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First release via Agricultural Audio, label of acclaimed producer Ben Hillier. Agricultural Audio is the name of the South Downs studio, and now also a record label, of the producer Ben Hillier (Blur, Elbow, Depeche Mode, Nadine Shah). The debut release from Hillier’s new label, launched this month in partnership with The Orchard, will, fittingly, be a project of Hillier’s own. The first time he has stepped out from behind the producer’s desk for an artist project in his own right, Storm Franklin sees Hillier join up with the Howling Bells front woman and solo artist, Juanita Stein. Hush Now is a tantalising introduction to Hillier and Stein’s work together, the first single from a Storm Franklin album that will be released later this year.

A Dream Team of folclóricas covering the wide spectrum of African-American influenced 1970s dance music spiced with flamenco. The hits of Isaac Hayes, Billy Preston or The Temptations in the charts showed the way to go. An almanac for 20th Century Rosalías headed by Lola Flores, Isabel Pantoja, Rocío Jurado and a bunch of female singers, copleras, cantaoras and rumberas. A black and white lysergic dream amidst post-Franco’s Spain. Stick your ears to the speakers. Here comes an emotional rollercoaster!



Antes de presentarte esta novedad, hay que entender que en la segunda mitad de los años setenta, algo estaba cambiando en la escena musical. Los grupos musicales estaban en su auge hasta que llegó la llamada al servicio militar obligatorio. Entonces, todo el mundo volvía de él sin sus largas melenas y sin dinero. Los baladistas sin personalidad tomaban el control de la música, según lo dictado por las discográficas. Es entonces cuando las copleras, cantaoras y rumberas se convierten en la respuesta necesaria para combatir la insípida melosidad. A pesar de un contexto sociocultural desfavorable, arreglistas y productores invertían horas de sueño para revivir un sonido que estaba al borde de la extinción. A pesar de los cambios que haya podido haber desde entonces, el más significativo es que ahora la inmediatez digital dicta el rumbo.



Es por toda esta importancia que finalmente ha llegado un álbum que reúne a un elenco de folclóricas en una combinación única, fusionando el concepto del groovy funk; con canciones que abarcan todo el espectro afroamericano de la música de baile de los setenta, con toques de gritos y susurros aflamencados que le dan un giro impresionante. Podríamos considerarlo el álbum destacado de las Rosalias del siglo XX, una especie de viaje lisérgico en blanco y negro a la España de la posfranquista. Con su hiperrealismo revolucionario, este disco nos ofrece a una una estirpe de artistas sin igual.

En este encontrarás las joyas ocultas de artistas como Flores, Pantoja, Jurado, Polaca, entre otras. Aunque se mantuvieron fieles a sus estilos, todas ellas fueron famosas por otras facetas de sus extensas discografías, y muchas incluso aparecieron en la portada de Interviú en más del cincuenta por ciento de los casos, como las feministas de los años setenta según Francisco Umbral.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

Compilation pressed onto a collector’s LP picture disc, featuring some of the finest soul artists.

Dreyblatt"s minimalist conception - a rhythmic drone played on a double-bass strung with piano wire, playing in concert with other stringed instruments performing in 20 unequal microtones per octave and changing key but keeping the same fundamental pitch - dates back to the 1970s, while he studied under La Monte Young and Pauline Oliveros. Resolve acts in intermittent dialogue with the first Orchestra of Excited Strings release, 1982"s Nodal Excitation.

Since then, Dreyblatt has formed new orchestras across various countries and decades, with each phase of his music requiring several overlapping periods of gestation and arrangement.

The current Orchestra is formed by Konrad Sprenger, Joachim Schütz and Oren Ambarchi. On Resolve, each of the members" playing brings new angles to the compositions. Konrad Sprenger"s involves solenoids, sine waves and a computer-controlled multi-channel electric guitar (as well as a relentless style behind the drum kit and oversight of the album production), while Joachim Schütz"s individual conception of electronics and electric guitar and Oren Ambarchi"s undeniable innovations with signal path work together with Dreyblatt"s bass (still strung with piano wire) as magnetic component parts of Resolve.

These contributions lead to Resolve"s dialogue with the early Orchestra of Excited Strings canon - for instance, the track previewed here, "Flight Path" takes off at a pace not often found in the minimalist genre - a rolling lope! Yet the sense of play is palpable: the ensemble scale their microtonal keys with punkish brio, a stance sharing much with the original Orchestra"s downtown pulse, even as as the new Orchestra burn their own path through Dreyblatt"s music.

Approaching his 70th birthday, with over 40 years of work as a solo artist, collaborator, composer, educator and bandleader, Arnold Dreyblatt views Resolve as an important expression within the long story of The Orchestra of Excited Strings. The album title"s tendency to mean different things is an indicator of the dynamic qualities of his music in all its different phases - an evolution that continues to produce new dimensions in acoustic sound with every new release.

III is the third studio album by French DJ Bob Sinclar. First release February 2003, and reached number 24 on the French albums chart. It features the hits : "The Beat Goes On" and "Kiss My Eyes" An Uncut review from May 2003 found that while Sinclar"s music is "frothier and camper than ever" on III, he "has a new-found focus and vitality ... Whereas so much electroclash lacks melodic thrills, there"s an abundance of crisp, pulsating tunes here. And despite the disco flashbacks, Le Friant favours twisted re-interpretations over dead-handed pastiches". The review concluded by noting that "fans of Daft Punk"s Discovery will love it". Jack Smith, writing for BBC Music, felt that III is Sinclar"s homage to French disco artist Cerrone, given Sinclar"s compilation Cerrone by Bob Sinclar (2001), and his collaboration with songwriters Lene Lovich and Alain Wisniak on III, both of whom previously composed several songs for Cerrone. While acknowledging Sinclar"s intention for a "new sound" after being an "international man of mystery" on his first two records, Smith opined that "herein lies the problem... III, his latest opus, is nothing less than average, and at times dull", summarising that the album"s "pluses are few and far between".

Here's the thing about ill peach: this band exists because they are too weird to not exist. The seed of ill peach was first planted in the recording studios of New York City where Pat Morrissey and Jess Corazza were working together as professional songwriters, collaborating with artists like Icona Pop, SZA, Weezer, Pharrell, Big Freedia, and others. Then came the day they were offered their own publishing deal. Cool, right? Well, about that: "Everyone kept saying, 'The stuff that you're writing is slightly too left-of-center-weirdo stuff," remembers Morrissey. "Why don't you start your own project?" Thus ill peach, a pop band with a punk streak and a taste for both the rotten and the sweet, with an approach to making music that goes something like: "Do you want to pick up a guitar and do you want to be on this water jug and we'll record it on the iPhone and create some weird drum pattern?" Following a series of well-received EPs on their own Pop Can Records (a record label and artist collective Morrissey and close collaborator Jesse Schuster run with friends), a digital single for Hardly Art's 15th anniversary series, and some colorful music videos that crystallized the band's visual aesthetic along with their sound, ill peach's "weirdo stuff" comes to fruition on first full-length THIS IS NOT AN EXIT: a collection of anthemic songs built out of bright pop and gritty experimental elements (Morrissey names the sculptural use of distortion on the final albums by Low as an inspiration), punctuated with hooky choruses ready to be screamed along to in the safety of your own bedroom or with a bunch of friends at one of ill peach's intense live shows. If ill peach first blossomed in New York, it took quarantine in Los Angeles for the project to ripen. The end of the world turned out to be what ill peach needed to get real with themselves. "It helped us creatively to zone in and removed us from the industry side of things to where we could just be like: this is our new identity, let's jump with both feet." THIS IS NOT AN EXIT's title is a reflection of something Corazza realized during a period of personal and familial crises "I kept walking into buildings and I'd try to exit somewhere and the sign would be like, 'This is not an exit,'" she says. "It just felt like a metaphor for a hopeful thing-don't give up yet." This combination of hope and anxiety is all over THIS IS NOT AN EXIT, reflected in a sonic palette (Alternative! Electronica! Indie! Radio pop! Coldplay!) as eclectic as it is unpretentious. Ultimately, THIS IS NOT AN EXIT is a record about healing, a process often spoken about in New Age-y terms but one that in reality can be really confusing and, yes, weird. But it is the beautiful strangeness of being alive that ill peach capture so well on THIS IS NOT AN EXIT.

For his first album as an exclusive Deutsche Grammophon artist, 2021 International Chopin Competition winner Bruce Liu – “a pianist with a captivating musical personality” (Financial Times) – has compiled an enthralling survey of 200 years of French keyboard music, from Baroque to modern. The phenomenal young Canadian pianist has subtly adjusted the action of his instrument to highlight the differing musical styles. Gramophone’s reviewer acclaimed DG’s release of Liu’s Warsaw competition performances as “one of the most distinguished Chopin recitals of recent years, full of maturity, character and purpose”. The album’s title Waves alludes not only to the nature theme that runs throughout the programme, but also to the sheer spontaneity of Liu’s music-making.

‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid. Love And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in the inky blackness. Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively, Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion. Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noise- based productions; the result is a new entity, the underground pop star that exists only in darkened dreams. Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key. Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in space, floating and obscure. On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and co- production is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or just another layer of mystery behind the enigma? Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in obscurity, leaving everything unanswered but open.

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon's Transference and Jimmy Eat World's Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you'd rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music. By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic "Musik". You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins)."

William Eggleston is a famed photographer and musician credited for iconic album covers such as Spoon's Transference and Jimmy Eat World's Bleed American. 512 was inspired and recorded at the Parkview Apartments in Memphis, Tennessee where Eggleston lived for almost ten years. The apartment was full of art and inspiration: cameras, naturally, but also high-end stereo tube amplifiers and objects that you'd rush towards money in hand at your local flea market. But also a gigantic nine foot Bosendorfer grand piano and a massive grand vintage JBL theater speaker console. His home was overwhelmed by music. By recording there the album captures not just his performances, but also the vibe of the place; it often felt as though there were artists lurking in the aether listening along. His visitors over the years were no small change: Lee Friedlander, Carl Sagan, Dennis Hopper , Paul McCartney and many others came to see him and listen to his hypnotic "Musik". You can hear local traffic, a dog barking, weather; reality, in other words. But there was another space layered on top, a kind of surreality echoing his music, as you can imagine a gathering of musicians listening in, eager to join him. Thus came along 512 which features the legendary Brian Eno on bells and production from Leo Abrahams (Regina Spektor, Paul Simon, Jon Hopkins)."

In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade, V4’s unparalleled 12” output referenced every significant Black British music scene; from lovers rock to jazz-funk, sound system reggae to hip hop, new jack swing to garage, from artists Ashaye, Julie Stapleton, Maureen Mason, Rohan Delano, The Wades, and Endangered Species. This 18-track double LP is the first critical overview of the label, with extensive notes by Simon Reynolds, era-defining photographs, and fresh remasters, all housed in a glorious foil-stamped gatefold tip-on sleeve. Is this a dream?

It’s time to deck the halls and put up the Christmas tree as the
yuletide season is upon us. Christmas Collected is the brand-new
compilation with both traditional and modern songs celebrating
the festive season. Artist and groups including Queen, Bruce
Springsteen, Band Aid, Paul McCartney, U2, The Teskey
Brothers, Frankie Goes To Hollywood, Amy Winehouse, Ariana
Grande, Mud and many more are featured on the 2LP.
Christmas Collected is available as a limited edition on translucent
green (LP1) and translucent red (LP2) coloured vinyl and includes
an insert.

Recorded between 2010-2012, Closed Sessions Vol. 2 is a snapshot of a begotten time in Hip-Hop music and blog culture. The album features an eclectic class of artists such as Action Bronson, DJ Babu, Vic Mensa, The Cool Kids, Rockie Fresh, Freddie Gibbs, and others coming to the legendary SoundScape Studios and participating in the Closed Sessions program. Every song was followed by a documentary on MTV2 Sucker Free.

CS Vol. 2 was originally released August 23, 2012 and has been offline since 2015, the album has been re-mastered and is being released on vinyl for the 1st time ever. Limited to 500 copies.

"The Twits" wurde von der Band im Februar 2023 innerhalb von nur acht Wochen in einem provisorischen Heimstudio auf Mallorca aufgenommen und von Marta Salogni abgemischt. Nach einem Kinderbuch von Roald Dahl benannt, zeigt sich das Songwriting von bar italia in rauen, mystischen, ungebürsteten und gelegentlich düsteren Arrangements. Songs wie "my little tony" mit seinen harten Riffs und dem kathartischen Sound ist ein klassischer Indie-Banger für die große Bühne. In anderen Momenten wagt sich die Band auf bisher unbekanntes Terrain, auf dem sie eine hypnotische Dissonanz ihrer Stimmen schaffen. "Jelsy" zum Beispiel spielt sich wie ein Gespräch zwischen Freunden über wehmütigen, summenden Country-Blues ab, wobei die Stimmen abwechselnd tröstlich, ironisch und hoffnungslos sehnsüchtig sind. Der geschmeidige, langsam brennende Walzer "Twist" besticht durch seine nackte Lyrik und scheint jedes Bandmitglied zu einem individuellen Bekenntnis einzuladen. Während "Tracey Denim" von seinen kompakten 2-3-minütigen Songs lebte, besticht "The Twits" durch seine eher offenen und mitunter uferlosen Kompositionen. "glory-hunter" nimmt z.b. spielerische Wendungen, bevor es an einem völlig anderen Ort endet, als es begonnen hat. Das abschließende "bibs" ist ein seltener Fall, in dem alle drei im Einklang zu hören sind. Eine Prozession geradezu geisterhafter Akkorde mit einer zerreißenden Rückkopplung bildet den Abschluss des Albums. Das im Mai veröffentlichte Matador-Debüt "Tracey Denim" von bar italia wurde schnell zum Gesprächsthema der weltweiten Indieszene. Publikationen wie The Guardian ("eines der Alben des Jahres 2023 bisher"), The Times ("excellent debut album"), The Observer ("Artist To Watch"), NME ("a lasting impression that"s all of their own making"), The Quietus ("endlessly evocative") und Pigeons And Planes ("quickly establishing themselves as one of the most enticing upcoming bands") feierten das Album. Im Juni gaben bar italia ihr Live-Debüt in den USA mit fünf ausverkauften Konzerten in New York sowie vier in Los Angeles und auch ihre Debüt-Show in Berlin war binnen kürzester Zeit ausverkauft. Über einen der New Yorker Auftritte schrieb Brooklyn Vegan: "Live spielt die Band ganz natürlich und großartig auf, mit Songs wie "Punkt", "Changer" und "Nurse!" (...), die Post-Punk der frühen 80er mit Indie-Rock der 90er und einem Hauch Trip-Hop mischen".

Introducing Elli Acula's latest pounder "BFF"! Packed with high-octane energy, vibrant contrasts, and explosive changes - this track got heavily road tested and sets dance floors ablaze. Kicking off with a hard-hitting and relentless kick drum that lays the groundwork for what's to come. As you delve deeper, you'll meet mesmerizing glitchy vocal cuts that add an ethereal dimension to it. But it doesn't end here - a nasty synth line with shuffling stabs and a captivating melody keep you hooked. The sheer contrast and dynamic shifts offer some serious shakes and a heavy dose of breakbeats in the B-part. Get your slice! Welcome to "Vape Nation" by trans-disciplinary artist Claus, a track referencing the rich heritage of big room and minimal techno. This peak time tool is based on a screaming lead melody and a subtle acid baseline, creating thrilling tension and discharge on point. The lead phrase radiates an ecstatic bitter sweetness and deploys the minimalist power of hypnosis to its full extent. "Vape Nation" seems to mediate the utopian moments of techno futures through their endless repetition - time for some contemplations on the dance floors! "Tek Tek Tek"by FJAAK is a rhythmic 4-stepper that explores dynamic beat changes and percussion-driven elements. At its core, it features a heavy, punchy kick drum that sets the tone to make a warehouse shake. The track's smacking synth line adds a unique texture, while short vocal snippets follow the song's title, creating a sense of intrigue and anticipation. "Tek Tek Tek" invites listeners to immerse themselves in its minimal & groovy world, where the rhythmic focus meets the dance floor.

Miyuki Omura's "Thats Me" EP is one serious piece of work!

A heavy dose of Industrial Hardcore Techno that sucks you in, chews you to bits, spits you out and leaves you craving for even more sonic abuse.
"That's me" is a 3 track EP filled to the rim with emotional distorted sound design heavily influenced by Miyuki's deep love for traditional Dutch industrial hardcore,
while also heavily flirting with schranz techno and UK infused breakbeat culture.
She perfectly blends the power of industrial hardcore with the grooves, textures, and functionality of "Techno" to her tracks.

"That's Me EP" by Tokyo based artist Miyuki Omura is sophisticated, diverse, creative.. But most importantly.. Hard As Nails!
An impressive PRSPCT debut by an impressive lady!

“I’m still learning how to experience joy, how to be free, how to be comfortable in my own
skin,” says Jaime Wyatt. “A lot of us grow up feeling like we have to hide who we are just
to be accepted, but that comes from a place of fear and judgment. I wrote these songs as
a way of letting go of all that, as permission to feel good.” Feel Good, Wyatt’s extraordinary
new album, is more than just a permission slip, though: it’s an invitation. Recorded with
Black Pumas’ Adrian Quesada, the record is bold and ecstatic, built on tight, intoxicating
grooves that belie the songs’ substantial emotional stakes. Wyatt’s writing is raw and
intuitive here, tapping into the deep recesses of her subconscious as she reckons with
grief and growth, and her delivery is visceral to match, cutting straight to the bone with
equal parts sensitivity and swagger. Taken as a whole, the collection stands as a radical
act of creative liberation from an artist already known for pushing limits, a genre-defying
work of healing and self-love that tips its cap to everything from Al Green and Otis
Redding to Waylon Jennings and Bobbie Gentry in its relentless pursuit of peace and
pleasure.

Bringing together Johannesburg’s two saxophone titans for a supergroup recording project was a
visionary move by Jo’Burg Records in 1976. Following the success of Makhalemele’s debut The
Peacemaker and Mankunku’s long-awaited sophomore release Alex Express, which both appeared in
1975, the bar had been set very high. Enamoured by their jazz contemporaries, the session was
concocted by members of an exciting new South African rock group called Rabbit, who formed a
backing group consisting of guitarist Trevor Rabin, bassist Ronnie Robot and drummer Neil Cloud
alongside jazz pianist Tete Mbambisa. Recorded at the state-of-the-art Satbel Music Recording
Studios, the inspired performances of this diverse cast of young South African artists at the height of
their powers was captured with exquisite fidelity. Packaged as The Bull and the Lion, the album title
references Mankunku’s signature composition “Yakhal’ Inkomo” (which means “the bellow of the
bull”) and Makhalemele’s stage name “Ratau” (meaning "lion"). The pairing of Mankunku and
Makhalemele stands with Moeketsi/Matshikisa and Pillay/Coetzee as one of the epic collaborations of
South African jazz in the 1970s.

Featuring BJ The Chicago Kid, Raheem Devaughn, Karriem Riggins, & Al Skratch, Skyzoo's latest album "All The Brilliant Things" is a masterful work of art that showcases the Brooklyn rapper's lyrical
prowess and storytelling ability. The album is a 14-track journey that delves into Skyzoo's personal life experiences, reflecting on his upbringing, love life, and the everyday struggles faced by Black people in America. "All The Brilliant Things" is a testament to Skyzoo's growth as an artist and his ability to create timeless music that resonates with listeners. His lyrics are poignant and thought-provoking, tackling themes of love, loss, and perseverance. The album is a must-listen for any hip-hop fan, showcasing the best of what the genre has to offer. The album has over 400 million impressions on Tiktok, being featured on thousands of tiktok videos across the world

Featuring BJ The Chicago Kid, Raheem Devaughn, Karriem Riggins, & Al Skratch, Skyzoo's latest album "All The Brilliant Things" is a masterful work of art that showcases the Brooklyn rapper's lyrical
prowess and storytelling ability. The album is a 14-track journey that delves into Skyzoo's personal life experiences, reflecting on his upbringing, love life, and the everyday struggles faced by Black people in America. "All The Brilliant Things" is a testament to Skyzoo's growth as an artist and his ability to create timeless music that resonates with listeners. His lyrics are poignant and thought-provoking, tackling themes of love, loss, and perseverance. The album is a must-listen for any hip-hop fan, showcasing the best of what the genre has to offer. The album has over 400 million impressions on Tiktok, being featured on thousands of tiktok videos across the world

Collignon is a three-piece band with Yves Lennertz on guitar (and bass), Gino Bombrini on drums (and percussion) and Jori Collignon on the keyboards (and taking care of the production). The three friends have been making music together for some time, collaborating in different groups and settings, Jori and Gino as part of the band SKIP&DIE, Gino as a producer for Yves’ former group, YĪN YĪN.

After a decade of touring the world, Jori settled in the quiet and dusty village of Lagoinha, Portugal, where he built a studio complete with a guesthouse, a small piece of land, and a few chickens. From here, Jori worked with a global range of artists from La Reunion, Colombia, Argentina, Mozambique, Angola, Brazil, Cape Verde, Guiné-Bissau, and beyond. All these experiences led to the creation of his first album, suitably named ‘Lagoinha’.

Shortly after its release, Gino and Jori jumped on the tourbus again, and later, Yves joined them to complete the band. They initially started developing new material live on stage, allowing for improvisation and exploration. After finalizing these new songs in the studio, the result is an explosive and high-energy mix of sounds that has surprised audiences all over Europe during the past summer.

Adroit jazz guitar, prog rock fantasia, and Japanese environmental music all rest comfortably behind Leo Takami's Next Door. The follow up to the acclaimed Felis Catus & Silence, Next Door finds Takami ruminating on passages—of time, seasons, consciousness. Through music, Leo contemplates daily events and finds beauty in ordinary moments. He also seems to be questioning the value of being stuck in the world, allowing his mind to wander towards something beyond it. His music is earnest, deeply personal and introspective, and is sort of akin to Rousseau’s Reveries of the Solitary Walker or Kenji Miyazawa’s Night on the Galactic Railroad. On “As If Listening” Takami takes inspiration from a Van Gogh art show organized chronologically, articulating the sense of “enlightened resignation” that is intrinsic in the act of creativity. “Beyond” is a dream of otherworldly nostalgia, a watercolor of past lives. His music is a hazy cinema of memory, the soundtrack to a cherished memory that may have never really happened, but still radiates in the mind like the sun on an unusually warm winter day.

It’s frequently been difficult for us, as a band, to limit ourselves to “normal” pop song lengths and structures….as evidenced in pretty much all of our releases to date. From time to time we feel the need to loose the ropes that bind us and let our Long & Tedious flag fly freely. Truth Or Consequences, New Mexico is the result of said untethering.

We’ve always found the idea of exploring a single note over long stretches of time interesting and this song is that idea taken to an extreme logical conclusion. It’s an exploration of the note A in all it’s possible variations.

Lyrically the song is an extravaganza of navel gazing. There’s a cliche in the literary world nowadays of authors writing novels about the trials, tribulations and rewards of writing a novel. Truth Or Consequences, New Mexico is just as sickeningly self-referential, exploring the obsessive urge to create art of all kinds and how it turns into a cycle of imbibing real life experiences, then spitting them back out in whatever artistic discipline you happen to find yourself practicing. A kind of snake eating it’s own tail….but with the kind of self pitying pretentiousness that only folks who think they’re very clever indeed (that’s us) would want to impose on themselves.

The latest album release by acclaimed Norwegian band Erlend Apneseth Trio is made in collaboration with renowned experimental composer and vocalist Maja Ratkje. Their impromptu concert together in 2022 was a glorious kick-off for a five-day festival and was luckily put on tape. After reworking and reimagining the recorded material with their steady collaborator Jorgen Træen, the result is a refreshing take on improvisations-turned-compositions. Featuring innovative soundscapes with archival material and an engaging transitory state. Listening to the album is akin to being on a voyage of discovery, in and out of the dream state. From the very beginning, the listener is met by ancient voices on tape, surrounded by distorted and dispersed sounds. Like stars on a moonless night, the sounds fall in and out of perceptibility, most twinkling, some falling. You suddenly wake up on a speeding train. As it enters a tunnel, ghostly voices sing a lullaby. The music gradually unfolds from mesmerizing melancholia to a ritualistic blowout. The music always takes the route of the unexpected and reaches momentums which shows why this is one of Norway's most unique constellations. Orbiting sounds gather around and assemble themselves into scenes, forming uncanny rooms collectively dreamed up by the artists. The album's first track Tre Vegar follows an enthralling pathway layered with field recordings and intensified by noise, suddenly plunging into a delightful stream of chords fleeting in mid-air. The variety of sounds that make up this glorious and aptly named 'Collage' is astounding. Elemental sounds range from the howling wind and soft-bright ringing of sheep-bells to the timeless trickling of a small stream of water. Strings of many timbres soar over animated croaks and quacks, assembling into a swampy symphony. The well-balanced diversity of acoustic and electric sounds has become the band's trademark. It is ever-present, complementing and creating new improvisatory trails to follow. Erlend Apneseth: Hardanger fiddle Stephan Meidell: baritone acoustic guitar, live sampling, modular synth Oyvind Hegg-Lunde: acoustic & electronic drums, percussion, timpani Maja S. K. Ratkje: voice, electronics

If there’s anything that defines SUDS, it’s friendship. Meeting through their love of the DIY scene currently emerging in Norwich, the band quickly found themselves gravitating towards writing songs together, and by Autumn 2021, Jack Ames (drums/vocals) joined Maisie Cater (vocals/guitar) and Dan Godfrey (guitar/vocals) to form a line-up that felt inherently natural. Stepping in on bass duties came Harry Mitchell, and things seemed to click instantaneously. Driven to keep the spark going they all upped sticks from their far flung edges of the county, pooled together to get a touring van and set to work. Just like their 2022 debut EP, In The Undergrowth, SUDS ventured down to Kent to record with producer Ian Sadler (Roam, Anavae), ready to explore the next chapter of their story. Step forth debut album The Great Overgrowth, a record brimming with addictive melodies and gorgeous moments of optimism. Their evocative and sometimes literary approach to lyrics takes inspiration from midwest emo and the 1960s Greenwich Village folk scene - Cater and Ames would regularly distract themselves while writing, gazing between the pages of books by Woody Guthrie, Allen Ginsberg, Bob Dylan and Brontez Purnell - which appears across their songwriting and would quickly become the foundation for their sound. Finding a delicate balance of sensitive lyricism dripping in warmth and killer guitar hooks, The Great Overgrowth follows on from the EP, telling the next part of the tale, as a tight knit group of twenty-something year old friends struggling and floating through life, to becoming more confident in their everyday lives and friendships while embracing change. The band are already off to a flying start, conquering sets at 2000 Trees Festival, The Great Escape and Truck Festival, as well as sold out shows with Spanish Love Songs, Pool Kids and Martha. Their talent for achingly intelligent, relatable lyricism and a heft for devil-may-care creative output already puts them heads above the rest. SUDS might be fresh faced but have the maturity and drive to become one of the most exciting emerging artists of 2023.

»What is Dance?« contains two pieces originally conceived in 2017 for a performance/sound installation of the same name at Meinblau Projektraum (Berlin), as part of the series singuhr_projekte. Drawing inspiration from the works of American sound artist Joe Jones and his »Music Machines«, Robert Lippok (Ornament und Verbrechen, To Rococo Rot) arranged various sound objects (pieces of wood, cymbals, rotating plastic film), that were played mechanically. The sound piece—designed for a 4-channel system and condensed into a loop, that clocked in at around 20 minute—is his interpretation of three dances from the opera »The Fairy Queen« by Baroque composer Henry Purcell.

From this source material, Robert Lippok has now extracted and rearranged two pieces for »What is Dance?.« The result is music of its own right: Dense, but permeable drones are central, but complemented by harmoniously matching and gently pulsating sounds.

The GRAMMY® Award-winning band, Blues Traveler, is back with their fifteenth full-length album, Traveler’s Soul Round Hill Records/Black Hill Records. This album, similar to Traveler Blues, a blues covers album that earned the band a GRAMMY nomination, is a covers album paying tribute to R&B and soul classics with featured artists such as Pat Monahan from Train, Valerie June, Alisan Porter, Daisha McBride, and many more. The first single, “Fool For You” will be released along with the album announce and preorder launch on Friday, July 28th. “Fool For You,” originally popularized by The Impressions back in 1968, has a wailing harmonica that gives way to an understated guitar riff and a heavenly piano melody. This ebb-and-flow underlines a smoldering vocal performance from John backed by a rapturous choir.

Swiss vocal acrobat Andreas Schaerer and Finnish
guitarist Kalle Kalima have some things in common. As
artists, each is essentially in a category completely of his
own. Both are musicians who can always conjure
something special from their chosen instruments. Both are
known on the international jazz scene for the completely
distinctive and original ways their music constantly crosses
genres.
 Both have played together for several years in the quartet,
A Novel Of Anomaly. And now they have recorded a first
album together in which the focus is on the two of them.
However, for this ‘evolution’ (as the album title has it), they
have also involved - and drawn inspiration from - a
musician whom they both admire, Tim Lefebvre. The
American bassist has worked with many pop and jazz
stars, notably Sting, Elvis Costello, David Bowie, Mark
Guiliana, Wayne Krantz... Lefebvre’s involvement in the
Michael Wollny Trio’s breakthrough was, incidentally,
anything but tangential. In other words, his playing is at
home in practically every context.
 Listeners familiar with Schaerer’s and Kalima’s previous
work may find ‘Evolution’ somewhat surprising. “An album
is such a different platform from playing live on stage,”
explains Schaerer. “Over the course of our many
recordings, we have become increasingly aware quite how
differently one has to play.” That awareness has also
resulted in a particularly careful focus on the postproduction phase of ‘Evolution’.
 With ‘Evolution’, Schaerer, Kalima and Lefebvre have redrawn the roadmap for the production of a jazz album.
New avenues are constantly opening up in these complex
but also catchy songs which are just made for repeated
listening... and, of course, listening to the album is also a
reminder that it will all sound completely different again
when heard live.

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green’s near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green’s band had been playing a series of live dates at Detroit’s Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green’s current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you’d be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit “Jan Jan” by the Fabulous Counts next to laidback renditions of early 70’s soul favorites “Walk on By”, “Patches” and “One More Chance” by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can’t go back in time, but if you close your eyes and light a cigarette, you might be convinced you’re sitting in a wood-paneled club on Detroit’s Westside enjoying Grant Green and his band tear it up. Grant Green - Guitar Ronnie Foster - Organ Idris Muhammad - Drums Clarence Thomas - Soprano Sax, Tenor Sax Houston Person - Tenor Sax Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green’s near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green’s band had been playing a series of live dates at Detroit’s Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green’s current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you’d be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit “Jan Jan” by the Fabulous Counts next to laidback renditions of early 70’s soul favorites “Walk on By”, “Patches” and “One More Chance” by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can’t go back in time, but if you close your eyes and light a cigarette, you might be convinced you’re sitting in a wood-paneled club on Detroit’s Westside enjoying Grant Green and his band tear it up. Grant Green - Guitar Ronnie Foster - Organ Idris Muhammad - Drums Clarence Thomas - Soprano Sax, Tenor Sax Houston Person - Tenor Sax Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

The new Lorelei K album, Gucci Doom, features an expansion on the band's familiar dreampop sound, with a new, glamorous approach to production and songwriting. From song to song, there is an overarching juxtaposition of fashion, music and cerebral lyricism. Lead singer and songwriter Dahlia Knowles took another deep dive to source the materials used throughout the record. Themes of heartbreak, trauma, and gender dysphoria are set to surreal, emotional pop anthems. Vocals travel from soft, reluctant and raw, to full, confident and powerful. Lorelei K is a Dallas-based dreampop band fronted by artist and songwriter Dahlia Knowles. The band parallels post punk, shoegaze, and alternative pop influences, and translates a complex, emotional world into ethereal and glamorous music. Limited Edition Translucent Blue Vinyl LP version of Gucci Doom album by Texas based Dream Pop group Lorelei K

Ruthie Foster’s ninth studio album represents a new high water mark for the veteran blues artist—a collection of songs possessing pure power, like a tidal wave of musical generosity.

Healing Time finds Foster pushing her boundaries as a singer and songwriter more than ever before, creating a truly live-sounding atmosphere with the help of her band, who sound refreshingly loose and lived-in throughout these 12 songs.

Joining Foster and her band: members of Austin psych-soul outfit Black Pumas. “They gave these songs a breath of fresh air,” she says about their contributions—and veteran producer Mark Howard (Willie Nelson, Lucinda Williams) also came in to bring new ideas to Foster’s table.

Women In Revolt! is an exhibition of work by over 100 women artists working in the UK during the 1970s and 80s. It explores how women used radical ideas and rebellious methods to change the face of British culture. With music, painting, sculpture, photography, film, and performance, they forged a path for women’s liberation in the UK. To underline this trailblazing exhibition, a compilation has been dutifully curated to further reveal the music, sound art, and prominent musicians creating during this artistic and societal paradigm shift. The music that defines and defied this era, not only soundtracked but spurred on increasingly impassioned creative output and representation for women. Bands included on the compilation like X-Ray Spex and The Slits remain front of mind for band’s espousing this robust stance both sonically and politically, with equally impactful artists included like Ludus, whose lead singer Linder Sterling also impacted the genre.

Naarm/Melbourne-based soul artist and proud Noongar woman Bumpy presents her new single, ‘Return Home’, it illuminates the transportive nature of BUMPY, guiding the listener through a world in which vulnerability is strength and power is quiet but self-assured.

Described by Bumpy as an ode to home and “the people, places and connections that make us feel grounded and at ease”, ‘Return Home’ is propelled by stirring strings arranged by Aaron Wyatt, who recently marked history as the first Indigenous conductor of an Australian state orchestra.

NORTHSIDE RECORDS join forces once again with MANDARIN DREAMS to present the debut of a new soulful star in the local night sky.
Introducing “Lord Knows,” a vibrant 7-piece outfit based in Naarm (Melbourne).
Their sound is a fusion of jazz, soul, R&B, showcasing an unfiltered energy that thrives in the flow state of improvised jams. Drawing inspiration from icons like D’Angelo, J Dilla, and Madlib, they’ve formed a sound that is steeped in nostalgia from the early 2000s neo soul era.
Led by singer Brandon DeLord, Lord Knows will bring a smile to your dial.
Their debut release features six soulful songs and artwork courtesy of legendary Naarm artist A.KID
The LORD KNOWS EP will be available on wax from April 20th, 2024, RECORD STORE DAY, with a performance closing out the day at NORTHSIDE RECORDS.
Enjoy a taste of the record with a download or stream of the lead single 'LOSING SLEEP' here.
Spread it like butter!
For the record stores, you can purchase wholesale copies for
We will make sure your order is fulfilled leading up to RSD. Get back to us on this email to put your order in. (Shipping available now for overseas)

Bobby Digital is back, and he’s brought some analog goodies with him!

To celebrate the 25th anniversary of the Bobby Digital in Stereo album release, the Bobby Digital ReAction Figure Box Set includes a 3.75” scale, articulated Bobby Digital ReAction Figure in a glossy metallic finish, a 45 RPM record of RZA’s “B.O.B.B.Y.” and “Holocaust (Silkworm)” singles, and a 45-record adapter with 3-D “RZA” detail, that doubles as a stand for the figure. Bundled in slick box packaging, the Bobby Digital ReAction Figure Box Set is a must-have for any RZA fan or hip-hop collector!

Cher celebrates 25 years of "Believe" : On November 3, the Grammy Award-winning masterpiece will be released in a new, expanded " BELIEVE (Deluxe Edition) " that adds a whopping 13 remastered remixes to the mega-seller's original track listing (11 million worldwide!). The deluxe edition will be released in 3LP/2CD/Download & stream formats via Warner Records. "Believe" was an album full of dancefloor perennials - a fact that the assembled remixes in the new mastering underline once again.

"Tee's Radio One Instrumental? & "Ray Roc's Latin Soul Instrumental" from "Dov'e l'Amore?" are included here in one package for the first time, for example, along with remixes of the empowerment anthem "Strong Enough," "All or Nothing," "Dov'è l'amore" and the title track "Believe," a worldwide smash hit that sold over 10 million copies and reached #1 in 23 countries, including Germany, where it now has 5x gold status.

Cher is one of the most successful artists in history, selling over 100 million records during her unparalleled career. To date, she is the only artist:in to record a #1 single on the Billboard charts in six consecutive decades.

Extra Muros - Czech Republic is the result of the fourth edition of FLEE's creative residency program which took place in December 2022 on the dance floor of Prague's most infamous nightclub Ankali.

For two weeks on wooden floor, and under a yellow-tinted skylight, the room usually filled with movement and vibrations became home to six musicians and producers from the Czech Republic and all over the world who came together to experiment on new sounds, inspired by a large variety of artistic environments and soundscapes.
Documenting from various perspectives the music production process, capturing those exchanges, this compilation celebrates a unique form of artistic expression and collaboration.

LP

Extra Muros - Czech Republic is the result of the fourth edition of FLEE's creative residency program which took place in December 2022 on the dance floor of Prague's most infamous nightclub Ankali.

For two weeks on wooden floor, and under a yellow-tinted skylight, the room usually filled with movement and vibrations became home to six musicians and producers from the Czech Republic and all over the world who came together to experiment on new sounds, inspired by a large variety of artistic environments and soundscapes.
Documenting from various perspectives the music production process, capturing those exchanges, this compilation celebrates a unique form of artistic expression and collaboration.

Una epopeya electro-techno-cyberpunk es la nueva aventura que nos propone la referencia 18 de HC Records, donde alta tecnologia, radiaciones gamma e incursiones en la matriz se entremezclan con los futuristas ritmos rotos del artista andaluz C-System bajo su
encarnación Spectrums Data Forces.

Hackeamos los códigos de acceso del sistema del ritmo que nos permiten escuchar los primeros sonidos del track que da nombre al Ep, X-Tremely Deeply, una secuencia tan épica, como obsesiva e hipnótica, aderezada y reforzada por un inteligente uso de arpegios
ácidos y etéreos pads. A modo de reflejo en el hielo, el segundo corte de la cara A excita nuestra glándula pineal guiándonos en el lisérgico remix firmado por el artista inglés Featherstone. Herrumbre, óxido, procesos mecanizados y propulsiones de pura energía se
alternan en formato rítmico en Sector 90, primer track de la cara B, que combina en industrial armonía electro y techno fusionando primitivos y contundentes ritmos rotos con oscuras y abisales secuencias melódicas cargadas del primigenio espíritu trance.


El track B2 titulado Viny, nombre del gato del productor, sigue la senda de melodías densas y reconfortantes, como el ronroneo de un felino, sin perder un ápice de dinámica y emoción. El último tramo del surco de vinilo corresponde al remix elaborado por el músico Ampler
Clap a Viny, que redirige la composición hacia parajes sonoros misteriosos y casi terroríficos dignos de un Slasher de los 80´s o un futurista Giallo.

Como es habitual los bonus track en formato digital cierran la experiencia sonora en esta decimoctava referencia, por un lado 36th que aborda una oscura espiral electro saturada por siniestras secuencias sobre un huracán de metálicos y demoledores ritmos rotos. Y por otro Raw Rat, composición que parte de un minimalista ritmo inicial que crece y evoluciona en cada uno de sus ciclos como en el nacimiento y expansión de un cuásar. De nuevo dentro del apartado gráfico encontramos un encomiable cuidado y mimo por el
detalle, dirigido por Daniel Requeni y a su vez los videos elaborados por Frank-F dotan de una quinta dimensión al concepto artístico global. El master como es habitual corresponde a Steve Voidloss en Black Monolith Studios en Londres (UK).