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2023 repress on Translucent Purple double vinyl! A Brand You Can Trust is the classic 2009 debut album from hip-hop supergroup La Coka Nostra feturing House of Pain's Everlast alongside Danny Boy & DJ Lethal with Ill Bill (Non Phixion), and Slaine (Special Teamz). Additional contributions come from such hip hop elite as Snoop Dogg, Cypress Hill, Immortal Technique, Bun B and The Alchemist. A breath of fresh air in the days of contrived airbrushed rap music, Ill Bill explained that, "This record is a no holds barred burst of hardcore hip-hop to the fullest, representing everything we love about this art form but feel is missing from the game right now." "This shit bangs," Slaine added. "We set out to make a boom bap hip-hop record and we did that, but to stop there would be selling it short, because lyrically, musically, and sonically this album doesn't fit in a box." Though similar stylistically to the group's prior 2009 online releases, the debut album features songs grounded more in reality. Subjects touched upon include politics, death, drug addiction, raising a child and terrorism. AllMusic gave four out of five stars. Andrew Kameka of HipHopDX wrote that "the album is a mostly solid effort and exactly what someone would expect from a supergroup of like-minded members known for high-energy music". Adam Kennedy of the BBC while praising some the moments of the album said "it's a tantalising parting taste of potential capabilities, yet until they improve a customer satisfaction hit rate that barely troubles one in three tunes here". Steve Juon of RapReviews gave it a seven out of ten. Thomas Quinlan of Exclaim! said "La Coka Nostra are an interesting collection of collaborators that live up to the hype".

Indie pop quartet Melenas hail from Pamplona, Spain, a picturesque region nestled just south of the Pyrenees. Such beauty can't help but inform the band's songwriting, but Melenas aren't content to just sit placidly & take in the scenery. Since they burst onto the scene in 2016, the band has hit the ground running, playing incessantly both locally & on the stages at national festivals like Primavera Sound & Eurosonic as well as releasing a debut full length (2018's "s/t" album) and a 7-inch single both triple-released on local labels Elsa, Nebula & Snap! Clap! Club. Trouble In Mind is honored to be releasing their new album Dias Raros and is the first label outside of Spain to release Melenas music to the world.Dias Raros hums right from the get-go, peppering their garage-pop punch with elements of lysergic dream pop, melancholic indie rock and strident guitar jangle. The album title translates to "Strange Days" an acknowledgement - according to the band - of "...those days where you spend more time inside than outside. Inside your own self, inside your bedroom and your own universe thinking about your wishes, dreams, memories, obsessions or fears." The lyrics - sung entirely in their native Spanish - reference "those interior dialogues where sometimes you fight to escape from a situation, you wonder what another person will be thinking about or feeling, you gotta say goodbye, or you just enjoy the time by yourself. Days that, for different reasons, you're feeling different, they are strange". Opener "Primer tiempo" buzzes with an urgent organ drone, unfolding into a yearning ballad of modern guitar-pop bolstered by the group's lush harmonies & sets the tone for the rest of Dias Raros. Songs like "No puedo pensar" "3 Segundos" and "Despertar" follow suit, with the rhythm section galloping headlong into an insistent guitar strum, while ballads like the tender "El Tiempo ha Padsado" rely on the band's melodious voices bolstered by a lilting guitar riff and gentle organ swells. Elsewhere mid tempo rockers like the stomping "Los alemanes", the simmering "Ciencia Ficción" and "Ya no es Verano"s insistent jangle recall underground greats like The Pastels, R.E.M. and Shop Assistants. "Vals" ("Waltz") closes the album in 3/4 time, named for the ballroom dance as well as the last name of a close friend - a dedication to her. Its dreamy sway alluding to classic Brill Building songwriting; dusted with melancholy, but lifted by cascading voices, and organ and guitar waves and guitars that twinkle and shimmer over a cracking backbeat. Dias Raros is the perfect introduction to a band bursting with promise, confidently inhabiting their own space built upon the foundation of their influences both geographically and culturally, as well as musically.

Those familiar with the sound and style of the DIY scene in Chicago's Logan Square may be surprised to find out that it was the birthplace of psych pop quintet Lucille Furs. They are a little surprised themselves.

At the time it wasn't exactly the place to hear harmonies and harpsichords so much as songs about sniffing glue. This isn't to say they didn't like the raucous power of Magik Milk, on the contrary. But, as the people who would come to make up the band began to talk, it became clear that they wanted to make something different entirely. They wanted to make something with the heartbeat of sweaty city basement shows but with the unrestrained imagination of places and times where they had never been.

Bassist Patrick Tsotsos will tell you about the music of post-war Greece where his grandparents grew up. Guitarist Nick Dehmlow will tell you about the garage bands of LA. Drummer Brendan Peleo-Lazar can fill you in on a late 60s London studio session as though he was running the tape machine. Mellotron/organ player Constantine Hastalis can show you a record by some long-forgotten folk singer who writes so earnestly you won't forgive the world for forgetting it. Singer Trevor Newton Pritchett is unapologetic about what they borrow. "You might hear the Zombies for their kind of haunting and contemplative quality, the Kinks kind-of casual criticism, the West Coast Pop Art Experimental Band for their distant romantic quality, Temples, Love, Diane Coffee, Charles Bradley or our Chicago people Post Animal, Jude Shuma and Whitney." Now that half of the band is located in Los Angeles you'll be likely to hear those influences, too.

And that's what becomes crystal clear when listening to the upcoming album Another Land. It's an immersive listen, the kind of record you can get lost in on a cross-country drive from the midwest to the west coast. A record with warm blood running through its veins. Music where thought can be abandoned.

The whole record is dressed up in surreal and esoteric terms, in exchange for being topical. Think Dylan lyrics from the late 60s. "Paint Euphrosyne Blue" is kind of a meta-level example of that. The song is a reference to the goddess of mirth, about the human need to adapt to the point of becoming unoriginal. It's about chasing Van Gogh's depression because it makes you feel like a better painter.

The album was written through September 2017 and was recorded following the release of the self-titled Lucille Furs album later that year. It was recorded direct to tape before being completed at Treehouse Records in Chicago.

For fans of: The Kinks, The Zombies, Love, West Coast Pop Art Experimental Band, The Byrds, The Beatles, Foxygen, Triptides, Temples, Mystic Braves, Levitation Room

Those familiar with the sound and style of the DIY scene in Chicago's Logan Square may be surprised to find out that it was the birthplace of psych pop quintet Lucille Furs. They are a little surprised themselves.

At the time it wasn't exactly the place to hear harmonies and harpsichords so much as songs about sniffing glue. This isn't to say they didn't like the raucous power of Magik Milk, on the contrary. But, as the people who would come to make up the band began to talk, it became clear that they wanted to make something different entirely. They wanted to make something with the heartbeat of sweaty city basement shows but with the unrestrained imagination of places and times where they had never been.

Bassist Patrick Tsotsos will tell you about the music of post-war Greece where his grandparents grew up. Guitarist Nick Dehmlow will tell you about the garage bands of LA. Drummer Brendan Peleo-Lazar can fill you in on a late 60s London studio session as though he was running the tape machine. Mellotron/organ player Constantine Hastalis can show you a record by some long-forgotten folk singer who writes so earnestly you won't forgive the world for forgetting it. Singer Trevor Newton Pritchett is unapologetic about what they borrow. "You might hear the Zombies for their kind of haunting and contemplative quality, the Kinks kind-of casual criticism, the West Coast Pop Art Experimental Band for their distant romantic quality, Temples, Love, Diane Coffee, Charles Bradley or our Chicago people Post Animal, Jude Shuma and Whitney." Now that half of the band is located in Los Angeles you'll be likely to hear those influences, too.

And that's what becomes crystal clear when listening to the upcoming album Another Land. It's an immersive listen, the kind of record you can get lost in on a cross-country drive from the midwest to the west coast. A record with warm blood running through its veins. Music where thought can be abandoned.

The whole record is dressed up in surreal and esoteric terms, in exchange for being topical. Think Dylan lyrics from the late 60s. "Paint Euphrosyne Blue" is kind of a meta-level example of that. The song is a reference to the goddess of mirth, about the human need to adapt to the point of becoming unoriginal. It's about chasing Van Gogh's depression because it makes you feel like a better painter.

The album was written through September 2017 and was recorded following the release of the self-titled Lucille Furs album later that year. It was recorded direct to tape before being completed at Treehouse Records in Chicago.

For fans of: The Kinks, The Zombies, Love, West Coast Pop Art Experimental Band, The Byrds, The Beatles, Foxygen, Triptides, Temples, Mystic Braves, Levitation Room

Elliott Fullam is a New Jersey artist who conjures the magic of when loneliness meets hope with his ghostly vocal melodies and gentle guitar tracks that bring a tranquil feeling to the listener. All of Elliott’s songs are recorded in his bedroom at home and mastered by the world-renowned Alan Douches of West West Side Music. His teenage goal was to release his first album by the time he turned 18 and he achieved that goal with the release of his debut album “What’s Wrong” on his 18th birthday of September 2, 2022. Elliott is also an actor, playing the co-starring role as Jonathan in the film Terrifier 2 which made a big smash at the box office as an uncut and unrated horror film. And as a dedicated music fan, Elliott has interviewed many musicians since the age of 9 including James Hetfield of Metallica, J Mascis, Ice-T, Jay Weinberg of Slipknot and many more. He always held his passion for music in high regard while finding inspiration in his favorites Elliott Smith, Duster, Mazzy Star, Broadcast, Radiohead and Nick Drake. With nothing else in his life plans aside from the pursuit of creating the best music he possibly could while sustaining his promising acting career, Elliott will continue to release music and play shows for as long as he exists on this planet in hopes that he may be a small part of the force for good in this trying world.

Das Kasseler Duo Some More Crime formierte sich 1990 mit der Idee, die gesprochene, aus Pre-Internet-Medien gesampelte Stimme als ausschließliches Text-Instrument einzusetzen. Während des Kunststudiums hatte sich der Trommler Bernd Friedmann (Burnt Friedmann / Nonplace Urban Field) mit dem Gitarristen Frank Hernandez zusammengetan, um die Abgründe des Zusammenhangs von Gewalt in den Medien, bzw. mind control, zu studieren und zu verstehen, und diese im Studio als Quasi-Collagen mit Grooves zur Entfaltung zu bringen. Some More Crime kann heute gewissermaßen als Nachzügler von Laibach, oder als konzeptueller Vorläufer von Rammstein betrachtet werden. Mit Ihrer dritten, 23 Titel umfassenden CD schafften es die Konstrukteure an Samplern und Atari-Sequenzer, Frank Hernandez und Burnt Friedman 1993 schliesslich in den Fokus internationaler Aufmerksamkeit zu kommen. Ihre überwiegend aus dem Amerikanischen gewonnenen, de-kontextualisierten Text-Cluster aus Interviews mit Gewaltverbrechern und damit verbundenen Medienkommentaren versuchte zu zeigen, dass die steifer werdende Deutungshoheit der Medien-Narrative zumindest eines vermochte, nämlich anstatt sinnstiftend zu wirken, die Massen in Angst und Verwirrung zu versetzen. Mit Friedmann's Umzug nach Köln wurde Some More Crime bereits 1994/95, also nach 3 Studio Alben beendet. Im Alleingang erzeugte Friedmann eine vierte, allerdings wenig beachtete CD, die angefangene Skizzen 1996 noch zur Vollendung und Veröffentlichung brachte. ZZO recordings Gründer Thomas Luckmann, Nürnberg, nahm sich des Duos 1990 an und unterstützte die künstlerische Arbeit trotz starken Seitenwinds des aufstrebenden, unwiderstehlichen Technosounds, der Anfang der 90ziger durch Deutschland's Musikszene zu wehen begann.

Blues Deluxe is the third studio album by Joe Bonamassa and originally released on August 26, 2003. Recorded at Unique Recording Studios in New York City, it was produced by Bob Held and features nine cover versions of songs by classic blues artists, such as BB King, Jeff Beck, John Lee Hooker, Robert Johnson, Elmore James and more. The album is completed with three original tracks, including the fan favorite Woke Up Dreaming.

"If you had told me 20 years ago my career would last long enough to see the 20th anniversary of this little record called 'Blues Deluxe,' I'm sure I would have laughed," Bonamassa reflects. "Blues Deluxe was my last shot after being dropped by two major record labels and my booking agent.It was then that my manager, Roy Weisman, had his first 'all in' moment.We would go back into the studio and record. A record that would hopefully define the direction of whatever future career I might have."

With 26 #1 albums, yearly sold-out tours worldwide and custom annual cruises, he's a hard act to beat. These albums are a testament to his credentials and a toast to his longtime fans who remember them originally and new fans who can experience them for the first time. It's Joe Bonamassa at his finest, ready to rock.

Imagine a perfect mix of early HELLOWEEN, early BLIND GUARDIAN and ACID: SENTINELS is precisely that! Entirely sung in Spanish, we consider "Trasciende" one of the best South American albums of recent years If you're a fan of speed metal with female vocals, then this album is for you.

With a total of eight songs full of fury, metal and the cry for freedom, "Trasciende will be available in an ultra limited edition on vinyl LP, with all the extras that our followers are used to

The first album release on Sprechen is a trip across the astral planes of electronica and through the neon soaked streets of South Manchester, where genres cross & styles meet on the creative peripherals away from the dance floor.

A life lived through clubs, comic books, cult movies, cosmic adventures & electronic musical endeavours have all played a role in the creation of 'Where Do I Belong?', the debut long player by The Thief Of Time, a new studio project from Sprechen founder Chris Massey.

What started as just very loose ideas and half started projects during lockdown resulted in a semi autobiographical collection of songs that draw on a lifetime love of electronic artists & synth heavy movie scores.
Nods are given, toes are dipped & caps are doffed in various sonic directions whilst still treading a truly unique path of its own making.

As Chris says: "it started really with me being in a headspace I've never really had in the studio. There was no pre-conceived ideas or agenda of what I wanted to achieve other than just going with what felt right and pursuing sounds & style I favour away from a smokey basement of ravers. Being a child of the 80's gave me a wealth of ever-evolving influences of sounds, styles, imagery, fashion, literature & art which all somehow seemed to direct this project.
It's the first time I've ever created something that contains personal reflections of my own life. Good & bad alongside the high & low points have all driven this creative process which reflects my own headspace will hopefully speak to everyone on some sort of level".

The album also features a host of Manchester artists including A Certain Ratio, Bay Bryan, Psychederek, NIIX & Love Letters From Space as well as Allison Rae from Causeway (Italians Do It Better) who were all instrumental in realising Chris' vision and bringing this exciting project into existence.

Gudu Records is proud to present remixes of Special Request and Novelist’s grime-meets-techno Summer anthem ‘Sliver’ - by two of club music’s modern-day heavyweights in KETTAMA and Tim Reaper.

In Special Request’s words: “I chose Tim Reaper and KETTAMA because they are both 100% top-table practitioners of machine funk. They both delivered the goods in completely different ways and illuminate new paths with this song. Both mixes have been causing havoc in our sets and I can’t wait for people to hear them.”

Both remixes are out now on all platforms, with a limited 12” release available to pre-order now. It continues a stand-out 2023 for Peggy Gou’s record label, which has already seen releases from Special Request & Novelist, Mogwaa, Matisa, Hiver, Matrefakt and DMX Krew, as well as the inaugural entry in Gudu & Friends - a new annual compilation series which introduced Salamanda, Closet Yi, Lady Blacktronika and more to the roster.

'Light Years', released a few days before Kate's 50th birthday, is Rusby's 7th Christmas record and features vocals by Alison Krauss and Ron Block Her love of Christmas music and upbringing on a rich tradition of 'local carols' is no secret to her many fans.' Light Years', a lyric in one of the albums songs, is full of Rusby-fied versions of carols and well-known songs which depict in her own words, "Joyful memories of music, family, community, warmth and happiness - and a little wine!" The album follows in the footsteps sonically of her last two releases, 'Hand Me Down' 2020 and '30: Happy Returns' 2023. Experimental sounds, moogs, layered banjos, lush electric guitars, low subs, soaring acoustics, wonderful effects and of course, her own spellbinding vocals. There are songs old and new on this record. Many standout tracks include Rusby's self-penned 'Glorious', a song about a lost and broken angel and one which takes the listener on a thrilling journey through snow laden trees and a warm glow of the evening sun illuminating only half of the world. Her own version of 'Rockin Around the Christmas Tree & Sleigh Ride,' combined, make a simply wonderful version that will have you spilling your nutmeg all over the dancefloor! 'The Moon Shines Bright' features the gorgeous harmony vocals of Alison Krauss and Ron Block amongst a gorgeous soundscape of guitars and 'The Most Wonderful Time Of The Year' is a true example of how Rusby can take a classic and stunningly make it her own. No Rusby Christmas album would be complete without a little humour and 'Nothin For Christmas' and Chris Sugden's (aka Sid Kipper) parody 'Arrest These Merry Gentlemen' will not fail to make any 'bah humbugger' chuckle. Another superb release from Kate Rusby & Crew. John Lewis, look no further for your Christmas advert music...

RNT welcomes Cody Currie back to the catalog with an extended EP of soulful and jazzy original sounds. A project that’s been in the works since his label debut back in 2017, the “Cody Currie EP” is a refined statement of the rising star producer’s UK-jazz and club roots, both danceable and introspective. Enlisting a talented roster of collaborators, such as vocalists Stee Downes, RNT mainstay Cor.ece, and newcomer Marlena Dae as well as instrumentalists Mikeal and Ally McMahon, each track is like a little world of its own in the universe of Cody’s vast musical aesthetic. To round out the EP we have a stellar remix from European deep house royalty Vincenzo, who shows that his production tools are still sharp as ever.

An Indian's Life' continues Henri Texier's lifelong interest in native American history and culture, first illustrated in his critically acclaimed album 'An Indian's Week' (1993) "It's from a childhood passion", Texier explains, "Something very intimate but not intellectualized, so much, that connects me back to the little Parisian kid I was in the 50's, of course, later I added jazz to the cocktail, I linked the Native American genocide to the oppression of the Afro- Americans, and I identified with this wretched part of America through jazz music". Once again, Henri Texier has produced a work of vibrating music in tune with the Native American psyche. All the compositions are his own (except Black and Blueby Fats Waller and Harry Brooks) and include pieces honouring his friends Carla Bley and Steve Swallow, the tutelary figure of Charles Mingus, Don Cherry, and Paul Motian. Texier never fails to state where he comes from, turning his deeply welcoming music into a space of dialogue between traditions and generations, acknowledgment of others in all their differences

There was definitely something in the Welsh water during the COVID lockdown! By the third lockdown Spencer was missing going out dancing at indie clubs He wanted to write an album to replace that feeling of being out all-night to jangly melodic pop. The influences on the album are the kind you'd see on any poster advertising an indie night including Teenage Fanclub, Belle and Sebastian, REM, The LA's The Cribs, The Strokes, Violent Femmes, Fleet Foxes, Suede, Pulp and Television, As a result of the honing down over two and half years of material, every track on the album could be a single and it is a bold claim from us, but we think it is possibly the best indie pop album of the new millennium. "You're a Lighthouse, I'm at Sea" contains the singles "And We Get Burned" and "Disco In Your Heart".

Diffrent Music roars back into action after an extended hiatus to raise a couple of young giraffes with the electrifying new compilation, ‘Revolution Of The Giraffe’ LP.

Launched in 2010 with the aim of bringing something new to a drum & bass scene that had become overly formulaic, the label has continuously pushed in new directions, often incubated tomorrow’s stars, and evolved beyond even that original grand ideal. ‘Revolution Of The Giraffe’ unleashes 17 tracks of bleeding-edge electronic music, proving that after 13 years, Diffrent still sounds like nothing else.

Core artists from the label’s distinguished history bring their expertise, such as drum & bass mainstay Arkaik and sound architect Fearful, who team up with label boss Dexta for the MC GQ-sampling ‘Old Skool’ — a new track with a classic Diffrent sound. And there are numerous debuts: A.Fruit reworks an all-time Diffrent classic, ‘Boxgroove’ by Dexta & Hyroglifics, into a glitchy halftime stomper; none60 bosses Silent Dust turn Dexta’s ‘SE4’ into a rebellious dancefloor juggernaut; and the mysterious Gaunt’s ‘Firefloor’ becomes locked ‘n’ loaded rave artillery in the hands of Pepsi Slammer.

Label stalwart Mauoq puts his signature psychedelic future dub spin on ‘Departed’ by Cuelock, who in turn delivers the ice-cold, grime-indebted ‘Pages Of Snow’. Lakeway conjures the epic ‘Even Though’, nearly eight minutes of ecstatic, spell-binding, hyper-rave wonder. Dexta goes solo with squelchy techno jungle stormer ‘Giraffes On Acid’. Even Sense MC makes an… appearance.

New-gen Diffrent acts are in fine form too. The inimitable BrandNewTrumpets opens the album alongside Macc; ‘We Are The Tightrope Walkers’ is a powerful spoken word piece that erupts into a hail of punishing breaks. No Nation, Sheba Q and BK Balance, meanwhile, turn out explosive, hi-tek junglism on ‘Too Late’. From Diffrent’s industrial-toned sister label Are We Really Alone? (A.W.R.A.), Amir De Bois joins forces with Fearful for the paranoid, jittering ‘73’; Tokyo’s Itti summons thunderous bass on the ritualistic ‘Rumbling’; and Croatian artist Spaj.A.S.E.’s competition-winning, mind-mashing remix of the first ever Diffrent release, ‘Everyones Mad’ by Chills, finally sees the light of day.

Always looking to the future, Diffrent also welcomes modern jungle visionary Eusebeia, who puts his ethereal touch to Crypticz’s ‘Could Have Been’, and Stateside up-and-comers Illexandra & TGRbass, who deliver the supercharged, elastic bounce of ‘Swampy Swami’.
Closing out with one from deep within the vaults, ‘Aftaparty’ is Beezy and MNTX’s ode to seeing where the night takes you. It’s a fitting note to end on, as a new era of Diffrent Music begins. Where will it take you? Join us on the ride and find out.

"I've loved every moment of the label so far: the fast-paced release schedules, the slow years, the podcasts, albums, singles, EPs, parties, etc. This compilation album signposts where we are at — a bunch of classic Diffrent artists, a load of new faces, and a few remixes thrown in for good measure. Each tune stands alone, but stands tall next to each of its siblings. I hope you all enjoy it as much as we have! The revolution is here, join the revolution!"
- Dexta

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

Powerhouse R&B/Soul vocalist and Canadian Idol finalist. Gary Beals, is thrilled to be releasing his new album, The Melody Within. The Melody within is a musical journey that unfolds across two sides, much like a story that reveals new layers with each turn. The album is more than just a collection of songs; it's an emotional guide that beckons us to explore the depths of our own feelings and explores navigating emotions, self discovery, and nostalgia through soulful melodies. "This album serves as the aftermath to my previous album, "Bleed My Truth". It's a continuation of my musical journey, a fusion of soulful melodies and diverse influences that mirror both my personal and artistic evolution," said Gary Beals. "Each song is a chapter, a piece of my heart and soul, inviting listeners into my world of emotions, experiences and connection. It uncovers the melody that resides within. The anticipation is building as I look forward to sharing this collection of new music, and I hope it resonates deeply, offering a meaningful and memorable musical experience enriched with a multitude of emotions." With this new body of work, Gary had the opportunity to work with two talented primary producers,Beatchild (Drake, Justin Nozuka, Glen Lewis) and Myles "Losh'' Schwartz (Allan Rayman, Tobi, The Game, Pretty Lights). Additional production credits on the album include, Chris Guirguis, Frizzy Astro (Raz Fresco, Daniel Son), Jordan "Tempo" Farmer, Kobebeats (Rodwave, Kcamp, Sevyn),Sid Aakowa, Ty Danelley (Popcaan, Tory Lanez, Pressa) and Warren Williams, who all helped to shape the makings of the album while maintaining a consistent synergy. Side A of the album draws inspiration from the likes of Al Green, Aretha Franklin, Otis Redding, Marvin Gaye, and James Brown, and pays homage to artists who have played an integral part in shaping Gary's musical roots. This side includes Gary's previously released singles, "Good People, Good Vibes" and "All of Me," and the album's title track "The Melody Within," that commends the process of self-discovery and introspection. Also included is the album's 5th single, "Self Revolution," which will be released on October 27th along with the official music video. On Side B, you'll encounter a fusion of R&B and pop elements while still staying true to the album's soulful essence. Included on this side, is Gary's third single "I Like That," featuring JRDN and KAYO ,and the new single "How Do I Say (I Love You)," released September 22nd. "How Do I Say (I Love You)" dives into the inner conflict of conveying affection, showing vulnerability, and the bravery needed to expose one's heart to someone else. About Gary Beals: Two decades ago, Gary embarked on his musical journey when he, a small-town kid from Nova Scotia (now calling Toronto home), made a remarkable entrance onto the national stage as a part of Canada's inaugural season of Canadian Idol. This month marks the 20th anniversary of the finale where Gary was crowned as the "runner up" on the show. The experience ignited a transformative period of self-reflection and discovery that propelled Gary toward personal growth, shaping his life and musical career in lasting ways.

Fast forward through three albums and twenty years, Gary's work and talent have made a remarkable impact and received widespread critical acclaim. Among his accomplishments are debuting in the top 10 of the Canadian sales chart, being nominated for a JUNO Award for "Best R&B/Soul Recording," winning an East Coast Music Award and seven African Nova Scotia Music Awards, as well as scoring nominations for an Urban Music Award and a Canadian Radio Music Award. These accomplishments led to his home province's Premier officially designating November 22nd as Gary Beals Day in acknowledgment of his achievements.

With his return, Gary is poised to make a positive impact on the ever-expanding global community as he prepares to release his new album The Melody Within. The album will stand as a tribute to the strength that resides within all of us and a reminder that true fulfillment comes not just from achieving goals, but from discovering the intricate beauty that lies within our own hearts and souls.

Craig Charles is a big supporter of Gary Beals and spun his single 'All Of Me' for three weeks in a row on his Funk and Soul Show on BBC Radio Six

Purple Color Vinyl

We are really proud to introduce a new release on Mawimbi Records: "Mawimbi, Vol. 2”. Its title is a nod to “Mawimbi, Vol. 1”, which was the inaugural release of our record label back in 2015. A new compilation, at last, after a decade of music activism and a handful of EPs and albums which have helped unearth some of today’s talents from the new global music scene (Onipa, Loya, Afriquoi, Raz & Afla). It stays true to the driving principles of our artistic direction: support upcoming artists, e ncourage the breaking down of musical frontiers, help make happen new encounters between electronic music and so-called “afro” music. While these encounters can now be witnessed anywhere in pop music’s current zeitgeist, from Beyoncé to South African’s vibrant amapiano scene, we think there’s still plenty to explore.

“Mawimbi, Vol. 2” truly feels like the culmination of a long path for our record label. Because it includes artists who have been actively contributing to the Mawimbi adventure over the years, and also because it’s another convincing testimony of the fruitfulness of this musical intuition we have so heartily been defending for the last decade. Indeed, the 8 tracks of “Mawimbi, Vol. 2” resist all the usual labels. They sound like they stem more from human encounters and artistic dialogues launched in the moment than attempts to be associated with any music scene in particular. Each of the 8 pieces of this compilation presents in a unique way the search for this cross-pollinating sound.

The compilation opens with a really engaging rework of James Stewart’s classic track “Cotonou” by Lyon-based tropical music enthusiasts Voilaaa, who took Peter Solo’s voodoo soul lines on a trip across the Black Atlantic beginning with a horn-heavy cuban cha-cha-cha before falling into a savory triple time dance. As tireless sonic adventurers, Amsterdam-based duo Umoja have brought back a handful of hits from their numerous trips to Kenya meeting with local benga musicians. “Avana Va” is one of their compelling tunes, featuring Kenyan musician and producer Sidney Simila. This urge to collaborate with musicians from across the African continent is also to be found in Village Cuts’ ever expanding discography. On “Sentima”, they showcase their trademark London funky sound, introducing us to the talents of Congolese guitarist and singer Kissangwa.

Afriquoi’s 2020 hit “Ndeko Solo” is presented in a brand new shape, sprinkled with some French Touch flavours. “Djansa”, by Toulouse-based producers Mr. Boom, rides a distinct South African-inspired groove, while inviting us to a nighttime dance by the Balearic sea. On “Silent Runner”, French producer and musician Ozferti moulds his own musical galaxy where East African scales meet cutting edge global club beats. With “Nabi Kumi”, Anglo-Ghanaian duo Raz & Afla delivers their deepest piece, once again inducing a state of trance with a triple-time beat and an hypnotic kora loop. Closing the compilation, “It's Holy” is a unique collaboration between Tom Excell (Onipa, Nubiyan Twist, David Walters) and Dizraeli, one of the most interesting voices in British rap, which by making connections between broken beat, jazz and african music, illustrates the precious mixture of musical aesthetics that make up the current UK musical landscape.

We are delighted to unveil TrueMendous' sophomore album ‘Great. On
Purpose’. Sporting 15-tracks of evolutionary music, ‘Great. On Purpose’ is without question True's most ambitious body of work to date.

Since sharing the unrelenting lead single 'Talkk' Feat. Mysdiggi,
and after a double serving on follow up 'Really Wanna Love' x
'Still Don't Wanna', the album is a rollercoaster ride. Just listen
to standout single 'Yourself or The World?' featuring the almighty
Skinnyman if you're in need of anymore proof.

Featuring a heavyweight lineup of guest appearances from the
aforementioned Skinnyman and Mysdiggi, but also including Janel
Antoneshia, Vaddy, Princess, Ashley Allen, and DJ Sammy B-Side,
complemented by Illinformed, GhostTown, Pitch 92, Forest DLG,
Muckaniks, Mark Fear and Bear on production duties - ‘Great. On Purpose’ is STACKED from top-to-tail.

a 01 - Womp Uhuh













[So Good]

[a] 01 - Womp [Uhuh]













[So Good]

We are delighted to unveil TrueMendous' sophomore album ‘Great. On
Purpose’. Sporting 15-tracks of evolutionary music, ‘Great. On Purpose’ is without question True's most ambitious body of work to date.

Since sharing the unrelenting lead single 'Talkk' Feat. Mysdiggi,
and after a double serving on follow up 'Really Wanna Love' x
'Still Don't Wanna', the album is a rollercoaster ride. Just listen
to standout single 'Yourself or The World?' featuring the almighty
Skinnyman if you're in need of anymore proof.

Featuring a heavyweight lineup of guest appearances from the
aforementioned Skinnyman and Mysdiggi, but also including Janel
Antoneshia, Vaddy, Princess, Ashley Allen, and DJ Sammy B-Side,
complemented by Illinformed, GhostTown, Pitch 92, Forest DLG,
Muckaniks, Mark Fear and Bear on production duties - ‘Great. On Purpose’ is STACKED from top-to-tail.

a 01 - Womp [Uhuh]













[o] 15 - I Feel Good [So Good]

[a] 01 - Womp [Uhuh]













[o] 15 - I Feel Good [So Good]

Tha God Fahim has carved out a unique place in the hip-hop firmament, fashioning street-level morality tales set to mesmerizing soundscapes. Depicting an ongoing battle between good and evil, these rap fables find Fahim slaying demons, surviving betrayal, learning lessons, outmaneuvering obstacles, and ultimately realizing his limitless potential. Now, the Atlanta emcee is back with "Tha Supreme Hoarder Of All Pristine Wealth", a new album entirely produced by Camoflauge Monk. Tha God Fahim’s compelling lyricism entwines perfectly with the soundtrack provided by Monk, an acclaimed beatsmith who has crafted tracks for Westside Gunn, Mach-Hommy, Conway, Benny The Butcher, Boldy James, Mayhem Lauren, Rome Streetz, and more. Capturing the essence of Fahim’s artistry, The Supreme Hoarder Of All Pristine Wealth celebrates living life to the fullest, where luxury and abundance are hard-earned rewards for dedication, sacrifice, wisdom, and righteousness.

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music.

This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in DISCO and ELECTRO.

Following the height of its’ popularity in the late 1970s, Disco in the early 1980s retained the irresistible melodies and beat but became primarily synth driven. The era saw some of the genres’ biggest hits including this collections’ opener ‘Flashdance…What A Feeling’ from Irene Cara – this theme from the film ‘Flashdance’ was not only a massive selling single, but the song also won multiple awards including an Academy Award. Lipps Inc. produced a timeless hit with ‘Funkytown’, and Shalamar with ‘A Night To Remember’, Odyssey with ‘Use It Up And Wear It Out’ and Indeep’s ‘Last Night A DJ Saved My Life’ were all huge commercial Disco hits.

Disco royalty Nile Rodgers and Bernard Edwards of Chic feature here in their roles as producers and writers with Diana Ross’s massive hit ‘Upside Down’, ‘Why’ from Carly Simon, and the peerless ‘Spacer’ from Sheila & B. Devotion and in 1984 remixed Sister Sledge’s ‘Lost In Music’ which became a massive hit again and is included here in its full 12” version.



Amii Stewart’s classic version of ‘Knock On Wood’ was remixed and a hit again, Donna Summer enjoyed huge success with ‘She Works Hard For The Money’, and other established Disco superstars celebrated returns to the charts with an 80’s Disco sound including, and featured on this collection, KC & The Sunshine Band, Patrick Cowley feat. Sylvester and Evelyn “Champagne” King.



The prevalence of the synth in the 1980s gave rise to new and exciting sounds and to tracks that were created with fusions of genres. On this collection we are celebrating ‘ELECTRO’ – a sub-genre of Electronic Dance music that combined elements of Disco, Funk and Hip-Hop and featuring a heavy synth backing, and the commercial Electro-Pop hits it produced. In 1984, Chaka Khan who had achieved huge success with the Disco classic ‘I’m Every Woman’, had a worldwide smash with a cover of Prince’s ‘I Feel For You’ which combined Disco, Funk, R&B, Synth-Pop and Hip-Hop – to stunning effect. Also a hit in 1984, Jimmy Jam and Terry Lewis produced a classic fusion of Disco, R&B, Funk and Synth-Pop for the S.O.S Band with ‘Just Be Good To Me’ and also included here are hugely influential Electro-Pop gems from Freeez, Rockers Revenge feat. Donnie Calvin, Malcolm McLaren, Break Machine, and Rock Steady Crew.



In the latter half of the 80s, Disco and Electro-Pop continued to evolve and fill dance-floors. Taking influences from both genres, Expose and Company B enjoyed ‘freestyle’ hits and DJ, remixer and producer Jellybean had a string of hits including ‘Just A Mirage’, and Whitney Houston became a global superstar. One of her signature tracks ‘I Wanna Dance With Somebody (Who Loves Me)’ serves as a stellar example of how Dance music had evolved through the decade and remained as vital and uplifting as ever.

João Almeida (trumpet) and Pedro Melo Alves (drums), two of the most creative and prolific Portuguese jazz musicians of their generation, are MOORIS. Recorded in May 2021, right after the second lockdown in Portugal, “I” shows them freely exploring their instruments of choice but also finding and creating sound with “objects”, as they describe.

Both musicians leave behind familiar ground and use their instruments to create sounds that appear ceremonial or even manifest themselves as rituals. “+” sets the tone, dark, sparse and haunting, and the next four tracks (all on the "positive" side, with “+” added to each title) make use of the freedom proposed by this experiment with the uncanny. The “objects” start appearing, creating movement, confusion and dancing around different genres, from dark metal to industrial.

Flashes of jazz can be heard throughout, particularly on the B side (the "negative" side), with all tracks following the same conceptual logic as the A Side (“-”, “- -”, etc.). The atmosphere is clearer here. João’s trumpet ascends to a new level and creates new concepts in the fourth world realm. In a matter of seconds, it shifts naturally to somewhere else, the dense/dark atmosphere experienced on the A side becomes a distant memory and we are now flowing with the sounds, not trapped in them. A beautiful release after a tense/intense beginning.

After spending the last year constantly listening to “I”, MOORIS' debut still sounds brutal and unforgiving. A rare breed.

EVERIS'S NEW ALBUM FOR THIS CHRISTMAS 2023

Everis has returned this Christmas with yet another Sell Out vinyl that will make your collection the envy of the Soul Music World!

This new offering by the soul legend Everis entitled, Everis - “Songs in The Key of E”. This limited-edition vinyl album is scheduled for a Christmas 2023 release and features some enormous brand-new tracks. This album comprises of two magnificent award-winning singers, two international rappers, from the US & UK, plus one of the UK’s Biggest Sound System Dance MC’s performing on it. This solid Holiday vinyl smash, see’s Everis deliver exciting vocal performances, with a real feel-good factor, over these tough rehashed and fresh sounding beats that are bound to make you wanna get up and dance, there are 8 solid tracks in all.

Grammy Award winning US singing sensation, Shirley Jones of The Jones Girls, best known for her numerous No:1 hit both here and, in the US, has finally jumped on a record with Everis. She last worked with him on her smash solo album entitled “Shirley” many moons ago, and of late as part of the “Soul Syndicate” crew that remixed her ‘Soul Steppin’ track. Now they have come together on a monster track entitled “This I Know - Filly B Mix (featuring Cam Jones)” which is an absolute club banger for sure, an instant underground hit!

The rest of side A called “This Side” has even more really banging tracks, a Club / House Party smasher entitled, “Come Home Tonight” and the coolest sexiest Neo Soul Vibe titled, “Just Say the Word” with Everis giving a spine-tingling vocal performance that would leave the toughest of you feeling weak. The album also features Everis’s last UK Soul Charts No.1 Christmas hit “What You Doing to Me” which totally sold out in just one day, and had Everis’s name and music heard / played everywhere in the UK, and also earned him yet another award. The album is littered with great music from Mr Smooth from start to finish, with Fresh Cuts too, just take a look.

2023 REPRESS - Rare Brazilian Bossa Nova - Latin album - Comes with insert/liner notes & packaged in a gatefold jacket - 180g TANGERINE COLORED vinyl limited to 500 copies w/obi strip // Marcos Valle needs little introduction, born in Rio de Janeiro in 1943, Mr. Valle is an award-winning/chart-hitting Brazilian singer, songwriter and record producer. He was raised on a staple diet of classical, Brazilian popular music and North American jazz. Marcos Valle grew up to be one of the most influential & innovating musicians of the Bossa nova period and is regarded as one of the greatest Brazilian artists of all time. He has recorded albums for North American labels such as EMI, Warner Brothers & Verve_cementing his career with a series of tight musical workouts moving seamlessly between funk, samba, soundtracks, soul, jazz, dance and rock. Valle contributed to some of the most important recordings by artists including Sarah Vaughan, Frank Sinatra, Sergio Mendes, Leon Ware, Chicago and Airto Moreira. Mr. Valle's work has been sampled/remixed by major artists from the likes of Jay-Z, Kanye West & Madlib.One of Valle's favorite bands to frequently collaborate with was no doubt Azymuth, who took their name from a Valle song!Azymuth (Bertrami-Malheiros-Conti) started their individual careers in the 1960s in the emergent Bossa nova and jazz scene of Rio, living in the same bohemian block in Copacabana and playing in small bars as session musicians under various other names.It was the early 1970s when Azymuth really began to cause a stir and Marcos Valle invited them to record on a soundtrack LP he was doing. The unique Azymuth sound was now born: a mix of electronic music, samba, funk and jazz that they defined as MPB-jazz (MPB stands for Musica Popular Brasileira). Over the decades Azymuth released extremely successful albums (selling millions of copies) on labels such as Polydor, Som Livre and Atlantic. Hitting the charts on multiple occasions, Azymuth played at the Monterrey and Montreux jazz festivals and at venues around the globe.The band has worked with legendary musicians from Joe Henderson to Stevie Wonder and they've also been remixed/sampled by artists such as Flying Lotus, will.i.am, MF DOOM and Peanut Butter Wolf. Their unique brand of fusion-music has influenced three generations of musicians, DJs, and producers. Music journalists across the spectrum from mainstream to underground, celebrated these raw yet wildly imaginative and musically accomplished tracks that were a revelation of jazz, funk and disco, with some even stating that the roots of EDM were on display in their early recordings.On the album we are presenting you (Brazil by Music - Fly Cruzeiro) the listener is getting yet another fantastic early Valle/Azymuth collaboration. Released in 1972, this rare album was pressed and gifted to customers of the `Cruzeiro' airline company. This promotional record came as no surprise because the connection between Cruzeiro Airlines and Valle was very tight (Valle's father was the manager and his brother was a co-pilot there).Next to the Valle/Azymuth material present, other songs include some of the all-time best Brazilian standards originally written by renowned artists such as Jorge Ben & Antonio Carlos Jobim. Take a flight with us through this fantastic album and into some of the best Jazz, Funk & Bossa Nova the Brazilian musical landscape has to offer.Tidal Waves Music now proudly presents the first ever vinyl reissue of `Fly Cruzeiro' since its release in 1972 (only 500 copies were pressed upon its original release in 1972).

Retro house sounds from Italy on this release... tunes that still go down well with some of the big name festival dj's during their summer tour! A track that remained unpublished for 33 years until Devil Dee decided to make it public and bring his own voice to the spotlight joined by jazz-blues singer Joan Faulkner (former supporting voice of Boney M and Milli Vanilli, also known by her stage name 'Dee-Vah'). Devil Dee is Davide Mancori - a cinematograph with a flattering career as a club-dj from 80s-90s onwards - who lovingly produced this release which differs from most of the releases on Best Record by its housey vibe. 'And The Beat Goes On' was written in Germany in 1989 by Leonie Gane and Ryan Paris laying the crucial foundations for an evolutionary step of the italian disco music. A step forward for the 'Italo' movement considered obsolete and defunct. In fact, the track is also referring to the latest Italo-Disco which entirely covered the scene of the 1980s with furious activity, If the meeting between Devil Dee and the famous interpreter of 'Dolce Vita' - Mister Ryan Paris - creates the alchemy, the explosive mix is completed with the precious work of Marco Magrini. The arrangement by Pierluigi Cerin and the executive work of Claudio Casalini close the magic circle. Five friends and a great singer from Indiana to fill the dance floors all over Europe, while the images of the provocative and surreal video-clip capture the audience by splitting in two. There are those who do not want to see certain issues publicized and those who appreciate their cheekiness, such as Best Record which by publishing the vinyl printed at 180 grams celebrates the 40 years of activity.

DINGGGDONGGGDINGGGzzzzzzz!!!!!!! In the newest record by the iconoclastic Brooklyn-born composer Charlemagne Palestine (b. 1947), find two mesmerizing works for carillon, the keyboard-controlled bell tower derived in the 16th century. On side A, a new piece recorded at the artist's studio in Belgium_a high-ceiling, stuffed-animal-packed paradise he calls Charleworld_among friends and "divinities," his name for the thousands of plush toys he's amassed since the '60s. On the flip side, Blank Forms Editions' very first and long out-of-print release appears on vinyl for the first time: a cathartic street recording of the minimalist composer's 2018 musical eulogy for his late friend Tony Conrad, performed on the bells of St. Thomas Episcopal Church where the two first met. Two mesmerizing "klanggdedangggebannggg" sessions in the Quasimodo of 53rd Street's unmistakable improvisatory style. Perhaps more than any of his contemporaries in the bustling, cross-disciplinary downtown New York arts scene of the '60s and '70s, Charlemagne Palestine has embodied the notion of the artist as playful polymath, testing and transcending nearly every creative form imaginable in his more than six-decade career. Originally trained in Jewish sacred singing to be a cantor, he began his artistic life as a musician, studying piano and accordion, accompanying figures like Tiny Tim and Allen Ginsburg on percussion, using early synthesizers as an assistant to Alwin Nikolais, and eventually landing a long-running gig as the carillonneur at Midtown's St. Thomas Episocal. This libertine spirit of experimentation soon led to adventures in other aesthetic arenas: making kinetic light sculptures with Len Lye, devising choreographed performances with Simone Forti, and producing over a dozen visceral videotapes with the Castelli Gallery. In the '70s, he was particularly prominent on the burgeoning loft movement, becoming well-known for his sparse, intense, and exacting long-form piano concerts, that seemed to bend the very nature of time and space. Beginning in the '80s, he spent decades in self-imposed exile from the new music scene, absconding to a palace in Europe and privately honing his hermetic sonic and visual practice, until his resurgence among record fanatics in the mid-'90s.

Fifteen years ago, Jukebox the Ghost were just seniors in college when they released their debut album, Let Live & Let Ghosts. Upon release, the album received instant acclaim from publications like Consequence of Sound and the Washington Post, with the former praising how the album “evokes both the musicality and lyrical richness of a band that is not only immensely talented, but who also get it.” Since then, the band has gone on to record and release 5 more studio albums, toured constantly and built up a devoted, loyal fanbase. And many of the songs on their debut rank among fan favorites including: “Under My Skin” (nearly 30 million Spotify streams), “Victoria” (13 million Spotify Streams), and “Hold It In” (10 million Spotify streams). These songs remain staples of the band's live set, as a result.

40 years after their last album ‘Secret’ was released in 1983, Classix Nouveaux are back with a brand new album entitled ‘Battle Cry’. Containing nine tracks including seven brand new compositions plus ‘Never Never Comes’ and ‘Interlude/Inside Outside’ which have been re-imagined for the 21st century. Featuring a very guitar-rock sound and also contains a couple of instrumentals which is something that the band used to do on their early albums. In the words of lead singer Sal Solo, this is how the album came about: “The reason this project came about after 40 years is really because of the fans. About 10 years ago, some of the Classix fans were making Facebook pages but it didn’t really come to our attention until a couple of years back. We realised these people are really dedicated and decided to give them a kind of birthday present. I said to the guys ‘Why don't we do a recording together and surprise the fans?’ Everybody said yes and so we did a quick remake of one of our old songs “Inside Outside” and to our surprise everyone's immediately talking about new material! We’d never thought about doing new Classix material - we thought it was over years ago. After a few weeks of agonising, we suddenly realised we could be as we are now. In the light of our increased experience and the fact that our fans are mature as well, we decided we would just make the music that we like today. It didn’t take a lot of persuasion to get everyone on board. It's the original line-up from the first two albums - what people consider the ‘classic’ line-up. We've all been in other bands, but somehow, we've all just seemed to gravitate back to Classix Nouveaux. It feels like a natural home. We hadn’t been in touch for many, many years and so this album is really what’s brought us back together.”

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk. Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury. Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders. Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt. Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone. Guitarist and vocalist Tim Rosenquist says: “Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”. Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of. Harmagedon is: Tim Rosenquist - Guitars & Vocals Magnus Berglund - Bass Jens Bäckelin - Drums

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk. Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury. Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders. Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt. Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone. Guitarist and vocalist Tim Rosenquist says: “Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”. Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of. Harmagedon is: Tim Rosenquist - Guitars & Vocals Magnus Berglund - Bass Jens Bäckelin - Drums

PRESSED ON FRUIT PUNCH COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 2000 COPIES

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin’ (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009’s Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Til The Casket Drops was a departure from the duo of Malice & Pusha T’s previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us ‘Grinding’ & ‘Mr. Me Too’ still helmed 8 of the album’s 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath’s DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn’t lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam’ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…

The story of Elvis Presley’s ‘discovery’ has passed into showbiz legend and his recordings at Sun Studios have gone down in history. Between 1953 and 1954 That’s When Your Heartaches Begin, That’s All Right, Blue Moon Of Kentucky and Milkcow Blues Boogie were cut. By chance, two covers stood out; Arthur Crudup’s That’s All Right and Bill Monroe’s Blue Moon Of Kentucky which were adapted into high-energy mixes of Blues, Country and Rockabilly. Reaction in the Memphis area was enthusiastic and the Band continued to perform their weekly slot on the Louisiana Hayride Radio Show and bonus tracks from the Hayride Radio Show have been included on this LP. Elvis was the first and greatest star of the Rock ‘n’ Roll era and his early recordings will always retain their appeal.

Repress!

James Brown. Who doesn't know about the godfather of soul Who doesn't know about the milestone anthem Cold Sweat' Maybe there is nobody, but we are sure that many of you don't know that hidden on that particular song, and in all of James Brown's productions, is one of the best kept secrets in soul music: Mrs. Martha High.

She is the one who sings that crazy soprano note at the very beginning of the song and she is the one who sang behind James Brown for about 35 years. She was with Brown and the Jb's in Boston on the infamous night after the Martin Luther King assassination, she flew with him in the dangerous Vietnam skies to entertain the US soldiers, and was also in Zaire celebrating the Rumble in the Jungle' between Ali and Foreman. Martha was truly a friend, confidant and supporter of the godfather of soul.

Maybe she was just too young and shy to jump over the other soul divas to ask for a solo record. Today is different.

singer of Maceo Parker's band but now she is on fire because finally, she has recorded the album she never made but always wanted to make.

11 killer original tunes produced and arranged by Luca Sapio, the Italian soul ambassador, in true analog super sound. The tunes evoke the best productions of the golden era of Southern soul as well as the sonic landscapes of the Italian soundtracks of the 60's. Here is the middle ground where these two unheralded musical traditions meet and Martha is the undisputed Queen.

Don't miss the chance to take a listen. This record is made of truth, soul, love, and pain - a full spectrum of emotions that only a Queen can deliver to your ears. She spent much time in the studio with Luca and his guys to make it happen. This is not a revival, this is not retro, this is NOW. She took it as a challenge and we are sure that she won.

-Limited to only 150 copies on black vinyl.
-The last recordings of former Roots member Malik B before he passed away.
-Clever 1 of the popular hardcore rap duo 'Da Buze Bruvaz' is a full member of the group.
-Maylay Sparks FKA Rahsheed founded this group.
-Produced by K Sluggah who has done production for Conway, Westside Gunn, Tha God Fahim etc.
IN LOVING MEMORY OF MALIK B (NOVEMBER 14TH, 1972 – JULY 29TH, 2020)
Frozen Mugs started out back in 2020 as a soon-to-be classic hip-hop collaboration between "Maylay Sparks", Swedish producer “K Sluggah” and “Clever 1” (one half of “Da Buze Bruvaz”). You will experience an uncanny chemistry between these 2 high caliber emcees who are providing you with the traditional sharp, tenacious, aggressive & grimey wordplay over K Sluggah's cinematic, soulful, and psychedelic beats giving the listeners a vivid picture of what goes on in these dangerous times. The hard delivery and complex word patterns are descriptive gestures of loose women, action in the streets, cocktails & cold beer guzzling. Sonically this album is honed to be a masterpiece, with owner of the newly formed label “Blacbird Recs”, and revered studio engineer Joe “The Butcher” Nicolo (Ruffhouse Recs. CEO) behind the mixing board. This is hip-hop with an attitude, authentic, and with no compromises!
In the midst of recording this project, we experienced a severe tragedy as we lost the incomparable Malik B formerly from the Roots. The last days before his passing he recorded the verses for the album and he was supposed to record a few more as there were talks of him becoming a full fledged "Frozen Mugs" member. Sadly the talks of doing an album with Malik B on HHE never came to fruition. This project is dedicated to one of the most legendary emcees Philly ever bred and he will always be remembered as a lyrical giant. R.I.P.
All versions come with hype stickers and an insert that will include a bio on Frozen Mugs and a dedication to Malik B on the reverse side.

Paul Anka, born in Canada of Syrian parents in 1941, carved out a
career that’s so far spanned six decades, metamorphosing on the
way from teen heart-throb to seasoned performer. He enjoyed
success both as a singer and a songwriter, penning Put Your Head
On My Shoulder, You Are My Destiny, Diana and Puppy Love
along with the English lyrics to My Way, the signature song of
Frank Sinatra, as well as Tom Jones’ classic She’s A Lady. Enjoy
a touch of ‘Puppy Love’ and more from this master balladeer.

We’re happy to announce our new 7”, a collaboration between producer Ojah and Jamaican singer Clive Hylton.

The A side contains the track “Always”, featuring Clive Hylton on vocals, who delivers a timeless reggae track. Clive Hylton (a.k.a. Colour Red) is a veteran Jamaican singer who amongst others worked with Lee Perry at Black Ark Studio back in the day.

On the B side we find the track “Always Dub”, a dub version mixed live by Ojah that takes us into a different territory, making the listener appreciate sounds and layers that were half hidden on the vocal version.

We are also releasing a melodica version called “Forever” (ALDBS7018) over this riddim, featuring Nik Torp from The Specials.

Hand-stamped and served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London, U.K.
Vocals and lyrics by Clive Hylton, recorded at Yaad A Fame Studio, Kingston, Jamaica.
Mixed by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London, U.K.
Mastered by Oscar Pablos at AD Mastering, London, 2022.
Graphic design by Victor Castro.

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