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'MULTI-PLATINUM artist Thomas Rhett has put out a collection celebrating his 20 No. One hits in 10 short years, titled 20 NUMBER ONES out now. Set to include all 20 No. One hits so far and, “Angels (Don’t Always Have Wings),” as a bonus track, it’s a project tracing the path behind one of Country’s most vibrant current stars. As the last 10 years have seen Thomas Rhett grow into a never-static artist at the top of his game, the vinyl celebrates Thomas Rhett’s role as one of the best all-time representations of what Country music stands for – a world-class songwriter, an elite entertainer and a guy who’s down-to-earth character shows up in everything he does. Through these 21 songs on two discs, he finally stops to acknowledge it all – to take the journey in, with the knowledge that he’s already surpassed his dreams 100 times over. Radio: BBC Radio 2, Absolute Radio Country, Smooth Country, CountryLine Radio ‘Angels (Don’t Always Have Wings)’ playlisted on Downtown Country, Absolute Radio Country and CountryLine Radio Press: Maverick, CMP, Entertainment Focus, online country specialist press Socials: IG: 4.7M, TW: 2.4M, FB 2.5M

Balmat is a new label with a cloudy outline.

Jointly shepherded by Philip Sherburne and Albert Salinas, two friends living in Cardedeu, Catalonia, and on the Balearic island of Menorca, Balmat grew out of Lapsus Radio, a weekly show on Spain’s Radio 3. Balmat’s mission is simple: to foster new ideas, expand upon personal obsessions, and put enveloping sounds out into the world.

“Balmat” means “empty” or “void” in Catalan. But quite apart from any negative connotations, we prefer to think of it in terms of possibility: a space waiting to be filled.

Balmat’s first release comes from Luke Sanger, a Norwich, UK-based artist whose two decades of electronic music making have encompassed a range of tools and techniques, from MaxMSP to modular synthesis. Along the way he has built an extensive catalog encompassing ambient atmospheres, abstract soundscaping, and more. With Languid Gongue, he puts multiple approaches into play. Experiments in microtonal composition balance out pieces in standard tunings, while esoteric electronic machines merge with familiar acoustic treatments and microphone techniques.

The result is a constellation of his signature sounds: freeform new-age fantasia; spring-loaded toytronic arpeggios; quartz-driven braindance clockworks. Drifting between consonant, almost lyrical compositions and shape-shifting textural sketches, the album drifts with the nonchalance of a sky-high cirrus cloud, and it glows as if illuminated from within. When we heard the material, we knew that it was the perfect choice to launch the label. To us, it sounds like a roadmap for points unknown.

2023 Repress

Since Jesper Munk's debut album in 2013 the German singer-songwriter has made a name for himself as multi-instrumentalist , "in the paths of Jack White and Dan Auerbach," as the Rolling Stone Magazine puts it, playing music that ranges from Blues and Soul to heartfelt Pop and indulging Jazz, all this with a very unique, post-Punk
edge. His new album Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk.

Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from Blues to Rock'n Roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky.
The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." All Songs face realness and live from these volatile moments that reveal vulnerability and musical generosity. The outcome of this analogue experiment is a very personal album, both inspiring and consoling.
Taped Heart Sounds courageously opens with Donnie & Joe Emerson's Baby; a song so iconic that it actually cannot be enhanced. However, Munk's interpretation stands out and has a presence that gives the song a life of its own - made for walking. Smoke Gets in Your Eyes, All the World Is Green, I'd Rather Go Blind, Head in the Clouds - what follows is a journey through Blues and Soul that is so vital and "now" that End of the Line may be the final track but certainly not the end of the story.
The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album.
Taped Heart Sounds is Jesper Munk's 4th album, following acclaimed debut album For in My Way it Lies (2013), CLAIM (2016), and Favourite Stranger (2018). Released via Billbrook Records, Hamburg-based Distributor Wordandsound's new label, the album is available for pre-order now - for purchase on vinyl and CD. The first single 'Baby' is going to be released on November 19, 2021.

Adam Gibbons meldet sich mit Volldampf mit seinem achten Lack Of Afro-Studioalbum zurück. Es ist ein Album voller Hoffnung, Optimismus und guter Zeiten, inspiriert von seiner US-Reise zu den legendären FAME Aufnahmestudios in Muscle Shoals. In einer über 17-jährigen Karriere, in der seine Musik in Filmen und TV-Shows auf der ganzen Welt zu sehen/hören war und millionenfach gestreamt wurde, musste Adam viele Herausforderungen überwinden und kehrt nun auf SQUARE ONE, den Anfangspunkt, zurück. Dabei liefert er seine bisher beste Arbeit ab und geht auf seine erste US-Tour. Mit einem erneuerten Sinn für Inspiration und Energie ist Adam entschlossen, den Funk am Leben zu erhalten.

Revealed a few seasons ago thanks to the abrasive potential of their riffs, the French duo Bandit Bandit consisting of Maëva & Hugo imposes its musical genre, as well as an insolent ease to handle the French language, which one can hear in their amazing first album, 11:11.

In 2019 came the first show, the first music video, the first studio session. The name "Bandit Bandit" was born during a photo shoot with a friend, in a desert landscape, wearing scarves, boots and pistols. As for the repetition of Bandit, it is to better underline the duality of the project which, very quickly, found its own public, thanks to tracks as striking as "Maux", the first french-written one, and an imagination which incites the press to nickname them the Bonnie & Clyde of rock.

After two electrifying EPs, "Bandit Bandi"t and "Tachycardie", the duet needed to "explore further than the rock-genre itself" on a 11:11 produced by Azzedine Djelil (Rita Mitsouko, Catherine Ringer, Minuit, Lulu Van Trapp...). This first album mixes music genres, investigates pop music with all its amplitude, as a guiding thread between raw rock and the more sophisticated alternative style. Until now self-centered and cathartic, the texts of Bandit Bandit remain intimate on 11:11 while proving to be political, freed from prudishness, playing with words. Their unrestrained music resonates loudly throughout this album with a devouring desire as insatiable as contagious.
"11:11", frist album. Includes "Toxique Exit", "Si j' avais su " & " La marée ". Available on Cd & Vinyl.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album,
‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.
Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.
Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave nd courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ -
‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she
enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy. It's only just begun.’
Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each
song is definitely a standstill moment.’
Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends,
relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’
Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”
And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always
figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her. She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.
While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the
world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before. ‘falling or flying’- released on September 29th

Imprint is the 1st V/A on MBMUSIC LTD. and features tracks from artists that inspired the concept of the label and comes in both digital and vinyl format. 5 Tracks to reflect the inner voice of the artists involved and their musical imprints, expressing themselves thru sound. A1.

Track "Contemplate" is signed by DanielI very well know for his great production skills with dub/ambient texture and deep groovy rhythms. A2. "Crystalline" by label head MBM showcase his musical taste for harmonies and slow-deep beats, a track that suits perfectly for club and listening environments.

B side opens with track "Peal Of Nian" by Polygonia, an artists that very well respected in the scene for her specific sound inspired by nature and plants giving us a pure gem for the record. B2. "Toki Fuko - 9128" goes deeper into the abyss with a more hypnotic approach perfectly reflecting the style of the artist. The release closes with B3. track from emerging Vyria: "Dome" track combines tribal rhythms and sounds with drive and subtle distortion to open new perspective on label sound.

"The Flying Guillotine 2" is the bloody sequel to Serenace's first appearance on Shaw Cuts in 2019, continuing the head-lopping violence with a group of freedom fighters lead by the heroic Ma Teng battling against the evil despot Emperor Yung and his reign of terror.

Teng has developed a protective device, similar to a spiky metal umbrella, that allows him to defend against the deadly flying guillotine attacks of the violent regime. "Current", its bombastic drum patterns, razor-sharp synth waves and vicious vibe strengthens the rebels to resist the brutal assaults.

But the Emperor immediately reacts, creating a double flying guillotine to counter Ma Teng's iron umbrella and the rebel union is left defenseless again. "Aiming From A Distance", a vivid breakbeat cut combining rolling percussion, arpeggiated synth chords and sirens from hell, raises the rebels' hopes to give them another answer.

Secret insurgent Na Lan infiltrates the Emperor's inner circle by gaining his trust with a group of female warriors whom he allows to train with the flying guillotine palace guards. However, Na Lan only wants to steal the plans of the improved weapon and deliver it to the rebel squad, in order to devise another counteracting force. With the crisp bassline and the energy-filled breaks of "Test 21", the rebels can gain an insight into the elaborated guillotine and find a possible way to defeat it.

Farron's profound techno version of "Current" brings in the necessary tension for the final showdown. The improved double flying guillotine VS a new secret defensive system. Will the rebels be able to team up and defeat the tyrant once and for all? No matter what happens, the saga continues.

Mit einer #1 in den UK-Vinyl-Single-Charts und der Ankündigung ihres vierten Albums festigen JOHN 2023 ihren Ruf als kompromisslose Post-Hardcore-Kraft. Mit Barry Adamson (The Bad Seeds, Magazine) und dem preisgekrönten Schauspieler Simon Pegg als Gäste vereint 'A Life Diagrammatic' Schlagkraft und Intensität ihrer atemberaubenden Live-Shows mit den zunehmend strukturellen, cineastischen und expressiven Sensibilitäten der Band. Für die Abmischung wurde Seth Manchester (Big Brave, Battles, METZ) engagiert, während Frank Arkwright (Mogwai, Arab Strap, Squarepusher, Autechre) das Mastering in den legendären Abbey Road Studios übernahm. Das Ergebnis ist ein reichhaltiges und eindrucksvolles Hörerlebnis einer fesselnden und genreübergreifenden Band.

The timeless artistry of Billie Holiday is something that every generation gets to discover for themselves. The iconic songs on this collection showcase Holiday's unique ability to infuse every lyric with unparalleled emotion and depth. With her distinctive voice and incomparable phrasing, Holiday remains an enduring performer and a powerful influence on generations of musicians. Great Women Of Song is a testament to Holiday’s profound legacy and an essential addition to any music collection

Industrial Music Producer Geistform Releases New Album "Resonancia". Renowned industrial music producer Geistform has released a brand new album titled "Resonancia", featuring 11 mesmerizing tracks that explore the boundaries of industrial minimalism. The album is undoubtedly their best work to date and is reminiscent of legendary bands such as Pansonic, as well as other experimental industrial music pioneers, blending together elements of noise, electronica, and minimalism to create a sound that is uniquely Geistform. "Resonancia" is an exploration of sound and texture, and it takes listeners on a journey through haunting soundscapes and intricate rhythms that evoke feelings of both dread and fascination. Geistform's distinct style shines through in every track. From the opening track "Ciclos Por Segundo" to the haunting "Metaobjeto", Resonancia is a captivating listening experience. Geistform has been creating unique and innovative music for over the years, and "Resonancia" is a testimony to his artistic prowess. By exploring the possibilities of industrial music and raw minimalism, Geistform has created an album that challenges fearless listeners and it showcases Geistform's ability to push the boundaries of the genre while still remaining faithful to its roots.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

Classic Jazz Album from 1978.
Featuring an all-star line-up.
First ever vinyl reissue since 1986.
Released for the first time in the UK & North America.
180g BLACK vinyl limited to 500 copies (w/obi strip).

Curtis Fuller (December 15, 1932 – May 8, 2021) was an American jazz trombonist best known for being a member of several legendary jazz outfits, his impressive catalog of solo albums and a contributor to many classic jazz recordings.

Fuller was born in Detroit and lost both his parents at a very young age. He spent several years in an orphanage run by Jesuits where he developed a passion for jazz after one of the nuns there took him to see his first live performance. Curtis attended public school in his hometown (together with Donald Byrd and Milt Jackson) where he took up the trombone at the age of sixteen.

Curtis Fuller was a well-respected member of iconic outfits such as Art Blakey & The Jazz Messengers, Art Farmer’s Tentet, The Benny Golson Quintet and Eastern Rebellion. The list of his collaborations is impressive to say the least, Mr. Fuller recorded and performed with greats such as Quincy Jones, John Coltrane, Count Basie, Dizzy Gillespie, Freddie Hubbard, Roland Kirk Rashaan, Miles Davis…and many others.

Fuller was granted an honorary doctorate of music from Berklee College of Music in 1999 and eight years later he was honored as a NEA Jazz Master. Curtis Fuller’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Savoy, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are presenting you today: Four On The Outside (Recorded in 1978 at the famous New York CI Recording Studio and released on Timeless Records the same year) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Pepper Adams (Oliver Nelson, Lalo Schifrin, Herbie Hancock) on saxophone, Dennis Irwin (The Jazz Messengers, Chet Baker) on bass and James Williams (Calvin Keys, Thelonious Monk) on piano.

Four On The Outside shows off Fuller’s mastery of the Trombone and this delightful set features him in a front line with Pepper Adams delivering a unique trombone-baritone saxophone combination (few others have followed this intriguing coupling). Curtis Fuller plays from the heart and is on top of his game. Expect sharp and elegant original compositions, machine gun-like spurts, angular boppish lines and top rhythm section work that never gets in the way of the horns spreading their wings. All of the above makes this record a must have for any self-respecting jazz fan or collector!

The timeless artistry of Billie Holiday is something that every generation gets to discover for themselves. The iconic songs on this collection showcase Holiday's unique ability to infuse every lyric with unparalleled emotion and depth. With her distinctive voice and incomparable phrasing, Holiday remains an enduring performer and a powerful influence on generations of musicians. Great Women Of Song is a testament to Holiday’s profound legacy and an essential addition to any music collection

Confidence is the NBR absolute party starter! Big big drums, live saxophone and organ, a crazy tempo and a hook we've been spotted shouting along to walking to work at 9am! Like Phill Most says “Occasionally / Its even amazing to me/ how ill I can be /when I MC”. Damn straight Phill Most! We've seen early acetates of this absolutely tear up the festival circuit last summer & consider this 45 the ultimate party 45 on the label!

Flip it over to hear the exclusive to this 45 If Ya Let 'Em (Remix). Phill Most Chill on a cautionary tale about grabbing hold of our own destiniy! This very unusual beat that emulates a band sound by progressing & switching from bar 1 to the end. Snafu & Bankrupt Euros' Craig Cloy go wild on bass, piano & cello arrangement over a tough, classic break using live instrumentation and some sample chops, trying to replicate the feel of a soul band with hip hop sensibilities. Grazzhoppa steals the show on both sides with his turntable wizardry once again blurring the lines between beat and scratches blending his scratches into the instrumentation!

There are only a few figures in music whose work influences and
shapes a genre as a whole. This is undoubtedly true of the Swede
Esbjörn Svensson. With his trio e.s.t., the pianist and composer
wowed audiences beyond age and genre affiliations. And his
influence on jazz as a whole reverberates to this day and already
within the second and third generation of musicians worldwide.
‘HOME.S.’ is Esbjörn Svensson’s only solo album and the sheer
existence of such a recording and its completely unexpected
discovery over a decade after its creation are nothing less than a
sensation: Since the early 1990s, Svensson focused almost his entire
creative energy and recording activities on his work with e.s.t.. Thus,
these new recordings are not only the first, but practically the only
ones that show Svensson in a setting other than that of the trio:
Intimate, concentrated and completely one with himself. The
recordings for ‘HOME.S.’ were made only a few weeks before
Esbjörn Svensson’s sudden death on June 14, 2008. Svensson
recorded the music in his Swedish home.
For almost ten years afterwards, the album rested untouched in his
wife Eva Svensson’s personal archive. Here, she tells the story
behind the discovery of the album and the music: “After Esbjörn’s
passing, I made sure all the contents of his computer were saved to
backup hard drives. And then I basically left them untouched for the
next ten years. At the point where I eventually felt ready to look into
the material, I soon realised that there was something I wanted to
look into.
“I took the hard drive and went to Gothenburg to meet with Åke
Linton, the sound engineer who had worked on all e.s.t. albums as
well as on their live shows. He was also the one who had helped me
to save the material from Esbjörn’s computer in the first place. So he
probably already knew that there was something hidden in there. But
nobody had listened to it.
“We went to his studio. And we pressed the start button. Then there
was a total silence and we couldn't speak for the entire time the music
was playing. After it finished, at first we were not able to say anything,
because we were both so touched and surprised that it was all there,
and that it was so beautiful. The tracks seemed to follow one another
like pearls on a string. After we just had sat there for a while we
agreed: This is really good. Musically, but also from a sound
perspective.”

Despite his popularity in Peru as a famous comedian, Melcochita devoted himself to music for many years and worked as in-house studio musician for the label Discos MAG, taking part in countless sessions. This album was recorded between 1967 and 1968, accompanied by the orchestras of Betico Salas, Joe di Roma, Nilo Espinoza, Carlos Muñoz and Tito Chicoma. The album comprises amazing guarachas, mainly international hits, and the hilarious bolero 'Cobardía' where Melcochita brings in his comedian talent. First time reissue! - Back in 1968, the year "Dejen bailar al loco" was released, Pablo was still known as Pacocha (the name of a popular brand of soap) and worked during the day as a session musician for the MAG label. At night, from eight to six in the morning, he used to play percussion in clubs. Then, at the weekends, he performed on the popular variety show La Peña Ferrando, which featured "Quality acting; very funny, simple sketches", impersonations and musical performancs. Most of the guarachas on the album are international hits, such as 'El limoncito' and 'Pa' gozá candela'. The track, 'Quiero casarme contigo' has Mexican origins, and it has been adapted to guaracha style by Betico Salas' orchestra. The humorous 'No es un gato' hails from Colombia, while 'Ahorita va a llové' and 'Carta de mamita' come from Cuba. 'Dejen bailar al loco' and 'Libre de pecado' are also from the Caribbean Island. 'Cobardía' and 'Dos almas' are classic boleros, which were already part of the repertoire of most singers back then and were also included on this album. The only way to perform them to the demanding audience at La Peña without being booed was to put a new spin on the songs, deconstruct them and reinvent the structure, as the Tito Chicoma and Joe di Roma orchestras did, and above all Melcochita, who sang them in a supernatural voice and a created Creole scat that must have wowed the audience, who would then burst into applause and laughter, going home happy after a great night out.

Bristol's soul jazz kings The Jazz Defenders release a new vinyl 45 single this autumn as a taster for their third album, which is destined for release in spring 2024. Once again, they are bringing together their love of 1960's soul jazz and golden era 90's hip-hop, just as they did on a couple of tracks on their last album "King Phoenix" (Haggis Records 2022). This new single sees them reunited with London MC/rapper Doc Brown, who guested on the track "Perfectly Imperfect", and his flow sits so naturally over the Jazz Defenders' music and beats, you'd think he's a permanent band member.

The A-side "Rolling On A High" is a real old school boom bap style party hip-hop jam. Big beats, rolling bassline (acoustic double bass), Ramsey Lewis soul jazz piano vamps, funky Hammond organ and some punchy horn section business, all topped off with Doc Brown bouncing bars back and forth with that laid back vibe he always brings to the mic. A guaranteed dance-floor bomb, whether you're a breaker, a jazz dancer or simply a Saturday night disco shuffler. The B-side "Looking Back" takes the tempo right down. An 'end of the night' number when the lights in the club are low, the last drinks are being drained and you're thinking and reminiscing about times gone by. The good times and bad, successes and mistakes. And made even more poignant and reflective halfway through when the mellow strings come into the song (once again excellently arranged by pianist/bandleader George Cooper). If "Rolling On A High" is the fire then "Looking Back" is definitely the ice. Proof that the Jazz Defenders can rock the party and grab the dancers but also dig deep with emotive tunes that draw in the discerning listener.

The Jazz Defenders, led by keyboard maestro George Cooper from The Haggis Horns, have been building a reputation as a great musical unit since their debut Blue Note/hard bop-inspired album "Scheming" appeared on Haggis Records back in 2019, which received a huge amount of praise from critics, and subsequently went on to spend 5 weeks in the top ten of the American jazz charts In 2021, their double A-side vinyl single "The Big Man/Love's Vestige" got them the breakthrough they deserved. It garnered heavy support on radio from top folks like Craig Charles (BBC6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), and Worldwide FM resident DJ's Ashley Beedle and Colin Curtis. They further enhanced their reputation as a rocking band with album number two "King Phoenix" and by electrifying audiences at sold out live shows across the UK, including the legendary Ronnie Scott's Jazz Club in London.

Album number three is well on its way but for now, check out this tasty limited edition 45 single on Haggis Records. The JDs and Doc Brown...the perfect combination, still keeping that sweet jazz/hip-hop love affair alive today.

His jaw- dropping, natural sounding, and unschooled skill on acoustic guitar, matched with an authentic 'Belfast Blues' voice, drew comparisons to John Martyn and Rory Gallagher, with nods to Van Morrison and Foy Vance. In addition to being an acoustic guitar star, Dom is equally adept on electric guitar, showcasing his talents with his power trio.

Dom has won a handful of European and UK Blues Music Awards. His sophomore studio album, 'A Savage Life' received rave reviews with Rock and Blues Muse declaring, "Dom Martin is the next rising star in the global roots scene.

Jump aboard now before he passes you by." Blues in Britain declared that Dom was "A rare talent of such sheer genius," and Classic Rock effused, "The Belfast guitarist is a sprawling talent."

His latest effort,' Buried in the Hail 'was co- produced by Grammy nominated producers Chris O'Brien & Graham Murphy. The album takes the listener on a very personal journey. "Unhinged" is all anger and fury, sparks and smoke and flames, from screaming amps. Taking a positive turn is "Daylight I Will Find", a song about life's challenges and how through self- love, one can find the answers. The sole cover on the album is a broken down, heartbroken version of "Crazy".

The only album to soundtrack both late-'70s Minneapolis lounges and a Travis Scott x Dior fashion show. Recorded in a host of living rooms with only a Fender Rhodes piano, a Donca Matic Mini Pops drum machine, and Senrick's wide-eyed, 20-year-old voice, the 1977 LP disappeared into the wild and joined the Wendigo in Minnesota lore. A provocative mix of marina soul, easy listening, and loner folk, Dreamin' is a sanguine sliver of the American private mind garden. Harsh winters coupled with a relative lack of interest amongst siblings allowed Chuck Senrick years of unfettered access to the family piano in their Farmington, Minnesota, home. Learning both by ear and by instruction, Senrick began gigging professionally at age 15, joining John Zimmer and the CR4 for a weekly rundown of Allman Brothers, Blind Faith, and Cream covers at the Sea Girt Inn in Lake Orchard. Tapping into James Taylor's pop-chart achievements in songwriting and enunciation, Senrick composed the bulk of the songs featured on Dreamin' before graduating from Farmington High School. At 20, Senrick migrated 30 miles north to the Twin Cities to pursue music full-time. Using borrowed equipment and borrowed living rooms, a string of informal recording sessions generated the quarter-inch tape for Dreamin'. "I didn't know how to do it," Senrick says about producing an album. "I just knew it could be done." Constructed with vocals, Fender Rhodes, and an assortment of rhythm presets on his Donca Matic Mini Pops drum machine, a mere 200 copies of the private-press masterpiece were stamped and sleeved and sold hand-to-hand at performances. Chuck's wife Lesli illustrated the album cover_a pen-to-paper portrait of her husband against the backdrop of the Minneapolis Skyline, she and their newborn son situated on a nearby knoll. Any plans for a re-press were quashed when producer Bruce W. Hansen lost the reels during a messy divorce. "I was a kid with big ideas and not much hope to do anything but play," Senrick said of the Dreamin' era. "It still amazes me that people are interested in it."

With over 40 musicians across 28 tracks, Essentials Spring 2023 might be our most treasured one yet. Featuring a who's who of some of our favorite musicians in the community, we present a 2xLP to keep everyone vibrant and alive as the seasons change and days start to warm. Essentials Spring 2023 features recent Chillhop beat tape alumni like El Train, Evil Needle, illiterate, and Mr. Slipz, while also showcasing songs from familiars like Oatmello, SwuM, Toonorth, Blue Wednesday, HM Surf, The Doppelgangaz, and dozens of others.

This album features over 70 minutes of chillhop, jazzhop, lofi hip-hop, downtempo R&B, lounge jazz, soulful beats, boom bap, old school. However you might like to classify this. Study beats? Sure. Beats to go on a road trip to? Absolutely. Gaming beats, coding beats, beats to daydream to? You betcha. The essentials return for 2023, adding to the ever growing collection of limited edition seasonal releases on vinyl!

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

The second installment of this remarkable journey into the underground scene maintains the same profound level of depth and significance as its precursor. Showcasing tracks from Electroliners, High Lonesome Soundsystem, Single Cell Orchestra, DJ Emma, and Spun's own Central Fire project, all harmoniously enclosed within the captivating and arresting artwork by Villain Standard, this release stands shoulder to shoulder with its forerunner. Beyond a mere compilation, it's an indispensable extension of the narrative that has indelibly shaped the culture of underground American dance music within the region, embodying the era and the individuals involved. This is the authentic underground sound that reverberated across San Francisco and its surrounding environs, a truly distinctive and exceptional moment in time and space.

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the new Iliads series is to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This second in the series pays homage to the unique sound of the Mirage releases. The influence of these releases on the SD sound that followed has often been overlooked, principally because it was assumed that the ‘Mirage’ moniker was simply another pseudonym for Source Direct, when in actual fact it was a lethal combination of the powerful engineering and arrangement skills of Jim Baker (Source Direct) and the sound selection and co-production of Odysee’s founder, Tilla Kemal (T-Mirage).

Face In The Shadows immediately opens with that slightly darker feel, with tracks like Feel My Dreams and Stonekiller in mind. The trademark SD style of break switches (aptly named ‘call & response) are immediately evident, although the Funky Mule gives the track its primary momentum. The sound selection is eerie, focusing on the 70’s Film-Noire, and deep Electro in line with Tilla’s particular preferences. The spoken word quotes are also unmistakably ‘Mirage-esque.’

Regenesis is a classic Odysee B-side track; lighter, more experimental and Jazzy in it’s feel. It showcases intricate and crisp rolling break work, and a beautifully refined selection of real stand- out musical quotes; from the sweet R&B-esque vocal ad-libs to the lush 70’s style sleaze of the Rhodes rolls. The interaction of these elements is the glue that holds this tune together.

The Darkness Within is the final track of the E.P. and it is the arrangement of samples that really emulates the ‘Mirage’ sound. Tilla & Jim were very particular about grouping sounds to work with & answer each other in each section of a tune. Samples were often sourced from obscure Film OST’s or rare electro albums which had sample diggers scratching their heads for many years! This track is dubbed out deeper, with a punching & rolling Soulpride features as the hero break and a repetitive deep chord stab forming the foundation of the tune.

Look out for the final instalment Volume III, where we will be focusing on the dystopian Jazz sound of the Hokusai releases!

UK house icon Mr. G makes his FUSE debut alongside longtime friend and collaborator Duncan Forbes, with the two partnering for their excellent ‘Time To Dip’ EP.

An artist truly regarded as one of UK house music’s greats, Colin McBean, aka Mr. G, stands today as an individual at the pinnacle of the genre as his trademark sound and legendary live sets continue to tantalise crowds across the globe. A special guest at FUSE’s final show at London’s iconic Printworks in March, the event that went on to influence the EP’s curation, the UK mainstay heads to Enzo Siragusa’s globally renowned imprint for the very first time this September as he delivers his ‘Time To Dip’ EP alongside longstanding friend and regular collaborator, Duncan Forbes. Friends for many years, having known one another since Forbes’ Animated project, their collaborations on Phoenix G and 49North and recent LP have seen the duo uncover a selection of high- quality cuts from across the house spectrum - and here they showcase their innate chemistry across four tracks loaded with quality.

“Gotta say, this EP really is born outta standing on the stage before my set at FUSE at Printworks and listening to what was being played. When I got back I said to D that I wanted do something based around what I had heard, never really thinking Enzo or FUSE would get it, but how wrong we were. It’s another fab meeting of minds with D, which makes this joint EP so different yet special... I feel it covers many different bases and tempos, a real gem. Looking forward to see what folk make of it.” - Mr. G.

Title track ‘Time To Dip’ is classy house music that packs a punch typical of that trademark sound we’ve come to know and love. It’s heavy and tough yet stripped back and unquestionably dancefloor focused, all softened by hooky female vocals and hazy textures. Duncan’s ‘Sherbert Dip’ mix highlights the vocal and brings it to the fore as shuffling drums and sweeping melodies build around the elements. The flip welcomes ‘All Night’, a delightfully vibrant track pairing rich rhodes, swirling leads and sharp hats with an abundance of subtle jazzy textures, before Forbes’ ‘In The Zone’ remix delivers an immersive, heady and dubby late-night voyage for a mesmerising final ride.

A former pizza delivery driver and now self-taught full-time musician, CRi first caught the attention of tastemaker press with early single ‘Rush’ and his subsequent ‘Someone Else’ EP. Not long after, he joined the Anjunadeep roster in 2019 and gained attention from the label fanbase, and radio titans Pete Tong, Annie Mac and Jason Bentley with his ‘Initial EP’.

His debut album ‘Juvenile’ exceeded expectations, being nominated for a number of awards, including Best Electronic Album at the JUNO Awards, and three separate titles at the 2021 ADISQ Awards, including Electronic Album of the Year and ‘Revelation’ of the Year, which CRi won. Since the release of ‘Juvenile’, CRi has released three singles, an EP and remixes for Bob Moses and Lane 8; become one of the first electronic acts to headline Montréal Jazz Festival to an audience of 45,000; and performed around the world once more, writing as he went.

Since the slower days of the pandemic lockdown, and Quebec’s tentative reopening of nightlife and music venues, CRi’s life has become much more fast-paced once again; a transformation that has been infused into every beat of his new album ‘Miracles’. The vinyl release of ‘Miracles’ comprises 14 tracks, including two standout prior singles, ‘Something About’ and ‘Losing My Mind’ (feat. Jesse Mac Cormack), which, combined, have already accumulated 10 million streams between them.

The other twelve tracks on ‘Miracles’ (including 3 bonus vinyl-only recordings) showcase Christophe’s signature warming synths, in addition to an impressively wide range of sounds, from drum and bass, to indie, from electronic and chillout, making this work his most expansive to date. After the album’s release, CRi will be heading on a live tour of North America, stopping off in seven cities, including Los Angeles, Denver, Toronto and, of course, his hometown of Montréal, where he’ll be headlining at iconic venue MTelus, which regularly plays host to indie-electronic stars, including, recently, Metronomy, Jungle, Monolink, Max Cooper and Amtrac, and is a perfect spot to celebrate his rise in this scene, before he takes his live tour to Europe in early 2024. ‘Miracles’ is out 22nd September, 2023.

A defining album of the 90s, Last Splash by The Breeders turns 30 this year. To celebrate, the band have returned to the original tapes to give it its first-ever remaster, and by doing so have also unearthed two lost tracks that will delight fans. Recorded by the "classic" Breeders line-up of Kim Deal, Kelley Deal, Josephine Wiggs and Jim Macpherson and featuring singles "Cannonball" and "Divine Hammer", Last Splash was "an alt-rock classic" (Pitchfork"s Top 100 Records of 1990s) on release; a fast seller too, quickly attaining Platinum status in the US. Despite having had the boxset treatment on its 20th birthday, the album was still left to be remastered so 10 years on, the original y" tapes were taken out of the archives and have been lovingly worked on by Kim Deal, Benjamin Mumphrey and Miles Showell (Abbey Road). Never sounding so good, the album for its 30th anniversary, it"s getting the ultimate vinyl pressing. Entitled Last Splash (the 30th Anniversary Original Analog Edition), this new version has been cut at half speed at Abbey Road by Miles Showell, now spanning two LPs and running at 45rpm. A Japanese cd edition will also be available. This edition contains an exclusive, one-sided etched 12" which features two previously unreleased tracks - "Go Man Go" and "Divine Mascis" ("Go Man Go" is a track that Kim co-wrote with Black Francis while "Divine Mascis" is a different version of "Divine Hammer" with Dinosaur Jr."s J Mascis on lead vocals). Both tracks originate from the original sessions and were left forgotten until the sessions were exhumed to create this new master. The attention to detail continues to the album"s art, which equally celebrates Vaughan Oliver"s iconic sleeve. With Vaughan sadly no longer with us, his long-time design partner Chris Bigg has gloriously reimagined the album"s sleeve for this new version.

Four years after they went all the way to Antarctica, Flat Worms are back in gen pop with the rest of us - but, as intoned on the album opener "Sigalert," "back again like I never was." Is this a nod to the way time passes over our sorely vexed synapses? Or are we to believe that there"s hope to be found in this broken world? Kick back with Witness Marks and see what other traces Flat Worms have left us in the dust. The album title alone leaves a foreboding impression. But look closer - "witness marks" aren"t something out of a forensic analysis - they"re actually practical; scratches placed in old clocks designed to aid continued maintenance further in time. Sure, there"s big questions and more on the board; primarily if we"re at all distinct from the absurdity coming down around us, or just another character in the mirror? Flat Worms are looking inward this time, outlining personal space in relation to themselves and others - sometimes even people they barely know. Among the slabs of slategrey outrage, the flowers of compassion are blooming, and the simmering power of their trio grows exponentially. Working once again with Ty Segall, Flat Worms continue to find new answers by digging into themselves and playing their kind of rock: hard and flat, bass and drums thrusting stalwartly forward with conviction, guitar twisting and spinning in outrage, deadpan vocals decrying a dire set of circumstances. The democracy of working together, so often messy and frustrating, was found to be a powerful release for Justin, Tim and Will. Acting as one, Flat Worms navigated challenging times by coming together, finding release in the clockwork repetitions of practice and the shared creative space they occupied together against the encroaching world. In the short century of their existence, Flat Worms have agitated against the status quo with a disquieting lyric bent, to emphasize the psychosis of the times. These are positions taken within songs, sung out to individuals in the world. As evidenced by the lyrics, "But I know I can always see you at the show Even though it"s only temporary and it"s time to go." . . .Witness Marks surveys an evolving sense of community. Flat Worms are dedicated to persevering and using the power of their collective. Come witness!

Four years after they went all the way to Antarctica, Flat Worms are back in gen pop with the rest of us - but, as intoned on the album opener "Sigalert," "back again like I never was." Is this a nod to the way time passes over our sorely vexed synapses? Or are we to believe that there"s hope to be found in this broken world? Kick back with Witness Marks and see what other traces Flat Worms have left us in the dust. The album title alone leaves a foreboding impression. But look closer - "witness marks" aren"t something out of a forensic analysis - they"re actually practical; scratches placed in old clocks designed to aid continued maintenance further in time. Sure, there"s big questions and more on the board; primarily if we"re at all distinct from the absurdity coming down around us, or just another character in the mirror? Flat Worms are looking inward this time, outlining personal space in relation to themselves and others - sometimes even people they barely know. Among the slabs of slategrey outrage, the flowers of compassion are blooming, and the simmering power of their trio grows exponentially. Working once again with Ty Segall, Flat Worms continue to find new answers by digging into themselves and playing their kind of rock: hard and flat, bass and drums thrusting stalwartly forward with conviction, guitar twisting and spinning in outrage, deadpan vocals decrying a dire set of circumstances. The democracy of working together, so often messy and frustrating, was found to be a powerful release for Justin, Tim and Will. Acting as one, Flat Worms navigated challenging times by coming together, finding release in the clockwork repetitions of practice and the shared creative space they occupied together against the encroaching world. In the short century of their existence, Flat Worms have agitated against the status quo with a disquieting lyric bent, to emphasize the psychosis of the times. These are positions taken within songs, sung out to individuals in the world. As evidenced by the lyrics, "But I know I can always see you at the show Even though it"s only temporary and it"s time to go." . . .Witness Marks surveys an evolving sense of community. Flat Worms are dedicated to persevering and using the power of their collective. Come witness!

Now in its eleventh year and following hype for recent releases from Osaka's Kiji Suedo (Hosek EP & Riot album) and Edinburgh's George T (Roll On, King's Cross single), Edinburgh's Hobbes Music label burrows deeper into experimental ambient terrain with brand new signing Galun. With a discography over 15 years deep, Galun brings no shortage of his own props.

Galun is the solo project of Moscow musician, artist, and producer Sergei Galunenko (currently based in Tallinn), who has performed at numerous prestigious Russian events and collaborated on projects internationally in a career spanning more than 15 years, with a discography to match, turning his attention to myriad styles: IDM, funk, techno, juke, post rock, beatboxing, free improvisation, drone.

“In my project, Galun, I do not use musical instruments,” he explains. “All the sounds are produced with only the use of my voice through beatbox and special vocal skills. Some effects are used to produce electronic sounds.”

Hot on the heels of the new Golos album (out now via Berlin's One Instrument) plus a remix for US collaborator Alek Finn via Nevada's Mystery Circles label, Galunenko’s eighth studio album, Glagol (or Glagolь / Глаголь in Russian) is an ambient collection, recorded between 2013 and 2022. The title is an old Russian word which translates as ‘Speak’.

"This album consists of tracks written in different periods, so it turned out to be diverse," he says. "There are classic ambient tracks, as well as experimental ones in search of new possibilities for voice processing."

Why "glagol"? “Since the music on this album is 90 percent processed voice, it's a form of conversation for me," he reveals, “where I talk about my thoughts and mood, so speak music, while using my voice, is an amazing way of expressing.”

Five singles will be released on streaming platforms only, at intervals, over summer, with the full album released on digital 25.8.23 and a limited edition cassette plus lathe cuts out from 8.9.23.

"How gorgeous is that?! I have heard the rest of the LP and it is all equally gorgeous" DEB GRANT played ‘Mirror’ (New Music Fix show, BBC 6 Music, 17.8.23)

"'Glagol' translates as 'speak', an apt title when you consider 90 percent of the noises contained on it originated as recordings of his own voice, and that lends the ambient experiments here a very human, tactile feel. Closing tune 'Mirror' is a serene masterpiece, '1981' is an evocative phase-fest, the stuttery 'Stone' is endearing and enrapturing and Galunenko generally displays a knack for communicating clear emotions through abstract sounds. Recommended." ELECTRONIC SOUND
‘Really beautiful’ AVALON EMERSON (US)
‘Really loving the Galun tracks!’ INTERGALACTIC GARY (NL)

‘Super!’ JD TWITCH (Optimo, UK)
'Wow, this sounds amazing. Loving the atmosphere here, ambient with some groove somehow, really feeling this one.' DAN CURTIN (US/DE)

"Sounds great. Looking forward to getting into this properly" LORD OF THE ISLES

‘Wicked. It’s great stuff’ DRIBBLER (Pikes, Ibiza // Paradise Lost, Red Light Radio, Pure; SP)
‘Very nice, will play on Cashmere Radio here in Berlin. Keep up the good musical works x ALEX VOICES (DE)
‘Sounds really nice. The sort of thing I’d absolutely listen to on streaming etc’ AUSTIN ATO (UK)
‘Excellent stuff as always’ PAT BENSBERG (The Eccentric Selection, Phonic FM, UK)
‘Digging this one! Right up my street and just the ticket for my Radio Buena Vida show’ TOM CHURCHILL (UK)

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

DFL is an American punk rock band founded in 1991 in Los Angeles, California, by Tom Davis, Monty Messex, Adam (Ad-Rock) Horovitz, and Tony Converse. The band, which included a noted skateboarder, a first wave punk rocker, and a Beastie Boy, turned heads by kicking out raw and ragged hardcore at a time when punk rock was becoming slick, poppy, and safe. Slamming riffs and lyrics that alternated between serious issues, such as depression, and the silly, like why pizza is so tasty, garnered them critical acclaim and a loyal fan base that continues to exist through to today. Now available for the first time ever on 12-inch vinyl, the entire album was remastered by Mario C with the band’s input. The deluxe reissue also includes a 20-page full-color oral history, a massive full color zine packed with unpublished flyers and, the pièce de resistance, a complete, totally unreleased, live show that was recorded at a huge party at G-Son studios the day after album tracking was completed.

Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They'd do the hand jive with TV stars past and future; they'd get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago. Julie Shore is Jenny's sister. She's always made music_playing Chopin, writing songs, making bands with her friends. She's had the archetypal Millennial journey of entering adulthood in the '08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive. Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration_ whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum. These four_Miles, Julie, Jenny, and Sara_are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They've all just finished a new record together: Will Butler + Sister Squares. "After Generations, I considered making a weird solo record. Me alone in the basement, etc., etc. Mostly I realized that what I wanted was the opposite," says Will. He increasingly turned to the band for feedback on lyrics and song structures. He asked Miles if they'd produce the record. The band played a run of shows in August 2022, airing out studio ideas in live rooms. After coming home, the band regrouped at Figure 8 Studios in Brooklyn. "I had quit my band Arcade Fire very recently, after 20 years_maybe the most complex decision of my life. I had spent the preceding two years at home with my three children. I was 39 years old. I was waking up every morning and reading Emily Dickinson, until I had read every Emily Dickinson poem. I was listening to Morrissey, to Shostakovich, to the Spotify top 50. I had unformed questions with inchoate answers," says Will. "But, honestly, I was feeling great about the record." The album projects widescreen emotional landscapes. Lead-off single "Long Grass" is like a Harry Styles song with 20 more years of life behind it. Standout track "Saturday Night" has a beat, according to Miles, "with that robot-alien-dancing-at-a-haunted- dive-bar feeling that we were going for." The back half of the album is a danceable, weird choral record with harmonies both beautiful and dissonant. Closing song "The Window" is the comedown after the party_Julie playing a Chopin Nocturne on a three-years-out-of-tune piano, slowed to half-speed on tape with Will singing over it in a voice exactly as tired as he was. It's a record with a warm, humane soul.

Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They'd do the hand jive with TV stars past and future; they'd get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago. Julie Shore is Jenny's sister. She's always made music_playing Chopin, writing songs, making bands with her friends. She's had the archetypal Millennial journey of entering adulthood in the '08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive. Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration_ whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum. These four_Miles, Julie, Jenny, and Sara_are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They've all just finished a new record together: Will Butler + Sister Squares. "After Generations, I considered making a weird solo record. Me alone in the basement, etc., etc. Mostly I realized that what I wanted was the opposite," says Will. He increasingly turned to the band for feedback on lyrics and song structures. He asked Miles if they'd produce the record. The band played a run of shows in August 2022, airing out studio ideas in live rooms. After coming home, the band regrouped at Figure 8 Studios in Brooklyn. "I had quit my band Arcade Fire very recently, after 20 years_maybe the most complex decision of my life. I had spent the preceding two years at home with my three children. I was 39 years old. I was waking up every morning and reading Emily Dickinson, until I had read every Emily Dickinson poem. I was listening to Morrissey, to Shostakovich, to the Spotify top 50. I had unformed questions with inchoate answers," says Will. "But, honestly, I was feeling great about the record." The album projects widescreen emotional landscapes. Lead-off single "Long Grass" is like a Harry Styles song with 20 more years of life behind it. Standout track "Saturday Night" has a beat, according to Miles, "with that robot-alien-dancing-at-a-haunted- dive-bar feeling that we were going for." The back half of the album is a danceable, weird choral record with harmonies both beautiful and dissonant. Closing song "The Window" is the comedown after the party_Julie playing a Chopin Nocturne on a three-years-out-of-tune piano, slowed to half-speed on tape with Will singing over it in a voice exactly as tired as he was. It's a record with a warm, humane soul.

REPENTANCE wurde 2018 vom ehemaligen SOIL- und DIRGE WITHIN-Gitarristen Shaun Glass aus Chicago, Illinois gegründet und ist eine primitive, aggressive Metal-Band. Im Frühjahr 2018 veröffentlichte die Band ihre ersten beiden Demo-Tracks, gefolgt von einem von der Kritik gefeierten Debütalbum ("God For A Day", 2020) und zahlreichen Shows mit hochkarätigen Acts wie TRIVIUM, DEVILDRIVER, JINJER, SKULL FIST, TOXIC HOLOCAUST, SACRED REICH und anderen.
"REUE kam ganz natürlich zusammen, was eine sehr reinigende Erfahrung war. An diesem Punkt in meinem Leben hatte ich gehofft, mit einer fast völlig neuen Gruppe von Menschen zu arbeiten und neue Musik zu machen -- und diese Crew war organisch eingesperrt. " Shaun Glas
Im September 2021 kündigten REPENTANCE ihren weltweiten Vertrag beim deutschen Label Noble Demon an und veröffentlichten ihre brandneue Single "Reborn". Ausgehend von der nächsten EP der Band und mit Corey Beaulieu vom mächtigen TRIVIUM an der Gitarre für ein Gast-Solo, war "Reborn" ein beeindruckender erster Blick auf das, was in naher Zukunft von REPENTANCE zu erwarten ist! Aber nicht nur mit einer neuen Single, sondern auch mit einer erneuerten Besetzung ist dieser Track der perfekte Einstieg in die Wiedergeburt des aggressiven, modernen Metal Sounds der Band. Die Ankunft der wilden Stimme von Adam Gilley setzt die Messlatte hoch und macht deutlich, dass es sich hier um eine wahrhaftige Reinigung des Sounds der Band auf allen Ebenen handelt.
Im Mai 2023 kehrt die Band mit einer weiteren Ohrfeige zurück, die in der Metal-Szene Wellen schlagen wird, indem sie die erste Single des kommenden Albums auf den Markt bringt, die Gesangsaufgaben von MILO SILVESTRO, dem neuen Sänger von FEAR FACTORY, beinhaltet!
Das neue Album "The Process of Human Demise" erscheint am 4. August 2023.

REPENTANCE wurde 2018 vom ehemaligen SOIL- und DIRGE WITHIN-Gitarristen Shaun Glass aus Chicago, Illinois gegründet und ist eine primitive, aggressive Metal-Band. Im Frühjahr 2018 veröffentlichte die Band ihre ersten beiden Demo-Tracks, gefolgt von einem von der Kritik gefeierten Debütalbum ("God For A Day", 2020) und zahlreichen Shows mit hochkarätigen Acts wie TRIVIUM, DEVILDRIVER, JINJER, SKULL FIST, TOXIC HOLOCAUST, SACRED REICH und anderen.
"REUE kam ganz natürlich zusammen, was eine sehr reinigende Erfahrung war. An diesem Punkt in meinem Leben hatte ich gehofft, mit einer fast völlig neuen Gruppe von Menschen zu arbeiten und neue Musik zu machen -- und diese Crew war organisch eingesperrt. " Shaun Glas
Im September 2021 kündigten REPENTANCE ihren weltweiten Vertrag beim deutschen Label Noble Demon an und veröffentlichten ihre brandneue Single "Reborn". Ausgehend von der nächsten EP der Band und mit Corey Beaulieu vom mächtigen TRIVIUM an der Gitarre für ein Gast-Solo, war "Reborn" ein beeindruckender erster Blick auf das, was in naher Zukunft von REPENTANCE zu erwarten ist! Aber nicht nur mit einer neuen Single, sondern auch mit einer erneuerten Besetzung ist dieser Track der perfekte Einstieg in die Wiedergeburt des aggressiven, modernen Metal Sounds der Band. Die Ankunft der wilden Stimme von Adam Gilley setzt die Messlatte hoch und macht deutlich, dass es sich hier um eine wahrhaftige Reinigung des Sounds der Band auf allen Ebenen handelt.
Im Mai 2023 kehrt die Band mit einer weiteren Ohrfeige zurück, die in der Metal-Szene Wellen schlagen wird, indem sie die erste Single des kommenden Albums auf den Markt bringt, die Gesangsaufgaben von MILO SILVESTRO, dem neuen Sänger von FEAR FACTORY, beinhaltet!
Das neue Album "The Process of Human Demise" erscheint am 4. August 2023.

'Million Lights' von 1987 ist in der Diskografie von Trisomie 21 mit Sicherheit der absolute Höhepunkt. Die beiden Lomprez-Brüder lieferten ein Album voller emotionaler Kraft, subtil und zerbrechlich, in dem die ganze Magie des Duos zum Vorschein kam. 'Million Lights' weist keinerlei Unklarheiten auf und ist das mutigste und vielleicht auch beste Album von Trisomie 21 - ein Klassiker! Im Rahmen des 40-jährigen Jubiläums von PIAS, erscheint das Album nun wieder auf Vinyl!

Everything becomes fluid when you can pass through time and space like a ghost, a story, a melody. Boy Golden manifests all three on For Jimmy. When listening to his music, it feels easy to dissolve into the ether. Everything flows. From classic country to psych-folk, Alternative to roadhouse pop to Appalaichan bluegrass, Boy Golden’s music is easy, breezy, warm and gritty. And don’t it just feel good to listen to it. Since releasing his debut album, Church of Better Daze, in 2021, he’s played every summer festival on your list, produced a number of albums with friends, released a dozen videos, curated and directed an art show and music video for “KD & Lunchmeat”, the Seth-Rogenesque hit single that charted to #1 on Alternative Radio, and toured with The Sheepdogs on their most recent North American tour. Introspective and vulnerable, traditional and queer, hard-headed and sensual, Boy Golden’s everyman-aesthetic can appeal to all of us. This ability lies in his songwriting: the songs your friends tell you about, the stories you hear from your neighbours, your community. He’s comfortable both in the spotlight and just outside it, sharing the moments with other artists, lifting others up along with him. He’s a genuine student of Townes Van Zandt and Willie Nelson as much as Dwight Yoakam and Stevie Ray Vaughan . Plus his C.O.B.D philosophy, “You can blaze and still get paid” might help us all to blur borders and old definitions of genres we thought we knew, like Steve Lacy or Justin Vernon do for Pop music. Boy Golden is able to maintain his own unique blend of Boy Golden using whatever frame of mind he’s in to fit us into this time. We’re here right now.

Colour in colour vinyl, transparent and red with blue splatter. Limited to 200 copies. "I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I'm rereleasing this record on HPS and I've decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again." New album cover by Maarten Donders. Remastered by John McBain !!

Merging doom, pychedelic sludge, grind, black metal and mighty mighty riffs to create a sound wholly their own, INTER ARMA deliver their Relapse debut Sky Burial, easily an early contender for heavy music record of the year. Emerging from the ever-fertile metal breeding grounds of Richmond, Virginia, INTER ARMA have spent the last few years touring relentlessly, perfecting a hypnotically punishing live show. Sky Burial brings that focus onto record, and what a record it is. Truly heavy in all senses of the word, Sky Burial is a spiritually intense journey through the halls of extreme metal. INTER ARMA have made a decisively loud proclamation with Sky Burial---this is a band that could very well be the next crown-holder in a regal line of iconic Relapse bands. Includes Digital Download