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NEW 45 BY DEEP-FUNK PIONEER LUCKY BROWN RECORDED DURING THE MYSTERY ROAD SESSIONS!

"Funk is a living, breathing, creative and generative entity and The New Lucky Seven celebrate its life with a mysterious and authentic sonic snapshot from the iconic Mystery Road sessions: WOODHEAD!"

Woodhead is a steady medium groover built around an acute chanky guitar part that Joel Ricci aka Lucky Brown composed while living in the "Woodhood" district of Bellingham Washington, USA in the fallout shadow of an industrial area on the outskirts of town. The Woodhood was so named because the streets were all named after different kinds of trees; Cottonwood, Alderwood, Birchwood, etc. Though members of the band had been performing Woodhead since as early as 2004, it had never been officially committed to tape. So during the 2013-2014 span of living room "Magik Carpet" sessions at drummer, Oliver Klomp's house in West Seattle, the combo dubbed by Lucky as "The New Lucky Seven" casually hit the head a couple times before calling it a night as Lucky rolled tape.

Opening with the now world-famous guitar player, Jabrille "Jimmy James" Williams dropping deftly into his rhythmic part, Lucky chants in the background the words "don't stop" as the tension builds up into the moment the whole band comes in. With Bob Heinemann on bass, Marc Hager on Rhodes and Oliver Klomp on drums, the thick but honest groove is instantly palpable. Trombone player Mars Lindgren and Sax player Thomas Deakin, along with Lucky on Trumpet lay down the 'head' to the tune right off the bat with everyone in the band giving that hard hit on the 4 count of the last bar of the repeated figure. This 'hit' returns again to form the breakpoint between soloists Jimmy James, Marc Hager, and on side B, Thomas Deakin, and Lucky Brown on the flute. The horn section microphone was situated on the dining room table and Lucky just had to lean over to reach it with his instrument! Michael Iris of Bell Creek Studio transferred and mixed these two tunes from Lucky Brown's cassette machine.

This tune was left off of the Mystery Road compilation album but comprises one of the last tracks created during those sessions therefore the concept, vibe, style, and intention should resonate and be interchangeable with the rest of the 45s from that epic Box Set TR-9043 released by Tramp Records on May 4, 2015.

As you spin and interact with the Mystery Road recordings, you are invited to allow Woodhead to take its rightful place specifically alongside the other "The New Lucky Seven" recordings and generally as a part of the suite of crude and naive living-room "Magik Carpet" funk of the rest of the Mystery Road.

As illuminated before in Lucky's artist statement regarding the Mystery Road sessions, the music contained therein was always intended to put emotion, vibe, feeling, and spirit before technical, spatial, or even performance constraints and to serve as a gift of discovery to lovers and aficionados of the deep funk idiom and the rare 45rpm format. Funk is a living, breathing, creative and generative entity and The New Lucky Seven celebrate its life with a mysterious and authentic sonic snapshot from the iconic Mystery Road sessions: WOODHEAD!

Originally released as an obscure private-press LP by the Florida trio of Ben Champion, Ken Burkhart and Danny Burger.

Special guest on this super rare funky jazz outing is Mike Longo who says a few words on behalf of the group on the back cover, and sure enough he contributes scorching Rhodes in the style of his early 70s Greasy Groove sides for Groove Merchant and Mainstream. Also on board are Kelton Champion on guitar, Gary Champion on Bass, Mickey McGann on keys and David Winters on Congas and Percussion: (Just what we love to see on these kind of grooves. Added Phat Funkiness!)

The 20 minute title number weaves, bobs, and scorches with a sound that has been described as a "Headhunters Headspace" the groove never dropping for an instant with a Fender Rhodes meets Hammond B3 Prestige Style Scene with an added flavouring of some chunky Moog Synthesizer.

This has gotten a lot of chatter on the underground Jazz Vibes lately, copies changing hands for $300 and more. The track "These Are My Friends " regularly sells for upwards of $500 and is one of the most hard to find singles on the Rare Soul circuit.

The band are from South Florida, a well known melting pot of culture and music.This area has produced an impressive number of Super Star Jazz Musicians.

Among them Cannonball Adderly, Blue Mitchell, Jaco Pastorius, and Mike Longo and a multitude of others.

Jazzberry Patch can now be added to that roster with this fantastic re-issue from Jazz Room Records.

Wah Wah 45s are proud to present the return of a unique collaboration between the U.K. 's very own Afrobeat Ambassador, Dele Sosimi, and a producer who's been at the forefront of the South London electronic music scene for over a decade now, Medlar.

The pair first joined forces seven years ago, when Medlar was asked by Dele's label to remix the title track from his last album, You No Fit Touch Am. The result was possibly one of the most popular and cherished remixes to appear on the imprint. The producer's respect for the history of Afrobeat shined through in the mix of course, but it was his ability to finely balance that with his house music instincts whilst adding an infectious groove and classic 80s analogue synths that really stood out.

The track was an instant classic, and it soon became clear that the Afrobeat Ambassador and Peckham producer needed to make some music together. Having never actually met during the remix process, the dating began, and luckily the two were a perfect match.

Two years on from their first recorded output, the Full Moon EP - a record that received radio support from Gilles Peterson on BBC 6Music, as well as tastemakers and DJs across the globe, and was even featured on the latest edition of Grand Theft Auto -the duo return with the State Of Play EP. The heavy hitting four tracker features special guests Tamar Osborn of Collocutor fame, and South African rising star Zito Mowa, as well as a pair of Dele and Medlar's most popular jams from their live sets, perfectly baked for the dance floor.

Early support has come from Huey Morgan, Tom Ravenscroft and Deb Grant on BBC 6Music; Sarah Ward on Jazz FM; DJs on Resonance FM, Worldwide FM and many more besides.

The EP will be available on vinyl this summer with incredible artwork from our in-house art director Animisiewasz and eye-catching packaging.

'Azur' is the fourth album from California's best kept secret, Triptdes - a marvellous pop band from
Bloomington, Indiana and now relocated in LA. Their shiny and hazy songs are perfect anthems for a
nascent summer. This ten-song collecton explores the full spectrum of sensatons you can go through
on a hot day - from laziness to happiness, 'Azur' is a trip to California without actually having to move
an inch. Sit down and relax, take a fresh soda and enjoy the sun.
'Sublime psychedelic 60s dream-pop with true warmth and vibrancy. Too damn good to be a mere
pastche.' - Norman Records - 9/10

Alien Transistor present Alien Parade Japan, a joyous double-album compilation of groups from Japan’s indie-pop and avant-garde undergrounds, all of which feature brass or woodwind instruments as part of their line-up. Compiled by Markus Acher (Alien Transistor, The Notwist, Hochzeitskapelle) with plenty of support and help from his Spirit Fest bandmate, Saya (also of Tenniscoats), it features some familiar names – Tenniscoats, naturally, but also Zayaendo, Tori Kudo’s Maher Shalal Hash Baz – alongside lesser-known groups like Biobiopatata, Mitamurakandadan?, Kourakuen, sekifu, and Noah Lewis Mahlon’ Taits, amongst many others.

The collection of songs here rests upon a simple question, and an interesting parallel: Why do so many groups from Japan include brass and woodwind, and how closely does this echo the scene that Acher is involved with in Munich? The idea was formulated in Acher’s mind after one of his groups, Hochzeitskapelle, had been invited by Saya to Japan in 2019, to take part in the Alien Parade Japan tour. “Saya and her friends recommended a lot of music to me that I didn’t know of,” Acher recalls, “and I was surprised and excited to find so many Japanese bands who use brass and woodwind instruments.”

This approach was something Acher had been familiar with for a while, thanks to his experiences in Munich: “Until then I thought of the Munich scene, where Hochzeitskapelle come from, as being quite unique in having ex-punk and still-indie musicians form loud acoustic bands with many brass instruments and play a wild mixture of styles.” And indeed, that variety is reflected in the twenty-two songs on Alien Parade Japan, which flits from the pastoral melody of Maher Shalal Hash Baz’s “Crossin The Tama River”, through the tenderness of various sighhorns’s “people have called them flowers”, to the folksy lament of Gratin Carnival’s “Just Watching”.

Alien Parade Japan reaches further afield, too, drawing in some groups, like HOSE, Fuigo, and popo, that feature musicians like Toshihiro Koike, Masafumi Ezaki and Taku Unami, who may be better known for their experimental and improvised releases on labels like ftarri and Erstwhile. It also looks back to material recorded in the 1990s - the swinging slide guitars and sax/tuba duet of Strada’s “Swamp”, from 1998, and Compostela’s energetic, rousing “ghhgh”, from 1990. Both pieces were written by, and feature, saxophonist Kanji Nakao; Compostela’s membership also included late saxophonist Masami Shinoda, who was also part of such storied Japanese groups as Pungo, A-Musik, Orquestra Del Viento, Ché-SHIZU, and the fiery free jazz outfit, Seikatsu Kōjyō Iinkai.

Groups like Compostela help to draw some through-lines to the aesthetics of chindon’ya, a type of Japanese marching band made up of costumed street performers who advertise businesses; the music made by these bands is brash, spirited, and full of energy. Alien Parade Japan weaves all of this together – chindon’ya; jazz; indie-pop; psych-folk; big band – into one beautiful, big tapestry of gorgeous melody, sweetness, and melancholy, with plenty of creative fraying at its edges. “The collection is a very personal view of Japanese bands using brass and woodwind instruments,” Acher concludes: “it’s not a representative anthology, it’s mainly held together by my personal taste, experiences, and friendships.” But it’s also a wonderfully coherent collection of some of the most playful and elated music you’re likely to hear this year. As musician and writer David Grubbs says:

„Now it is confirmed: my favorite genre of music is Alien Parade Japan. Hopefully now people will know what I’m talking about when I gush about the unassailable brilliance of longtime favorites like Maher Shalal Hash Baz, Popo, Mitamurakandadan?, Hose, and Tenniscoats, presented here alongside others whose music I have only begun to search out. Please share in my gratitude and enjoyment of this lovingly assembled collection, one that I welcome into my home as I would a long-anticipated guest.“

1969 gründete er die - noch heute legendäre - Band Thin Lizzy zusammen mit Eric Bell. Die Bandbesetzung änderte sich im Lauf der Jahre – bis zum Auseinanderbrechen im Jahr 1984. Namhaftestes Bandmitglied neben Lynott war Gary Moore (1974 und 1978/1979). Das Vinyl-Album "Black Rose" enthält Alltime-Klassiker und Hits von Lynott und Thin Lizzy, erstmalig freigegeben durch zwei US Radiostationen. Limitierte Auflage von 500 Exemplaren, weltweit.

Die Vinyl-Version des aktuellen Albums der britischen Heavy-Metal-Fahnenträger Seven Sisters!! 'Shadow of A Falling Star Pt.1' ist der Nachfolger von 'The Cauldron and the Cross' aus dem Jahr 2016, einer Veröffentlichung, die begeisterte Kritiken erhielt und mit Haunt ausgiebig in Europa tourte.

Live-Termine sind für Oktober gebucht, um das neue Album zu supporten, und die Band wurde auch gleich für das Desertfest 2022 bestätigt.

Seven Sisters sind eine Band, die melodischen, von Twin-Gitarren getriebenen Heavy Metal spielt. Indem sie die Essenz der 80er Jahre mit progressiven Songstrukturen vermengen, ist ihre Interpretation von Heavy Metal sowohl vertraut als auch eindeutig ihre eigene.
Limited Marble Green Vinyl!

Vinyl Version des aktuellen Albums der britischen Heavy-Metal-Band Toledo Steel! 'Heading for the Fire' ist der Nachfolger von 'No Quarter' aus dem Jahr 2018, einer Veröffentlichung, die begeisterte Kritiken einbrachte.

Live-Termine sind für Oktober gebucht, um das neue Album mit den Labelkollegen Seven Sisters zu unterstützen
Die Band tourte zuvor ausgiebig mit RAM und High Spirits und spielte auf mehreren Festivals, darunter HRH NWOBHM (UK), Brofest (UK), Trveheim (Norwegen), Metal Magic (Dänemark) und Power of the Night (Zypern).

Toledo Steel aus Southampton erobern seit 2011 die Bühnen in ganz GB und Europa mit ihrem eigenen Stil des von den 80ern beeinflussten High-Energy-Heavy Metals, und haben sich als eine der führenden Kräfte Großbritanniens in der New Wave of Traditional Heavy Metal erwiesen.
Limited Red Vinyl!

I can remember sitting in the booth after a botched take, so many years ago during the original Nation of Heat sessions, and being astounded at how much I had to learn. I could barely make it through a full song without fumbling the fingerpicking pattern, or breaking a string, or cracking my voice. In that moment, it felt like I was standing on the shore of a vast ocean over which I had every need but no ability to cross. Thankfully the songs themselves struck a chord with many listeners which gave me the chance to embark on that long journey. There followed a serious education on the stages of the Tractor Tavern in Seattle and the Turf Club in Minneapolis and the Hideout in Chicago and the Mercury Lounge in New York City and the Tricky Falls Theater in El Paso and the Bottleneck in Lawrence KS. I spent over a decade in tiny clubs across the United States putting one foot in front of the other, musically speaking. And so here I am again with this original set of songs, recorded now as I had always wished they could have been. -Joe Pug Greenbelt, MD 12/21

Rusty- The Resurrection of Rust (Elvis Costello)
Elvis Costello kehrt mit einem besonderen Projekt mit seinem lebenslangen Freund Allan Mayes zurück.

Vor 50 Jahren schloss sich Elvis Allans Band ”Rusty” an, und anlässlich dieses Jubiläums werden sie eine
6-Track-EP herausbringen.

Costello beschreibt die Platte so: ”Lasst uns eine Platte machen, wie wir sie mit 18 gemacht hätten, wenn
uns jemand gelassen hätte”.

Die EP enthält neue Interpretationen von Songs aus ihrem Club-Repertoire von 1972, ihre Duette auf zwei Nick Lowe-Songs von 1972, ”Surrender To The Rhythm” und ”Don’t Lose Your Grip On Love”. Sie
schließt mit einem Arrangement von Neil Youngs ”Everybody Knows This Is Nowhere” und ”Dance, Dance, Dance”, mit dem Elvis sein Aufnahmedebüt auf der elektrischen Violine gibt.
Die EP ist in CD Format und nun auch auf Vinyl erhältlich.

Announcing Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

Gilbert O’Sullivan, one of the greatest singer-songwriters of his generation will return in 2022 with his new studio album, following the release of his Ethan Johns-produced, self-titled 2018 album which was awarded four-stars in MOJO and Q Magazine as well as rave notices in Uncut and the Sunday Times.
Gilbert’s twentieth studio album finds him working with a new producer, the revered Andy Wright (Simple Minds, Simply Red, Eurythmics and Jeff Beck) recording with a full band at London’s famous RAK Studios. The direction of the album is an organic and raw affair, featuring a mix of ballads as well as upbeat songs, all written by an inimitable master craftsman. In a unique addition to this new album, Gilbert O’Sullivan has collaborated on duets with Mick Hucknall (Simply Red) and KT Tunstall.
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His song writing knack has outlived and transcended fashion, global million-sellers, critical acclaim, and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Paul Weller, Nina Simone, Mick Hucknall, Squeeze’s Difford & Tilbrook, Neil Diamond to Gary Barlow (whose Crooner Sessions Gilbert duetted on earlier this year), Empire Of The Sun, Boy George and The Charlatans’ Tim Burgess whose acclaimed The Listening Party recently featured Gilbert’s Himself and Back To Front albums.
Gilbert O’Sullivan’s career has spanned 50 years. His first single success Nothing Rhymed was released in 1970 and almost overnight it achieved Top 10 status In the UK and Europe charts.
His debut album Himself was littered with the most perfect examples of his art and craftsmanship. His second 1972 “Back To Front” firmly cemented Gilbert amongst the world’s best. Top 10 singles and no. 1’s around the world including the classic “Alone Again (Naturally)” which topped the US charts for six weeks and earned him three Grammy nominations.
British recognition soon followed with the songs Clair and Get Down reaching the summit of the UK singles charts and his LP Back To Front topping the album charts. In the same year at the 18th Ivor Novello Awards Gilbert was named ‘Song Writer of the Year’. To date he has won three Ivor’s and in recent times performed alongside other artists at BBC Proms in the Park. He has also made three appearances at Glastonbury including the main stage, and toured extensively throughout the UK, Ireland, Europe, Japan and Australia.

Gilbert O’Sullivan, one of the greatest singer-songwriters of his generation will return in 2022 with his new studio album, following the release of his Ethan Johns-produced, self-titled 2018 album which was awarded four-stars in MOJO and Q Magazine as well as rave notices in Uncut and the Sunday Times.
Gilbert’s twentieth studio album finds him working with a new producer, the revered Andy Wright (Simple Minds, Simply Red, Eurythmics and Jeff Beck) recording with a full band at London’s famous RAK Studios. The direction of the album is an organic and raw affair, featuring a mix of ballads as well as upbeat songs, all written by an inimitable master craftsman. In a unique addition to this new album, Gilbert O’Sullivan has collaborated on duets with Mick Hucknall (Simply Red) and KT Tunstall.
Gilbert O’Sullivan’s unique blend of melodic craftsmanship, witty wordplay, topical acuity and surrealist humour has given him an enduring and endearing career. His song writing knack has outlived and transcended fashion, global million-sellers, critical acclaim, and an occasional tendency to reclusiveness. Now recognised as one of our great singer-songwriters, he’s been championed in recent years by everyone from Paul Weller, Nina Simone, Mick Hucknall, Squeeze’s Difford & Tilbrook, Neil Diamond to Gary Barlow (whose Crooner Sessions Gilbert duetted on earlier this year), Empire Of The Sun, Boy George and The Charlatans’ Tim Burgess whose acclaimed The Listening Party recently featured Gilbert’s Himself and Back To Front albums.
Gilbert O’Sullivan’s career has spanned 50 years. His first single success Nothing Rhymed was released in 1970 and almost overnight it achieved Top 10 status In the UK and Europe charts.
His debut album Himself was littered with the most perfect examples of his art and craftsmanship. His second 1972 “Back To Front” firmly cemented Gilbert amongst the world’s best. Top 10 singles and no. 1’s around the world including the classic “Alone Again (Naturally)” which topped the US charts for six weeks and earned him three Grammy nominations.
British recognition soon followed with the songs Clair and Get Down reaching the summit of the UK singles charts and his LP Back To Front topping the album charts. In the same year at the 18th Ivor Novello Awards Gilbert was named ‘Song Writer of the Year’. To date he has won three Ivor’s and in recent times performed alongside other artists at BBC Proms in the Park. He has also made three appearances at Glastonbury including the main stage, and toured extensively throughout the UK, Ireland, Europe, Japan and Australia.

Very limited pressing of 300 units only. Following on from the two sold out records together, Freschard and Stanley Brinks come together for 12 brand new tracks. Lion Heart is an irresistibly charming collection of late night tales, woozy ballads and uptempo sing-alongs. Clemence Freschard’s beautiful vocal tones lend this a rich, French indiepop/chanteuse vibe, complemented by Stan’s wistful timbre and characteristic warm instrumentation. Stanley Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. Brinks was born in Paris, France, in 1973. He studied a bit of biology and worked as a nurse for a while. Half Swedish, half Moroccan, strongly inclined to travel the world, he soon began spending most of his life on the road and developed a strong relationship with New York. By the late 90s he’d become a full time singer-songwriter – André Herman Düne – as part of three piece indie-rock band, Herman Düne. Several albums and Peel sessions later and after a decade of touring Europe, mostly with American songwriters such as Jeffrey Lewis, Calvin Johnson and early Arcade Fire he settled in Berlin. The early carnival music of Trinidad became a passion, and in the early 21st century he became the unquestioned master of European calypso, changing his name to Stanley Brinks. Under this moniker he has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures. Freschard grew up in a farm in French Burgundy. Aged 18 she moved to Paris, where she baked pies and cakes in a cafe. There, a local musician and regular customer called Stanley Brinks wrote a few songs for her to sing. Homeless in Paris, she saved up just enough money to get herself a ticket to New York. There she found an old electric guitar and started writing her own songs. In 2004 she moved to Berlin, where she recorded her first LP, "Alien Duck". Her second album, "Click Click", recorded in 2006, features electric guitar by Stanley Brinks. On her third album, she plays the drums herself. On her fourth “Shh...” she also plays the flute, and she breaks out the washboard on her fifth “Boom Biddy Boom”. On Midnight Tequila, Freschard brings it back to just drums and vocals // “an absolute joy.” Q // “...a set that’s as wistful and charming as it is playful and self-concious.” Uncut // “quietly charming” Pitchfork

Following on from acclaimed recent releases on Hallow Ground and Boomkat’s Documenting Sound series, NOISEEM is a major new work from Japanese sound artist/instrument inventor Yosuke Fujita, who performs under the name FUJIIIIIIIIIIIITA. Where Fujita’s recent recorded output has focussed primarily on documentation of his remarkable self-built pipe organ, NOISEEM is the culmination of half a decade of work with highly amplified water. The evocative and timbrally rich sound of water has inspired concrete and experimental music practices since ground-breaking works such as Hugh Le Cain’s ‘Dripsody’ and Knud Viktor’s obsessively aquatic ‘Images’. However, other than his compatriot Tomoko Sauvage, few have explored the possibilities of water in live performance to the extent that Fujita has, constructing a series of water tanks that, with their pumps and amplification controlled by the performer, become a new musical instrument. The recordings contained here are drawn from live performances in Tokyo and London, edited and mixed by Fujita into two side-length pieces dominated by water, pipe organ, voice and subtle electronics. On ‘AWA’, which occupies the LP’s first side, the listener is immediately immersed in an aqueous world of recognisable drips and splashes, as well as more mysterious squeaks and squawks. While the liberal use of delay at times conjures up the sound world of early electronic music, the sparklingly clear amplification is unmistakably contemporary, lending the music a stunning weight and tactility. Building over several minutes, the piece eventually comes to a rapid boil, criss-crossed by washes of white noise splashes of electronics, before the untempered long tones of the pipe organ enter. The slowly shifting harmonies lend the remainder of the side a meditative, almost oneiric quality, inviting listeners to lose themselves in the aquatic layers that ripple across the harmonic foundation. On the second side, ‘UZU’ begins more starkly, with a single rapid bubble, quickly joined by full-spectrum wooshes and silvery, ringing tones. After a few minutes, the music undergoes a radical, entirely unexpected shift with the entry of a distorted, auto-tuned voice that repeatedly cycles through ascending and descending melodies. Left alone at times to be heard acapella, this mysterious element at times takes an odd resemblance to dhrupad singing. Eventually joined by rich, sonorous chords from the organ, the high tones of Fujita’s voice, and water, the piece takes on an ecstatic quality, channelling the sublime expansiveness of the natural element on which it is built. Disappearing as abruptly as they entered, the voices then make way for a haunted coda of isolated drips and distant whistles. Far from the intellectualised abstraction of much sound art, NOISEEM is strikingly immediate, both rigorously experimental in its explorations and unashamedly direct in its musicality. Tracklist 1. Awa 2. Uzu

Necessary vinyl edition of the first Little Skull long player which was originally released as a micro-edition CD-R in 2009. Written, performed and recorded by Dean Brown on borrowed and home made instruments during a year spent living in a cold colonial era house across the street from Len Lye's childhood home in Aro Valley, Wellington. Untitled is a raw and vital document, cognate with later Little Skull offerings as it teases elemental folk, noise, rock and chamber music from the barest of tools. Presented on clear smoke effect vinyl with a printed inner sleeve and handmade semi-opaque outer cover.

Azure, Vinyl Williams' fifth album was released on French label Requiem
Pour Un Twister in 2020
Azure marks a point of higher equilibrium for songwriter Lionel Williams, using far
more restraint and speed than his earlier releases, as well as a concentration of
unifying paradoxical qualities. Vinyl Williams' Opal (2018) was critically acclaimed
and his earlier releases, Brunei (2016) and Trance Zen Dental Spa (2015) - a
collaboration with Chaz Bear of Toro Y Moi - are fan favorites for their incessant
bliss and driving rhythms. Vinyl Williams' live shows are a spectacle of
pearlescent sights and sounds, with all of Williams' work combined and
synchronized together in rapturous hyper- dimensional moments.For fans of
Morgan Delt, Toro Y Moi, Ariel Pink, Part Time, Maston, Jacco Gardner, Arthur
Verocai, Sunbeam Sound Machine, The Free Design, Curt Boettcher, Chris Cohen,
Dungen.

Azure, Vinyl Williams' fifth album was released on French label Requiem
Pour Un Twister in 2020
Azure marks a point of higher equilibrium for songwriter Lionel Williams, using far
more restraint and speed than his earlier releases, as well as a concentration of
unifying paradoxical qualities. Vinyl Williams' Opal (2018) was critically acclaimed
and his earlier releases, Brunei (2016) and Trance Zen Dental Spa (2015) - a
collaboration with Chaz Bear of Toro Y Moi - are fan favorites for their incessant
bliss and driving rhythms. Vinyl Williams' live shows are a spectacle of
pearlescent sights and sounds, with all of Williams' work combined and
synchronized together in rapturous hyper- dimensional moments.For fans of
Morgan Delt, Toro Y Moi, Ariel Pink, Part Time, Maston, Jacco Gardner, Arthur
Verocai, Sunbeam Sound Machine, The Free Design, Curt Boettcher, Chris Cohen,
Dungen.

Los Angeles-based visual artist and musician Lionel Williams was born
and raised in a family of musicians - he is the grandson of soundtrack
composer John Williams
Since 2010, he has been releasing music as Vinyl Williams. After three albums
released on No Pain In Pop (Lemniscate, 2012) and Chaz Bundick’s Company
(Into, 2015 and Brunei, 2016), Vinyl Williams joined French label Requiem Pour Un
Twister for his fourth album Opal released in 2018. Throughout his art, both
musical and visual, Lionel Williams explores the syncretistic territory between
reality and dreams, between earth and space. “Music is a chance to transmute
qualitative opposites into the center, to dissolve all illusions of duality”, he says.
Since chaos and disorder are an illusion, Vinyl Williams is trying to reach a new
state of celestial harmony on Opal. The result is an album fueled with mysticism
and space age utopia, ten kaleidoscopic lush pop songs that takes you into a
transcendental journey on an opal marbled vinyl limited to 500 copies.

Vanderwolf re-emerges with '12 Little Killers' an eclectic collection that
includes the deliciously oozing slice of psychedelia of the single Glisten,
which is heavily-slanted toward melting analogue synthesizers (Sam
Sallon) and rich layers of acoustic guitars (Chris Cordoba) and an
exquisite vocal by Max Vanderwolf
Recorded by producer Chris Wyles at his south London studio, the 12 songs were
selected, mixed and compiled by keyboardist and co- producer Sam Sallon. It's
available in a limited pressing of 500.
Vanderwolf's music spans a wide-range of genres from global beats to hard blues
to fragile balladry to prog- rock monstrosities and beyond. With a vast back
catalogue of songs to release, Vanderwolf is set to get his wild and restless
music out to the world.
Born in NYC, working in London and as of 2020 residing in Los Angeles, Max
Vanderwolf has recorded several albums and countless songs. Most of them
remain unreleased. Notably, he was vocalist and creative-force behind the semilegendary London band, Last Man Standing, whose sole album in 2008 received
plaudits from many including Mojo and Uncut.
Concurrent to his life in music, Vanderwolf has worked under an assumed name
as a music programmer and concert producer in some of the worlds' most
celebrated clubs and venues. He went from overseeing the legendary
underground downtown NYC's Knitting Factory to overseeing London's Royal
Festival Hall, where for 9 years he produced the Meltdown Festival where he
worked closely with David Bowie, Patti Smith, Jarvis Cocker, Massive Attack and
others. He has produced concerts in Brooklyn, Rome and Paris working closely
with John Cale, Sparks and the Residents.

ODESZA veröffentlichen ihr viertes Album auf Ninja Tune inklusive Features von The Knocks, Bettye LaVette, Låpsley, Izzy Bizu, MARO, Ólafur Arnalds, Julianna Barwick & Charlie Houston.

ODESZA veröffentlichen ihr viertes Album ’The Last Goodbye’ auf Foreign Family Collective/ Ninja Tune. Es ist das bisher ambitionierteste & emotional mitreißendste Album des Grammy nominierten Duos. Ein Projekt voller Glanz und Emotionen, nostalgisch und doch in der Gegenwart verwurzelt, ist es ein mitreißendes Klangerlebnis, das Themen wie Verbindung, Erinnerungen und den Einfluss, den wir aufeinander ausüben, anspricht. Es ist eine lebhafte Feier der Menschen und Momente, die unsere Fingerabdrücke hinterlassen haben und die in der gesamten Platte widerhallen. Es ist das bisher persönlichste Album des Duos und eine brillante Sammlung, die Vergangenheit und Gegenwart auf euphorische Weise miteinander verwebt. Neben The Knocks, Bettye LaVette und MARO werden auf „The Last Goodbye“ auch Julianna Barwick, Låpsley, Ólafur Arnalds, Izzy Bizu und Charlie Houston zu hören sein. Das Produzentenduo ODESZA besteht aus Harrison Mills und Clayton Knight, die zusammen Musik zu machen begannen, nachdem sie sich an der Universität in Washington, USA, kennengelernt hatten. 2012 veröffentlichten sie ihr von der Kritik gefeiertes Debütalbum „Summer's Gone“, gefolgt von der 2014 mit Gold ausgezeichneten Platte, „In Return“, die an der Spitze der Billboard Dance-/ Electronic-Charts debütierte und die Platin-Single „Say My Name“ enthielt - ein Remix des Tracks von RAC wurde später für einen GRAMMY 2016 nominiert. Ihr drittes Album, „A Moment Apart“, wurde 2017 veröffentlicht, ebenfalls mit Gold zertifiziert und brachte ihnen zwei GRAMMY-Nominierungen für das beste Dance-/ Electronic-Album und die beste Dance-Aufnahme für die Gold-Single „Line Of Sight“ ein. Das Album erreichte Platz 2 in den UK-Dance-Album-Top 40 Charts und Platz 2 in den iTunes-Electronic-Charts im Vereinigten Königreich und debütierte auf Platz 3 der Billboard Top 200 in den USA.

Auf 'Third' hebt Jitwam seine Fähigkeiten als Beatmaker und Produzent auf ein neues Niveau, verschmilzt Live-Musik mit Samples und Edits, garniert sie mit Features von Melanie Charles und Akhtari und weckt Erinnerungen an die Suche nach Frieden im Chaos des täglichen Lebens. Inspiriert von seiner Zeit in NYC kombiniert Jitwam mit trunkener Unbekümmertheit Einflüsse aus Latin, Soul, Punk und einer Menge Disco zu einem einzigartigen, reichhaltigen Sound. Die 10 ansteckenden Songs aus moduliertem Gesang und traditioneller Instrumentierung vermengen sich mit dem Schwung von Soul-House und Jazz. Entsprechend erhält Jitwam Support von Gilles Peterson, Moodymann und Matthewdavid.

Now onto its fourth volume, NuNorthern Soul’s annual Summer Selections EP is fast becoming a must-check for fans of slow-motion sunshine sounds, contemporary Balearic beats and sumptuous downtempo grooves.

Summer Selections Four showcases six hand-picked tracks from EPs and albums to be released by NuNorthern Soul in 2022. A genuine ‘cream of the crop’ or ‘best in class’ feel, with NNS label boss and curator Phil Cooper putting together a varied EP piled high with evocative melodies, atmospheric chords, tactile grooves and ear-catching instrumentation.

First to step up to the plate is experienced producer James Bright, whose cut ‘Amber’ offers a bubbly, colourful and analogue-rich stroll through mid-tempo Balearic house territory. The track is one of the highlights of Bright’s forthcoming Totem EP. It’s quickly followed by ‘Nana a Leon’ from Be.Ianuit’s Entre Dos Islas EP, a gorgeous mixture of deep bass, twinkling pianos, sultry synth-strings, sparkling synthesiser arpeggios, echoing machine drums and spoken word vocals from guest performer Marcos de la Fuente.

San Francisco’s Cole Odin offers a snapshot of his forthcoming Songs For Suns EP via ‘Growing’, a slow-motion sunset soundscape built around ethereal chords, chiming melodies and head-nodding drums, while Gold Suite’s ‘The Cowboy’ – taken from the On My Horizon EP – brilliantly joins the dots between jangling Americana, mid-‘80s Balearic reggae and sun-soaked instrumental synth-pop. While brand-new, it could easily be mistaken for the kind of obscure, hard-to-find gem that gets Balearic record collectors so hot under the collar.

Next up is another new signing to NuNorthern Soul, North of the Island, whose debut EP Feeling Free is undoubtedly a highlight of the label’s 2022 release schedule. ‘I Feel’, the track showcased here, adds attractive, sunset-ready musical flourishes to a chugging, delay-laden rhythm track and the kind if squelchy bass-line most often found in proto-house and early ‘80s electro-funk cuts. It’s a spaced-out, mind-altering delight.

Rounding off another sizzling Summer Selections excursion is ‘Smoke & Fly’ from fast-rising twosome Residentes Balearicos, an Ibiza-based Italian duo who impressed many with their 2021 EPs on Balearic Ensemble. Dusty, bass-heavy, drowsy and picturesque, the track is a simply gorgeous chunk of Balearic dub piled high with organic percussion, undulating acid lines and mazy solos. It provides a fittingly triumphant conclusion to another essential sampler EP from NuNorthern Soul.

Kaiserdisco return to Drumcode for their first offering since 2016, with a stellar hook-driven slice of techno inspired by a classic house record.

‘Together One Time’ fizzes and rolls, building up pace throughout, while the stirring vocal sets it up perfectly for peak-time impact.

An essential weapon as we move into the raving season.

Hammered ist das 16. Studioalbum der britischen Rockband Motörhead, das am 9. April 2002 veröffentlicht wurde. Zum Zeitpunkt als es in Hollywood aufgenommen wurde war Motörhead eine dreiköpfige Band, mit Mikkey Dee am Schlagzeug, Phil Campbell an der Gitarre und Lemmy am Gesang und Bass. Diese gold-schwarze
Splatter-Vinyl erscheint zur Feier des 20-jährigen
Jubiläums von Hammered.

Diving once more into the forgotten corners of the electronic Spanish music scene from the 80’s and early 90’s, Soundway reissue Scan Man’s full single Arabian. Bringing together a Furious Five retro styled bounce & rhyme and a bite of UK street soul, the track is taken from Soundway’s hugely popular compilation Ritmo Fantasía. Expect soulful American expat rap layered over sitarlike sounds, and a tumbling, rattling, 808 pattern. Along with the original track and instrumental, DJs Trujillo and Ray Mang serve a souped up instrumental primed for modern dancefloors.

Recorded at the CEV Studios in Madrid, Arabian was the first composition and production of Marcos Manzanares to get an official release. Using an Ensoniq Mirage Sampler (one of the early, affordable synth samplers), and with Stephen Sutton providing the vocals for the track, he first made his entry into the Spanish music scene. A short while later he would go onto make a career for him self under the name of Tension808.

Released in 1957, Loving You did very well at box offices around the world. In the UK the album was issued on 10-inch vinyl and topped the album charts featuring popular tracks Mean Woman Blues, (Let Me Be Your) Teddy Bear, Got A Lot O' Livin' To Do!, Party, Lonesome Cowboy, Hot Dog and the title song Loving You. In the US, the album was issued on 12-inch vinyl with four extra additional tracks
topping the US album charts for 10 weeks. Those four songs are equally strong with Elvis covering Blueberry Hill, I Need You So and Have I Told You Lately That I Love You? Plus, the original version of Don't Leave Me Now, which he would later re-record for his next film, Jailhouse Rock. The reception of the film placed
Elvis among the biggest selling box office stars, and he was now managing both a musical and acting career with the call of the US Army draft.

LIMITED release (no repress) 300 units hand numbered, stamped copies with insert.

After the first Jam experiment back in 2019 here we have the second chapter of the Bosconi Gang Band session pressed on this limited white label hand stamped & numbered waxx.
This jam was recorded in front of an actual crowd in an event held at Manifattura tabacchi Florence on the 21st February 2020 just a couple weeks before the pandemic started and the first lockdown happened in Italy.
The concept is the same as the previous one with Fabio Della Torre on the mixer conducting the gang mysitc gulf this time with: from left to right Ennio Colaci from Minimono, Dukwa, Rufus, Andrea Giachetti & Antonio Pecori from "The Clover" and Dj Rou.
As it happened with the previous release, the actual jam follows the order of the live execution which naturally developed in a crescendo of speed and intensity.
The result is a collection of 5 of the best takes slightly mixed and revisited afterwards but very much faithful to those performed live.
This is another adventurous release that goes well off grid, plays with strange temps, original textures and moods.
Bosconi Gang Band aims to be an itinerant live improvisational project open to all artists who have released on Bosconi Records that sets the goal of always being unpredictable and special, naturally affected by the artists who perform always creating something unplanned new, and unexpected.
"A very exciting blueprint for the continued evolution of modern dance music!!"