From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada’s guitar driven psych rock, and reached its apotheosis in the acclaimed Occult Architecture diptych, Stars Are the Light sees the band synthesise the abstract and metaphysical with the embodied and terrestrial. Branching out from Occult Architecture Vol. 2, the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. These are songs about embodied human experience — love, change, misunderstanding, internal struggle, joy, misery, alienation, discord, harmony, celebration - rendered as a kind of dance of the self, both in relation to other selves and to the eternal dance of the cosmos. Taking disco as its groove-oriented departure point, Stars Are the Light shimmers with elements of ’70s funk and ’90s rave. Johnson’s signature guitar sound is at its most languid and refined, while Yamada’s synths and oneiric vocals are foregrounded to create a spacious percussiveness that invites the body to move with its mesmeric rhythms. With Sonic Boom (Spacemen 3, Spectrum) at the mixing desk in Portugal’s Serra de Sintra, (known to the Romans as “The Mountains of the Moon”) the area’s lush landscape and powerful lunar energies exerted a strong influence on the vibe and sonic texture of the album. On embracing disco as an inspiration, Yamada says,
“It’s something we hadn’t referenced in our music before, but its core concepts really align with what we were circling around as we made the album. Disco is dance music, first and foremost, and we were digging our way into the idea of this endless dance of bodies in nature. We were also very inspired by the space and community of a disco – a space of free self-expression through dance, fashion, and mode of being; where everyone was welcome, diversity was celebrated, and identity could be fluid; where the life force that animates each of us differently could flower.”

2012 release from the Chicago-based Alt-Rockers. With Steve Shelley (Sonic Youth) now fully integrated into the lineup, Disappears return with a full-bore assault of a record. "Pre Language" finds the band speaking on, of all things, love. Direct allusions to Philip K. Dick, James Baldwin, and Joan of Arc sit side by side with songs about the lows of life and the characters that permeate it. Recorded in Hoboken, NJ at Sonic Youth's Echo Canyon West studio and mixed with John Congleton, Pre Language finds Disappears at their most potent and focused. The band has finally stepped into their own world and the results are thrilling.

Haruomi Hosono, sometimes credited as Harry Hosono, is a Japanese musician, singer, songwriter and record producer. He is considered to be one of the most influential musicians in Japanese pop music history, credited with shaping the sound of Japanese pop for decades as well as pop music outside of Japan.

Fifth album by this Swedish/Danish/American space rock monster. 6 tracks of heavy space rock based on synths and keyboards with almost 80 minutes playingtime. This time the band gone for a more oriental approach with the help of SIENA ROOTs KG on Sitar

The Limiñanas are back on Trouble In Mind (where they belong) with their third album, Costa Blanca ! Once again recorded at their home in the south of France by Lio himself, Costa Blanca pushes the envelope of their signature Franc-o-phonic sound; the coloeur café cool of Gainsbourg, the hypnotic drone of VUera Cale, and the spiky fuzz of Davie Allan. This time around the band laces the tunes with a dramatic flair of French New Wave soundtracks & the percussive sonic accents found in Morricone s work in Il Gruppo, particularly The Feed-Back whose funk-laced tracks incorprate elements of avant-classical and experimental sonic elements. Fans of the band will no doubt hear familiar passages; melodic themes that appear & disappear not only over the course of this album, but that also reference The Limiñanas entire ouevre - melodic jump-cuts that are sonic echoes of previous tunes & future melodies. Thematically, Costa Blanca is an insular record, with subjects that reference Lio s youth growing up in Spain in the 1970 s near the Mediterranean Sea & lyrics which are nostalgic odes to the music, films, girls, books & cars that shaped his world. The first edition of Costa Blanca is pressed on 150gm mixed vinyl, includes a printed inner sleeve, & a download code.

UK remastered & repackaged reissue of the British progressive rock act's 1970 album with 4 added bonus tracks 'Bring It On Home', 'Hurry On Sundown, 'Kis Of The Velvet Whip' & 'Cymbaline'. 2001.

UK remastered & repackaged reissue of the British progressive rock act's 1972 album with four added bonus tracks, 'Urban Guerilla', 'Brainbox Pollution', 'Lord Of Light' (single version edit) & 'Ejection' (previously unreleased version). 2001.

Reminiscent of the Clube da Esquina album he made the same year with Brazilian superstar Milton Nascimento , Lô Borges' 1972 solo debut proves that his influence on Nascimento was quite strong. The recording is texturally lush and dreamy, at times urgent and bizarre, and filled with the fantastic and intricate guitar playing one would expect of Borges after hearing his dazzling work with Nascimento . His vocal arrangements are lavish, often similar to the vocal qualities of George Harrison 's All Things Must Pass , and his instrumental arrangements are just plain confounding. Piano phrases mash in and out of control over the unorthodox yet clever progressions; polyphonic percussion interlocks with jazzed-out organ lines and thoughtful, melodic bass work. Occasionally, a string section will fall into place, fulfilling the album's decorative quota, and the whole construction becomes watertight. It is truly stunning to pick apart the timbre of individual instruments and realize how necessary and meticulous each part is in the overall presentation. Borges is one of those arrangers who can build up a music bed with miles of depth and construct a wall of sound, yet keep the overall concept in crisp focus. No layer of the instrumentation seems to ever become obscured by another, nor does any part seem unnecessary, and so much is going on rhythmically and melodically that it demands full attention. The remarkable quality of Brazil's musical culture to seamlessly integrate as many outside influences into one place is well represented here. Many western textures, such as soul, rock, jazz, and pop, are absorbed into the picture with fervor and grace rarely executed in the world of western music. "Não Foi Nada" illustrates this particularly well, but the melting-pot sentiment echoes through all of Borges' performances here.

Pepe Deluxé is a Finnish electronic music oriented band, formed in 1996 by DJ Slow JA-Jazz and James Spectrum in Helsinki, Finland. They started to experiment with sounds of hip hop, big beat, breakbeat and downtempo.

Histoire de Melody Nelson is a 1971 concept album by French songwriter Serge Gainsbourg. Produced by Jean-Claude Desmarty, the album was released on March 24, 1971 through Philips Records. The Lolita-esque pseudo-autobiographical plot of the album involves the middle-aged Gainsbourg unintentionally colliding his Rolls-Royce Silver Ghost into teenage girl Melody Nelson's bicycle, and the subsequent seduction and romance that ensues. Histoire de Melody Nelson is considered by many critics and fans to be Gainsbourg's most influential and accomplished work, as well as one of the greatest French-language albums in popular music.

Limited edition digipak featuring 19 of the greatest from 1969-95 by Carlos & co., including 'She's Not There', 'Europa', 'Oye Como Va', 'Black Magic Woman', 'No One To Depend On', 'Evil Ways', 'One Chain' and 'Dance Sister Dance'. Also features both the front & back cover art of their 1974 collection 'Santana's Greatest Hits'. 1996 release.

行于1988年的这张《Viva Santana!/桑塔纳万岁！》是对拉丁摇滚传奇乐队山塔那20年录音生涯的一次盛大综述，
统共收录了30首曲目。这张选辑恰如其分地聚焦于乐队的最辉煌时期（60年代末至70年代初），正是卡洛斯·山塔那
与其乐队成员登峰造极的时候。其中夹杂几首从未发表的作品，包括专为死忠乐迷准备的数轨现场录音。

Japanese limited edition pressing includes 3 bonus tracks packaged in a miniature LP sleeve. By the time Santana arrived on the San Francisco scene in 1968, the Grateful Dead's freeform antics were already legendary. But Santana was a jam band of another order, fueled by Latin rhythms, blues, bebop, and straight-ahead rock. Having set the audience at the 1969 Woodstock festival on its collective ear, the band did the same for the nation with its self-titled debut. Songs such as 'Evil Ways', 'Jingo' and 'Soul Sacrifice' contain extraordinary ensemble playing, powered by percolating congas and timbales and topped by the grippingly human cry of Carlos Santana's guitar. CBS. 2006.