerful "AURAA" on new LP. Ellen Allien - one of Berlin’s most ardent techno ambassadors - proudly unveils her latest full-length ex- pedition into the realms of underground electronica. Brimming with creative energy, Ellen’s new LP AURAA follows her 2019 release Alientronic, and is her third album in three years. Raw, emotive and capable of transporting you from reality to an electrofied fantasy, AURAA explores the notion of unseen energies cont- rolling our planet. Beginning with the faintest hint of trance euphoria on the downtempo ‘Hello Planet Earth (Breath Mix)’, the al- bum soon moves into more bumpin’ territory with ‘In Music I Trust’ - Ellen’s signature use of vocals-as-melo- dy entrancing the listener. ‘Walking In The Dark’ takes things up a notch further with jabbing percussion and mesmerising atmospherics, followed by ‘Confusion’, a masterclass in heady hypnotic composition. ‘Human’ is a deeply affecting beatless segue with its drone-esque soundscape. ‘True Romantics’ (released as single today) taps into your emotional centre utilising hard beats and wistful synth lines. Lastly, ‘Traum’ (Dream in English) takes us out of our bodies and into the infinite realm of vibration, as waves of beautifully composed pads and bubbling analogue bass encourage us to transcend into the next astral plane

Furthermore brutzeld hot comes this remix package with four new mixes from some of the most talented artists of the scene, like Alien Rain and Shlømo as well as Hector Oaks and Fjaak. Alien Rain has taken on MDMA to create a huge 90's inspired syn

ELIS NOA from Vienna push the boundaries of electronic pop. Their musical framework ranges from pop to contemporary R&B, all the way to future soul. With their second single release"Still Nothing (Goddamn)"ELIS NOA (Elisa Godino and Aaron Hader) once again create a distinct sound woven together by Godino's extraordinary voice —relinquishing pop music from it's conventional structures without losing it's accessibility. ELIS NOA's songs give a sense of longevity while still moving with the frontiers of contemporary pop.

Enjoy The Ride Records and Paramount Pictures are proud to present the Danny Elfman score to Scrooged, available for the first time on vinyl. The iconic 80s holiday dramedy is based on the classic Charles Dickens novel, A Christmas Carol and is dire

180Gr./Mono Recording

Ear-splitting hard-rock / proto-doom-metal from the early 70s! Electric Funeral were a pioneering Swiss hard-rock band who sadly never registered any studio recordings at the time. Formed in the late 60s by Edi Hirt (drums), Pierrot Wermeille (bass)

Transparent yellow vinyl

Baby blue vinyl!

Transparent orange vinyl

Baby pink vinyl! 1997 was the year in which hardcore rediscovered itself. When the US-American legends Better Than A Thousand released their milestone "Just One" back then, it was the sole starting point for the resurgence of the Youth Crew and the Straight Edge movement. Acts like Kid Dynamite, Ten Yard Fight or Bane followed this path, but Better Than A Thousand remain unforgotten as pioneers. More than 20 years later, the band members release reissues of both "Just One" and its successor "Value Driven" together with End Hits Records, giving fans the chance to experience these immortal records in a completely new splendour. If you want to understand the creative power behind Better Than A Thousand, you only have to look at the biographies of the individual members. Frontman Ray Cappo, as the singer of Youth Of Today, is a veteran of New York hardcore and invented Krishna Core with his band Shelter. He is also (co-)founder of the still influential hardcore labels Revelation Records and Equal Vision Records. Drummer Ken Olden and guitarist Graham Land are known as the masterminds behind hardcore punk heroes Battery. Furthermore, in the early 90s, Olden did pioneer work with Damnation A.D. for the metalcore genre, which is still flourishing today. Better Than A Thousand were born in 1997 out of the love for hardcore. After the dissolution of Battery, Olden and Land want to continue to work together on their music. Cappo, who is at the peak of his career with Shelter, is looking for musical fulfilment away from the major label circus. The result is the eerie, intense hardcore explosion "Just One", which Better Than A Thousand recorded in just five days during a one-week tour break from Shelter. You can clearly hear the efforts of his touring life in Ray's voice. Again and again his massive vocals collapse under the strain - a circumstance that makes the record's rawness and intensity all the more apparent. The spontaneous side project quickly turns into more and Better Than A Thousand play three world tours and gigs at huge festivals within only two years. They never lose their inimitable DIY spirit during this time: Ray is not actually allowed to produce the second album "Value Driven" because of his contract with Roadrunner, but the band still secretly records the record in Ken's bed and bathroom and then self-releases it as a bootleg. Guitarist and drummer Ken Olden remastered both albums for the Reissues and even recorded additional guitar tracks. Besides the regular album tracks five rare bonus songs were added. The albums are released in different versions both digitally and on vinyl (with poster and download code) and CD (limited to 500 copies).

Olympia, WA 's own Beta Boys are back with more songs in the form of a LP. Since their demo tape (that came out in 2014) and several EPs they have had a lot of time to develop the sound that truly makes them betas. Leaving their aggressive hardcore

Coloured Vinyl

Red Vinyl