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Kinderjacke von Jack Wolfskin mit integrierter Fleecejacke. Gemacht aus TEXAPORE. TEXAPORE is die Wetterschutz-Technologie von Jack Wolfskin. TEXAPORE-Materialien sind immer wasserdicht, winddicht und atmungsaktiv. Größe 164. -
Reissue of 1984 disco-boogie track featuring Loni Gamble. B side has a Tom Noble edit. Original copies on the Sound Modification label go for about $500. Incurredible reissue - TIP! -
Weiß-gelbe Stock Car Racing Windjacke in einwandfreiem Zustand. Zwei Jackentaschen, zwei Innentaschen. Klettverschluss an den Ärmelrändern. Prints auf linker Brustseite und linkem Ärmel. Aufgestickte Schrift auf der Rückenseite. Größe XL für Kinder. -
Ausverkauft
Deep Downtempo, Xanax Soul, R’n'B Drankie Have you ever been trippin’ on Brandy? Well here’s your chance to get down… deep down. Served by two kings in the industry who wish to remain unnamed. Dropping the octaves and upping the opiates, the duo slow dance an R’n'B vocal through dewy pads and echoing perx, concocting a late night anthem for the club and the bedroom. -
Grüner Pullover von Tommy Hilfiger. Er weist leichte Gebrauchsspuren auf. Größe S, fällt aber etwas größer aus. -
Dunkelgrauer Woll-Pullover der berühmten Marke Timbaland. Der Zustand ist noch sehr gut. Größe M. -
Two individually sold Vinyl 12"s. Far Out Recordings presents a double bill of two monumental Brit funk classics. 'Keep In Touch' and 'Stay' were the first two 12" singles by the iconic Freeez, both self-funded passion projects of its founding member John Rocca, for his own Pink Rythm imprint. -
Highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient / minimal album "Through The Looking Glass", originally released in 1983 by RCA Japan. Considered a Holy Grail of Japanese music by many.. Beautiful 1 LP 33rpm Cut Re-Edition (2017) with 'Tip On' Sleeve - housed in heavy cardboard old Stoughton tip-on jacket - cut directly from the original studio reels at the Frankfurter SST Studio 'Through The Looking Glass' is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi percussionist, and theater artist renowned in Japanese vanguard circles. Midori released two solo albums: 'Through The Looking Glass' and 'Tree Of Life' and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. -
Killer boogie cuts from 1984 reissues! Double sider... 300 limited, grab it.. -
Stump Valley now pop up on Dekmantel. The committed Berlin based studio outfit head into new areas after their previous work on Uzuri, Off Minor, Dopeness Galore and No 'Label ( that already had them jumping around styles and influences). The label say "Stylistic, enigmatic, and effortless. Stump Valley’s Dekmantel debut EP is a smooth melange of glossy soul, jazz, and serene house. Produced by the mysterious, and ultimately under-the-radar duo, the extended EP breezes through tropes of balearic analogue, warm Chicago sounds, yet remaining ultimately Italian. The duo, originally from Turin, prove their skills as true alchemists, as their forge hypnotic house and tropical flare through their array of drum machines, synths, and informed artistry derived from their deep stockpile of assorted records. Debuting they may be, but the Italian duo are no strangers to Dekmantel, having played at Dekmantel Festival, Selectors, and Lente Kabinet. Having released groove tracks across a whole spectrum of labels, Stump Valley’s reputation even precedes them. Throughout the EP, their sound echoes that of Prins Thomas, Larry Heard, and other select funk-driven Italian live producers that are making waves in the current scene. It’s a sound that’s permanently upbeat, radiant, and filled with joy. Berlin based vocalist and Max Graef collaborator Wayne Snow collaborates on vocal opener 'Natural Race', creating a slow groove, and funk-driven tempo. The music then veers into equatorial territory, as the duos' uses of classic 707 and LinnDrum sounds evoke a sense of sunset grooves; the sound of Theo Parrish slowly winding through an Adriatic cocktail party. Further on and 'Proletarians In Space' reflects the producers' more Detroit-like influences, with oscillating machine music. 'Zoo Planet X' takes the sound further, with dubby pads, and old-school kicks and hats, that transport the Turin-based artists across the Atlantic with their out-of-time sonic aesthetic." -
Odion Livingstone present another essential reissue from the Nigerian archives, the first ever international release of The Apples’ essential Afro-funk LP rarity ‘Mind Twister’.As part of the St Gregory’s student band scene in Lagos during the late ‘70s alongside Ofege, Grotto and more, Apples were picked up and produced by legendary EMI Nigeria producer Odion Iruoje who added overdubs to the album at Abbey Road in London with Curved Air keyboardist Francis Monkman. The band met and formed in Lagos. Bandleader Frank Ikpefuran teamed up with Georges Vieira from the American School and brothers Clifford and Gerard Nagi who were studying at “St Greg’s” in Lagos, and remembers, “I must have been 19 years old when I met Clifford. We used to hangout on Victoria Island, watching bands play and jamming with them. That’s how we met Georges. We all listened to Jimi Hendrix, Santana, Idris Muhammad and the Beatles.” “We started jamming with Clifford on the guitar, his brother Gerard on the bass and Georges on the guitar. We chipped in with song ideas, with the group contributing arrangements and refning things until we were satisfed. The band had a natural sound, which stemmed from the chemistry we had. It was a strange chemistry, we were an odd combination from different backgrounds but when we played, something happened…” After landing a residency at Tee Mac’s club in Surulere, Apples auditioned for Odion Iruoje who arranged recording dates and cut the record. For a young band, Iruoje was surprised by the quality of the band, adding in extra keyboard parts from Lemmy Udofa and Francis Monkman, founder of Curved Air and session man for Kate Bush, Sky and music libraries like BBC Music, Bruton and KPM. Iruoje remembers, “their playing added a layer of sophistication and sheen without encumbering proceedings.” This defnitive edition of Apples’ ‘Mind Twister’ features new interviews with bandleader Frank Ikpefuran and producer Odion Iruoje and has been fully remastered by The Carvery. -
What were they up to? Nobody could tell—not even them. Bremer/McCoy recorded straight to tape so that they had as little time as possible to think about it. They just laid it down. They couldn’t really explain it. “When it works for me,” says pianist Morten McCoy, “it’s pure meditation, pure prayer. Pure gratitude for simply being, without all kinds of jibber-jabber filling my thoughts.” A sentiment that tells you everything about the feeling and nothing about the sound. McCoy and the bassist Jonathan Bremer started making music together back in 2012 when they were still in school. At first the Danish duo played dub. It’s hard to imagine that that’s how they started when you listen to the ethereal sounds they make now, but the influence becomes clearer when you see them live: they insist on traveling with their own sound system. For Bremer/McCoy, making music is all about what happens in the room. That’s why they go through the trouble of carrying their own equipment, and it’s why they record analog. When they write music, they aim for direct transmission—idea straight to composition. Natten, which means “The Night” in Danish, draws inspiration from the end of day, that regenerative time under the constellations when our lives look different. “We felt a greater freedom this time around because we now have a much deeper understanding and grounding in what we’re doing,” says Bremer. “This allows us to venture further out than ever before, because we know that things typically fall into place.”
