NEW ARRIVALS

いざ、第4の扉へ。自国のソウル、ゴスペル、ファンクにとどまらず、ニューエイジ・ミュージック始祖ヤソスや日本からは原マスミまで、世界各地のオブスキュアなサウンドを掘り起こしてきた米国の大名門であり、コンピに定評のある〈Numero〉から新物件！ニューエイジ・ミュージック始祖の1人IasosやLaraaji、Joanna Brouk、Don Slepian、Master Wilburn Burchetteといったレジェンドが残した傑作曲を一挙特集した、「Private Issue New Age (PINA)」の世界への、新たな入門盤的コンピレーション・アルバム『Bliss Out For Days』が登場！シアトルの〈Light in the Attic〉が手掛けた自主盤ニューエイジ・コンピ金字塔『I Am The Center』と是非セットで聴きたい内容！静かに漂う弦楽器や、くすんだ録音の、しかし美しいピアノがアンビエンスの宇宙として広がる、極上の逸品！オールドスタイルなチップオンジャケット仕様。32ページのブックレットが付属。

“Do you need samples?”

We all ask ourselves this from time to time, and thankfully, Frollen Music Library (FML) has you covered.

‘001-015’ is a “best of” compilation celebrating the first 15 sample packs made by Naarm/Melbourne (AUS) based Frollen Music Library. Launching in late 2021, the sample house has since been featured in productions by ScHoolboy Q, Leon Thomas, Devin Malik and more.

This retrospective “best of” traverses a wide range of styles and moods to appeal to every music enthusiast as well as producers and songwriters alike. Whether it’s bouncing Hip Hop beats or evocative cinematic etudes, FML’s 3-piece house band, comprising Henry Jenkins, Darvid Thor and Hudson Whitlock have a deep love and respect for many musical styles. FML’s diverse catalogue takes cues from the ‘Third Stream’ composer David Axelrod on their ‘Sharpen Your Axe’ (FML009) pack, as well as drawing upon cinematic themes from 60’s and 70’s Italian film score composers a la Ennio Morricone and Riz Ortolani, as heard on ‘The Fretted Neck’ (FML006). There are 90’s New York boom bap beats found in ‘Golden’ (FML013), as well as synthesiser music inspired by Tonto, which is showcased in the ‘Nina’s Exploding Brain’ (FML014) pack, utilising a locally made synthesiser from Melbourne Instruments.

Jenkins, Thor and Whitlock have been playing in bands and producing music for their local music scene for the last 15 years. Recording and performing with The Cactus Channel, Karate Boogaloo, Mo’Ju, Surprise Chef and many many more. Not only is this brand-new LP a great musical collage worthy of any music library enthusiast, but also functions as a tremendous sampler demonstrating the many styles of FML. Fast, slow, sweet AND sour!

Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and “junkers” into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio’s mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. “You and Me,” a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may’ve ended up a bit buried on our original compilation, as #18 of 19 tracks.

Four years later, Eccentric Soul: The Prix Label hadn’t exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record’s back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny’s piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance’s indie-weeper film Blue Valentine. What we didn’t know was that “You and Me” had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world’s most famous unknown doo-wop group.

Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams - the formerly homeless guy with the awesome voice for radio - into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along. 

In the fall of 2022, celebrated UK chill-out institution Seahawks landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo “exploration of visionary California.” Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channeling their post-sickness psychedelia into one of the band’s lushest and most elevated creations to date: Time Enough For Love. Inspired by the “groove and mood” of Harry Nilsson demos, as well as its wider 70’s wavelength – Rhodes, Wurlitzer, wood paneling – Seahawks transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo’s smoothest and most multi-sensory voyages. “Sail Across The Moon” delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. “Messengers” echoes the cosmic lounge of Air’s Moon Safari, shuffling, weightless, and ethereal, while “Falling Deep” reaches for the stars, pure cascading bliss, the ecstatic moment writ large. The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. “Like A Grain Of Sand” opens with a spoken sample by the celebrated late American poet Rachel Sherwood (“The children watch, breathless / with the birds / They feel an emanation / from this shuddering place”), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Time Enough For Love radiates color, complexity, and positivity, infused by the “life enhancing” nature of the band's time in Los Angeles – sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city’s mystic sprawl glittering beneath purple dusk.

Thoughts of You, as a phrase, might immediately associate one with feelings of love, endearment, fantasy or even obsession. These are the very sentiments that lay as cornerstones in Salvator Dragatto’s debut LP for Colemine Records. The allure and drama of black & white photography have always played a vital role in how Salvator (aka Joseph Reina) not only views the world but how he hears music. Parallels in film processing to his own recording methods started becoming more and more apparent as the record was being formed; Limitations in exposures rivaling limitations in tracks. Film grain and dust sediments rivaling tape hiss and dirty EQ pots. What most would consider to be imperfections, Dragatto leaned into and found inspiration. This record is an homage to the likes of André Kertész, Robert Frank, Jean-Luc Godard and René Groebli, who’s works have impacted Dragatto’s world so greatly both visually and sonically. Thoughts of You is an unabashed reflection of the noir. From the powerful thematic horn lines to the gentlest string passages, this record is a collection of themes and vignettes that explore the emotions set upon by black and white imagery.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He’s now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a reflection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was significant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The first song from these sessions, “Now That It’s Over” perfectly sums up Homer’s triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo—aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts “Deep Sea”, a modern love song, “Start Select”, a juxtaposition of inspiration and melancholy, and “Forever and Ever and Ever and Ever” which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on “Racecar Driver”, pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener “Rollin’”, an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on “So Get Up!”, a bottom heavy infectious track that MINOVA’s vocals turn into an instant hit that is sure to smash speakers. On “Wishing Well” & “Hide It Behind the Light I’m Shining Through” Homer is joined by girl named GOLDEN, who’s unique voice effortlessly finds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer “Goldie” which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and influences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this first solo offering is just the beginning of his next chapter.

The Marloes follow up the massive success of their debut album Perak by pressing two of the stand out tunes from the record on a 7”. The A side “Not Today” is right up there with the grooviest feel good songs you could ever play on a Sunday morning. Lead singer Natassya Sianturi reminds us to make space for ourselves no matter what life throws our way. From the message, to the music, to Natassya’s gorgeous voice; this is a cool out, kick back, and enjoy anthem. The B side “Over” starts out with a heavy drum break and evolves into an epic arrangement drenched in layers of gorgeous melodies that perfectly capture the havoc of a love affair that ends abruptly. Natassya’s vocals soar over Raka’s intricate production seamlessly as she tells a tale in three parts; attraction, intimacy, and decline that crescendos to an epic ending.

A cosmic voyage into the unknown It’s hard to imagine El León Pardo, a loyal advocate of some of the most advanced projects in which folklore is the road map and the destination itself, without his kuisi. It’s hard to see him with his hands free. Always holding on to that ancestral instrument, that pre-Colombian flute that survived the conquest and has become a symbol of resistance, overcoming the ravages of time, the imposition of ideologies, dogmas and religions. Despite all that, the kuisi continues with its liberating sound, the power of its cry, its invitation to dance, its sound a cure and a blessing. That’s why it leads the way in this Viaje Sideral (“Space Voyage”), an astral journey in which the kuisi is the vehicle and the life force of the rhythm. Viaje Sideral feels like floating eternally in the infinite cosmos. This second long player from El León Pardo is inspired by humanity’s relationship with the stars, escaping to mythical planes and led into a trance by Caribbean percussions, analog synths, deep bass, electric guitars and the hypnotic vibrations of the kuisis and trumpets that complete the soundtrack of this voyage. Through these nine songs, El León Pardo continues to create a sound of his own, evolving in his intention to pay tribute to the psychedelia of the tropical world of the Caribbean in the 1970s and 80s, but this time also taking as reference artists like Terry Riley, Kraftwerk and Mad Professor, including the roots of ambient and electronic music with the characteristic sound of the kuisi, an encounter of dreamlike and astral sounds, with the music of the bandas pelayeras of the tropics and figures like Pedro Laza and Juan Lara. In this new universe the Cartagena trumpeter dialogs with the past, processing the ideas that have emerged over the years and morphed into his personal search that gives an identity to his ideas, nurtured by figures like producer Diego Gómez (Llorona Records, Discos Pacífico, Cerrero) who awoke his interest in electronic instruments, Edson Velandia and kuisi maestros like Juan Carlos Medrano and Fredy Arrieta. In his sound there is a particular feature, one that contains histories of personal experiences, accompanied by the kuisi, including ancient Zenú flutes dating from between 600 and 800 AD and which helped create the atmosphere of “Invocación.” “Viaje Sideral,” the song that gives the album its name, was born from a dream in which two stars speed towards the earth and an imminent collision. As the record continues, the stellar connection becomes clear with songs like “Urmah” with Edson Velandia, inspired by an article about extra-terrestrial races and how the Urmah were a race of hominid felines, the greatest geneticists of the universe; and “Cumbia espacial,” featuring rapping from N. Hardem, seeking to create that aura of immensity and consciousness of the infinity of the universe. So it is that between the earthly and the cosmic, El León Pardo offers a voyage under his command. Along the way we find elements that allow for escape through contemplation and the dialog between electronic and analog, connecting the synthetic aspects of the stellar universe, anchored to the earth and rooted in the unmistakable tropical sound of percussion and rhythmical woodwinds.

An unusual detour in the Robert Wyatt catalogue, Radio Experiment Rome was recorded in February 1981, when the ex-Soft Machine drummer had been invited to record some material in-progress for a radio broadcast. The tone of these sessions is characterised by a free-roaming experimentation, laying down eight-track recordings of vocals, piano, hi-hat, jaw harp and a variety of analogue tape effects. This is Wyatt unhinged and completely let loose from the agenda of proper album recording: there's no eye on a finished, commercially viable product here, and the scope of the project takes in jazzy soundscapes like 'Heathens Have No Souls', exquisitely melodic piano pieces like 'L'Albero Degli Zoccoli', vaudevillian vocal tuning experiment 'Billie's Bounce' and the politicised rant-poem 'Born Again Cretin', about the imprisonment of Nelson Mandela.

Pink Floyd Live at the Old Refectory 1969 captures the band in a transitional phase, blending their early psychedelic roots with the progressive sounds that defined their future. This rare performance showcases experimental improvisations and tracks that reflect their evolving musical identity.

Awesome compilation of rare dub versions of Amy Winehouse songs

Tracklist :

Side A

Valerie Dub
Dubber Than Me
You Know I'm No Dub
Dub & Mr. Jones
Dub To Black
Redub
Will You Still Dub Me Tomorrow
Wake Dub Alone

Side B

Dub The Box
Love Is A Dubbing Game
You Know I'm No Dub - Take 2
Dub To Black - Take 2
Will You Still Dub Me Tomorrow - Take 2
Dub The Box - Take 2
Love Is A Dubbing Game - Take 2
You Know I'm No Dub - Take 3

Rico Rodriguez, all-round brilliant Jamaican horn and and trombonist, played a pivotal role in shaping the sound of ska, rocksteady and reggae. Born in Kingston in 1934, he began his career in the 1950s then joined the Skatalites in the early 1960s, and whether one chalks this lucky break up to birthrights, shrewd decisions or chance sliding door moments is up to the historian. But his talent cannot be denied: over the years, Rico worked with Toots And The Maytals, Bob Marley, and The Specials. His masterful trombone solos lent parping bombast to a scene which abhorred tinniness, and the Man From Wareika album exemplified this. This dub edition is a crucial pre-release dub edition from the 1976 classic, in which we hear a full instrumental brass-and-bass dive-bombing across nine formerly unreleased Island Records trinkets.

It has been 50 years since its release. This album, which can be called the bible for guitarists, has never faded away, and is a memorable first solo album produced in the fall of 1974, when he went to the U.S. on his own. The intense guitar playing from his beloved Stratocaster set members of Little Feat, Sly & the Family Stone, Santana, and Tower of Power on fire, and created an overwhelming band sound with a funky groove. Combined with Takashi Matsumoto's windy lyrics, a unique world unfolds. This is an unprecedented historical masterpiece that changed the standard of Japanese rock music. BAND WAGON,” a milestone set by Shigeru Suzuki, one of Japan's leading guitar legends who is still active as a musician, rings out!

Dennis Bovell’s prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock to post-punk to disco to pop and beyond. His production work encompasses such diverse figures as The Slits, I Roy, Maximum Joy, Fela Kuti, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, Steel Pulse and more.

This compilation focuses on the period during and immediately after Bovell’s involvement with the Jah Sufferer Sound System, digging deep to find deep cuts and lesser known versions, mainly from 1976 - 1980, plus a killer and lesser heard dub of the iconic “Silly Games”. Painstakingly restored and remastered at Dubplates & Mastering in Berlin so that these decades old tracks sound pristine and dynamic, and sequenced to take the listener on a journey through Bovell’s production and arrangement genius.

The accompanying sleevenotes are a result of a long conversation with Dennis about this period of his life, with track-by-track recollections and fascinating biographical asides. The vinyl and CD versions feature variant artwork, each format utilising a unique photo by Syd Shelton.

When electronic pioneers, Coldcut, dropped their groundbreaking Journeys by DJ mixtape in 1995, one of its standout moments came towards the very end of the mix. Amidst the era’s finest beat-makers and electronic visionaries, the DJ duo teased a hypnotic, looping double bass line, followed by haunting sax, thunderous drums, and guitar, before seamlessly blending into the Radiophonic Workshop's Doctor Who Theme. That earworm bass line? It’s the signature sound of Red Snapper’s Hot Flush, forever etched in the listener’s brain.

Fast forward 30 years, and Red Snapper is reissuing their Reeled & Skinned compilation on Warp. The collection includes Hot Flush in both its original form and the remix by Andrew Weatherall’s Sabres of Paradise. It brings together the trio's self-released early EPs from ’94 and ’95, a time when they quickly gained a reputation on the London live scene, captivating jazz, hip-hop, and dance heads alike.

Now, Reeled & Skinned is available on vinyl again for the first time in decades, remastered and featuring an additional track, Area 51, recorded during the same period.
 

An eclectic compilation album celebrating twenty ‘tips of the tongue’ from David Keenan, released to coincide with a book of his collected music writing.

As well as being the title of a book. Volcanic Tongue was a record shop that existed in Glasgow from 2005 to 2015, run by David Keenan and Heather Leigh, it championed contemporary DIY music from around the world, often released in tiny runs on homemade CD-Rs, and also sought to shine a light on forgotten artists from the past, who had often released their music as a ‘private press’ LP. The shop was also known for it’s weekly mailing list, with Keenan enthusiastically rapping about new arrivals, especially the record of the week, given the sobriquet ‘tip of the tongue’. This collection has been put together from releases that were a ‘tip of the tongue’, containing music that runs the gamut from outsider synth to psych-folk to damaged rock’n’roll, with tracks recorded between 1968 and 2013, a celebration of a vibrant and eclectic underground avant-garde.

Printed inner sleeves with original notes on each artist by David Keenan, housed in a sleeve designed by Julian House.

Japanese edition with Obi, PJ Harvey is one of the most important singer/songwriters in the UK music scene, the only two-time winner of the Mercury Prize and one of the 100 greatest singers in history as chosen by Q magazine. 

The Smile have today announced two new remixes of tracks from their critically acclaimed third album CUTOUTS, from James Holden and Robert Stillman.

The remixes will also be released as a limited edition AA side 12-inch on 28th March. Stanley Donwood’s sleeve design pays tribute to XL Recordings’ signature housebag series

Long-awaited reissue of this rare Jamaican compilation, originally licensed in 1964 on local imprint Soulsville Center. Prince Buster is the obvious matador here with five exclusive tracks. Also featuring ska stalwarts The Maytals, Don Drummond, Roland Alphonso, The Skatalites, Gaynor & Errol, Millie Small & Roy Panton, and Owen Gray.

Established in 1968 by Romano Di Bari, Canopo was the first brick in the building of Flippermusic, the leading production music library in Italy. Revived after decades of hiatus, the label is now devoted to the reissue of Flippermusic’s historic catalogue of the 1960s, 1970s and 80s for the first time since its original release onto vinyl, digitized and re-mastered from the original master tapes so that these legendary recordings can be heard once again. This classic Italian production music was all recorded in Rome recording studios by a heritage of composers including Alessandro Alessandroni, Amedeo Tommasi, Gerardo Iacoucci, Remigio Ducros, Romolo Grano, Daniela Casa, Piero Montanari and many more.

“Italiany Library Vaults” is a 12 track compilation bringing together the best tracks produced by Flippermusic in the first years of his activity. Ranging between different musical genres, it offers a wide range vision of this great musical legacy. This volume features a unique cover design, replica of the original albums published on Canopo label from late 60’s.

LP version on CLEAR vinyl in PVC sleeve with double-sided printed clear plastic insert. CD version is the mini replica of the vinyl version, in slim plastic case with clear insert.

“Love Will Tear Us Apart” should have been the band’s most shining moment…instead it became their tragic swan song. Released just a month after frontman Ian Curtis’ heart wrenching suicide, the song came to be seen as the unheeded warning of the impending tragedy.

This special edition LP features all three versions of the song that transformed Joy Division from mere band into legend. In addition to the original single version, we have two versions remixed by American producers Don Gehman of John Mellencamp fame (the “radio version”) and Arthur Baker (who also produced a hit single for Africa Bambaataa around this same time).

The remaining tracks include “These Days” (which appeared on the original “Love Will Tear Us Apart” single), along with “Transmission” (their debut single released in 1979) and “Atmosphere” (originally released as a France-only single) in 1980.

Closing out the Special Sound Series in style, we are proud to present the long-awaited vinyl reissue of Shigeo Sekito’s 1985, an instrumental masterpiece that arrived nearly a decade after his iconic Kareinaru Electone Special Sound Series of the 1970s. A true pioneer in the world of Electone music, Sekito’s name—instantly recognizable in katakana—has left an indelible mark on the genre. This album showcases his signature artistry across eight captivating tracks, blending originals and covers with his distinct sonic palette. The cosmic allure of the original composition “Amish At Dusk” stands out among the set, while the Manhattan Transfer cover “Twilight Zone, Twilight Tone” brims with dynamic, fast-paced arrangements. Meanwhile, Sekito’s take on The Crusaders’ “Rhapsody And Blues” unfolds with a laid-back groove, gradually building into an uplifting crescendo. Drifting between chill-out and ambient sensibilities, 1985 captures a wistful, melancholic beauty— where the rich textures of the Electone transport listeners into a world of nostalgia and dreamlike introspection. This final reissue in the series is a must-have for collectors and fans alike. Experience 1985 in its warm, analog glory, now on vinyl.

Ltd. 300 copies, remastered edition, audiophile pressing. Perfect replica of the original packaging, newly remastered for optimal sound. ** The first-ever reissue of Gianni Marchetti's 1978 LP "Solstitium", released as part of RCA's venerable "Original Cast" series in a handful of promo copies only, sits among the most rare and enigmatic artifacts of Italian library music, it is heralded by collectors as one of the greatest free-standing gestures in the entire genre.

Long coveted by diggers, samplers, and beat makers, Library Music has, over the decades, remained one of the great, unheralded treasure troves within the history of recorded music. A relic of the golden age of the record industry, this body of recordings was almost entirely commissioned and owned by record labels, to be licensed for use within television programs, radio, and film - stock or background music. Despite the obvious limitations of the context, particularly in Italy, many composers found a way to write, produce, and record albums which, while heard by few for what they were, ranked among the most interesting and ambitious works of their era. Within these, there is arguably no better example than Gianni Marchetti's astounding "Solstitium".

The output of RCA's Original Cast stands apart in the history of modern Italian music, as it produced one of the most collectible and varied catalogs of instrumental music of its time. The purpose of the creation of this label was to present a catalogue mostly related to film soundtracks, original music and theme songs presented in television broadcasts or documentaries. During the late '60s until the early '80s the imprint released some of the best film scores and library music by legendary figures such as Bruno Nicolai, Ennio Morricone, Piero Piccioni, Mario Migliardi, Franco Micalizzi, Mario Molino, Gianni Oddi, and of course Gianni Marchetti.

If ever there was an LP to expand the notions of Library music’s vast potential and scope, Gianni Marchetti’s Solstitium has to be it. Nearly 50 years on, it feels as fresh and forward thinking as anything that has come since.

Ltd. 300 copies, remastered edition, audiophile pressing. Perfect replica of the original packaging, newly remastered for optimal sound. ** "Equinox", Gianni Marchetti's 1977 twin album of "Solstitium", released in a handful of promo copies by RCA in their renowned "Original Cast" series, takes us on a journey through the author's groovier and wilder temperament, feeling as fresh and surprising today as the day it was made, offering immediate understanding of the reasons why it has remained one of his most sought after - and virtually impossible to find - titles over the decades.

Long coveted by diggers, samplers, and beat makers, Library Music has, over the decades, remained one of the great, unheralded treasure troves within the history of recorded music. A relic of the golden age of the record industry, this body of recordings was almost entirely commissioned and owned by record labels, to be licensed for use within television programs, radio, and film - stock or background music. Despite the obvious limitations of the context, particularly in Italy, many composers found a way to write, produce, and record albums which, while heard by few for what they were, ranked among the most interesting and ambitious works of their era. Within these, there is arguably no better example than Gianni Marchetti's astounding "Equinox".

The output of RCA's Original Cast stands apart in the history of modern Italian music, as it produced one of the most collectible and varied catalogs of instrumental music of its time. The purpose of the creation of this label was to present a catalogue mostly related to film soundtracks, original music and theme songs presented in television broadcasts or documentaries. During the late '60s until the early '80s the imprint released some of the best film scores and library music by legendary figures such as Bruno Nicolai, Ennio Morricone, Piero Piccioni, Mario Migliardi, Franco Micalizzi, Mario Molino, Gianni Oddi - and of course Gianni Marchetti.

Flirting with the cinematic through its depth of emotiveness and scale, dynamics ding behind an aural shroud, is a stunning and ambitious, freestanding work which, had it been made in another context, would likely have been celebrated for decades, far and wide. Absolutely engrossing and creatively challenging at every turn.