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"Marathon was formed in 2019 by Mark Kelly, the keyboard player with Marillion.

Together with Guy Vickers, Oliver M. Smith (vocalist), Pete “Woody” Wood (guitar,) John Cordy (guitar), Henry Rogers (drums) and his nephew Conal Kelly (bass), Mark Kelly turned his vision into reality. Marillion bandmate Steve Rothery also joined the band and contributed the lead guitar to the song “Puppets”.

The band recorded their debut album in separate locations between March and July 2020 during lockdown. The members of the band came together (some meeting for the first time) at Peter Gabriel's Real World Studios on the 28th & 29th of July to record and film a live version of the album, which will be available as a Bonus DVD together with the album."

Clear Vinyl

Repressed! Get On Down proudly present Mecca And The Soul Brother, the critically acclaimed 1992 full-length debut from Pete Rock & CL Smooth. The album is considered as one of the greatest Hip Hop albums of all time. Boasting tracks such as the first single, “They Reminisce Over You (T.R.O.Y.)”, a dedication to their deceased friend; “Trouble T-Roy”, which went on to become not only their signature hit, but also one of Hip Hop’s all-time great songs. The album is propelled forward by Rock’s quick, soulful interludes; usually bits of old R&B tunes layered with his signature trumpet and sax loops. Smooth’s liquid freestyle delivery pieces together the perfect vocal match that, together, creates a sprawling, nearly 80-minute-long album on which not a single song or interlude is a throwaway or a superfluous piece.
Mecca And The Soul Brother has stood the test of time. The release has been named one of the essential recordings of the 90s by Rolling Stone, appears on Ego Trips listing of the Top 25 Hip Hop albums released from 1980-1998, and appeared on The Source’s 100 Greatest Rap Albums of all time.

"We never even planned to release a full-length album, and here we are with our second! "Deities of Deathlike Sleep" was conceived and recorded with the same mindset and the same team as our previous recordings, keeping it quick, spontaneous and enjoyable. This time it turned out a bit more dynamic, with the pummeling fury interspersed with some doom, gloom and darkness. But still, it's simply ten tracks of Swedish Fucking Death Metal, the way we love it"

The vocalist Mikael Stanne is also active in "Dark Tranquility" and highly popular band "The Halo Effect".

Other members from Dark Tranquility, Novarupta, Pagandoom, Vordor, Novarupta, Ex-Katatonia and more!

The previous album "Into The Maw of Death" was well received and topped the charts in Sweden when released!

You can't get Deeper if you're standing still. That's intentional, says the Chicago quartet's Nic Gohl. "Does it feel good when you're listening to this song? Does your body want to move with it?" These are the questions he asked himself as he and bandmates Shiraz Bhatti, Drew McBride, and Kevin Fairbairn were writing and recording Careful!, their third record and Sub Pop debut. "I wanted these to be interesting songs, but in a way where a two-year-old would vibe out to it," Gohl adds.

"It's pop music, basically." That "basically" qualifier is working pretty hard, as fans of 2020's Auto-Pain might suppose. On Careful!, they're not reimagining their sound so much as testing its limits. If you want to, you can hear echoes of David Bowie's Low in the snapping rhythm and gray-sky synths of "Tele," but you can also hear a bit of Auto-Pain in the nailed-in, stippling lines being spit out by Bhatti's drum programming and McBride's synthesizer.

"Fame" seems to stumble together and nearly fall apart, the dialed-up noise making the beat feel maniacal and a little invincible, the whole thing a series of short, snipped, autonomous gestures that are by now Deeper's trademark. "Build a Bridge" pushes in the opposite direction, using a prickly guitar line to launch into big, smeary art-pop, its emotional palette clear, well-defined, and easy to latch onto.

On "Sub," Gohl sings above and below the melody like Ian McCulloch, bellowing and wondering and ruminating and rounding into swaggering confidence that the band rises to meet. It's festival headliner music that still feels like it was written in a garage. That fraternal interdependence is near the center of Deeper's music. The musical and lyrical devotion to mutuality makes this restlessly curious, stylistically broad album feels like the most coherent portrait of who Deeper is. Or, as McBride ultimately frames it, "Careful! is about looking out for one another."

You can't get Deeper if you're standing still. That's intentional, says the Chicago quartet's Nic Gohl. "Does it feel good when you're listening to this song? Does your body want to move with it?" These are the questions he asked himself as he and bandmates Shiraz Bhatti, Drew McBride, and Kevin Fairbairn were writing and recording Careful!, their third record and Sub Pop debut. "I wanted these to be interesting songs, but in a way where a two-year-old would vibe out to it," Gohl adds.

"It's pop music, basically." That "basically" qualifier is working pretty hard, as fans of 2020's Auto-Pain might suppose. On Careful!, they're not reimagining their sound so much as testing its limits. If you want to, you can hear echoes of David Bowie's Low in the snapping rhythm and gray-sky synths of "Tele," but you can also hear a bit of Auto-Pain in the nailed-in, stippling lines being spit out by Bhatti's drum programming and McBride's synthesizer.

"Fame" seems to stumble together and nearly fall apart, the dialed-up noise making the beat feel maniacal and a little invincible, the whole thing a series of short, snipped, autonomous gestures that are by now Deeper's trademark. "Build a Bridge" pushes in the opposite direction, using a prickly guitar line to launch into big, smeary art-pop, its emotional palette clear, well-defined, and easy to latch onto.

On "Sub," Gohl sings above and below the melody like Ian McCulloch, bellowing and wondering and ruminating and rounding into swaggering confidence that the band rises to meet. It's festival headliner music that still feels like it was written in a garage. That fraternal interdependence is near the center of Deeper's music. The musical and lyrical devotion to mutuality makes this restlessly curious, stylistically broad album feels like the most coherent portrait of who Deeper is. Or, as McBride ultimately frames it, "Careful! is about looking out for one another."

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Available only n Germany!

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

everything is alive, slowdive's 5th record, is exactly what the title suggests: an exploration into the shimmering nature of life and the universal touch points within it. While there are parts of this record that could sit neatly next to the atmospheric quality of 1995's Pygmalion; everything is alive also manages to break down the boundaries of what's come before it. Spanning psychedelic soundscapes, pulsating 80's electronic elements and John Cale inspired journeys, the album lands immediately as something made for 2023 and beyond. For a genre that is often thought of as divisive, and often warrants introspection, here slowdive show their craft as the masters of it by pushing it outwards, beyond the singular; the end result being a record which feels as emotional and cathartic as it is hopeful.

Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.

Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.

Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.

Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."

Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.

Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.

All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.

Building off of the themes of identity, storytelling and experimentation on her critically acclaimed debut album, Khonnar (2018), Deena Abdelwahed’s upcoming album Jbal Rrsas is the next chapter of a reimagining of what club music could be. The album spans seven tracks of bass, techno, and experimental music, with Abdelwahed consulting with masterminds like Tunisian composer and multi-instrumentalist Khalil Hentati, aka Khalil Epi, and Iraqi-British multi-instrumentalist, composer, and researcher Khyam Allami, as well as Egyptian mastering engineer Heba Kadry, to help realise her vision.

Jbal Rrsas starts with the seductively apocalyptic opener, The Key to the Exit, a deconstructed sha’bi production. With tracks like Six as Oil and the delightfully intense Violence for Free, Abdelwahed leads users to a desert rave, where industrial rhythms are left unbridled. Abdelwahed’s vocals on Complain and Pre-Island are powerful and exposed, confidently placed on dizzying avant-garde productions. The Wire previously said “Khonnar is an assured debut that sits on the edge of a whole swathe of possibilities, not only sonic but also geographical, social and political.” With Jbal Rrsas finds Abdelwahed deftly navigating through those possibilities, frequently pushing against genres, labels, and social identifiers, while elevating club music to otherworldly heights.

"Oui Bitte", das elfte Studioalbum von Station 17, wurde in intensiver Arbeit und nicht selten bis spät in die norddeutsche Nacht auf dem Forellenhof in Nordhastedt produziert. Mit müden Augen saß das Musikerkollektiv so für gewöhnlich zu vorgerückter Stunde beisammen und hörte die Takes durch, die das Tagwerk hervorgebracht hatte. Ist der zwingende Rhythmus als Königsdisziplin der 1989 gegründeten Band in ihrem Werk immer schon angelegt, ergab sich spätestens beim housigen "Hausmann" kollektiv der Wunsch: hier muss ein Remix her! Der Wunsch wuchs und legte sich über das gesamte Album ... Remixalben haben dabei in der über 30 Jahre währenden Geschichte des Kollektivs bereits Tradition: 2001 erschien beim legendären Label Mute Records, das nicht nur Depeche Mode zu Ruhm verholfen hatte, das Album "Mikroprofessor" mit Remixen von etwa DJ Koze, Thomas Fehlmann, Justus Köhncke oder To Rococo Rot. Im Jahr 2011 folgten die "Goldstein Variationen Remixes", darunter Versionen von Erobique, Tobias Thomas, aber auch von Ada und Mense Reents, die uns auch hier wiederbegegnen. Zaghaft fing die Band also an, ihre Lieblingsproduzent/innen anzufragen, die ohne Umschweife komplett zusagten. So stand schon bald ein hochkarätiges Remixalbum mit dem Who-is-Who der hiesigen Landschaft elektronischer Musik im Raum. Und auch, wenn die Grundlagen der Stücke wiedererkennbar sind, ist hier ein gänzlich neues Hörerlebnis entstanden, das durch die Versiertheit der Beteiligten und ihre Expertise zu einem eigenständigen Werk gewachsen ist, das sich auch losgelöst vom Ausgangsmaterial genießen lässt. Wie von Zauberhand entsteht ein zugleich stringenter und abwechslungsreicher Vibe, der "Oui Mixe" zu mehr macht als nur eine Ergänzung zu "Oui Bitte".

The "Produkt" compilation takes us back to the time between 1979 and 1984, when post-punk was the main expression of the underground movement. Bands in the wake of PIL and Joy Division came out like mushrooms after the punk crush. In this compilation you will find mostly unknown yet interesting productions. This is a 10 track album, all originally released on 7" from all over the world: from Poland to Sweden, from Yugoslavia to Denmark. A perfect item for both enthusiasts and completists but also for those curious, passionate of those extraordinary years and lovers of a genre that still continues to evolve and that indeed continues to storm clubs around the world

Carole Porter grew up around Manny Campbell, acclaimed producer of Nu'Rons fame and one of those characters that kept feeding jobs to Joe Tarsia contributing to the greatness of his Sigma Sound Studios.

Carolynn was also vocalist in his jazz band from 1966 to 1969 that included jazz legends John 'Papa' DeFrancesco (father of Joey DeFrancesco), and Grover Washington Jr. She never commercially recorded anything else, continued to gig until she settled into marriage/family life. These masters were retrieved from the original reel tapes now preserved at the University of Pennsylvania. We are proud to finally release this song (and a few others over the next months) thanks to that immense character of Manny Campbell and the younger members of his family.

Echo Ladies are back with their second album after a quiet spell while the rest of the world turned upside down.
This music has been in development for quite a while, and you still find clear inspiration from some of the shoegaze greats such as Jesus and the Mary Chain, A Place To Bury Strangers, Slowdive, and many more.

This album is built on the same foundation that Echo Ladies curated during their past releases, but with a more unyielding presence. Echo Ladies have always tried to balance two emotions at the same time throughout their songs. While their past songs tried to convey the feeling of nostalgia and hope for the future, mixed with worries and anxieties about defining who you are and what you will become, this album instead tries to balance the emotions of sorrow and loneliness, with anger, frustration, and the determination to make a change for the better.

This album really carries the Echo Ladies mantra that "Nothing Ever Lasts". Good things can come to an end, but bad things will also pass.

The Madlib Invazion Music Library Series Entry #3: Drummer and Producer J-Zone offers his take on The Ultimate Beats, Breaks and Funk. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

"Friendly Fires" was the debut album from the St Albans-three piece, Ed McFarlane, Edd Gibson and Jack Savidge. Featuring hit singles "Jump In the Pool" and "Paris", it was an era-defining record. It launched the band to huge critical and commercial success, nominated for The Mercury Prize and a Brit Award. The LP is now reissued for its 15th Anniversary on silver vinyl. Aeroplane"s remix of Friendly Fires" "Paris" has been out of print on vinyl for over a decade. A cover more than a remix, their version of Friendly Fires" first big single was all over the radio waves when it was first released, surely due to its sweet female vocal provided by Au Revior Simone. Now reissued for its 15th Anniversary on gold vinyl, the 12" also contains a remix by Justus Köhncke.

Mit der ersten Single „vampire“ läutete die dreifache GRAMMY Gewinnerin Olivia Rodrigo das zweite Kapitel ihrer Karriere ein – und nimmt ab sofort Kurs aufs zweite Album: GUTS erscheint am 08. September!

Emotional noch intensiver und extrem abwechslungsreich arrangiert, setzt die 20-Jährige für „vampire“ auf eine ähnliche Dynamik wie bei ihrer Single „drivers license“, mit der sie 2021 den internationalen Durchbruch schaffte. Kein Wunder also, dass „vampire“ sofort als „Monster Power Ballad“ (Pitchfork) gefeiert wurde. Zeitgleich kündigte Olivia Rodrigo mit GUTS ihr zweites Album an. Zum Teil auch in den New Yorker Electric Lady Studios geschrieben, entstand das neue Album größtenteils mit Dan Nigro in dessen Garagenstudio in Los Angeles, mit dem die 20-Jährige bereits für ihr Debütalbum SOUR zusammengearbeitet hatte. Während Olivia in den vergangenen 24 Monaten selbst „gefühlt 10 Jahre“ reifer geworden sei, klingt auch ihr Songwriting sehr viel ausgereifter und selbstbewusster als zuvor: „Dieses Mal ging’s viel mehr ums eigentliche Songwriting – was manchmal auch bedeutete, dass ich mich selbst gar nicht so ernst nehmen durfte. Wir haben wahnsinnig viel ausprobiert und sind schließlich bei einem Sound gelandet, der viel mehr Rockeinflüsse hat als meine älteren Sachen“, so Rodrigo. ”GUTS” erscheint auf CD und Vinyl in diversen Formaten.

Tangerine Dream laid the foundations for the birth of multiple electronic music genres that include ambient & electronica & exploring artists that are as varied as The Future Sound of London to Porcupine Tree.

Tangerine Dream have been embedded in popular culture & were featured in the widely popular smash hit TV show "Stranger Things" as well as aiding to write the soundtrack of the household video game name "Grand Theft Auto V".

The group's accolades extend to receiving seven Grammy nominations & have written over 100 studio albums alongside being led by Froese who was a pioneer in electronica. The collective developed an instantly recognisable synth- based style of music that draws on a meditative musical experience that came to prominence in the 1970's & 1980's.

Fast forward to the modern day where synthesisers & sequencers are seeing a huge resurgence & still Tangerine Dream are at the forefront of an ever-evolving electronic music scene.

With 'Recurring Dreams', the new incarnation of Tangerine Dream pay homage to select classics, such as "Phaedra", "Stratosfear", "Tangram" & "Yellowstone Park".

Not only are these recordings re- recorded covers but heartfelt & individual interpretations, featuring new arrangements, new generations of synths & sequencers. 'Recurring Dreams' also includes the new version of 'Claymore Mine Stalking' that was used in the 2018, popular Black Metal movie "Lords of Chaos".

The band are currently set to tour the US in September until October & then take their "From Virgin to Quantum Years 2023" tour to Germany & the UK.

Working with Bat For Lashes producer David Kosten (aka Faultline), the recording of Man Alive was completed mainly in a chapel in North Wales. The album sounded unique. Nothing dates like the future, yet Man Alive sounds dateless, placeless, and as a result, stands up perfectly many years later.

Man Alive was only the beginning of the group's adventures in – to use their words – 'Mismatched styles of music mashed together.' The result is often exhilarating; there are Brazilian drums and a prog guitar breakdown in Schoolin', classical influences, as well. Its subject matter is often way outside the realms of conventional songwriting; MY KZ, UR BF explored the different Americas: the cosy self-centred domesticity of programmes such as Friends versus a foreign policy
based on killing; Qwerty Finger examines imperialism. Anglo Saxon guilt is also present.

The album's artwork was striking – a photograph of a fox by Swiss photographer, Laurent Geslin, reflecting the track Tin (The Manhole) which deals with the theme of depression, through, as the band said in 2010, "the story of an urban fox that ingests all our pollution and grows massively in a sort of dream sequence. We chose photos of an urban fox for this reason, but we partly attacked the code of the digital image to create a glitch distortion . . . a reference to digital manipulation and chaos as well as our modern lives online".

Released in August 2010, Man Alive made the UK Top 20 and was well reviewed.

For example, BBC Music commented that the group "know more than most how to craft a song, how to make an album. They know how to give it depth, light and dark, and they - crucially - know when to stop." Man Alive was shortlisted for the 20th Mercury Music Prize in 2011.

The original LP edition of the album is super- scarce, released before the 'vinyl revival' kicked in, hence the original pressing now selling in the high three figures.

This re-issue is presented with scrupulous attention to the detail of the original UK first pressing, complete with gatefold sleeve, poster and 8 page booklet. It is pressed on 140gm vinyl.

Before he was old enough to legally drink, there were "Best Of," rarities compilations, and .zip files floating through the ether.

Whenever industry prospectors earmarked him as the next big thing, he disappeared back underground, only to reemerge sharper, leaner, weirder.

Though only 26, the St. Louis- born rapper and producer has seen enough for several lifetimes--and raps as if he's tapped into many more. But after a few years of highs, lows, and traumatic odysseys, he was able to stare straight into the abyss and conquer it. This regained confidence is exhibited on fish don't climb trees, the largely self-produced new album that reaffirms him as one of rap's great auteurs.

While working on "fish", he vowed to be more true to the emotions and experiences he'd endured. Being true to those fractured, discordant feelings requires a prismatic approach. And so you get fish's exhilarating hairpin turns: from downtempo dub ("bora bora") to 808s rattling through a haunted house ("tourniquet"), beats that sound as if they're molting into new shapes in real time (the two- song suite of "daze" and "grey theory") to ones that that plunge to the
bottom of a pocket ("spirits").

The album's title comes from the maybe-apocryphal Einstein quote, about how a fish judged by its ability to climb trees will "spend its whole life believing it is stupid." For Watson, this meant embracing the cheery first half of the quote ("Everybody is a genius"), but also being cognizant of the dark undercurrents that flow just beneath seemingly innocent misjudgments and mis-categorizations.

RIYL: PJ Harvey, Sonic Youth, Dead Can Dance, Black Sabbath, Depeche Mode. In Blood is the group’s 14th album and the follow-up to 2020’s critically acclaimed Dances/Curses (Album Of The Year – The Quietus, Top 10 International Albums – Irish Times). It was typical of a band so well-known for stellar live performances to release their most successful album at a time when they were unable to back it up on the road. As was the case for many, lockdown changed the band’s lives in unexpected ways. Some felt a form of cabin fever at not being able to continue to make music (diverting their energies elsewhere - founding Wrong Speed Records for starters) whereas others relished the peace and quiet, perhaps questioning whether they wanted to return to the life they had before. Gigs (so long the lifeblood of the band) were booked, postponed, and cancelled. Things began to unravel and perhaps for the first time since the band formed in 2003 it was hard to see how it could continue. A plan was hatched to attempt to re-energise and reassemble the band: they would begin work on a new album. They would approach this as though a Somerset version of The Desert Sessions – members old and new and guests would contribute as and when time and restrictions allowed. Lyrically, British folk and ghost mythology provided the starting position for the song themes ranging from mutated stories of grief and loss written in the 14th Century (Perle), spiritual reawakening by ancient apparitions (Avalon) to the growth of nature after devastation (Can’t Feel Around Us, Over Cedar Limb), a metaphor also for spirit and body renewal and rebirth after trauma. The results sound free of any genre shackles and it suits Hey Colossus. They have taken the expansive anything-goes approach that made Dances/Curses so successful and fine-tuned and shaped it into an 8-song single album that never treads water or fills time. The prominent vocals steer the listener through the music, defining it as opposed to punctuating it (or being buried by it). The album is a calling card for the band in their 20th anniversary year. As odd and challenging as long-term fans would expect or hope for, but somehow more accessible and to the point than ever before. It is the closest the group have ever come to a pop record, radiating positivity through the murk like a small ray of light in some very dark and very weird times. Music can never entirely negate these feelings but, like the natural world referenced in the lyrics and sleeve, it invisibly bonds people together, lifting us up if we choose to let it.

An aura of mystery hangs over Jacky Giordano, a studio musician who has mostly worked for library music.He is the one behind the amazing label Freesound (Schifter, Philopsis, Challenger), but as well on Montparnasse 2000 with Pop in Devil's Train (reissued on Le Tres Groove Club), on Timing (Timing N?1 and Timing N?5, under the nickname Jacky Nodaro), on Musax with Boucles Rythmiques (under the nickname Joachim Sherylee, reissued as well on Le Tres Groove Club) or Black Devil Disco Club whose paternity for this record is still disputed between him and Bernard Fevre. Jacky Giordano wasn't an altar boy, far from it, and will have sadly been more known for his troubles with justice than for his music.This is his work for the label l'Illustration Musicale (IM) which can now be rediscovered thanks to this new reissue on Le Tres Groove Club.Organ Plus (IM26) is the sequel to Organ (IM 24), also reissued by Le Tres Groove Club. The title is misleading here, an organ not being preponderant part of the record which honours the Fender Rhodes, string machine, bass synth and clavinet. 'Be Careful', 'Riffologic', 'Twillight' : Jacky Giordano offers slow tempo jazz-funk, without losing his melancholy and low-fi groove that make his tracks immediately recognisable regardless the record label or nickname.

This song, co- written and produced by Jamie Safir (Kylie, Birdy, Will Young) is from the brand-new collection 'Greek Street Friday' released later this year on all formats. With an ace band, which includes drummer Ian Thomas (George Michael, Van Morrison, Celine Dion) and guitarist David Preston (Melody Gardot, Curtis Stigers), this collection will also feature, on a beautiful new take of Rickie Lee Jones' 'Blinded By The Hunt', the world-renowned saxophonist Iain Ballamy (Everything But The Girl, Hermeto Pascoal, Loose Tubes). 'To Be Held' is a lullaby for our times. The title, inspired by a Truman Capote interview, with Dick Cavett, expands into a beautiful tribute to lost friends, the power of connections, imperfections and navigates the strangeness and beauty of being alive 'on this beaten-up planet of ours'.

Ian Shaw is back with force and with 'the quirks and character tics of every day living, . . . brought into euphoric focus Shaw tours his smart and soulful show' (The Guardian)

The album describes an extraordinary time period of the global lockdowns and crises. It is also a portrait of one of this generations most intriguing guitarists.

Ole Martin Huser Olsen was names 'Performer of the Year' by the Norwegian Society of Composers in 2022. The critically acclaimed album is available on vinyl from 1st September, 2023.

After the thematic albums 'True' (2012 inspired by Berlin and David Bowie).

'Desire' (2015, an instrumental opera about longing), 'Goldbrun' (2017 a homage to Europe and Honing's interest in European art music) and 'Bluebeard' (2020, a dark album mainly inspired by the 300-year-old fairy tale of the same name), there is now 'Heaven on my mind'.An album on which the quartet's now decade- long existence undoubtedly pays off. Not only is the almost telepathic way the band members communicate with each other an important feature; this fifth quartet album also clearly shows Honing's love for Charles Lloyd, Pharoah Sanders and the freer acoustic jazz that emerged along with the 1960s hippie movement.

United by a shared love of performing bluesy, soulful music in the most intimate and acoustic of settings, Blicher Hemmer Gadd's hard- swinging 4th album recreates the excitement and energy of the late- night sets they've performed around the world together. The album also features two special songs that were recorded during lockdown in Michael's studio in Copenhagen.

Formed after a chance encounter more than 11 years ago, they continue with this joyful project, which has flourished despite the 3,000+ miles, 40+ years and 3 busy touring schedules which separate them.

After decades performing stadiums with the likes of Eric Clapton, James Taylor and Steely Dan, Gadd relishes the opportunity to rediscover the sound and feel of playing almost acoustically "This is honest Music" he says, "no one plays like this anymore."

"It's bluesy, swinging and soulful jazz played by exceptional musicians" - Rhythm Magazine

The album has been produced together with Brinkmann (Germany), one of the world's leading producers of hi- end turntables. To deliver the highest possible sound quality, on both LP and CD the record has been mastered using MQA technology and converted to analog with a Brinkmann Audio Nyquist Mk II Streaming Digital- to- Analog Converter. The MQA Master has been directly fed from the DAC into the cutting machine. A Brinkmann Audio Bardo direct drive turntable is employed for quality control.

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs in 2023. “Beatbox Studios (1995 MPC 60II)” is the first of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously-talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

Having learned to make beats off of borrowed equipment as a teenager, the aspiring DJ/producer born as Tony Cottrell achieved a break of sorts when he was hired in 1995 to manage one of the rooms at Beatbox Studios, a sprawling complex in the Clifton neighborhood in Cincinnati. It became the go-to-spot in town for emerging talent, giving him a chance to learn about the intricacies of recording and to sharpen his communication skills with artists to maximize their performance The gig also gave Tek plenty of down time to practice on and to master the studio’s Akai MPC 60II while making his own music. It was around this time he began to collaborate with the top rap talent in Cincinnati, and he started regularly visiting New York City to plant seeds for new relationships in the industry.

Though his work eventually evolved far beyond the styles present on “Beatbox Studios,” here you’ll find many signature elements of that era’s contemporary New York sound: some snappy drums reminiscent of A Tribe Called Quest or Easy Mo Bee, plenty of horn stabs a la Pete Rock or Lord Finesse, and the kind of dark pianos and filtered bass lines that producers like the Beatminerz were steadily employing. These were his biggest influences at the time, and that was the sound of 1995. As it turns out, that classic sound remains in demand today, and while Hi-Tek was not a well-known name in hip hop circles at that time, the calibre of beats on “Beatbox Studios” prove that he was a talent to be reckoned with, even then.

Mysterious Dutch outfit Doxa Sinistra have been operating on the fringes of the industrial-experimental and sound collage tape scenes since the very early 1980s. Their output has long been coveted by fans of DIY and left-field music since their earliest transmissions, and this featured 1983 recording 'The Other Stranger' might well be one of their most known. A truly strange offering, the track is a cascading acidic and minimal stripped piece, bathed in disparate resonant sample sources that could possibly have been recorded straight from the TV set. Nobody really knows what it all means, but it doesn't matter as the end result is an engaging mesmerising hypnagogic masterpiece of sampling and rhythmic free sound. A true classic from the outer reaches of electronic music.

Midnight Drive label owner Brian Not Brian featured 'The Other Stranger' on his now infamous 'Holywell Session' cassette tape for the sadly missed Blackest Ever Black ever label in 2014, and the track was also a highlight of Boards Of Canada's cult 'Societas X Tape' for NTS in 2019. This special 7" vinyl only edition also features the more stripped back rhythm track version entitled 'Strange' on the b-side that is a slightly longer mix with a different arrangement and no samples, letting the minimalist acid and drum machine workout unfurl at its own steady woozy pace. This is the first time both versions have been remastered and have appeared together as a single and it is presented here with the blessing and involvement of Doxa Sinistra.

Prince Fatty's new independent record label Lovedub Limited kicks off with a super 7" from the man himself. It is in fact something of an homage to the 1970s jazz-funk of Lonnie Liston Smith but with some hefty dub and reggae treatment. Shniece Mcmenamin stars on vocals and brings plenty of summer soul to the groove which is also lit up with free-flying flute lines over steady reggae rhythms that will sink you in deep to Winston "Horseman" Williams and Carlton "Bubblers" Ogilvie's drums, organ and piano. On the flip is the dub with the iconic Liston-Smith melody leading you through a lazy afternoon in style.

Artikal and Chestplate combine to form Chestikal. A meeting of labels and also a meeting of production minds as Distance meets J:Kenzo for this special release.

Spanning the BPMS from 140 - 160 halftime, tribal and dark two heavy crafted tracks from the chambers featuring 'The Offering' and 'Dhyana'.

Weighing in heavy with murderous intent across three guaranteed dance levellers, Trends & Boylan land on Sneaker Social Club with a bang. The pair have been slugging out grime-leaning gear for the past five years, causing a ruckus with their truly evil ‘Norman Bates’ beat, releasing also on Trends own Mean Streets label and linking up with Slimzee’s foundational stable Slimzos for some dubplate action.

They bring that street-level swagger to the tracks on the Ninety Nine EP, but here their punchy 8-bar flex is embellished to blend in with the Sneaker surroundings a treat. ‘Carnage’ tips towards chopped up Think Breaks while ‘Nocturnal’ doubles down on the dirtiest of b-lines. Confirming their allyship from dubplates' gone by, Slimzee links up with Trends & Boylan for the double A side slammer, ‘Ninety Nine’, weaving dread-side D&B stabs around a tightly-wound beat with devastating results.

There’s not an ounce of excess on these cuts precision tooled to smashup the dance good and proper. Need we say more?

Banshee is the new record label from internationally renowned DJ/producer Brianna Price (B.Traits/Baby T). Drawing “esoteric aggressive feminine energy” from the folkloric figure that gives Banshee its name, the imprint will focus on the output of Price’s Baby T alias.

Brianna knows her way around a dance. Years spent producing, DJing, and touring under the B.Traits alias have given Price a vast knowledge of rave culture. Now, all of that experience has been put to good use as part of Baby T’s “hardcore junglist shit only” approach. Anyone who has encountered a Baby T tune in a dark basement over the years should know that there will be no messing around with Banshee’s output. Baby T specialises in hardcore rave tackle schooled by junglism, electro and darkside techno, the project’s sound was honed via releases on labels like Samurai Music and Central Processing Unit. It’s a style at once wild yet focused, untamed yet laser-precise - This is music that will make the hairs on the back of your neck stand up – not unlike a banshee’s shriek, in fact…

The first Banshee release is not a collection for the faint of heart. Each of these four cuts is primed for deployment at the point of the party when things really kick into overdrive. Fiercely danceable, and unapologetically abrasive, Baby T’s productions here can school any challenger in the electro, techno, and jungle fields yet also carry themselves with a punkish spirit that sets them apart from the pack.

Super proud to introduce this special 12" by UK Liquid Funk pioneer HIDDEN AGENDA. I first heard their music on Fabio's February (1995) KissFM show, taping from Leighton Buzzard on my parents JVC tuner. I had it playing as my sound track non-stop on my Walkman for months - deep minimal Jungle had arrived! It was the legendary 'The Flute Tune'. I soon purchased a copy on the mighty METAL HEADZ that year with my giro cheque in Coventry from Bang-in Tunes. 'Get Carter' was my next purchase, it was however, 'The Sun' on Fabio's Creative Source (1996) that set me off like a roman candle (and still does to this date) - I consider this the first Liquid Funk track.

HIDDEN AGENDA next hit us super hard by surprise in the winter of 2003. I was DJing late night at a squat in East Finchley on London's Rude FM 88.2 back-to-back. DJ Haze played this 12" that sent me totally hyper and turned out to be Jason's 'Groove Me' on Eastside Recordings. So hyped was I, that DJ Haze gave me that very copy on the spot!

I went onto paint a huge epic 200x200cm oil / acrylic painting to be photographed for the HORRIFIC13 cover. Set in the South Bronx 1978 (which is the title of the Side AA.) - a train Rolls over RAE ST with a semi-wild style piece which reads HIDDEN AGENDA - GOLDEN SKY with a mini 1978 piece also sprayed on the bridge.

The White Series continues after a little pit stop. Tankwart is at the start with four tracks of wave, triphop and kraut and leads us into a cosmic slipstream. As one half of Dâdalus & Bikarus he is already known to us and now shows a more danceable side of his productions. Tankwart is known around here for his versatile DJ sets, which always surprise us with a pinch of the unexpected. We also find this in his music – Tankwart gives the supposedly familiar a new and sparkling twist.

After his woozy dark disco EP debut on NEIN records, Clouzer returns with LMNTL, a fine collection boasting 4 massive tracks tailored for the “big room” stage. Listening to Clouzer’s cosmic textures, layered abstractions and futuristic soundscapes on LMNTL feels like connecting to an extraterrestrial world.

The Berlin-based musician blends electro, broken beats and dirty bass lines, creating immersive and hypnotic environments for people to dwell in. The EP also features a beautiful remix by Sestrica, one of the most vibrant and unique female live acts on the Breakbeat scene.

Acclaimed singer-songwriter Terri Walker is celebrating the 20th anniversary of her critically acclaimed 2003 album, 'Untitled', with the release of her highly anticipated new album 'My Love Story', out now via Wings of a Hummingbird Records/Believe UK.

Produced by Konny Kon & Tyler Daley – widely recognised as Children of Zeus, who also co-wrote the album alongside Walker & Drs, the seven-track album showcases Terri's unique blend of Soul and RnB. Following on from the release of singles ‘Finally Over You’ and ‘I’m Not The One’, 'My Love Story' is a testament to Terri's growth as an artist over the past two decades.

Speaking about the album Terri said: “My Love Story is an album that I made for myself. It has been one of accountability, and ownership – no blaming or assumptions. It’s an album where I didn’t worry that it didn’t meet mine, or other people’s expectations.”

Madben's superb Troisième Sens album is remixed again, as new mixes from Josh Wink and AVNU join previous offerings from Alinka and Avision on this standout EP.

Kicking off this fantastic package is Ukraine-born but Berlin-based Alinka. She is now right at the cutting edge of the scene after big releases on the likes of Rekids and Live at Robert Johnson. She is a regular at iconic spots like Berghain/Panorama Bar, Circoloco and Smart Bar and flips 'Addicted' into a heavy house cut with thumping drums and lithe baselines. Acid sprays about over warmer synths to make for a real peak-time weapon. Next up is Josh Wink, a legendary electronic artist who heads up the Ovum label and has consistently crafted some of house and techno's biggest tracks. He flips '1AM At A Rave' into seven-plus minutes of scintillating electronic deepness with trippy leads and real synth intensity building to an explosive peak.

NYC DJ and producer Avision has released EPs such as ‘Innocence’ on this label while also getting support for his new school techno from Adam Beyer and Chris Liebing. His remix of 'Circuit Breaker' is a chunky and textural affair with seriously weighty drums. Stark synths rise up through the mix next to bubbling acid to make for a heart-of-the-dance-floor classic. Scottish artist AVNU is another label regular who dropped his ‘Tough To Love But Worth The Effort’ album here last year. He flips '1AM At A Rave' into a dark and atmospheric cut with flashes of strobe-lit synth and zippy leads that rip up the crunchy electro-tinged drums.

This is a vital package of varied reworks that bring plenty of new direction to the superb source material.

King Krule, Interpol, Alex G, Orion Sun, Snail Mail, Toro Y Moi, Unknown Mortal Orchestra. “Transparent Yellow” Indie Store Colour. (LPC1) available while stocks last. For Lutalo, creating music is an act of hope in and of itself. Throughout their meticulously crafted folk, rock, and soul, on which they sing and play all the instruments, the Twin Cities-raised, Vermont-based musician embeds golden lines of poetry that inspire curiosity about the world and empathy for everyone searching for a way through it. After releasing their 2022 debut EP, Once Now, Then Again, Lutalo emerged as a rising talent in the indie world, catching the attention of Fleet Foxes’ Robin Pecknold and Big Thief’s Adrianne Lenker, who invited the young musician on tour. Following a vinyl release with that breakthrough project, they are releasing its companion EP, AGAIN, on August 25 via Winspear. On the ambitious AGAIN, a collection of kinetic indie rock tracks, Lutalo makes bold critiques of systemic oppression, capitalism, and the digital attention economy. Though these topics are heady, their writing always sits at an accessible place of personal introspection. Like on the arresting single “Push Back Baby,” whose fuzzy electric guitar lines twist and unfurl in intricate patterns, Lutalo paints a complex portrait of our current reality that’s “rooted in the greed or narcissism of capitalists,” they explain. “I’m analyzing those systems and patterns, and also asking, ‘Can we continue to not perpetuate this?’ Because it’s hurt a lot of people historically. I’m just asking people to question it.” Through their music, but also through their lifestyle that’s alternative to America’s economic and political systems, Lutalo asks listeners to imagine new possibilities. “I want to help people question the way they’re living,” they say, “so we can create a better reality for us to exist in together.”

King Krule, Interpol, Alex G, Orion Sun, Snail Mail, Toro Y Moi, Unknown Mortal Orchestra. “Transparent Yellow” Indie Store Colour. (LPC1) available while stocks last. For Lutalo, creating music is an act of hope in and of itself. Throughout their meticulously crafted folk, rock, and soul, on which they sing and play all the instruments, the Twin Cities-raised, Vermont-based musician embeds golden lines of poetry that inspire curiosity about the world and empathy for everyone searching for a way through it. After releasing their 2022 debut EP, Once Now, Then Again, Lutalo emerged as a rising talent in the indie world, catching the attention of Fleet Foxes’ Robin Pecknold and Big Thief’s Adrianne Lenker, who invited the young musician on tour. Following a vinyl release with that breakthrough project, they are releasing its companion EP, AGAIN, on August 25 via Winspear. On the ambitious AGAIN, a collection of kinetic indie rock tracks, Lutalo makes bold critiques of systemic oppression, capitalism, and the digital attention economy. Though these topics are heady, their writing always sits at an accessible place of personal introspection. Like on the arresting single “Push Back Baby,” whose fuzzy electric guitar lines twist and unfurl in intricate patterns, Lutalo paints a complex portrait of our current reality that’s “rooted in the greed or narcissism of capitalists,” they explain. “I’m analyzing those systems and patterns, and also asking, ‘Can we continue to not perpetuate this?’ Because it’s hurt a lot of people historically. I’m just asking people to question it.” Through their music, but also through their lifestyle that’s alternative to America’s economic and political systems, Lutalo asks listeners to imagine new possibilities. “I want to help people question the way they’re living,” they say, “so we can create a better reality for us to exist in together.”