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Cocteau Twins, Jefre Cantu-Ledesma, Julia Holter, DIIV, Washed Out, Broadcast, Insides, Beach House, Drug Store Romeos. Introducing Beneather, a BAFTA-nominated composer from North London obsessively crafting sad, lo-fi, cinematic, ambient scandi-dreampop submerged in gently fuzzy tape loops. Much like the paintings of Gerhard Richter or a heavy mist rolling through a familiar landscape, the debut long player from Beneather obscures and blurs ten beautiful tracks beneath washes of cinematic, ambient scandi-dreampop – details emerge and fade, voices ooze and flow, tunes soothe and unnerve, metronomic beats click and swing. It would not be out of place on a David Lynch or Jim Jarmusch soundtrack. Inspired by the likes of Jefre Cantu-Ledesma, Hammock, Grouper, Low, GAS, Huerco S., Emeralds, Jenny Holzer, William Basinski & ABBA!! Beneather is the solo project of Lewis Young - composer and collaborator in The Leaf Library, drone pop from north London. As a composer, Lewis recently scored the British short ‘Lucky Break’ which found its way into the BAFTAs short list only to narrowly miss out on the gong. Lewis is a multi-instrumentalist, producer, designer and filmmaker currently living in Walthamstow, London. He started as a guitarist in noughties math-rockers Tea with the Queen, shifting to bass for multi-harmonied Naomi Hates Humans before returning to thumping roots as drummer for The Leaf Library. Objects Forever - the imprint label created by The Leaf Library - has provided Lewis with the vehicle to jump back into experimental song craft, inspiring the genesis of Beneather. “I just needed to make a project which spoke to all the aspects of music I’ve loved creating as a multi-instrumentalist. Plugging things into things to make satisfying little electronic loops, then layering extremely minimal bass and guitar lines with a lo-fi aesthetic. Melinda and I spent a few days in the studio - picking out objects, patterns… items that could inspire a thread of instinctive wordless melody. I took that expressionism and sliced it to pieces, rearranging it into ambient vocal hooks.” Beneather is an exercise in hypnotic simplicity. Experimental, dream-like music built on layers of scratchy electronic tape loops, chiming spacious guitars and abstract pulsing vocals. These cinematic songs combine Grouper's wistful deviations with the warm fuzz of Jefre Cantu-Ledesma, the nocturnal hum of Emeralds, the crackling collapse of William Basinski and Low's glacial pop melancholy. Outside of compositions for film, TV and Podcasts - Lewis plays with the indie drone-pop band The Leaf Library, featuring Matt Ashton from John Peel faves Saloon (“World-weary yet innocent, blissful dream-pop” - UNCUT - 8/10). Lewis has supported the likes of Lali Puna, Joanna Newsom, Lætitia Sadier & Alexis Taylor.

If you are looking for nostalgia and rocksteady at its finest, all in one package, then this vinyl by Keith & Tex offers a good blend of both.



Born in the rocksteady era, Keith & Tex made their mark with a slew of hits and classics that have lasted over 50 years. From their haunting rendition of "Hypnotic Eyes" to the iconic guitar intro and solo of Lynn Taitt on "Stop That Train", you are treated to a unique style that still lives on after five decades. Since 1967 many of their songs have enjoyed great success and continue to be played and sung by a new generation of rocksteady lovers. This duo has a style that still seems surprisingly engaging and refreshingly innocent.





So lean back, turn up the stereo or plug in the earphones, and enjoy!

Cream White Vinyl


It finally took five years and two lineup changes for Handful of Snowdrops to release their debut album, the iconic Land of the Damned. While too many of the songs written during that period never made it to tape, some fortunately did.

This is what we believed is first home recording from the second generation of the band with Jean-Pierre as the lead singer. All tracks were recorded in a single day in a dark and humid basement using a beaten-up TEAC 4-track tape cassette recorder borrowed from a friend. Since the original mix downs are long gone, we had to salvage the music from two old worn out cassette copies.

It would be fair to say that the recordings are very representative of the overwhelming naivety of the early compositions. It’s a unique chance to have another look inside an old photo album you thought you had lost forever.

New Heavy Sounds is proud to present the new album by Mammoth Weed Wizard Bastard. now known simply as MWWB. There has been some speculation amongst fan circles that the final part of the trilogy of albums that preceded this, marked the end of Mammoth Weed Wizard Bastard’s five-year mission. Not so. We can categorically confirm that having officially slimmed their name down to the acronym, MWWB are continuing their voyage through the far reaches of the galaxy. The first phase of that journey is their new album ‘The Harvest’. ‘The Harvest’ is the band’s fourth album, and of course it is a record shot through with the trademark heavy MWWB sound, and their unique blend of metal and shoegaze. However it also sees the band adding more experimentation, a progressive approach, and going a bit more left field conceptually. To some extent, it shares similarities with Pink Floyd’s ‘Dark Side Of The Moon’. Not only by having the mix of experimentation and melodicism as that seminal record, but also in the way that it has been engineered and constructed as a seamless piece. Nine tracks flowing into one another. Space age riff monsters segueing into shorter musical interludes, where John Carpenter, rubs shoulders with Pink Floyd and a maelstrom of moog and mellotron. There are surprises, and of course a bucketload of heavy shit. With ‘The Harvest’ MWWB have refined and honed their sound, it’s a carefully crafted distillation of ideas, written, conceived and sequenced to be listened to in its entirety (preferably in one sitting). MWWB have always loved film scores and this new album is in many ways, the soundtrack to a film. MWWB provides the musical narrative (the song titles also provide a pointer) and the listener's imagination does the rest. ‘Oblok Magellana’ and its spooky atmospherics set the scene. before things really kick in with the riffs of title track ‘The Harvest’. A grooving Sabbathian chug intro’s Jessica Ball, who at the top of her game throughout. Her voice simultaneously sweet yet dark; almost neofolk; which when put against those riffs, is always a startling juxtaposition, nevertheless it perfectly crystallises MWWB’s distinctive dynamic. ‘Interstellar Wrecking’ is a succinctly crafted nugget of John Carpenter-esque drama, you can imagine the thundering mothership forging its way through the universe on some nameless quest before encountering ‘Logic Bomb’ and its fat fuzzed-up ride through light and shade guitar/vocal interplay. Ball’s voice soaring and shimmering throughout. ‘Betrayal’ gives a nod to Pink Floyd’s ‘On The Run’ but with its freaky spoken word and four on the floor kick it’s almost a dance track, yet there’s no incongruity here. ‘Altamira’ is epic MWWB, adding large doses of psych into a melodic concoction of dreampop and metal. Ball’s vocals here are many layered and textured effortlessly gliding through the weight of the backing. ‘Let’s Send The Bastards Whence They Came’ is another little gem. A plaintive repeating synth figure that builds with bass, drums, mellotrons and synths into ‘Strontium’ which rounds off the album’s ‘heavy’ numbers, a blend of monster grooves, and Ball’s swooning vocals. Finally, and outstandingly, Jessica strips things back to a distorted guitar and voice on ‘Moonrise’. Shorn of the layers of fuzz, it is a simple, beautiful and fitting catharsis to an epic voyage. MWWB are a thrilling proposition. They demonstrate that you can seamlessly mix crushing power, experimentation and delicate vulnerability into something that transcends any genre.

Stunning second album from Royal Headache and 2015's underground pop sensation. Royal Headache's follow-up, retains that swagger, pop hooks and grace but adds extra romance and instant appeal. The amount of emotion and range of Shogun's vocals and the whip-smart counterpoint provided by the band - drummer Shortty, guitarist Law, and bassist Joe - present a dash through decades of pop history, recombining not just the music but all of the feelings of pain and joy elicited from audiences, supercharged and ready to explode once more. Shogun's voice and lyrics aren't so much a secret weapon in Royal Headache's arsenal as they are the front line, happiness and hurt soaring above the songs, driving home all the feelings within. For fans of the Buzzcocks, The Strokes first album, Marked Men and The Undertones.

A turning point for the band: Savatage's 1989 studio album exploring the
more progressive sound.
Even the album's regal front cover demonstrated the band's continued
musical evolution.To quote producer Paul O'Neill: "Savatage was
graduating from being a heavy metal band to becoming more than a
heavy metal band
On Mountain King, we had toyed with a little bit of more symphonic, progressive
side, but we hadn't taken it as deep as we did on Gutter."
Mastered for vinyl and reissued with the original cover design, enhanced artwork
including a 12pages LP booklet with extensive liner notes by Clay Marshall, the
album will become available as a 180g Black Vinyl Gatefold Edition and as a
Strictly Limited Heavyweight Collector's LP Edition on Silver Vinyl which includes
an exclusive '89 poster replica and an exclusive 10" Vinyl Single featuring the
songs "Thorazine Shuffle" (Side A) and a 1990 live version of "When The Crowds
Are Gone" (Side B).
"It's a very versatile album. It shows all sides of the band, and where we were
going with our songwriting. Working with Paul there were no limitations, we were
no longer just a heavy metal band, we now were a band ready to explore and
grow, as the follow up album "Streets" clearly shows. "Gutter Ballet" remains in
my top 3 favorite Savatage LP's." (Jon Oliva)

A turning point for the band: Savatage's 1989 studio album exploring the
more progressive sound.
Even the album's regal front cover demonstrated the band's continued
musical evolution.To quote producer Paul O'Neill: "Savatage was
graduating from being a heavy metal band to becoming more than a
heavy metal band
On Mountain King, we had toyed with a little bit of more symphonic, progressive
side, but we hadn't taken it as deep as we did on Gutter."
Mastered for vinyl and reissued with the original cover design, enhanced artwork
including a 12pages LP booklet with extensive liner notes by Clay Marshall, the
album will become available as a 180g Black Vinyl Gatefold Edition and as a
Strictly Limited Heavyweight Collector's LP Edition on Silver Vinyl which includes
an exclusive '89 poster replica and an exclusive 10" Vinyl Single featuring the
songs "Thorazine Shuffle" (Side A) and a 1990 live version of "When The Crowds
Are Gone" (Side B).
"It's a very versatile album. It shows all sides of the band, and where we were
going with our songwriting. Working with Paul there were no limitations, we were
no longer just a heavy metal band, we now were a band ready to explore and
grow, as the follow up album "Streets" clearly shows. "Gutter Ballet" remains in
my top 3 favorite Savatage LP's." (Jon Oliva)

Don’t ya know it’s hard to be a god. No reason to sugar coat it, what you’re getting is peak Whitney K, poetry in motion and masterful writing where words, harmony, arrangements all dance in the same direction, free flowing through songs about change and memory. A voice as an instrument.

Hard To Be A God is the new mini-album by Whitney K and follows 2021’s acclaimed ‘Two Years’. Now based in Montreal, once again Konner Whitney is accompanied by friend, musician and all-hands-on-deck collaborator Joshua Boguski and by multi-instrumentalist Avalon Tassonyi.

Double black vinyl LP format of the 1994 OST from one of the all time classic films. Features 32 songs including Elvis Presley, Aretha Franklin, The Four Tops, Bob Dylan, The Beach Boys, The Mamas & Papas, Simon & Garfunkel, The Byrds, Lynyrd Skynyrd, The Supremes, Willie Nelson, Joan Baez and more. Marketing activity.

Black Vinyl, DL card. CD Capacity wallet. A reawakening for the Swedish visionaries, Sincere solidifies their impressive trajectory in a fuzzed out haze of dark and arresting shoegaze pop. An expansive trip through noisier, bittersweet pop realms that recalls My Bloody Valentine, Slowdive and Deerhunter. Underpinning everything there’s a continuing sense of drama throughout; richly textured crescendos, chiming guitars and delicate melodies are guided by Caroline Landahl’s tender yet sharpened vocals. Sincere is joyously effervescent, but with a dark underbelly where fury manifests in a swirl of entrancing and propulsive percussion. A gorgeous and dazzling piece of aching romanticism, destined to feature on a thousand mixtapes. Recorded last year in Malmö, Hater welcomed two new band members and those early day sparks saw them quickly turning demos into fully-formed new songs that appear on the record. Sincere was produced by long-time collaborator Joakim Lindberg and was mixed and mastered by John Cornfield, whose credits include Ride, The Stone Roses and Robert Plant. // “One of the best bands in the world” Gorilla vs Bear // “Your next Scandinavian indie pop obsession.” Flood // “Stunning” Stereogum

Since its original release in 1984, Piledriver's bolt-from-the-blue debut
'Metal Inquisition' has found a legion of fans worldwide, over successive generations and spanning all stripes of metal


The album was the work of one metal maniac named Gord Kirchin, who became the selfsame "Pile Driver" so eloquently depicted on the album's cover art, and a certain "Bud Slaker" - AKA Leslie Howe, whose resume did not include any heavy metal before nor after. Nevertheless, together the duo recorded a crude 'n' rude document of blitzkrieg Metal spirit, spit forth across songs that encompassed scuzzy speed metal and pounding traditional metal. The fact that the band was Canadian figured into this style of sound, as one could detect the likes of Anvil AND Exciter here.

Taut and tight, the 37 minutes of 'Metal Inquisition' ,demanded repeat plays…and now it will demand those repeat plays as Shadow Kingdom officially releases the album for the first time in over 20 years! The CD version will contain the full master of the album, including a "Crazy On You"- style intro to "Pile Driver" as it was originally intended, while the vinyl version will stay how they were in the '80s.


Absolutely mandatory metal madness!

Very limited vinyl pressing, 500 copies in a gatefold sleeve, a printed inner housing white and marbling effect vinyl with full download included. CD in a 4 panel digipack with a 4 page booklet. New Heavy Sounds is very proud to bring you Moongazer, the 2nd album by the 4 piece stoner rock powerhouse from Italy, TENEBRA. The band had already made waves on the scene with their debut album ‘Gen Nero’ before delivering ‘What We Do is Sacred’ their debut EP for New Heavy Sounds last year, 3 killer tracks that were but a taster of things to come. Moongazer takes the story a stage further with 9 slabs of crushing fuzzed up grooves, fuelled by 70’s proto metal, hard rock, punk, psych-blues and noise, loaded with great riffs and melody and topped off by gutsy soulful vocals. Musically, you could say that TENEBRA occupy similar musical terrain to bands such as Graveyard, Witchcraft, Kadaver and other bands of that ilk, but TENEBRA are very much their own beast. They have all the chops of course, but are musically less slavish, often adding a twist that keeps the songs fresh and now. There’s also very little reliance on Sabbath-isms (apart from one cheeky nod) and though occult rock is also part of the vibe, the music steers well clear of the cliches. In fact the band bring a clutch of left field influences into their melting pot as well, from June of 44 and Love Battery to the Misfits and the psych grunge of Screaming Trees. Of the 4 members, Claudio (bass), Emilio (guitar) and Mesca (drums) came from the hardcore and post-hardcore squat scene that gathered around Bologna, whereas their formidable vocalist Silvia (the youngest of the crew) is immersed in the underground rock of the '60s and' 70s. When you hear her sing you’ll know where she’s coming from as she has one helluva rock voice, laced with whiskey, smoke, grit, late nights and a whole lotta soul. Think Maggie Bell meets Betty Davis with a smattering of Gillan, and you'll be in the right ballpark. So what you get with ‘Moongazer’ is a band revelling in the spirit of 70’s rock rather than recreating it. ‘Heavy Crusher’ lulls you with its dreamy intro, but it’s not long before the riffs hit with Silvia in full effect. This pretty much sets the tone for the record, coiling proto metal riffs, executed with gusto and joie de vivre. And as with every track on this album, Silvia belts it out like she absolutely means it man. ‘Cracked Path’ continues the journey and ups the heavy fuzz a notch or 2. First heard on ‘What We Do Is Sacred’ (full length album version). ‘Black Lace’ is a brooding beast, epic and melodic, almost a ballad, with a heap of soul lurking within, courtesy of Silvia’s mighty voice. ‘Carry My Load’ keeps the brooding vibe going till the loping off kilter killer riffs kick in. This is definitely Silvia at her most Gillan-esque. ‘Winds Of Change’ does just that, dial things down to bluesy, almost psych feel, with dreamy solos and a hooky guitar break. ‘Stranded’ is a full on stoner rocker as is ‘Space Child’ with its short homage to the dark lords, there’s even a a sax solo. Never one’s to just play it straight these guys. ‘Dark And Distant Sky’ is pure proto metal, a la Bloodrock or Grand Funk, it truly rips, and once again, it’s construction veers it away from anything approaching what you’d expect. ‘Moon Maiden’ is the album’s closer, featuring Gary Lee Conner (no less) of the aforementioned grunge legends Screaming Trees, guesting on guitar. It’s a fitting and epic closer, by turns hard ‘n’ heavy, psychedelic and chock full of great ideas. MOONGAZER is without doubt an accomplished sophomore release that deserves to be heard and appreciated, purely because, though it may appear to reside in the world of stoner, it is so much more.

Brand new studio album by The William Loveday Intention as part of their “career in a year”! “The cover pic is from a visit I made with my son and friends to the artist Giovanni Segantini's hut in the High Alps sometime around 2016. Segantini (1858-1899), was an illiterate and stateless artist famous for his paintings made in the Engadin. The title track is about living your life through someone else's YouTube channel: a blow by blow account of how their life in the frozen north is more, picturesque, sensitive, fun, enlightened and artistic than yours could ever be. 'Stood Upon a Chair' is about the villain Jessie James, but without the romance part that is usually added to such tales. 'You Gotta Move', a Mississippi Fred McDowell cover, is one of the best recordings we've ever made. Here I’m accompanied by my wife Julie and my friend Dave Tattersall who plays electric slide guitar. A true gem which should make someone, somewhere, rich and famous. (Or at least make Mick Jagger blush with shame.) Topping it all off we hit a couple of old Headcoats numbers with added verses that reveal the hidden depth behind those impeccable pop songs.” - WILLIAM LOVEDAY 2022

Within Reason Records welcomes Hugh Mane to the fold with a four track EP that is his most polished work to date. Veering away from his usual club ready sound, Hugh takes a much more relaxed approach on 'Resonant Moods', choosing to focus on meticulous production techniques and textural layering to create an EP that transcends both time and space. Often the case with Hugh's music, you can be 6 minutes into a track and not know that any time has passed at all. 'Resonant Moods' is a wonderfully crafted EP that encapsulates emotive tonality and playful rhythms, whilst oozing spacious sub frequencies.

Warm Currency is a new project by Sydney-based friends, artists and musician’s MP Hopkins and Mary MacDougall. Mary began working with MP Hopkins and Christopher Schueler in 2008 as Vincent Over the Sink morphed into The Bowles. ‘Returns’ was recorded in Mary's home during 2020-2021 and is their first release since 2012's The Bowles EP (Kye). Quietly intense folk music, song-poems, and concrète collages built from seemingly simple and delicate arrangements for guitar, keyboards, voice and tape. Recommended if you like Flaming Tunes, Nico, Alistair Galbraith, The Garbage and the Flowers.

Giacomo D’Attorre – lead singer of Clever Square – has been through a lot of late. With his band. In his personal life. Even just with the state of the world. This fire has fuelled Clever Square’s new record Secret Alliance, eleven tracks that explore feelings of frustration, disillusionment, and disconnection, and chronicle what it’s like to be swept along by a world that “gets noisier everyday”. The record was inspired by a creeping realisation; of coming change, and a sense that D’Attorre was “losing contact with who I was before, for the good and the bad.” New needs and desires surfaced; old ones disappeared. Thus he began writing around ideas of rethinking yourself, and “acquiring a new conscience of mutation”. The darker realms of science fiction informed much of D’Attorre’s thinking here; Philip K Dick, Ray Bradbury – ‘Mr. & Mrs. K’ was inspired by The Martian Chronicles – and Flannery O’Connor, whose The Violent Bear It Away proved particularly inspiring. All of this is perfectly framed by Clever Square’s shuffling, quirky indie, and cute melodies. Soft and worn around the edges, like the perfect flannel shirt, there’s a gentle, shambling quality to the music; “blue collar”, D’Attorre calls it. Guitar lines gently bloom, Fender Rhodes organ is sprinkled throughout, and the acoustic strumming sounds easy and unhurried. From the relaxed bustle and acoustic picking of ‘Hail The Proper Karl’, to the joyous, bouncy ‘Little Flaws’; from the stripped back melancholy of ‘Obsolete Epsilons’ to the arena-ready vibes of indie classic ‘Golden Wires’, D’Attorre has crafted a spell-binding, mesmerizing set of songs that delight on first listen and reward deeper inspection. “It’s a hymn to privacy, to the joys of secrecy, and solitude,” he says of Secret Alliance. That he wraps such heartfelt, profound topics in gloriously laid-back indie adds to the charm, and cements Clever Square’s status as one of Italy’s finest contemporary bands. The world might seem increasingly complex and be spinning ever faster, but Secret Alliance slows it down just enough to savour the scenery and think about charting a path back to something a little more manageable.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Seventies Collected features classic tracks and forgotten gems: Queen “Somebody To Love”, Billie Joel “Movin’ Out (Anthony’s Song)”, Lou Reed “Vicious”, Blondie “Atomic”, Paul McCartney & Wings “Mrs. Vandebilt”, Rodriguez “Sugarman”, Patti Smith Group “Dancing Barefoot”, Roxy Music “Dance Away”, Big Star “Thirteen”, Leon Russell “A Song For You”, 10CC “Dreadlock Holiday”, Grace Jones “La Vie En Rose”, Rush “Closer To The Heart”, Gerry Rafferty “Right Down The Line”, Minnie Riperton “Les Fleurs”, The Brothers Johnson “Strawberry Letter 23” a.o.

Various Artists - Seventies Collected is available on black vinyl and includes an insert.

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a particularly productive time for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums both digitally and on double vinyl, with extra tracks.

This reissue mini-series starts with »Papa’s Ear«. The second album from this expanded line-up of Tenniscoats, you can hear the musicians are immediately comfortable in each other’s presence, and they’ve almost intuitively understood what they can offer to one another. Saya and Ueno of Tenniscoats bring their magical, gentle folk-pop sensibility, and their winning way with straightforward, yet lush melodies. Johan Berthling, along with fellow Tape member Tomas Hallonsten, plus guests Fredrik Ljungkvist, Lars Skoglund, Andreas Söderstrom and Andreas Werlin, all generous and creative presences in the Swedish jazz underground, shades in the songs with endlessly inventive arrangements, highlighting the warmth and curiosity at the core of the Tenniscoats’ aesthetic – sometimes taking the songs in unexpected directions, other times pillowing the melodies with the softest of brushstrokes and the kindest of tones.

»Papa’s Ear« includes some of Tenniscoats’ most memorable songs. »Papaya« is a lustrous dreamland of a song, with the Swedish musicians singing ‘pa-pa-ya’ as an enchanted tattoo, while Saya’s piano and melodica clank and huff out, further expanding the song’s horizon. It’s followed by the spindly and mysterious »Sappolondon«, where drums and double-bass shuffle and pulse under weeping accordion and bittersweet clarinet. Saya’s voice sighs into the frame while the musicians breathe lungfuls of sweet drones and flick glittering countermelodies across the song’s surface. It reminds a little of the wild kindness of Movietone, or the regal charm of Carla Bley’s compositions.

Elsewhere, you can hear Tape and their friends embracing the freedom offered by the songs of Tenniscoats: see, for example, the glistening electronics in »På floden«, like a keyboard conducting a music box on a distant planet; or the descending phrase for winds on »Sabaku«, dovetailing beautifully into a creek of moon-lit texturology. The double-LP ends with two extra tracks, drawn from the 2008 Tenniscoats/Tape split single, also released by Häpna., »Lutie Lutie« is a sweet delight, driven by a clacking drum machine, the Tenniscoats duo joined by Hallonsten on glockenspiel and synthesizer, and special guest, Japanese indie-pop legend Kazumi Nikaido, as choir. »Come Maddalena« rounds off the set, a brooding cover of an Ennio Morricone tune, the music by Tape, the vocals by Tenniscoats and Nikaido. Open-hearted and full of puckish spirit, »Papa’s Ear« is an album of great tenderness and warm friendship.

The new 7" features the single, 'Romantic' which is a song about struggling to fit in, feeling down and finding comfort in romance. Connecting with someone because you both feel like you don't belong. "I gravitate towards things that bring me down, I always have, at least I know that now. Never forward, I thought all I had was the past. I used to think each birthday would be my last." "I sat inside on the brightest, warmest days. Everything I loved would always run away. Misery taught me everything I knew and then there was you." The B-Side is a cover of the Wedding Present song 'Octopussy" from their 1991 album Seamonsters. David Gedge himself said about the cover "Thanks... nice. Always interesting to hear different interpretations!" "God knows I've always had to fear the worst, but not that time. You brought me home and then you kissed me first. You were all mine." "A celebration of personal freedom" - DIY Magazine "Hekt's solo debut is part self-interrogation and part community offering, serving up tiny bursts of joy and doubt as refuge for anyone navigating a similar path." - Pitchfork "A first-person directness and grunge-schooled contrasting of melody" - Mojo

‘Wax Limousine’ is the third solo album from London’s Wesley Gonzalez. Set for release on 18th March via Moshi Moshi Records, the record is the follow up to last year’s critically acclaimed ‘Appalling Human’ and finds the indie stalwart delivering his most personal album to date, via a collection of 12 irresistible pop songs. The announcement arrives alongside the title track, which received its first play from Marc Riley on 6Music and its accompanying video, the second to be revealed from the record following ‘Greater Expectations’, released earlier this year. In support of the release, Gonzalez heads out on tour this November, headlining Electrowerkz on 25th and supporting Young Knives across the country (full dates below).

With its truly eclectic range of musical influences drawing on Gonzalez’s ever developing sonic palette, the album’s uplifting sound juxtaposes its themes, documenting the end of a long-term relationship and the overwhelming experience of dealing with a family member’s cancer diagnosis and subsequent treatment. ‘Wax Limousine’ navigates these hurdles with a razor-sharp wit and often brutally perceptive self-awareness, nowhere more so than on the new single. Inspired by both 'Faithless' by Scritti Politti and Aretha Franklin, it is Gonzalez’s version of an 80’s gospel song and, as he explains, written at a crucial point over the last 12 months

“This was written right after the breakup and cancer diagnosis. It was that early stage of a breakup where you can't really understand what went wrong for you or for your ex. There was resentment for the extreme change I had suddenly found myself in, and I was asking what it really was I did wrong. The title Wax Limousine came from old phrases like "as useless as an ashtray on a motorbike". I was trying to express how useless I felt within every situation that had just arrived at my doorstep.”

Wesley Gonzalez first made a name for himself as the leader of Let's Wrestle, whose tuneful and eccentric punk earned critical accolades and a devoted audience with three albums, including 2011’s Steve Albini produced ‘Nursing Home’. Gonzalez wasted little time forging his own path and quickly assembled a live band for his solo work, expanding upon the guitar-driven music of his former band, with an interesting concoction of classic 70’s pop, soul, and indie rock. Gonzalez released his debut solo record ‘Excellent Musician’ in 2017, then the follow up ‘Appalling Human’ in June 2020 through Moshi Moshi Records.

Having scooped the prestigious Record Store Day Unsigned 2020 award, her debut album 'In The Blue Corner' was released as a limited edition run on turquoise sparkle vinyl in November 2021. Now available on a full digital and physical release including a new vinyl pressing on dusk blue coloured vinyl. "Loving this. Really cool voice_ love the voice!" Craig Charles (6Music) // "The most original sound. Like Little Richard, Mark Ronson, Nina Simone and Nick Cave all got locked in a New Orleans speakeasy" Record Store Day Unsigned Panel 2020 // "Wow, I mean what's not to like about that? That is sensational! How groovy is that?! Mark Radcliffe, BBC 6Music // "What a voice!" Robert Elms, BBC London // "Her voice is stunning, powerful and unique, and her stage presence hits the back of the room at any venue she plays" DJ Anne Frankenstein, Jazz FM // Included in Craig Charles' Funk and Soul 'Ones to Watch 2022' list. From London via Lagos, charismatic chanteuse Sister Cookie will take you on an eclectic excursion into the roots & fruits of black music. Old sounds, new tricks. Sensuous, seductive and moody. As well as possessing a distinctive voice that's tender and sweet when it needs to be, she's a composer and self-taught pianist who writes honest and raw songs about pain, heartbreak, suffering - all that bad (meaning-good) stuff. A mainstay on the vintage Soul & R'n'R circuit since 2015 with slots at Wilderness, Latitude, Red Rooster, Port Elliot and more under her belt - as well as touring across Europe with her band - Sister Cookie has so far been supported by Craig Charles, Mark Radcliffe & Cerys Matthews at 6Music, Robert Elms on BBC London plus plays on Resonance, Jazz FM and Amazing Radio. Craig Charles is a big supporter on BBC 6 Music and has played current single 'Ain't No Good (But It's Good Enough For Me)' several times. Steve Lamacq and Lauren Laverne have also given the track multiple plays. The track has also been playlisted at Jazz FM. Singles from the album have been played many times across European radio stations including France Culture, Rock Radio (Greece), Radio Nova (Portugal), Mach 5 (Italy), HR Radio Sijeme (Croatia). She's performed at some of the UK's most esteemed venues including the 100 Club and Union Chapel, The Round Chapel and has enjoyed a number of stints as a guest vocalist with The Soulful Orchestra, Jim Jones & The Righteous Mind, Future Shape Of Sound & MFC Chicken. Sister Cookie Is going to be part of the judging panel for Record Store Day Unsigned competition in April, the competition she won in 2020.

Internationally-renowned British singer-songwriter Emeli Sandé with her forthcoming album Let’s Say For Instance, and her first release on an independent label, and it marks a new era of Emeli’s expansive artistry after a decade on stage and on the airwaves. Exploring new sonic territory through shades of classical, disco, nostalgic R&B and more, it sees Emeli freeing herself from the expectations of others, flexing her holistic skills as a songwriter, producer and vocalist in new, versatile ways. In her words: “‘an ode to resilience, rebirth, and renewal”.

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Eighties Collected features original hits like Wham! “Wake Me Up Before You Go-Go”, Duran Duran “Hungry Like A Wolf”, A-HA “The Sun Always Shines On TV”, The Cure “In Between Days”, Pat Benatar “Love Is A Batteflield”, Culture Club “The War Song”, Robert Palmer “Pride”, Frankie Goes To Hollywood “Relax”, Simple Minds “Sanctify Yourself”, ABC “When Smokey Sings”, The Human League “(Keep Feeling) Fascination”, UB40 “If It Happens Again” and many more.

Until recently, it was thought that we had heard all there was to hear from Saâda Bonaire. The German studio project's 1980s recordings had been compiled on the now cult-classic double LP Saâda Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph "von" Richtoven had firmly stated that all of their post-1986 work was lost. Released now for the first time ever, 1992 compiles the band's long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the group's attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories. It's no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Saâda Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Vocalist Andrea Ebert's soulful voice -the result of a church choir background and an early love of American soul and jazz music- offset Stephanie Lange's laid-back, more German-sounding vocals. This unique interplay bolstered the band's new direction - evident in their inspired takes on James Brown's "Woman" and Syreeta Wright and Stevie Wonder's "To Know You Is To Love You". The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapper Jimmy Lee Patterson, both of whom lent some stardust to the tracks at François Kevorkian's Axis Studios in NYC. Unfortunately, the demo recordings were considered too bizarre for 1990s record label standards, and as a result were never published. As with all things Saâda Bonaire, the discovery of these discarded recordings feels like a sort of magical impossibility. It's been nearly ten years since the release of the last compilation, and thirty since the recordings were originally captured. That they still manage to sound fresh and avant garde is a testament to Saâda Bonaire's flair for creating pop music for past, present, and future outsiders.

Originally released in 2017 on the band's own label Artificial Plastic and now being reissued by Fuzz Club Records, 'Damage And Joy' is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998's 'Munki', 'Damage And Joy' was the band's first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain's 1999 break-up and 2007 reunion. Co-produced by Youth (Killing Joke) and featuring the lead singles 'Amputation' and 'All Things Pass', 'Damage & Joy' also featured guest appearances from Scottish singer-songwriter Isobel Campbell ('The Two of Us', 'Song For A Secret') and American alt-pop star Sky Ferreira ('Black And Blues'). 'Damage And Joy' is now being given a deluxe, expanded vinyl reissue. The double LP is reissued on both black and coloured 180g vinyl with remastered audio by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher), a heavy tip-on-printed gatefold sleeve, printed inner-sleeves and a 16-page booklet, plus bonus tracks and an alternative track-order. Included in this reissue and available on vinyl for the very first time is 'Ono Yoko' (originally only available on the Japanese CD version of the album), as well as alternative versions of 'The Two Of Us' featuring Sky Ferreira and 'Black And Blues' featuring Isobel Campbell.

Originally released in 2017 on the band's own label Artificial Plastic and now being reissued by Fuzz Club Records, 'Damage And Joy' is the seventh studio album from Scottish alt-rock legends The Jesus and Mary Chain. The long-awaited follow-up to 1998's 'Munki', 'Damage And Joy' was the band's first studio album in nearly two decades and contained brand new material alongside reimagined versions of songs that had been released in various forms by the Reid brothers in between the Mary Chain's 1999 break-up and 2007 reunion. Co-produced by Youth (Killing Joke) and featuring the lead singles 'Amputation' and 'All Things Pass', 'Damage & Joy' also featured guest appearances from Scottish singer-songwriter Isobel Campbell ('The Two of Us', 'Song For A Secret') and American alt-pop star Sky Ferreira ('Black And Blues'). 'Damage And Joy' is now being given a deluxe, expanded vinyl reissue. The double LP is reissued on both black and coloured 180g vinyl with remastered audio by Pete Maher (U2, The Rolling Stones, Jack White, Liam Gallagher), a heavy tip-on-printed gatefold sleeve, printed inner-sleeves and a 16-page booklet, plus bonus tracks and an alternative track-order. Included in this reissue and available on vinyl for the very first time is 'Ono Yoko' (originally only available on the Japanese CD version of the album), as well as alternative versions of 'The Two Of Us' featuring Sky Ferreira and 'Black And Blues' featuring Isobel Campbell.

Belle and Sebastian's A Bit of Previous is a classic album that found the pair at their melodic best. It showcase their superb knack for songwriting and will fill your head with earworms and pithy lyrics that you will not be able to forget. Amongst the self-produced tunes are some moments of beautiful melancholia as well as lots of what you would expect from the band. It is infused with the experience and sense of responsibility that comes with age as well plenty of musical bravado. There's a reason this is one of the UK's best love pop acts.

Belle and Sebastian's A Bit of Previous is a classic album that found the pair at their melodic best. It showcase their superb knack for songwriting and will fill your head with earworms and pithy lyrics that you will not be able to forget. Amongst the self-produced tunes are some moments of beautiful melancholia as well as lots of what you would expect from the band. It is infused with the experience and sense of responsibility that comes with age as well plenty of musical bravado. There's a reason this is one of the UK's best love pop acts.

Limited edition 180g premium vinyl for super fidelity, presented in a
deluxe gatefold sleeve
'Porgy & Bess' was the third and final album collaboration between Ella Fitzgerald,
Louis Armstrong and producer Norman Granz. Featuring songs from the George
& Ira Gershwins opera, which was inspired by the DuBose Heyward play 'Porgy', it
received both critical acclaim and commercial success internationally.
"As the tracks progress, you think she is cutting Armstrong - only to turn around
and believe that Armstrong is cutting her. The truth, of course, is that they are
outdoing themselves. This is a Porgy performance you would be ill- advised to
miss." - Gene Lees, DownBeat

Best known for his work with CL Smooth, and his remixes for Public Enemy, House of Pain, Mary J Blige and Mick Jagger to mention a few. Hailing from the little town of Mt. Vernon, NY, right next to the Bronx, Pete Rock & CL Smooth pretty much got together in their local high school when Pete noticed CLs dope and unique voice. After high school, Pete hooked up a weekend hip-hop show on WBLS-FM and was considered one of NYs premier DJs during his four year stint on the show. All Souled Out was Pete & CLs debut EP, it was the phenomenal production by Pete Rock which really drew people to this EP. If the legendary DJ Mark The 45 King was the first producer to incorporate horns, Pete Rock was the first to really perfect this new style of production with his trademark echoing horns laced throughout his music. This was done very nicely on two of the cuts off the EP, Creator and Mecca & The Soul Brother, and people were taking notice in a big way.
After the solid Mecca/Creator 12 inch, the duo unleashed one of those all-time classic LPs every MC dreams of having, Mecca & The Soul Brother featuring the monumental: They Reminisce Over You, Straighten It Out, Ghettos Of The Mind, and Lots Of Lovin. Songs to make you cry - damn, they were playing TROY at funerals everywhere. One of the greatest hip hop records ever made ...it never leads my box man...- (Tim Westwood)

Pete Rock on hip hop: Hip hop to me today is still important but we are going through a phase right now. Hip Hop as been injected by a virus, and right now weve got to find a cure to this. Which brings along myself. (Frank 151)

The Press ...from downtempo, funkdified sounds to hypnotic hip-hop beats, this is a wonderfully crafted album - (BPM July 2001)
This hypnotic ... album represents hip hops incredible ability to morph and manipulate a hodgepodge of sounds to create something unique...although the sound is now industrial, electronic and everything but natural Pete's version of hip hop will remain a classy affair that merges the elements of an orchestra, the roots of black music and the cacophony of the streets. - (Mass Appeal July 2001)

Praised for his genuine originality, the American-Canadian Rufus Wainwright has established himself as one of the great male vocalists and songwriters of his generation. In 2004 he released Want Two, his fourth studio album. According to Wainwright himself, it is the darker sibling of 2003’s Want One - its subject matter concerned with “the world we live in” after Want One focus on the intensely personal. Wainwright produced the album in collaboration with Grammy Award winning British producer Marius de Vries, who is best known for work with U2, Madonna and Björk.

His mother Kate McGarrigle and aunt Anna McGarrigle both sing on the track “Hometown Waltz”. The album also features Wainwright’s popular tracks “The One You Love”, “Agnes Dei” and “Old Whore’s Diet”. The latter features Anohni from Antony and the Johnsons.

Want Two includes an insert with lyrics.

Based in Bamako for sixteen years, Philippe Sanmiguel has been the producer of albums by the famous Malian bluesman Samba Touré since his international debut. Over the years, Philippe has expanded his work with other artists such as the legendary Tuareg band Tartit, Anansy Cissé, Mariam Koné or Djimé Sissoko among others.

While working on the albums of these artists, he often had the inspiration to add influences from his original rock culture but in small measures. That's how Black Mango was born, to gather his favorite musical collaborators around his own compositions and expand the vision. It started with an EP released on Glitterbeat Records in 2014 from which the idea for a full-length album was born.

Black Mango's Quicksand album was recorded in Bamako over a period of several years, in various recording sessions, giving each musician free range to play on a rhythmic and melodic basis prepared in advance. The alchemy was immediate in all cases, often from the first takes.

Philippe originally met producer and musician Hugo Race with Chris Eckman during their stay in Bamako for the recording sessions of Dirtmusic's Troubles & Lion City albums. Hugo loved the raw feeling of the tracks and offered to remix the album in his Melbourne studio, bringing his own unique touch.

The fruit is ripe!

Recorded at Akan Studio & Funhouse Studio in Bamako, Mali by Konan Kouassi & Philippe Sanmiguel
Produced, mixed and mastered by Hugo Race at Helixed Studio

A few words about the main " stars " :

- Samba Touré is Samba Touré.
- Anansy Cissé is a young songhoy artist for whom Sanmiguel has produced two albums, including the recent and acclaimed "Anoura".
- Mariam Koné is one of the most beautiful voices of Mali, who has a self-produced album and teaches music at the conservatory of Bamako.
- Singer Bocar Sana Coulibaly & Ali Traoré are singer and guitarist from Niafunké, nephews of the great Ali Farka Touré and have a band called Espoirs de Niafunké

Re-pressed: standard wallet, seafoam green vinyl, printed inner-sleeve

Residing now in Brighton, Bess grew up in the English countryside in a creative
family of songwriters and artists. Whilst her crystalline vocals draw favourable
comparisons to the likes of Marika Hackman and Julia Jacklin, her lyrics evoke
an imagery that often spins from the pastoral to the abstract. Handpicked by Lucy
Rose for signing to her own label Real Kind Records, tracks from the album are
already on high rotation at BBC 6 music.
Selected quotes:
'It's a stunner' - Chris Hawkins, 6Music
'Brilliant… does sound great' - Huw Stephens, 6Music
'One lovely thing this is… she has such a deft touch' - Steve Lamacq, 6Music
"Spectacular… One of the most unassuming yet remarkable young artists in the
UK, she has made a record so intimate that by the closing song she seems like an
old friend" - The Independent
"Brighton's Bess Atwell is a rare talent, a singer-songwriter whose languorous
voice sits midway between Lana del Rey's hazy delivery and Emmy the Great at
her most broken-hearted. ...she's that rare thing in the post-Ed Sheeran age, a
singer-songwriter worth keeping an eye on." - The Arts Desk
"What a cool, assured and lovely thing the second album from the Brighton
singer-songwrier is. What marks her out is her ear for a phrase and music that
can pierce the heart." - Metro
"Her vocals resemble Lana Del Rey with a greater twist of passion, marking her as
one of the most exciting young talents in English indie folk." - Clash

Re-pressed: standard wallet, seafoam green vinyl, printed inner-sleeve

Residing now in Brighton, Bess grew up in the English countryside in a creative
family of songwriters and artists. Whilst her crystalline vocals draw favourable
comparisons to the likes of Marika Hackman and Julia Jacklin, her lyrics evoke
an imagery that often spins from the pastoral to the abstract. Handpicked by Lucy
Rose for signing to her own label Real Kind Records, tracks from the album are
already on high rotation at BBC 6 music.
Selected quotes:
'It's a stunner' - Chris Hawkins, 6Music
'Brilliant… does sound great' - Huw Stephens, 6Music
'One lovely thing this is… she has such a deft touch' - Steve Lamacq, 6Music
"Spectacular… One of the most unassuming yet remarkable young artists in the
UK, she has made a record so intimate that by the closing song she seems like an
old friend" - The Independent
"Brighton's Bess Atwell is a rare talent, a singer-songwriter whose languorous
voice sits midway between Lana del Rey's hazy delivery and Emmy the Great at
her most broken-hearted. ...she's that rare thing in the post-Ed Sheeran age, a
singer-songwriter worth keeping an eye on." - The Arts Desk
"What a cool, assured and lovely thing the second album from the Brighton
singer-songwrier is. What marks her out is her ear for a phrase and music that
can pierce the heart." - Metro
"Her vocals resemble Lana Del Rey with a greater twist of passion, marking her as
one of the most exciting young talents in English indie folk." - Clash

Origu teams up with HiPNOTT and 2 Hungry Bros once more for two slices of dope Hip Hop vinyl!

Deep of Deep Breez returns under the 2 Hungry Bros banner, with a nasty piece of boom bap and MC Likwuid brings her surgically sharp lyricism, to collaborate on "IllFayted". Likwuid's commanding presence is inescapable as she delivers powerful messages between her similes, commonplace catchphrases, and cynicism. Dj Evil Dee of Da Beatminerz layers "IllFayted" with some signature cuts to engage your Hip Hop senses! Though, don't be too distracted by those cuts and the hot 2 Hungry Bros beat, because Likwuid's rhymes are so precisely interwoven you might miss an comedic analogy or sociopolitical statement. illFayted is for the true lover of Hip Hop that appreciates all the fresh elements that make it classic and undying.

In the spirit of letting go of negative energy, toxic relationships and flakey individuals, "Hold That (Faybles)" offers an escape plan for folks who are just ready to move forward in 2017. Tired of being outcasted, misinterpreted or just shut out by your peers? Then here is the gateway to redirecting that energy back to the source...hold that! Deep of 2 Hungry Bros lends his magic by providing a melodic canvas with signature heavy alternating drums and sinister deep loops and chops. The song features Donwill of Tanya Morgan and Hipnott's P.so the Earthtone King.

, Ivor Novello award-winning band The Feeling have announced a new chapter in their career with their sixth studio album, Loss. Hope. Love - out May 6th on Island Records - back where it all started in 2006 for their Top 3 debut album Twelve Stops and Home. Self-produced, predominantly at their East London studio during lockdown, Loss. Hope. Love is the sound of a band who have reconsidered their identity, taken control of their sound and embraced the Queen-esque theatrical elements of their DNA, recently realised by the success of Everybody’s Talking About Jamie. The Feeling return a whole new perspective. 15 years since their multi-million selling debut record Twelve Stops and Home - the new album is bursting with joy, but with the thread of melancholy that’s always been synonymous with their flawless songwriting.

Das vierte Album von Stephen McBean’s Nebenprojekt von Black Mountain. Die Bandbesetzung wechselt stetig und beinhaltet Mitglieder von Redd Kross, Melvins, Godspeed You Black Emperor, Dead Meadow und Brian Jonestown Massacre.

Das vierte Album von Stephen McBean’s Nebenprojekt von Black Mountain. Die Bandbesetzung wechselt stetig und beinhaltet Mitglieder von Redd Kross, Melvins, Godspeed You Black Emperor, Dead Meadow und Brian Jonestown Massacre.

With her latest work, the TOKUNBO delivers a warm-hearted blend of folk
and jazzy pop, with a cheeky hint of country
An album like a golden autumn day. She wrote the eleven tracks for “Golden
Days” during Lockdown 2020, when the musician had to cope with both the
unpredictable situation as an artist as well as a young mother – challenging, yet
also inspiring weeks and months.
Thrown back on herself, she conjured up the new songs from memories, thoughts
and wishes. Music for the soul, earthy, luminous and gentle, which wraps itself
around the listener like a soft blanket and lets him see the beauty in this
sometimes dark-looking world.
The album is also a stylistic salute to the classic songwriters of the 70s such as
The Carpenters and Carol King. TOKUNBO sounds grounded, and at peace with
herself and the world.