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There’s always been intrigue and adventure at the heart of CALEXICO. Ever since they were a largely instrumental duo experimenting with their unique collection of instruments and soundtrack sensibilities, Joey Burns and John Convertino have constantly imbued their music with an unparalleled sense of drama, calling upon the myths and iconography of the American West and its Spanish speaking neighbour Mexico. Naming themselves after a town near the Californian / Mexican border in honour of this cultural mélange, they’ve spent the eighteen years since they met in Los Angeles mapping out musical territory that had otherwise been neglected or at the very least considered the preserve of historians.

'What if Blitz hailed from Los Angeles and sang in Spanish’ isn’t a question you hear all that often. Fortunately, we don’t need to ask - the answer is provided by Generacion Suicida’s latest album, which rages and rattles in all the right places, drenched in the memorable brilliance that powered the Killed By Death compilations (ask yer dad - and if he doesn’t know or care, burn his terrible records and make some space to track down the KBD LPs). The band’s slogan is ‘musica del barrio, para el barrio’ - music from the neighbourhood, for the neighbourhood - but it sounds like they could use these hooks to take on the world. That’s a pretty accurate sentiment as well, because this album was written during the Covid-19 lockdown of 2020, while the world bubbled over with carefully managed misinformation, police violence and the sickening overspill of white supremacy’s foul brew. If Regeneracion sounds potent, it’s because there was a lot to be angry about, and the result is arguably their best album yet. Those chorused-out guitar lines carry shades of deathrock, hints of Manchester circa 1980, elements of something you might call goth if it was several degrees less furious. But there’s no doomed romance to this music; it’s an all-out attack. Street punk with the smarts turned up and an ear turned to the lessons learned from post-punk (but crucially, not the ‘post-punk revival’ that is essentially shirtless beardy lads chanting non-sequiturs over landfill indie). Chiefly, it’ll make you wanna get out of your chair, unite your local community and march on down towards your government’s centre of operations with a simple-to-use molotov cocktail kit. Its rage is infectious. It’s inspired by bleak moments in our recent shared history, but it revels in humans’ capacity to find strength in each other. And the tunes? Oh damn, they’re good.' Will Fitzpatrick.

Triathalon's new album Spin is cavernous, warm to the touch — aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
The New York based trio recorded Spin live, with mixing by Gabe Wax
(Adrianne Lenker, Fleet Foxes) and mastering by Zeroh (Pink Siifu,
Eyedress)
It was written, produced and recorded by the band themselves. The album is an
inherently transformative record — the product of years of work, both on the self
and as a collective, a band. Spin is cavernous, warm to the touch, aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
Triathalon will hit the road on a month- long North American tour at the end of
August with stops in 27 cities including Los Angeles, Brooklyn, Chicago,
Philadelphia and more.
Forming in Savannah, the band—which began as the solo project of Adam Intrator
before Chad Chilton and Hunter Jayne joined in 2011—relocated to New York City
after performing together for nearly a decade in Georgia. Their new music is a
snapshot of Triathalon's evolution and growth — tracing a journey of sonic selfreflection, of being lost in your thoughts and watching the world around you
change.
"brooding, romantic, lush — and deeply sensual" Billboard

Triathalon's new album Spin is cavernous, warm to the touch — aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
The New York based trio recorded Spin live, with mixing by Gabe Wax
(Adrianne Lenker, Fleet Foxes) and mastering by Zeroh (Pink Siifu,
Eyedress)
It was written, produced and recorded by the band themselves. The album is an
inherently transformative record — the product of years of work, both on the self
and as a collective, a band. Spin is cavernous, warm to the touch, aglow in
Rhodes pianos, Wurlitzers, and fuzzed out guitars.
Triathalon will hit the road on a month- long North American tour at the end of
August with stops in 27 cities including Los Angeles, Brooklyn, Chicago,
Philadelphia and more.
Forming in Savannah, the band—which began as the solo project of Adam Intrator
before Chad Chilton and Hunter Jayne joined in 2011—relocated to New York City
after performing together for nearly a decade in Georgia. Their new music is a
snapshot of Triathalon's evolution and growth — tracing a journey of sonic selfreflection, of being lost in your thoughts and watching the world around you
change.
"brooding, romantic, lush — and deeply sensual" Billboard

Destruct is an MC from Los Angeles who joined forces with legendary
Hip-Hop artists forging his reputation on a global scale in the Hip-Hop
community. Alongside with Mind the Wax, Destruct brings some of his
most ground-breaking collaborations, with fourteen tracks including
classic and unreleased joints featuring Sean Price, Blu, General Steele of Smif-N-Wessun, Moka Only, Jake One, Kev Brown among others,
exclusive to "The Best You Never Heard" vinyl.

tobi lou cements a connection to countless listeners through his creativity. The Nigeria-born, Chicago-raised, and Los Angeles-based rapper and producer builds music meant to last with unpredictable flare and inimitable spirit. As the story goes, tobi lou flourished as a football player and baseball player until undergoing a dream-ending injury and jumping from a semi-pro career to the mic. A series of buzzing EPs—tobi lou and the Moon, tobi lou and The Loop, and tobi lou and The Juice—paved the way for his 2019 mixtape, Live on Ice. The latter included “I Was Sad Last Night I’m OK Now,” which racked up 42.9 million Spotify streams. Earning widespread acclaim, Pitchfork hailed 2020’s “Student Loans” as “a refreshing dose of joy.” Meanwhile, Lyrical Lemonade christened him, “Chicago’s Rising Superhero.” Along the way, he headlined shows coast-to-coast and shut down festival stages at Lollapalooza and beyond. He also collaborated with everyone from Smino to Dreezy. Throughout 2021, he assembled Non-Perishable out of his East Los Angeles apartment. He notably produced on every track, lending his touch to the entirety of the project. After amassing hundreds of millions of streams, packing shows, and receiving acclaim from GQ, W Magazine, and more, he architects an immersive experience on his second full-length project and the first installment of a 2022 trilogy, Non-Perishable.

Die Band - bestehend aus den Mitgliedern Derek Day (Gesang), Dane Pieper (Gitarre), Griffin Tucker (Gitarre), Franco Gravante (Bass) und Chuck McKissock (Schlagzeug) - wurde 2018 gegründet, nachdem sie sich durch ihre Liebe und Leidenschaft zur Musik virtuell verbunden hatten. Jetzt sind sie in Los Angeles und haben sich auf einer Mission vereint, um der nächste große generationsbestimmende Act zu sein, der sich von klassischen Rock-Acts der 70er Jahre und Alt-Rock-Gruppen der 90er Jahre inspirieren lässt. Ihre Musik erinnert an die Markenzeichen früherer Generationen - hymnische Rhythmen, schreddernde Gitarren, erhebender Gesang - aber sie bahnt sich ihren Weg in die Zukunft mit cleveren Arrangements, scharfsinniger Musikalität und gekonntem Songwriting. Die Band hat sich in der Branche bereits einen Namen gemacht und war mit Weltklasse-Produzenten wie Bob Rock, Michael Beinhorn und Joe Chiccarrelli im Studio, die bereits Hits für Bands wie The Red Hot Chili Peppers, Metallica, Soundgarden und The White Stripes geschrieben haben.Le groupe - composé des membres Derek Day (Chant), Dane Pieper (Guitare), Griffin Tucker (Guitare), Franco Gravante (Basse), et Chuck McKissock (Batterie) - s'est initialement formé en 2018 après s'être connectés et liés virtuellement par leur amour et leur passion de la musique. Maintenant à Los Angeles, ils se sont unis pour une mission : être le prochain grand acte de définition de la génération, en s'inspirant des actes de rock classique des années 70 et des groupes de rock alternatif des années 90. Leur musique fait écho aux caractéristiques des générations précédentes - rythmes hymniques, guitares déchiquetées, voix envoûtantes - mais se fraye un chemin vers le futur grâce à des arrangements astucieux, une musicalité aiguisée et des compositions efficaces.

Die Band - bestehend aus den Mitgliedern Derek Day (Gesang), Dane Pieper (Gitarre), Griffin Tucker (Gitarre), Franco Gravante (Bass) und Chuck McKissock (Schlagzeug) - wurde 2018 gegründet, nachdem sie sich durch ihre Liebe und Leidenschaft zur Musik virtuell verbunden hatten. Jetzt sind sie in Los Angeles und haben sich auf einer Mission vereint, um der nächste große generationsbestimmende Act zu sein, der sich von klassischen Rock-Acts der 70er Jahre und Alt-Rock-Gruppen der 90er Jahre inspirieren lässt. Ihre Musik erinnert an die Markenzeichen früherer Generationen - hymnische Rhythmen, schreddernde Gitarren, erhebender Gesang - aber sie bahnt sich ihren Weg in die Zukunft mit cleveren Arrangements, scharfsinniger Musikalität und gekonntem Songwriting. Die Band hat sich in der Branche bereits einen Namen gemacht und war mit Weltklasse-Produzenten wie Bob Rock, Michael Beinhorn und Joe Chiccarrelli im Studio, die bereits Hits für Bands wie The Red Hot Chili Peppers, Metallica, Soundgarden und The White Stripes geschrieben haben.Le groupe - composé des membres Derek Day (Chant), Dane Pieper (Guitare), Griffin Tucker (Guitare), Franco Gravante (Basse), et Chuck McKissock (Batterie) - s'est initialement formé en 2018 après s'être connectés et liés virtuellement par leur amour et leur passion de la musique. Maintenant à Los Angeles, ils se sont unis pour une mission : être le prochain grand acte de définition de la génération, en s'inspirant des actes de rock classique des années 70 et des groupes de rock alternatif des années 90. Leur musique fait écho aux caractéristiques des générations précédentes - rythmes hymniques, guitares déchiquetées, voix envoûtantes - mais se fraye un chemin vers le futur grâce à des arrangements astucieux, une musicalité aiguisée et des compositions efficaces.

Singer-songwriter Amos Lee draws inspiration from soul music, contemporary jazz and 1970s folk artists such as James Taylor. The Philadelphia native honed his song writing skills while waiting tables and bartending after graduating from the University of South Carolina with a degree in English. He eventually landed some high-profile gigs as an opening act, including an extended tour with pianist/vocalist Norah Jones, whose bassist, Lee Alexander, agreed to produce Lee's first album.

With Alexander's help, Amos Lee released his self-titled debut on Blue Note in 2005. The album won Lee a small following for his blend of acoustic funk, folk, and light jazz. Norah Jones herself plays the piano on two tracks; "Keep It Loose, Keep It Tight" and "Colors."

A notable debut like Amos Lee deserves the Analogue Productions reissue treatment. This beauty was cut by Bernie Grundman in Los Angeles from the master tape, and is now pressed at 45 RPM on two glorious sides of 180-gram vinyl by Quality Record Pressings, makers of the world's finest-sounding LPs. QRP is noted for deep-black backgrounds and pristine clarity. If you're already familiar with Amos Lee, get ready — you've never experienced it with such lifelike sonics and premium richness. This is how all vinyl should sound.

The songs on the album incorporate themes of folk, soul, gospel and jazz. Amos's style is a mix of Bill Withers, Arthur Lee, and James Taylor. Amos has recently toured with Bob Dylan, Paul Simon, Elvis Costello, Van Morrison, Adele, Dave Matthews and many others.

"Matasuna Records" musical journey takes the listener this time to "Panama" - a country in Central America, which offers a rich and breath-taking variety of musical treasures. In a first reissue, two songs from the legendary "Loyola Records" label were selected, both released in 1969: one by "Camilo Azuquita" and one by the group "Panama Brass". Two super-rare tunes that fetch crazy prices, if you're lucky enough to find a copy at all. Available for the first time as an official remastered reissue on 7inch vinyl - the song by Panama Brass even makes its 7inch premiere. Don't sleep on it!

The A-side features the killer boogaloo tune "Borombon" by "Camilo Azuquita". Its take of the song composed by "Javier Vasquez" is undoubtedly the best version of this song. The striking piano, driving bass and rich horns are fueled by percussive accompaniment and especially by Azuquita's powerful voice. A terrific song that has also recently gained new notoriety in movies and series - such as "Better Call Saul".

The B-side features the instrumental Latin Jazz/Guaracha tune "Con La Mano En La Biblia" by "Panama Brass" - an orchestra led by the excellent organist "Cristobal Munoz Jr." and consisting of Panama's best musicians. A no less energetic and furious song composed by "G. Garcias". The musicians of the orchestra combine a great musicality and diversity in the song, delivering a special delicacy.

"Camilo Luis Argumédez" is a singer and composer born in "Colon (Panama)" on February 18th 1945. He became world famous under his stage name Camilo Azuquita. He began his career at a young age, when he participated in various competitions organized by local radio stations. He left Panama for the first time for an engagement in "Lima (Peru)" - the prelude tocountlesstrips.

After returning to Panama, another engagement in 1966 took him to "Puerto Rico", where he also recorded music. Due to a tour he was involved in, he ended up in "New York City" where he made new & fruitful acquaintances with other artists that resulted in some more recordings.

In 1968 he returned again to Puerto Rico, where he joined a band to record an album. In the following years, tours and concerts followed, as well as an engagement in a club where he musically accompanied many stars of Latin American music.

Between 1972 and 1976 he spent four years in "Los Angeles", where he performed in night clubs, recorded two albums and toured California with his own band "Melao". In LA, through a brother of the "Fania" boss, he got a contract with "Vaya Records", a subsidiary of the Fania label, which brought him back to New York City in 1976. There he joined the band "Tipica'73" and their two following albums brought him much success.

A tour led him to "Paris", where he met the journalist "Pierre Goldman". A proposed project became reality two years later: Azuquita opened the first Parisian Salsa Club. As this became a complete success and the audience filled the club on each of the evenings, a first engagement of one month was extended to several years. In France, he performed at the world-famous "Olympia Theater "or played at the "Old Bourget airport", opening for a live concert by reggae legend "Bob Marley" in front of 75,000 people. From France, he traveled throughout Europe, where the performances in front of European audiences brought him enormous prestige.

From 1985 to 1987, "Azuquita y su Melao" toured extensively in "California", where he signed a 1-year contract at "Club Candilejas" in "Hollywood" in 1988. In the following decades, he recorded many more albums - in NYC, Cali (Colombia), France or Havana (Cuba), among others. In addition, he was still very active on tours, festivals and concerts around the globe. An extremely remarkable artist, whose activity has brought him to the top.

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"Panama Brass" was an orchestra directed and orchestrated by the excellent organist "Cristobal Munoz Jr." The orchestra consisted of one of the best musicians of Panama at that time. Munoz was an exclusive artist of "Loyola Records" at the time and was considered a promising or up-and-coming conductor. That this album could be realized at all had only been possible thanks to Hubert J. Pretto. Pretto, then Assistant Vice President & General Manager of "Coca Cola Panama" arranged the funds necessary for the realization of this album and supported the campaign to promote music culture in Panama. This album would remain the only one released by this group.

A native of Los Angeles, Henry Franklin came of age while the city was producing a crop of exciting jazz talent. Frankin’s lasting impact on jazz can be evidenced by the long list of legends who sought him out for tours and recording sessions, Stevie Wonder, Bobby Humphrey, Freddy Hubbard, & Pharaoh Sanders to name a few. Franklin’s solo output is best remembered for his two solo outings with the Black Jazz label- “The Skipper” & “The Skipper At Home”. Together, they form one of the most compelling diptychs in the entire post-bop canon. Recognised by his peers and contemporaries, Franklin’s entry for Jazz Is Dead gives the living legend his flowers and recognises the contributions The Skipper has made as one of jazz’s most influential heartbeats.

KU is proud to celebrate a powerful moment in hip-hop history, in which the underground found space amongst the mainstream.
20 plus years ago, Dilated Peoples dropped their first studio album, ‘The Platform’. The Los Angeles-based group was composed of legendary Beat Junkies member, DJ Babu, staple underground and prolific emcee, Evidence, and fellow Los Angeles-based rapper, Rakaa.

The crew formed in the early 90s, exploring their craft and dynamic for many years before making their imprint known and gaining the attention of Capitol Records, who’d eventually put out ‘The Platform’ in the year 2000.

Mainstream Hip Hop and specifically the greater Los Angeles area radio during those years was inundated with West Coast Gangster Rap. Dilated Peoples offered a different look for the genre, steering away from celebrating gun violence and misogyny. Stepping into the light with notes of positivity, boosting one another up, thought-out observations about social issues, and catharsis.

KU is celebrating the influential group with a replica 45” repressing, of the title track from ‘The Platform’. The track hit #22 on the US rap charts in 2000, and #89 in the UK. “The Platform” was produced by the aforementioned, The Alchemist.

Born in Los Angeles to fourth generation Angelenos, Garrett’s childhood was surrounded by music. The afternoons spent at his uncle’s boxing gym in Montebello introduced him to jazz, and the restaurants he worked in as a teenager exposed him to stars such as Cal Tjader and Eddie Cano. In 1973, Garrett re-emerged in the scene rejuvenated and recalibrated releasing “En Medio” - a singular vision, a multi-genre blend of Latin rhythm, headhunter-inflicted funk, and Arkestra jazz, one that could have only come from LA. Today, Garrett is ready to meet his fans, and make many more, as he wraps up his entry in the Jazz Is Dead series and records new music for the first time in decades.

Orange Vinyl


Born in Los Angeles to fourth generation Angelenos, Garrett’s childhood was surrounded by music. The afternoons spent at his uncle’s boxing gym in Montebello introduced him to jazz, and the restaurants he worked in as a teenager exposed him to stars such as Cal Tjader and Eddie Cano. In 1973, Garrett re-emerged in the scene rejuvenated and recalibrated releasing “En Medio” - a singular vision, a multi-genre blend of Latin rhythm, headhunter-inflicted funk, and Arkestra jazz, one that could have only come from LA. Today, Garrett is ready to meet his fans, and make many more, as he wraps up his entry in the Jazz Is Dead series and records new music for the first time in decades.

Milly make songs that simmer and spark. The Los Angeles-based band, led by songwriter Brendan Dyer, finds power in the slow burn: their music carries the tension of a lake’s surface moments before a storm hits, or a cracking pane of glass moments before it shatters. Their debut album, Eternal Ring, is kinetic, physical, and often a little bit volatile — a mixture of emo music and 90s-indebted indie that tastes as if it’s been fermenting for years, feeding on itself until it becomes something new entirely. A profound first full-length statement from Dyer and his closest collaborator, bass player Yarden Erez, it’s a record that takes the anxiety of modern-day America and filters it through a prismatic, powerfully individualistic lens, resulting in something intense, bracing, and deeply modern

Deniz Cuylan set out to explore his own distinctive sound on his 2021 solo debut album 'No Such Thing As Free Will.' The album signaled the Turkish musician's first bold step into the spotlight following a winding 15-year path in the music industry playing in multiple bands with home bases dotted all over the globe - Stockholm, NYC, Istanbul - and tackling a wide array of styles both on the stage and in the studio. Now settled into his current home in Los Angeles, Deniz lends his instrumental talents to create scores for independent films and recurring Netflix original series, yet these projects inevitably fulfill the sonic backdrop for another artist's vision. Looking inward on his own for the first time, 'No Such Thing As Free Will' laid the groundwork for his own personal soundtrack, one that fused his love of classical guitar, introspective jazz, and ambient expressionism with his whimsical compositional ear. Over a magical 6-track journey, 'No Such Thing As Free Will' painted a lush cinematic narrative with Deniz's guitar as its guide, delivering an album that "seems to invent new languages for the guitar" (The Guardian) and receiving glowing comparisons to legends like Steve Reich, The Durutti Colum's Vini Reilly, Glenn Branca, and Bert Jansch. With such a singular foundation exposed on a debut album, many artists would stay true to their inventive winning formula and find out if lightning could strike twice. Deniz is not one of those artists. An explorer at heart, Deniz unveils a beautifully alluring and lightly adjusted language on his mesmerizing second album 'Rings Of Juniper.' The record continues to spotlight Deniz's exquisite guitar work and hypnotic compositional skills, yet it boasts a punchier, refined, and more immediate tone right from the start. Accented by a desire to once again uncover a new shade of his sonic palette with the support of a talented cast of friends and artistic collaborators, 'Rings Of Juniper' lays bare a rich, dynamic, and evocative sound that Deniz lovingly refers to as Mediterranean Minimalism.

Acclaimed Brooklyn artist Bird Streets has returned with Lagoon, an album about separation, rumination, regret, and recurrence. For his second album under the Bird Streets name, John Brodeur has widely expanded on the project’s collaborative foundation, enlisting production b Patrick Sansone (Wilco), Michael Lockwood (Aimee Mann, Fiona Apple), and Zach Jones (Sting) and Oscar Albis Rodriguez (A Great Big World), plus guest appearances from the likes of Aimee Mann, Ed Harcourt, John Davis (Superdrag), Jody Stephens (Big Star), and an array of top-shelf session players. With mixing split between Sansone and Grammy winner Michael Brauer (Coldplay, John Mayer), and mastering by Grammy nominee Pete Lyman (Brandi Carlile, Chris Stapleton), Lagoon is an enormous step forward from an artist who has been hailed or his evocative storytelling and keen attention to craft. Producer and multi-instrumentalist Patrick Sansone helmed sessions in Nashville (“Burnout”, “Leave No Trace”, the bossa-flavored “The Document”) and later in Memphis, where he and Brodeur were joined by John Davis on guitar and Jody Stephens on drums, forming a power-pop fantasy band of sorts. (“Machine”, “Go Free”, and wistful “SF 1993” come from the Memphis dates.) Back in Brooklyn, Brodeur cut several tracks with the production team of Zach Jones and Oscar Albis Rodriguez, including “Ambulance,” the catchy AM Gold of “Let You Down,” and the Last Waltz-styled soul-rock of “Disappearing Act.” When the pandemic threw a wrench in the works, Brodeur turned to Los Angeles-based producer Michael Lockwood to remotely helm Lagoon’s final stretch. Track listing: Sleeper Agent; Machine; Burnout; The Document; Let You Down; Leave No Trace; SF 1993; Ambulance; Disappearing Act; On Fire; Unkind; Go Free

The phenomenal debut album by an extraordinary keyboardist and
composer Surya Botofasina.

Surya was taught in the tradition of Alice Coltrane, by Swamini
Turiyasangitananda herself, at her Ashram in California where he grew up.
Produced by and co-performed with Carlos Ni o in Los Angeles, this is a unique, deep listening masterpiece of spiritual jazz and meditative sounds from a progressive Sonic Artist devoted to: "OneLove. Family. Music."

Detroit based producer & DJ 2lanes is happy to announce the evolution of his digital label ‘AUTO SHOP’ into the physical world with its first release; a new alias called OVERTONE SERIES. A collaborative project between 2lanes and fellow Detroiter Jonah Baseball, recorded over many sessions during early lockdown.

The "Shuffle Shack EP" has 4 tracks that span psychedelic deep house, dance floor stomping soul, and rejuvenating sunrise downtempo moments. The record also features performances from Jonah’s father David Gray, Los Angeles based singer Jia Pet and Ji Hoon - who was featured on the B-side “Impish Desires” on 2lanes breakthrough record on Portage Garage Sounds.