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With a name as bold as Junglepussy and an artistry
to match, Shayna McHayle is New York’s premier rap
rule-breaker. Honest, funny and freaky, her rhymes
span from the explicitly audacious to the tenderly
relatable. Her unfailingly confident flow accentuates
her roots in Brooklyn (her parents are from Trinidad
and Jamaica) and her bars land with cool impact. In
the universe that is Junglepussy, relationships are
complicated, vegetables are magic and an
excellently delivered flex on an ex is one punchline
away.
‘Jp4’ is Junglepussy’s stellar next phase. With
contributions from vocalist Ian Isiah, rapper Gangsta
Boo and producers Dave Sitek and Nick Hook, ‘Jp4’
is Junglepussy ascended. After almost a decade of
experimenting, Junglepussy feels she’s finally living
up to her name. The numerology of four, in its
foundational symbolism, is an apt frame for ‘Jp4’.
Over an eight-year career, Junglepussy’s music has
led her to lecture at Yale and Columbia, create her
own Junglepussy Juice, star in 2018 feature film
‘Support The Girls’ and embark on sold-out domestic
and international tours. For Junglepussy, ‘Jp4’ is a
culminating moment - one that holds the essence of
closure while hinting at an exciting and expansive
future.
First-ever physical release for Junglepussy.
Remixes / features / collaborations include Kelela,
Vic Mensa, Gabriel Garzón-Montano, Rico Love and
many more.

‘Island’, the latest album from Oscar-nominated composer and
songwriter Owen Pallett, released on Domino / Secret City
Records (Canada).
Almost entirely acoustic, ‘Island’ begins with 13 darkened
chords and was recorded live at Abbey Road Studios with the
London Contemporary Orchestra. The introduction is the sound
of waking up alone and on the shore of a strange land. What
follows is a shimmering and luscious orchestral album that
draws across the full breadth of Pallett’s discography, from
‘Heartland’’s Technicolor to the glittering, fingerpicked guitar
that marked Pallett’s first records with their trio, Les Mouches.
In addition to Pallett’s Grammy Award-winning work with
Arcade Fire, Pallett’s commissions have included string, brass
and orchestral work for Last Shadow Puppets, The National,
The Mountain Goats, Christine and arrangements for Frank
Ocean, Caribou, R.E.M., Linkin Park, Sigur Rós, Taylor Swift and
the Pet Shop Boys.
Since the release of ‘In Conflict’ (2014), Pallett has earned an
Oscar nomination for their film scoring work on Spike Jonze’s
‘Her’ and an Emmy for Sølve Sundsbø’s ‘Fourteen Actors Acting’.
Their score for Matt Wolf’s ‘Spaceship Earth’, a documentary
about a crew who spent two years quarantined inside a replica
of Earth’s ecosystem called BIOSPHERE 2, is out now.

Visionist’s first release for Mute is a hypnotic elegy.
‘A Call To Arms’ is Visionist’s third album release
and where previously the artist used his vocals as
samples, we hear his singing voice in the form of
song and lyric for the first time.
Along with the addition of Visionist’s vocals, the
album is host to a varied list of collaborators
including Haley Fohr (Circuit des Yeux) and Morgan
Simpson (Black Midi).
CD in gatefold card sleeve with 12 page booklet.
LP pressed on white vinyl and housed in a gatefold
sleeve with blind emboss on the front and back
cover and a clear foiling on the inside cover.
Includes high definition audio download code.

Off the back of her critically acclaimed self-titled
debut album released last year on Invada Records,
Billy Nomates returns with her new EP, ‘Emergency
Telephone’.
The EP is pressed on ‘Ocean Blues Blue’ vinyl and
housed in a deluxe spined sleeve with digital
download card included.
With huge support from BBC 6Music, the year
came to a climax when she was asked by Iggy Pop
to step into his shoes to cover his Christmas show
and, together with featuring on the new Sleaford
Mods single ‘Mork n Mindy’, Billy Nomates has
proved herself to be one of the most original and
respected new artists coming through this year.
‘Emergency Telephone’ sees Billy Nomates develop
her unique sound and unflinching lyrics. Of the
new EP she says, “‘Emergency Telephone’ is
predominantly about communication breakdowns;
personally, mentally, physically. A strange thing to
happen while communication has never had so
many channels. Perhaps we need a direct line.”

Frank Nuyens, alias Rainman, was the guitarist for bands like Circus and a founding member of Q65. His solo debut album from 1971 is a slice of psychedelic folk & rock sounds and features fellow Q65 member Jay Baar, Dick Beekman and Eelco Gelling (Cuby & The Blizzards). Rainman is a very rare and hard to find album from the Dutch psychedelic
70’s era. The album is part of Music On Vinyl’s Behind The Dykes series, which comprises rare and sought-after albums from the Netherlands.

Rainman celebrates its 50th anniversary in 2021. This release includes an insert with song lyrics and is available as a limited individually numbered edition on transparent green vinyl.

Johnny Cash had a birth certificate marked J. R. Cash because his parents couldn’t decide what to call him. Their environment was the recurrent poverty that reigned in Thirties America, a background of depression where J. R. went to work in flooded fields, learned music and sang along with other cotton pickers, picking up jobs here and there, and finally signing up for three years in the Army.

In 1954 he went back to civilian life, married Vivian Liberto, and went through the studio doors at Sun Records, where Sam Phillips recorded his first hits. In ’57 he joined Columbia Records and a decade later married June Carter (of The Carter Family) in 1968. The following years were complicated by drugs, alcohol and constant tours, yet the pair remained together until June passed away in 2003. Johnny Cash only survived another four months.

His original country music showed empathy for those who had been rejected, and his vision of the misery around him. But he also had an especially warm baritone, and it gave Johnny Cash an immense and faithful audience. He sold 90 million albums, confirming him as one of the greatest artists in music, all genres included.

Columbia Records release the eighth studio album from Grammy Award winning, multi platinum selling US rockers. An 11 track song album which includes the current single 'The Bandit'. Black vinyl double LP and standard CD. Radio support across R1, R2, Absolute, Virgin, Radio X, ILR network with playlists, ad campaign and interviews/sessions. Video plays across MTV/Vevo/Tik Tok. Digital campaign. Ads, features, interviews and reviews across all press. Online/social media activity. TV promo to follow. Poster campaign and database mailout. TV ad campaign.

Second album released on Insanity Records from London based/Bedford born pop/soul singer. This is the follow up to 2018's gold certified 'Lighting Matches'. A 14 track album whose production credits include Dan Grech, Eg White and Lostboy among others. Single LP on black vinyl and standard CD. Plenty of radio support across all the singles released so far: 'Little Bit Of Love', 'Amen', 'Something Better', 'Oh Please' and 'This Is The Place'. Digital campaign. Video plays across MTV/Vevo/Tik Tok. Online/social media activity. Ads, features, interviews ad reviews across all press. TV promo includes Graham Norton Show interview and performance plus more to follow. TV ad campaign. Pending UK tour dates. Poster campaign and database mailout.

Though it’s hard to pick a winner among the estimable Black Jazz catalog, this 1972 release from bassist Henry “The Skipper” Franklin would have to be near the top of the list. Franklin got his start woodshedding with Latin maverick Willie Bobo in the mid-‘60s and went on to play with The Three Sounds, but probably his most notable gig prior to this debut album was his stint in Hugh Masekela’s band (that’s Franklin playing bass with Masekela at the 1967 Monterey Pop Festival). For The Skipper, Franklin assembled a crack outfit that included a horn section of trumpeter/flugelhornist Oscar Brashear (Bobby Hutcherson, Ry Cooder, Donny Hathaway) and tenor & soprano sax man Charles Owens (Buddy Rich, Horace Tapscott, John Mayall) along with a Masekela bandmate in electric pianist Bill Henderson and ace drummer Michael Carvin (Pharoah Sanders, Lonnie Liston Smith, Freddie Hubbard). This is such a unique, organic recording that it’s hard to make comparisons; definitely a little fusion, a little ‘60s Blue Note feel, and the usual Black Jazz journey to the more lyrical, pop-inspired (“Little Miss Laurie”) and funk-infused (“Plastic Creek Stomp”) sides of jazz, but perhaps the best comparison is late-‘60s Miles before he went electric. In any case, The Skipper is just a joy to listen to from start to finish, beautifully recorded by Black Jazz producer Gene Russell and blessed with some really fine writing, most of it by Franklin himself. First-time LP reissue and a must-have!

In between acting as Producer on all of the Black Jazz label releases, keyboardist Gene Russell also cut two fine albums for the imprint, of which this is the second, released in 1973. Judging by the quality of their respective solo outings for the label, the fact that Russell’s band includes bassist Henry Franklin and guitarist Calvin Keys bodes very, very well for the quality of this record. And indeed, Talk to My Lady represents a sterling stylistic leap for Russell from his New Direction album, which was the first release issued on Black Jazz; here, he’s leading an electric band instead of the basic piano trio format found on the former record, and playing a number of original, soul jazz compositions like “Get Down” and the title tune. As for the covers, both “Me and Mrs. Jones” and “You Are the Sunshine of My Life” are heartfelt renditions given a little extra bounce by Russell’s ivory tickling and Franklin’s expressive bass playing in particular, while the version of “My Favorite Things” goes way out beyond what John Coltrane played on his original Atlantic studio version. It’s hard to go wrong with a Black Jazz album and you won’t on this one from the label’s creative helm. First-ever LP reissue!

Hawkwind have always been associated with music festivals, most notably the free festivals, where Dave Brock has said that, at

those events, the band is not shackled to appease an audience by giving them what they expect and have paid to see. With that obligation removed, the band can relax and experiment more than usual and gigs become even more fun. Their sessions, where they played for free, sometimes with the Pink Fairies, at Canvas City, outside the official site of the Isle Of White Festival in 1970, are a matter of legend and Nik Turner gained much attention when he painted his face silver and was much photographed as a result. During his set, Jimi Hendrix referred to him as 'the cat with the silver face'. However, when we think of Hawkwind and festivals, the word Stonehenge leaps to the fore.

The band always loved being there, enjoying the whole event as well as the freedom of how and when they played. This was not a time of business, but a time of fun. The most important one of these was Stonehenge 1984, which proved to be the last festival before the authorities moved in the following year to block the festival from being set up and Hawkwind ended up playing a few miles away instead. It was the sad end to an era. It had taken place twelve times and, had it been allowed one more time, it would have become a public event and the powers that be were determined to prevent that from happening. Happily, the 1984 festival was recorded and filmed and the Hawkwind Solstice Eve and Solstice Morning were both preserved...and we should be grateful for that.


The fact that Hawkwind were playing for free didn't mean it was a basic show. As well as the line-up of Dave Brock, Harvey Bainbridge, Huw Lloyd Langton (who played the evening session, but not the following morning), Nik Turner, Alan Davey and Danny Thompson, there were half a dozen dancers, a mime artist and fire spitting. A free event, it was the ideal time to introduce the new rhythm section to the band in the form of Danny Thompson on drums and Alan Davey on bass, with Harvey moved to keyboards. A move which was to have a long term affect in the way he made music, leading to his solo career, as well as years playing synths for Hawklords, in years to come, after his stint as the Hawkwind keyboards player came to an end.. Danny fitted the bill comfortably and drummed for the band until he left in 1988, to be replaced by Richard Chadwick. Danny went on to play for other bands including Bedouin and Pre Med. He also recorded a cassette album called Skinwalker. Alan made a good team alongside Dave Brock and it can be seen on the video just how pleased he was to be playing alongside Dave Brock, a man whom he had only met for the first time in November 1982, backstage at the Ipswich Gaumont. He went on to be the longest serving Hawkwind bass player, before moving on to pursue solo projects and form a nmber of bands. So in terms of the line-up, Stonehenge 1984 had a notable impact on the formation of the band for a number of years and, indeed, the destinies of Harvey, Danny and Alan. As if that were not enough to make the event special in the annals of Hawkwind, they played an interesting and varied main set in the evening, featuring a blend of old and new Hawkwind songs, along with numbers from Inner City Unit and

Bob Calvert's Lucky Leif And The Starfighters album. In keeping with the relaxed atmosphere, there was a considerably extended

version of Ghost Dance, lasting around ten minutes. The sunrise set was special too, with a long, laid-back, jam at dawn, in fitting with the occasion.



A lovely and relaxing start to the day and the kind of jam they couldn't really play to a paying audience. It's good to have the

memories of this significant festival gathered together in three formats.

Enjoy this special set, which commemorates a special event, not only in the history of Hawkwind, but of the saga of Stonehenge festivals.

Since 2005, Swedish sound artist Dag Rosenqvist has released 30 albums, EP’s and cassette tapes in different constellations, the main one being Jasper TX that was put to rest 2012. Other constellations include From The Mouth of The Sun, de la Mancha and The Silence Set. He has also collaborated with Machinefabriek, Mike Weis, Aaron Martin and Simon Scott and released albums on Miasmah, Fang Bomb, Experimedia and Kning Disk.

To start a second year, Laaps is glad to have his new album on board, a new turn on the Dag Rosenqvist's works, it could be a soundtrack and it should be. Between "Blade Runner", "Stranger Things", and "Dark", Dag Rosenqvist has made his own chapter.

The music on Dance Nos. 1-5 was originally conceived as a three-way collaboration between composer Philip Glass, choreographer Lucinda Childs and artist Sol LeWitt. Dance received its world premiere in Amsterdam on October 19, 1979 and its New York premiere at the Brooklyn Academy of Music on November 29, 1979.

Post-dating Einstein on the Beach - Glass’s 1975-76 collaboration with director Robert Wilson - Dance was another Glass collaboration, this time with choreographer Lucinda Childs, known for her austere, athematically exact dances, and artist Sol LeWitt, who provided a ghostly, gigantic black- and-white film for several of the piece’s five sections.














RELEASE: 5-3-2021





• 180 GRAM AUDIOPHILE VINYL
• DELUXE HEAVYWEIGHT SLEEVE WITH GLOSS LAMINATE
• PVC JACKET
• THE COMPLETE ALBUM, AVAILABLE ON VINYL FOR THE FIRST TIME IN ITS ENTIRETY ON A 3LP-SET
WITH FIVE SIDES OF MUSIC
• INCLUDES PHILIP GLASS CATALOGUE WITH INFO ON THE PHILIP GLASS SERIES ON MOV


SIDE A

Dance has an abstract purity that easily earned it the label “minimalist,” a term that Glass himself disavows but that seems appropriate, at least in this case. After Dance, Glass’s music took several turns, not so much in style as in the various new contexts in which it was presented: major opera commissions and film scores led him to write for forces other than those of the Philip Glass Ensemble. At the same time, an attempt to reach a wide audience resulted in some shorter, perhaps more accessible, narrative pieces. Dance marked the blossoming of the composer’s experimental work. Here, though, the music - particularly Dance Nos. “1”, “3” and “5”, all written for the Ensemble— has an unforgettable exuberance that somehow speaks all at once of joyful innocence, intense erotic desire, tenderness, regret and, finally, acceptance. On the other hand, Dance Nos. “2” and “4” see Glass composing several large-scale works for solo organ; for instance, Dance No. 2 originated as a 1978 work entitled Fourth Series Part Two. This piece, later incorporated into Dance, and Dance No. “4” as well, have a more subdued, more darkly romantic quality than the work’s other sections and are quite unlike anything Glass had previously written. Still, they too, with their mysterious tilts of time and key signatures, continue the exploration of polyrhythms and harmonic complexities within the context of Glass’s repetitive, “minimalist” style.

The complete Dance Nos. 1-5 album is now available on vinyl for the first time in its entirety on a 3LP-set with five sides of music. The 3 LP’s are housed in a heavyweight sleeve.

Songs of Comfort & Hope is inspired by the series of recorded-at-home musical offerings that Yo-Yo Ma began sharing in the first days of the COVID-19 lockdown in the United States. Throughout the spring and summer, Ma’s #SongsofComfort grew from a self-shot video of Antonín Dvořák’s “Goin’ Home” into a worldwide effort that has reached more than 20 million people.

Ma and longtime collaborator Kathryn Stott mark the next chapter in the project with this brand new album, offering consolation and connection in the face of fear and isolation. The album includes 21 new recordings, which span modern arrangements of traditional folk tunes, canonical pop songs, jazz standards, and mainstays from the western classical repertoire. Among the new takes on old favorites are Pulitzer Prize® winner Caroline Shaw’s artful and eloquently arranged “Shenandoah”; Australian composer Harry Sdraulig’s “Fantasia on Waltzing Matilda”; pianist Stephen Hough’s lush arrangement of “Scarborough Fair”, and two-time Academy® Award-nominated icon Jorge Calandrelli’s re-imagining of a pair of songbook treasures: “We’ll Meet Again” by Ross Parker and Hughie Charles, and Violeta Parra’s “Gracias a la Vida.”

Yo-Yo Ma and Kathryn Stott share the warmth of decades of music making again with Songs of Comfort & Hope, offering audiences new paths into treasured musical memories and a few notes of hope for a better future.

The Last Emperor is a lavish historical epic directed by the great Italian filmmaker Bernardo Bertolucci and starring John Lone, Joan Chen, and Peter O’Toole. The film tells the life story of Pu Yi, the last monarch of the Chinese Qing dynasty prior to the republican revolution in 1911. The score for The Last Emperor was created by an unlikely trio: Ryuichi Sakamoto, David Byrne, and Cong Su. The soundtrack is a theme-filled exploration of the sounds and musical traditions of Imperial China, filtered through some very contemporary sensibilities. Sakamoto’s contribution comprises nine cues and is focused around his main theme: a beautiful, lyrical melody for the full orchestra. It’s soft, wistful, and introspective, but becomes increasingly dramatic. Byrne contributes five cues, and the first one is the most recognisable, as it’s the main title theme playing over the film’s stylish opening credits sequence. It emerges from a set of evocative Chinese percussion items, with the melody being carried by a gorgeous, lilting erhu. It’s traditional and wholly steeped in Chinese classical music, but it has a real emotional weight that will connect with westerners. Cong Su’s contribution to the soundtrack album comprises just one cue – “Lunch” – but there is much more of his music in the film; Su was basically responsible for writing all the period-specific Chinese source music one hears in and around the imperial palace during Pu Yi’s childhood. All in all, Sakamoto, Byrne and Cong Su deliver an excellent score.

Testament is often credited as one of the most popular and influential bands of the thrash metal scene. Their debut album The Legacy immediately made an impact when it was first released in 1987. Music critic Alex Henderson of AllMusic gave it 4.5 out of 5 stars, praising the record for its “thrash circles” and for being “a relentlessly heavy and promising effort focusing on such subjects as the occult, witchcraft, nuclear war, and global destruction”. It made many year-end lists including those of renowned metal publishers Metal Injection. Loudwire lists the album among the ten best thrash records that weren’t released by The Big 4. The album spawned one single release, lead-off track “Over The Wall”, which the band still plays live during nearly every show they play and remains one of the most popular songs among fans.

This limited edition of only 1500 numbered copies release contains an insert and is pressed on silver coloured vinyl.

The Glass Passenger is the second album by American alternative rockers Jack’s Mannequin. It captures frontman Andrew McMahon during a darker period, after he was diagnosed with leukaemia. Some painful subjects are woven into the pop- rock and orchestral sounds. From the slow-burning “Spinning” to the razor sharp single “Swim”, it’s a versatile and colourful album.

Jack’s Mannequin is the side project of Andrew McMahon from pop punk band Something Corporate. They recorded three albums during their existence. McMahon crafted some incredible pop songs for the band.

The album, which also contains bonus track “Miss California”, is available as a limited edition of 2500 individually numbered copies on silver vinyl.

John Norum might be best known for being the guitarist in the Swedish hard rock band Europe, but he has simultaneously maintained a successful solo career. Face The Truth is his second album, released in 1992, five years after debut Total Control. The record features Glenn Hughes (of Black Sabbath and Deep Purple fame) on vocals for several songs, as well as guest appearances by Joey Tempest (Europe) and Mikkey Dee (Motörhead). A true hard rock all- star effort, that also includes Norum’s cover version of Thin Lizzy’s song “Opium Trail”. It is available on coloured vinyl for the first time, as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

File Under: Jazz / Contemporary Jazz - For fans of Ryuichi Sakamoto, Boards of Canada, Linda May Han Oh, Supersilent, Nels Cline, Makaya McCraven, and Haruka Nakamura! Born in Pinsk, Belarus in 1984 and immigrating to Canada in 1992 with the collapse of the USSR; Alexei Orechin has been actively shaping musical environments with his current projects No Seas, a solo project for guitar and tape, and leading his own ensemble incorporating jazz, chamber, and experimental elements into his compositional work. A diverse talent that is reflected in the company he has shared the stage with: Nas, Akae Beka, Rana Mansour, Shad, Yaadcore, and Sina Bathaie. He has played in USA, Mexico, Europe, and Russia. Performances include the TD and Montreal Jazz Festivals, Caribana, Irie Music Festival, Tirgan Festival, and Pride Toronto. His music for film has been featured at TIFF, CFC, NFB and the Warsaw Jewish Film Festival. He has been featured on CBC, Noisey, Global News, The Star, Dub Rockers, Huffpost, Afropunk, and Relix magazine. 2020 saw the premier of '1992 Ambient', a 45-minute long composition that is a 'therapeutic experiment in slowly melting sound and colour; representing the acculturation and restructuring oneself through emigrating from Russia to Canada in 1992'. 2021 will also see the release of his debut full length album Mirages; an album that showcases his diverse and ever evolving style of composition, ranging from moments of melodic solitude to fractal experimentalism.

The Roman on the cover soldiers on in silence. This album is the product of excavations in materials recorded at home, EMS in Stockholm, Worm in Rotterdoom, and Willem Twee Studios in 's-Hertogenbosch, much of which has been collaged, recollaged, broken apart, bleeped backwards and put back together with the kind of casual elegance that takes years of practice to perfect. Hiele is a very busy man: aside from his music (solo, commissions, and in collaboration with far too many people to mention here) he co-runs Table Dance - a bar-restaurant-venue in Antwerp's red light district - and Universal Exports, a shady organisation that occasionally releases records. Limited edition of 300 copies. Includes a poster/insert, download code and a UE sticker.

"Ultra Eczema rarely reissues records: firstly, because we believe it's hard to improve on a good original (and we would never want to republish anything that isn't); and secondly, it's called the Internet and you can find everything on it. Nonetheless, in 2015 we reissued Kraus' 'I could Destroy You With A Single Thought', a CDR from 2004, because it was camping in our all-time favourite records list for a decade and the data on this erratic medium tends to erase itself, much like a troubled past. 'A Golden Brain' was published in the first wave of the Covid pandemic via Kraus' bandcamp as a digital release. And once again we couldn't help ourselves. This is Kraus at his best: if a bedroom could be a stadium, he would play the main stage! Limited edition of 300 copies. Includes an insert, download code and a UE sticker."

The Pet Parade,” the title track to Fruit Bats’ newest album, might be a surprising opening track for longtime fans of Eric D. Johnson’s beloved indie folk-rock project. The six-and-a-half-minute tone poem smolders and drones over just two chords, inspired by the strange and silly community events that he saw growing up outside of Chicago, in La Grange, Illinois, in which people dressed up and showed off their pets. Decades later, The Pet Parade emerges in troubled times, living within what Johnson refers to as the beauty and absurdity of existence. While many of the songs on The Pet Parade were actually written before the pandemic, it’s impossible to disassociate the record from the times. As an example, producer Josh Kaufman (Bob Weir, The National, and Bonny Light Horseman, in which he plays with Johnson and Anaïs Mitchell) was brought in for his deep emotional touch and bandleading abilities. However, Johnson, Kaufman, and the other musicians on The Pet Parade drummers Joe Russo and Matt Barrick (The Walkmen, Fleet Foxes), singer-songwriter Johanna Samuels, pianist Thomas Bartlett (Nico Muhly, Sufjan Stevens), and fiddler Jim Becker (Califone, Iron & Wine) were forced to self-record their parts in bedrooms and home studios across America. Still, says Johnson, “The songs have enough intimacy that it doesn’t sound like it was made a million miles away.” Such tension and turmoil also impacted the lyrics of The Pet Parade. While “Cub Pilot” and “Here For Now, For You” began as more traditional love songs from a personal “I” to a specific “you” Johnson quickly realized that these songs needed to comfort broader audiences, changing the words to a more inclusive “we” and “us.” So too in “The Balcony,” a song ostensibly about a particular space in his grandmother’s apartment, but one that evolved into a metaphor on patience. At times upbeat and reassuring (“Eagles Below Us”) and at times quietly contemplative (“On the Avalon Stairs”), The Pet Parade marks a milestone for Johnson, who celebrates 20 years of Fruit Bats in 2021. In some ways still a cult band, in other ways a time-tested act, Fruit Bats has consistently earned enough small victories to carve out a career in a notoriously fickle scene. And Johnson himself who has played in The Shins, composed film scores, gone solo and returned back to the moniker that started it all, and most recently, earned two GRAMMY® nominations with Bonny Light Horseman doesn’t take this long route of life’s pet parade for granted. “I’m still really excited to make records,” he says. “Lucky and happy and maybe happier that things went slower for me. I’m savoring it a lot more.

“The rumors are true; Providence, Rhode Island is permeated with a mysterious energy”. So says Dave Litifreri, guitarist and vocalist of
Urdog. “Some of us focused this energy, learned to live with the ghosts and tell their story.” It’s a story chronicled on Long Shadows, the new Urdog retrospective on Rocket Recordings - the work of a mercurial band whose music may have been summoned from fog and ghosts, yet possesses considerable staying power beyond their brief time on the planet. “We were influenced by the horror of late-capitalism in general every day” says drummer and vocalist Erin Rosenthal, “This glued and glues us together, also love of bicycles, french fries and faerie folk. Big influences for me were Robert Wyatt, Incredible String Band, Dagmar Krause, but especially This Heat, Riot Grrrl and 90’s hardcore.” From such disparate inspiration came psychically heavy jams and wild improvisational voyages from this triumvirate which chart an instinctive and wild journey, drawing the interplanetary dots between early ‘70s freak-flag-waving transgressions and the folk-tinged frontiers of the early 21st century US underground. Mantric repetition, ceremonial ambience
and fuzz/wah tinged blowouts take equal prominence in this dreamlike realm. Drawing the interplanetary dots between the drone ’n’ klang of Amon Düül II and the cultish hallucinations of Sunburned Hand Of The Man, and replete with both an earthiness of approach and a powerful celestial intensity. “We used our intuitive connection to let three distinct voices be heard” reflects Dave. “There was no foundation; they supported each other. Once that is achieved, a vibe develops. Getting into the space of a song is something you can’t notate. We had the keys, but getting to the door was the trick. Some nights we got all the way through the roof to the stars.”

Clock, featuring two extraordinary songs written and performed by Arden herself. A vinyl-only edition of 250 copies, with fold-out poster and insert containing sleevenotes by Jack Bond, Sam Dunn, Charlotte Procter and Sebastian Saville. Arden and Bond’s collaborative career gave Britain some of the most extraordinary films it ever produced. Their filmography is woefully short - but it’s full to the brim of incredible, daring ideas and completely unfettered imagination. It’s packed, too, with pain and a disconcerting honesty about the human condition; challenging commonly-held ideas about madness and positing ideas which are far less easy to categorise or control. Anti-Clock, their final work together - Arden took her own life three years after its release - is a complex, contemplative piece, and Arden’s apparently comforting delivery of her self-penned songs and the see-saw flow of Mihai Dragutescu’s delicate instrumentation act only as a means to lure us in; to begin the de-programming. In Arden's book You Don’t Know What You Want, Do You?, the basis for the network of ideas at play in Anti-Clock – the motif of the rat is used as a metaphor for the rational mind. The lyrics to ‘Sleepwalking’ (living in a daze, wandering in a maze) also conjure up images of lab rats, of unthinking beings adhering to rules and systems, never questioning what is beyond what they think they know to be true. At the close of Anti-Clock, the central character, Sapha, simply says, ‘It has been my whole life's will to decode this puzzle, as though inside the answer to this equation was the insurance of that peace of mind that had eluded me. But there is no puzzle. And the mind is never peaceful. And dawn’s already here as the stars appear.’

Originally released on Celluloid Lunch (Canada), really excited to do the Euro edition. Drawing influence from the looser end of the Ork records catalogue, the sensitive side of Ohio’s proto-punk scene and the grittiest and most sluggish tangent of 70’s power pop, Itchy Self’s debut 12” is an exploration of fully formed songs treated with spontaneous delivery. The group got together in early 2020 for 3 practices and a recording session and here are the results, laid out in their raw form. This is cross-generational racket n roll music that wears its heart on its loosey goosey sleeve. ‘B what you B’ is a life affirming testament to living against the grain that calls to mind the Modern Lovers’ aggressive positivity. Title track ‘Here’s the Rub’ is a barrage of abstract lyrics and skronky shred. ‘God Bless the Ego’ is an ode to the looseness and blurry eyed lucidity of indie rock’s forbearers such as Chilton, Kilgour, Pollard and Malkmus. ‘Reprobate’ is a Stones style ballad that channels the Saints and Johnny Thunders in equal measures. ‘Playing MTV’ is an audacious end remark to the record, that rips on classic Velvets strut and testifies it’s own ridiculous merit through boastful and catty lyrics. All in all, of course, it’s only Rock n Roll. This record is 1 part follow up to the Protruders “Poison Future” 12” on Feel It records (2019) and 1 part the first chapter of a new and exciting group formed in Canada’s capital of de-proffessionalized rock music. Recorded to 1/4 inch tape by Scott Munro (Preoccupations) and mastered by Mikey Young (Total Control), this record should provide a concise opening statement to anyone with the least bit of concern about Itchy Self. You’re gonna need an ocean of calamine lotion. Sorry State Records

Corvair is what happens when you trap two Scorpio songwriters in a house together. Comprised of a Portland-based husband / wife duo of two seasoned musicians (Brian Naubert and Heather Larimer), Corvair’s debut album charts a starcrossed love story over three decades, five cities, and six continents. Spanning from atmospheric pop to jangly confessional, 70s AM to 90s FM, this work is laden with stunning turns of phrase and prodigious melodies, two voices leaping to meet in the ether. Corvair’s debut album was largely created during the COVID pandemic shut-down of Spring 2020. It includes work with drummer Eric Eagle (Jesse Sykes, Wayne Horvitz) and Engineer Martin Feveyear (Brandi Carlile, Mark Lanegan, Mudhoney), who also mixed the record. Larimer explains, “Being stuck in a house together with very little outside influence made us more emotionally raw, definitely weirder, and also more patient and intricate in developing the songs. And because we were in a bubble, cooking dinners from paranoidly-disinfected groceries and listening to old records, really disparate references from some of our favorite music ended up colliding in odd ways--an emotional Judas Priest bridge, an anthemic Pixies outro, a spacey keyboard sound from Steve Miller, Jeff Lynne's acoustic guitar tone, a Carpenters-style lush harmony. I think it's a wonderfully weird record, but also very in-your-face pop because what else are you going to do when the world feels like it's ending?" Separately, Naubert and Larimer have created or appeared on more than 20 records. Heather’s musical mainstay was the garage pop band Eux Autres, broadly hailed as a “veritable cult classic” band, radio-debuted by the legendary John Peel, and featured in many shows, movies and commercials. Brian is a longtime fixture of the Northwest rock community, having played in vital bands such as Tube Top, Pop Sickle, and the critically-lauded Ruston Mire, since 1993. More recently, Brian released his first solo record, Hoffabus and a record with the NW Supergroup, The Service Providers. Naubert and Larimer’s decades of separate music making have finally combined, culminating in this tour de force from two formidable songwriters. Corvair sounds like nothing you’ve ever heard and everything you’ve always loved.
Press quotes: “Smart, infectious, jangly pop.” Everett True // “An irresistible set of bouncy indie-pop tinged with surf music and ‘60s girl groups, contrasted with the band’s often-biting lyrics.” KEXP.org // “One of the more exciting independent releases of the year...a veritable cult classic.” Under The Radar // “Three chord garage pop that hangs on a raunchy guitar line and crisp production from Janet Weiss (Sleater-Kinney, Quasi).” MAGNET Magazine // Brian Naubert - vocals, guitars, bass, keyboards, percussion. Heather Larimer - vocals, keyboards, percussion.

Mike Lundy, Lemuria, Aura. This trifecta of inimitable Hawaiian acts descended upon Honolulu’s state-of-the-art Broad Recording Studio in late 1979 to create what have now become the most coveted Hawaiian funk/soul/jazz albums of the era.

But whereas Lemuria functioned as a short-lived studio band and Mike Lundy saw little success from his album’s release, Aura — comprised of eight siblings from the Mendoza family — remained a key figure in the nightlife scene of Hawaii of the 1970s and early 1980s.

Each tune on their 1979 LP showcases the band’s unmatched musical talent that continues to astonish listeners in the 21st century, including Juno Records: “Raw funk… honey-coated soul… grooves and big smiles… lavish Hayes-level horns… dynamic and luxurious full-spectrum harmonies. Stunning.” Available on vinyl and digital for the first time since its initial release, Aura is a rare example of an album that in today’s crowded reissue landscape really does live up to its mystique.

Mike Lundy, Lemuria, Aura. This trifecta of inimitable Hawaiian acts descended upon Honolulu’s state-of-the-art Broad Recording Studio in late 1979 to create what have now become the most coveted Hawaiian funk/soul/jazz albums of the era.

But whereas Lemuria functioned as a short-lived studio band and Mike Lundy saw little success from his album’s release, Aura — comprised of eight siblings from the Mendoza family — remained a key figure in the nightlife scene of Hawaii of the 1970s and early 1980s.

Each tune on their 1979 LP showcases the band’s unmatched musical talent that continues to astonish listeners in the 21st century, including Juno Records: “Raw funk… honey-coated soul… grooves and big smiles… lavish Hayes-level horns… dynamic and luxurious full-spectrum harmonies. Stunning.” Available on vinyl and digital for the first time since its initial release, Aura is a rare example of an album that in today’s crowded reissue landscape really does live up to its mystique.

From Nanakuli comes a simple yet stunning ode to the islands with “Hawaii Is Beautiful”, composed and performed by Mike Kahikina. Previously unreleased, “Hawaii Is Beautiful” has been restored and remastered from original master tapes.

Kahikina played an active role in Hawaii’s music scene in the 1970s and 80s, writing and performing protest songs in support of sovereignty for the Kingdom of Hawaii and land rights for Kanaka Maoli, or native Hawaiians. Featured in the 1988 music documentary Hawaiian Rainbow is Kahikina’s song “Who Came First” which provides a clear, poignant message: “Who came first to Hawai‘i? All of us kanaka’s. And how come us kanaka’s, we no own the aina?” Kahikina later served as state representative on the Hawaiian Homes Commission from 2011-2019, championing Native Hawaiian’s rights to homestead lands and pressuring the state government to provide better access to and higher quality of housing for kanaka.

Despite the frustration and fiery feelings he expressed in his protest songs (check out his song “I Am A Native” with Nelson Waialae, written in protest of kanaka who were evicted from Waimea Valley), Kahikina still had plenty of room for songs of love and aloha for his home, including a rare 45 devoted to the art of surfing (“Ocean Rider”, recorded under the name Ka’ala). “Hawaii Is Beautiful” is a shimmering statement of Kahikina’s aloha for his home; a palm-trees-are-swaying tribute to the natural beauty of the Hawaiian Islands.

From Nanakuli comes a simple yet stunning ode to the islands with “Hawaii Is Beautiful”, composed and performed by Mike Kahikina. Previously unreleased, “Hawaii Is Beautiful” has been restored and remastered from original master tapes.

Kahikina played an active role in Hawaii’s music scene in the 1970s and 80s, writing and performing protest songs in support of sovereignty for the Kingdom of Hawaii and land rights for Kanaka Maoli, or native Hawaiians. Featured in the 1988 music documentary Hawaiian Rainbow is Kahikina’s song “Who Came First” which provides a clear, poignant message: “Who came first to Hawai‘i? All of us kanaka’s. And how come us kanaka’s, we no own the aina?” Kahikina later served as state representative on the Hawaiian Homes Commission from 2011-2019, championing Native Hawaiian’s rights to homestead lands and pressuring the state government to provide better access to and higher quality of housing for kanaka.

Despite the frustration and fiery feelings he expressed in his protest songs (check out his song “I Am A Native” with Nelson Waialae, written in protest of kanaka who were evicted from Waimea Valley), Kahikina still had plenty of room for songs of love and aloha for his home, including a rare 45 devoted to the art of surfing (“Ocean Rider”, recorded under the name Ka’ala). “Hawaii Is Beautiful” is a shimmering statement of Kahikina’s aloha for his home; a palm-trees-are-swaying tribute to the natural beauty of the Hawaiian Islands.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Deep Seven No.10, the infamous final 12” from Deep Seven that never reached a full release. Only a short promo run hit the shops in 1993 before the label closed for good. ‘Release’ brought to the series a continuation of the huge tracks that graced local label ‘Contagious’ in the early 90’s. As time passed, ‘The Jungle’ / ‘Musical Movements’ reached cult status, exchanging hands for hundreds of pounds when a copy surfaced on the market. The rarest of all the Deep Seven releases, with an additional version of ‘The Jungle’ that was not included on the original press. Remastered from the original DAT and presented on our 180g vinyl, this final 12” completes the entire Deep Seven back catalogue.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

We met Moonilena in Stockholm a few years ago. Pedrodollar told us that she plays weird music and we'd get along - he was completely correct. The subsequent mixtape she put together for the Rinse FM show became a total obsession and it wasn't until months later that we found out some of our favourite tracks included were unreleased, so here we are a year or so later and we hope it soothes and uplifts you in equal measure.

Clarinetist, composer, singer & spiritual jazz soothsayer Angel Bat Dawid presents this powerful live document alongside her band, Tha Brothahood. LIVE was mostly recorded on November 1st, 2019, at Haus der Berliner Festspiele in Berlin, Germany, during the 2019 edition of JazzFest Berlin. For Angel and Tha Brothahood - which includes Deacon Otis Cooke (vocals, synth), Viktor Le Givens (vocals, auxiliary instruments), Xristian Espinoza (tenor sax, percussion), Norman W. Long (electronics, synths), Dr. Adam Zanolini (double bass, bass guitar, soprano sax, flute, percussion), Isaiah Collier (drums), and Asher Gamedze (drums) - it was the first stop of their first European tour. Angel and her band experienced a number of difficult, racially charged interactions during their two days in Berlin. But despite, or perhaps in light of the difficulties they faced, they performed a set at Berliner Festspiele that Angel considers to be one of their best ever. "The show was very deep, and really helped me to process all the rage, and uncomfortable things I was feeling... It made me think of all the artists of the past who endured way more than I ever will with this music industry. It was a very freeing and beautiful show... we played our ass off!!"

No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years, primarily through his collaborations with the Afrobeat maestro Dele Sosimi (former keyboardist for both Fela and Femi Kuti) and with the pianist Kishon Khan. Most recently in Khan's projects Lokkhi Terra and the Afrobeat/Cuban crossover, Cubafrobeat.

Thurgur has worked with Cuban giants Giraldo Piloto, Changuito and Julito Padron, with the Nigerian drum legend Tony Allen and with Damon Albarn's Africa Express project; which included Cheick Tidiane-Seck and Fatoumata Diawara. He's also worked with the likes of Bukky Leo, Francis Fuster, Pandit Dinesh, Baby Akhtar, Inemo, Tony Kofi, Kodjovi Kush, The Soothsayers, The Levellers and The Selecter.

He is perhaps most known as the trombonist from the multi-award winning 'folk' group Bellowhead. Their split in 2016 led to him forming his own band and releasing his debut album as a bandleader, 'No Confusion'.

The album features original compositions written by Thurgur in collaboration with double bassist Max De Wardener, piano/rhodes/Hammond organ player Kishon Khan and guitarist Phil Dawson, with band members including the likes of Graeme Flowers on trumpet, James Allsopp on bass clarinet and Oreste Noda on congas.

Thurgur promoted 'No Confusion' throughout 2016 and 2017, culminating in an enthusiastically received performance at Love Supreme Jazz Festival in 2017. Jazz FM, in particular Chris Philips, gave extensive airplay to the album as well as streaming a live performance from the Jazz FM studios and doing an interview. They subsequently playlisted two of Thurgur's single releases. Lopa Kothari played a track on BBC Radio 3's show 'The World On 3'. The band did a live interview and performance on DJ Ritu's 'A World In London' show on Resonance FM. Beyond this Thurgur has been developing relationships with various other digital radio stations, including Gordon Wedderburn, John Waugh and a number of Global music stations based in Europe.

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

Collection of unreleased demos of every track written for the fifth PJ Harvey studio album Stories From The City, Stories From The Sea, including demos of ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’. Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator Head. Features brand new artwork with previously unseen photos by Maria Mochnacz.

Reissue on vinyl of the fifth PJ Harvey studio album Stories From The City, Stories From The Sea. Produced by PJ Harvey with Rob Ellis and Mick Harvey, and originally released in November 2000, Stories From The City, Stories From The Sea features the singles ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’ and includes a duet with Radiohead’s Thom Yorke on ‘This Mess We’re In’. The album won the Mercury Music Prize in 2001. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.

* The Menahan Street Band includes members of The Roots, Budos Band, Lee Fields and The Expressions and The Dap-Kings...an all star Brooklyn line up!

* First album in 9 years.

*LPs are In gatefold sleeve and contain download code.

* MSB tracks have been the foundation for some of modern hip-hop's most successful beats; their music has been sampled by the likes of Eminem, Jay-Z, Kendrick Lamar, Travis Scott, 50 Cent, Curren$y, to name a few.

Menahan Street Band, a veritable supergroup of some of today's most prolific songwriters, arrangers, and producers return with this beat-forward, cinematic masterpiece.

Their unique brand of instrumental soul has not only been the foundation for some of modern hip-hop's most successful beats, it has also become the perennial soundtrack and veritable vibe-generator for countless parties, art shows, and restaurants throughout NYC and abroad.

While this album carries the aesthetic torch that MSB has skillfully woven into the tapestry of their DNA, it also delves deeper into the experimental, exotic sounds that fill many of the coveted Sound Library and Soundtrack LPs of the late sixties and early seventies - an amalgamation of moog synths, electric pianos, drum machines, and a bevy of analog instrumentation, that ebb and flow in lush swells of Morriconian grandeur.