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"Waxwork Records, in conjunction with Hollywood Records and Paramount Pictures, is thrilled to present SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman for the very first time on vinyl! SLEEPY HOLLOW is a 1999 gothic supernatural horror film directed by Tim Burton and starring Johnny Depp, Christina Ricci, and Christopher Walken. It is based loosely on Washington Irving’s 1820 short story “The Legend of Sleepy Hollow”. The plot follows police constable Ichabod Crane (Depp) sent from New York City to investigate a series of murders in the village of Sleepy Hollow by a mysterious Headless Horseman.

Danny Elfman is an award winning American film composer, singer, and songwriter. He has garnered international recognition for composing over 100 feature film scores. Elfman is a longtime collaborator of director Tim Burton having scored such films as Beetlejuice, Edward Scissorhands, and The Nightmare Before Christmas.

Sleepy Hollow stands as one of Elfman’s largest orchestral scores and utilizes weighty brass, eerie choral pieces, and unnerving strings. His use of romantic themes cut a calming tone throughout the dark and mysterious gothic-fairy-tale.

Waxwork Records is proud to present the debut vinyl release of SLEEPY HOLLOW Music From The Motion Picture by Danny Elfman as a deluxe double LP album. Album features include 150 gram colored vinyl (Metallic Silver and Blood Red Swirl), new artwork by Steven Reeves, heavyweight gatefold jackets with matte satin coating and spot UV gloss varnish, and a 11”x11” art print."

Mit As It Happened bringen Horse Lords die Inbrunst und Wut der Shows ihrer geliebten Band auf Vinyl heraus: Horse Lords Live, einer Sammlung von Aufnahmen, die die galvanische Energie des Quartetts wie nie zuvor einfangen und gleichzeitig mit der Trope eines Live-Albums spielen. Aufgenommen bei einer Reihe von Konzerten in ganz Europa, die sich über mehrere Tourneen in den Jahren 2022 und 2023 erstrecken, ist As It Happened eine vermittelte und in manchen Momenten bewusst und auffällig bearbeitete Präsentation einer Horse Lords-Performance, die nach einem gewissen Grad an Idealisierung strebt. Da die Performance im Mittelpunkt der Bandpraxis steht und Elemente des Zufalls mit der straff komponierten und komplexen Musik der Horse Lords kollidieren, funktioniert As It Happened sowohl als Provokation als auch als totaler Spaß.

On 9 August, 2024, Merge Records reissues David Kilgour's A Feather in the Engine, remastered and pressed on vinyl for the very first time. Originally released in 2002, A Feather in the Engine followed two full-band efforts_1997's David Kilgour & the Heavy Eights and The Clean's 2001 album Getaway_and is thus almost startling in its intimacy. Recorded at home and mostly alone (The Verlaines' Graeme Downes provides lush string arrangements), Kilgour once called A Feather in the Engine "the most solo LP I've made." Interpolating his genius for guitar pop through acoustic guitars and gorgeous instrumentals, its melodies unfold gently, suggesting that the 13 songs here, written over the course of four years, were searching Kilgour as much as he was searching them. The dichotomy between A Feather in the Engine's pop songs and instrumentals fascinates the ear, drawing the listener closer and closer to Kilgour's virtuosic guitar playing when his lyrics aren't imparting his breezy charm. The depth of style he achieves_the psych pop of "Today Is Gonna Be Mine," the Velvet Underground-esque churn of "All the Rest," the chamber folk of "The Perfect Watch"_is daunting; listening to it now, every song feels capable of generating a dozen playlists, or like the spawning point of a new microgenre. Perhaps anomalous upon release, it's A Feather in the Engine's instrumentals that feel weightiest in this regard now. "Sept. 98" and "Backwards Forwards," respectively the opening and closing tracks of the album, are elegant, pastoral epics that call out into the yawning expanse, presaging the simmering ambient country of William Tyler and SUSS, while "Instra 2" pushes out the boundaries of Eastern-influenced psychedelia. Lovingly remastered (and in some cases remixed) from the original tapes by Tom Bell at Port Chalmers Recording Services, the vinyl reissue of A Feather in the Engine is a crucial opportunity to rediscover one of David Kilgour's best records, a handcrafted gem that perfects guitar pop's past while pointing to its future, idiosyncratic in its making and tantalizing in its potential. There is good reason for David Kilgour to be your favorite musician's favorite musician. A Feather in the Engine is good reason for him to become yours.

Fera’s trajectory sticks out like a sore thumb, you need to invest time, carefully divided between body & mind, to truly take a deep dive into his audacious output. After the acclaimed ‘Stupidamutaforma’ and ‘Corpo Senza Carne’, Fera is back with ‘Psiche Liberata’, an oblique, imperfect and broken record, in other words, exactly the type of magical voyage you want to be on. The mind, finally liberated.

Fera is Andrea De Franco, electronic composer from Southern Italy now residing in Bologna, also known for his work as visual artist/designer and member of the Undicesimacasa collective. His musical cosmos is profound and imaginative, intergalactic atmospheres that condense fragmented IDM, scintillating textures, distorted synthscapes, crunchy technoid rhythms and swirling abstractions that weave gently, sometimes moody and stark, more often celestial and awe-inspiring.

Mixed in Berlin by Steve Scanu ‘Psiche Liberata’ encapsulates Fera’s dense and intricate thought process in contrast with his simple and direct approach to writing and recording that finds its more natural output in his rapturous live sets where a mono signal runs through a few analog pedals transforming instantly into menacing alien grooves and fluid ecstasis.

Like ‘Psiche Liberata’s artwork, hand-drawn by Fera, every detailed miniature leads to a single cell of sound, tracks collide against each other in a psychotic kaleidoscope where every safe space is confronted with subsequent noise, alterations or interruptions. The black terror of ‘Celestial Anacusma’ is followed by the space-jazz banquet of ‘Milk Tears In The Hug Chamber’ doped up cyber Sun Ra extravaganza featuring Laura Agnusdei and Luigi Monteanni (Artetetra) on saxophones and flutes; ‘Silenzio Solare’ sprinkles Mille Plateaux era minimalism all over hallucinations, while ‘Diluvia’ crosses industrial acid with perpetual motion; title track ‘Psiche Liberata’ murmurs mechanically, a downtempo drifter for the wide-eyed 7AM comedown: ‘Simulacrima’ melts Boards Of Canada’s mellow pastoralism with dystopian meta-level dreamland and ‘Riposa’ showcases an overwhelming melancholy executed with elegance in a slo-mo world where the ineffable transcends notions of ambient and becomes a warm embrace.

Created on a Monotribe, MS20 & Volca Sample/fm, ‘Psiche Liberata’s velvet heaviness was achieved by re-amping many of the instruments through a Leslie Rotary Speaker and a reel-to-reel Telefunken. Fera’s sonic tapestry is in constant flux, underlying themes of love longing and affection run through the record but in a turbulent, volcanic, unleashed fashion, almost on the brink of utter noise or complete silence, reminding us that this is an artist like no other amidst the ever changing electronic scene. These are transmissions from the gutter, where the inevitable meets the unattainable and collapses.

"Fera’s tarnished materials are destined for ruin; “Stupida,” full of longing and regret, sounds like an elegy for a fallen world." Pitchfork

"A cut of dark magic that fits like a glove to overcast days, wild winds and lashing rains. Insistent, the treacle-thick bassline oozes out, soaking the space between the melancholic synth lines." Inverted Audio

"The songs on Stupidamutaforma feel hypnotizing...it establishes De Franco as a composer who uses space and time to create a set of rich, immersive works." Bandcamp 'Album Of The Day'

For the very first time on vinyl: the legendary show in its entirety!Live
music is fleeting
You can't touch it, hold it, smell it or taste it, and what you see and hear one
second is gone the next. Live albums, however, are forever. For those in
attendance, they allow the ability to relive an aural moment in time, and for the
rest of us, it's the ultimate souvenir, a time-stamped milestone that captures an
artist/band as they were. In Savatage's case, "Japan Live '94" captures a crucially
mportant and significant tour for a band that, after experiencing gut-wrenching
tragedy and massive personnel changes, was on undeniably shaky ground but
stood tall, nonetheless. It was the first stop on a trip that ultimately forge onward
to Sarajevo and Siberia - a journey that, 30 years later, has no end in sight.
This double LP marks the first time in audio form that the show is available in its
entirety with all 16 songs.
All songs newly mastered for vinyl. With brand new liner notes and enhanced
artwork including rare memorabilia. 2LP 180g Black vinyl

Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).

On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.

The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.

Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.

Smooth as a dry martini and equally intoxicating, Chantal Chamberland's "Dripping Indigo" cements her role as one of the best interpreters of classic song book favorites Two factors set Chamberland's music apart from the pack. First, the
arrangements are slow and sexy relying on a small jazz ensemble for backing (piano, sax, bass light rhythm). Secondly is her luscious voice, which caresses the listener with a breathy purr throughout the album. With a repertoire that features "Smoke Gets In Your Eyes", "Bewitched, Bothered & Bewildered" and "How Deep Is Your Love", the album slowly seduces with its corner jazz club ambiance and torch singer grace. This is re-release is a part of the evosound 20th Anniversary special collection. The album will be available on vinyl for the first time, as a 180g double transparent purple LP.

Vibes player Johnny Lytle was one of the heroes of the early acid jazz club circuit, with his cut 'Selim' being an anthem of the scene.

The Ohio born player had made his name at Riverside where his 1965 album "The Village Caller" made him a star. When Riverside ceased trading, owner Orrin Keepnews collaborated with Lytle on two albums which came out on the Detroit label, Tuba

Ace reissued the first album “The Loop” last year (HIQLP 115). We are delighted to now put out the second, “New And Groovy”. The line-up features Milt Harris (organ) Wynton Kelly (piano), George Duvivier (bass) “Peppy” Hinnant or Jimmy Cobb (drums) Montego Joe (congas) and Lytle on vibes. The band power through a selection of original material such as ‘The Snapper’, ‘The Pulpit’ and ‘Screamin’ Loud’. The album also contains Lytle’s radical reworking of Miles Davis' 'Miles' which Lytle retitles 'Selim'. With poor distribution, “New And Groovy” barely made it to the shops back in 1967 and was ignored for twenty years until DJs such as Bob Jones and Gilles Peterson started playing it in the 80s making it a sought-after LP.

The popularity of “New And Groovy” has remained, and this is first time it has been legally reissued on vinyl. “Snapper one up…!”

Robag Wruhme isn’t just a producer; he’s a sonic storyteller. His tracks are known for their emotional depth and technical brilliance – the perfect blend of minimal techno, deep house, and ambient music—each track a meticulously crafted journey through sound. With influences ranging from classical to jazz to world music, Robag’s music is as diverse as it is enchanting.
His latest offering on the trailblazing Speicher series is no exception. True to his unmistakable style, “Naila” meanders between heartwarming positivity and menacing darkness induced by one of those bass lines only Robag can deliver. In short: He nail(a)ed it!
On the flip side, he joins forces with the ominous Bruno Pronsato – an elusive character that has a string of cult releases on Perlon, Musique Risquée and Foom under his belt. “CDV” was initially released on his album “Live At Club Der Visionäre” on Logistic Records. Robag’s slick re-rub is pushing things decisively in an afterhour-ish direction. Mental music for mental times!

sentiment is a meditation of the poignant emotional terrains of loneliness, nostalgia, sentimentality, guilt, and sex. The album"s narrative arc is guided by delicate musical gestures and artistic vulnerability, audaciously synthesizing disparate and unexpected influences. claire rousay is a singular artist, known for challenging conventions in experimental and ambient music forms. rousay masterfully incorporates textural found sounds, sumptuous drones and candid field recordings into music that celebrates the beauty in life"s banalities. Her music is curatorial and granular in detail, deftly shaped into emotionally affecting pieces. rousay"s vocals and guitar take center stage on sentiment. Her intimate, diaristic lyrics contrast with her mechanical-inflected vocal effects, emphasizing a powerful desire for connection, a deep yearning and a lingering sense of separation. The spare guitar playing and laconic tempo both drive the songs and exude a sense of resignation. Her delicate mastery of nuance draws on her explorative musical past that she, with sincerity and admiration, seamlessly interweaves into her adventurous textures and distinctive compositions. "I want to belong to the worlds and communities I look up to. Same as someone using a Fender guitar or dressing like Kurt Cobain. Emulate your heroes," says rousay. The album balances the poetic soul of her influences with a documentarian heart, rousay capturing moments of her life while living alone in houses across the country, learning to play guitar, and reconnecting with pop music. Her innate ability to conjure pure feeling from sound derives from her delightful embrace of pop forms, the vulnerability found in field recordings, minimalistic arrangements and innovative sound choices. sentiment is blissfully, achingly melancholic, and an undeniably sensual listening experience.

Citrus Swirl Vinyl. honeybee table at the butterfly feast is the first album from the elusive Baltimore's band Teen Suicide in years. For over a decade, guitarist, vocalist and project runner Sam Ray has been sometimes quietly and sometimes very noisily setting standards in the indie scene by changing genres, live lineups and even band names, but the one constant has been an undeniable gift for songwriting. honeybee table sits at an interesting point in the teen suicide timeline, following years of relative quiet following the releases a whole fucking lifetime of this (2018) and fucking bliss (2019), both released under the short-lived alias American Pleasure Club. Lockdown times saw a viral moment for the song "haunt me (x3)", a cult-classic catalog track featured on the 2015 Run For Cover reissue of the band's two beloved EPs dc snuff film and waste yrself. Now the band returns with what could be their next classic record, 16 songs that oscillate between noisy garage-rock, intimate acoustic songs and even blistering powerviolence in the vein of 2016's ambitious double album it's the big joyous celebration, let's stir the honeypot. The album is as varied and captivating as the cover art of the record - a painting by Ray's mother - and is held together by his unique artistic vision, captured not only in the genius of his songwriting but the power of lyrics that turn his lived experience of the past few years into harrowing poetry.

As deep and wonky as it gets, Buffalo bass wizard isded is back with some potent dubstep saucery in the form of Swang EP - the latest release on Truth’s Deep, Dark & Dangerous imprint.

One slurp of the producer’s potion will see you hypnotized and intoxicated in equal measure as the four cuts of the most matured and delectable bass seep through your veins.

Tribal feels, sub-shattering lows and crisp percussion all coalesce to create the perfect conditions to take the step into the unknown crevices of your own mind.

Ready to get swang? We didn’t think so.

At the muddy miracle that was Woodstock, the most miraculous performance just might have been Jefferson Airplane’s. The band had been one of the first to sign on for the festival, their imprimatur prompting many other acts to hop on board, and their stature had landed them a coveted headlining slot closing Saturday night’s schedule. But, as the torrential downpours and the unexpected crush of half a million people kept on delaying their set, the chances of putting on anything approaching a quality performance seemed to diminish.

According to Paul Kantner, “We were supposed to go on at 10:30 at night and we’d been up and down about four or five times on acid that night, getting ready to go on, and then everything was delayed for whatever reasons. So, we didn’t get on until like 7:00 the next morning and everybody was pretty much burned out.” Kantner’s protestations to the contrary, the Airplane (with guest pianist Nicky Hopkins in tow) played a scorching two-hour set that defied the elements and the circumstances. Grace Slick led the charge as the band plunged into a frenetic version of Fred Neil’s “The Other Side of This Life”: “Alright, friends, you have seen the heavy groups. Now you will see morning maniac music. Believe me, yeah. It’s a new dawn!” What followed was an adventuresome (and surprisingly tight) set that not only featured the band’s big hits like “White Rabbit” and “Somebody to Love” but also premiered songs from the Volunteers album that was still three months away from being released, including a 21-minute version of “Wooden Ships!” Indeed, about the only members of the crew who weren’t up to snuff were the ones filming the concert documentary, which explains why the Airplane is not one of the acts that commonly come to mind when thinking about Woodstock; they didn’t appear in the film due to subpar footage, and only one of their songs (“Volunteers”) was included the chart-topping 3-LP Woodstock release.

Now, Real Gone Music is proud to present Jefferson Airplane’s complete Woodstock performance. The 3-LP set comes inside a gorgeous, double-gatefold jacket sporting photos of the band at Woodstock, most of them taken by the legendary Henry Diltz; liner notes by folk-rock guru Richie Unterberger complete the package. Pressed in iridescent, “clouds breaking” blue for its 55th anniversary, this release makes a convincing claim that Jefferson Airplane’s Woodstock performance ranks right up there with those of Jimi, Sly, and Santana as a festival highlight. Limited to 1000 copies!

Miles Davis' 20-year association as an artist at impresario George Wein's renowned Newport Jazz Festival is a thriving tradition that is celebrated with the release of Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4.

The 8-LP box set, comprised of live performances by Miles' stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland.

The 4th entry in the critically-acclaimed Miles Davis Bootleg Series, contains hours of previously unreleased material. From Miles' debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter's Columbia signing), to his final public performance of the '70s in 1975, the box set traces the ascendance of Miles' music as the Jazz superstar he has become known to be.

The full-length concert performances alone of Miles' famed ""Kind Of Blue"" Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in '66 and '67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

Meghan Parnell (vocals) and Dave Barnes (guitar) are the founding
members of Bywater Call, a powerhouse seven-piece Southern soul,
roots rock band from Toronto, Canada
The band is completed by Bruce McCarthy on drums, Mike Meusel on Bass,
newest member, John Kervin on Keys, Stephen Dyte on Trumpet and Julian Nalli
on Tenor Sax. Bywater Call has received multiple Independent Blues and
Maple Blues Award nominations including Entertainer, Electric Act and Best
Female Vocalist for the 2024 Awards Season. They have toured extensively in
Europe where shows have been praised by Dutch, German and UK media, with
references to Meghan as one of the best female voices in blues and roots today.
In August 2023, the band participated in Joe Bonamassa's thirdKeeping the Blues
Alive at Sea Mediterranean Cruise alongside headliners Blackberry Smoke and
Christone "Kingfish" Ingram, and were invited to perform at the All-Star Jam on
the mainstage with Bonamassa himself. Guitarist Dave Barnes was also asked to
join legendary blues artist Jimmy Vivino (Conan O'Brien's Basic Cable Band) on
stage. On October 24, 2023, Bywater performed a live stream performance for the
famed German TV show and festival Rockpalast. The band's music is an
exploration of life's highs and lows. From intimate ballads that lay bare the
complexities of human emotion to electrifying anthems that demand to be played
at full volume, their catalogue is a journey through the human experience,
incorporating influences from the likes of The Band, The Wood Brothers, Tedeschi
Trucks Band, Otis Redding, Little Feat, Sly and the Family Stone, among others.
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From listening to pirate radio recordings, putting on illegal parties and working for one of the UK’s original rave promoters, Greg Hepworth, aka Settle Down, has always had roots in the foundations of UK dance music.

Settle Down’s 30 year journey began when the sounds of Fantazia drifted into his childhood bedroom at the age of 10. After wearing out cassettes of pirate radio recordings and immersing himself in a growing culture, what followed was putting on illegal raves across the South Coast and packing tapes for Dreamscape, before crossing over to Creator and releasing for Metalheadz and Reinforced as 'Ulterior Motive' and reinventing himself as 'Settle Down'.

From fan to facilitator to maker. Voyage is a documentation of Settle Down's 30 year journey through UK breakbeat culture. Presented as a recording of a 90’s rave cassette mix, it chronicles the journey through house, breakbeat, hardcore and jungle and the influences that make up these genres, a love letter to the past and an ode to the vibe.

Voyage will be released on a limited edition mixtape cassette, 12” vinyl and digitally mixed and unmixed single tracks alongside some limited edition merchandise.

Isabell Gustafsson-Ny joins Warm Winters Ltd. with Rosenhagtorn, a suite of short pieces for piano, violin and voice. Absorbing in its profound focus on listening, this collection is a striking exploration of these sound sources; their repetitions, harmonics and oscillations. Conceiving of the release as a house, a different song is playing in each room, Gustafsson-Ny was able to explore the rawness and fragility of each instrument with incredible freedom and sensibility. She describes the album in the following words: "In the music there is both repetition and flow, but also the creak of the pedal organ. Here are Radigue traces and slow slow piano. Here is the violin again, resumed after many years of almost fallow. Here are the overtones and the scratchy strings. Here I dare to open the door to the voice." A unique kind of dusty, intimate folk music.

Vinyl Packaging: Full color jacket featuring original artwork by Callum Rooney. Can I Communicate With the Unknown? is the new album from Go By Ocean, moniker of Northern California based singer / songwriter / producer Ryan McCaffrey. Co-produced alongside Tim Bluhm (The Mother Hips) and David Glasebrook, the album features contributions from a wide cast of characters, ranging from the tight knit community of Phil Lesh’s much loved Terrapin Crossroads to the wider West Coast indie-rock scene, including members of The Mother Hips, Sugar Candy Mountain, ALO, Tea Leaf Green, and more. Building upon McCaffrey’s catalog of songs, the new album finds inspiration in the down-to-earth music of 1970’s Marin County, when songwriters like Michael Hurley and Jesse Colin Young lived out in Olema and Point Reyes, the kind of places where songs blow in on the breeze from the Pacific Ocean. Lyrically, the album traces a hero’s journey as the narrator struggles with addiction, eventually finding peace and freedom in a tumultuous world, wrestling with metaphysical and spiritual ideas along the way. Highly anticipated new album from Go By Ocean, co-produced by Tim Bluhm of The Mother Hips. Press coverage includes reviews and features in Austin Town Hall, Glide Magazine, Psychedelic Baby Magazine, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “...washed with breezy beachy vibes…” - Glide Magazine // “...marries the bright guitar arrangement of The Byrds with an updated indie appeal.” - The Wild Is Calling // “...you can almost feel the hope over the hills waiting for you with open arms.” - Austin Town Hall // “‘...satisfyingly artful and I would venture to guess you’ve never heard anything quite like it.” - Ear To the Ground Music // “We will be spinning the hell out of this record for the rest of the summer.” - Up To Hear Music // “...it’s not hard to imagine some of these songs floating in on the coastal fog, ascending ghosts indeed.” - Psychedelic Baby Magazine

Mr. B recorded by Chet Baker with his trio, is considered one of the best from that period. Baker plays compositions from “Dolphin Dance” (Herbie Hancock), “Strollin” (Horace Silver) and “In Your Own Sweet Way” (Dave Brubeck). The sadness of the songs is felt throughout, in a lazy sometimes slow and sluggish tempo. The album includes two bonus tracks “White Blues” and “Father X-mas” and band members include Michel Graillier (piano) and Ricardo Del Fra (bass). Mr. B celebrates its 40th anniversary and is available as a limited edition on translucent blue coloured vinyl. The album sleeve contains liner notes by Wim van Eyle.

OBERHEIM! is the love child of Gothenburg's alternative backyard, born from the union of scattered guerrilla groups such as URAN, Exorcist GBG, Dirty Burger, The Population, Melody Fields, Lady Banana, and Tentakel. Their self-titled debut album is a psychedelic garage rock explosion that draws its lifeblood from bands like The Stooges, Can, Kraftwerk, and The Gun Club.

It also features guest musicians Andy Dunlop (Travis) on guitar, Ash Soan (Adele)
on drums, Tony Woollard (Damian Wilson) on cello and Hayley Sanderson (Strictly
Come Dancing) on backing vocals.
Damian is a songwriter and vocalist who's known for his exploration into different
genres and is considered one of the most versatile singers in rock. Adam is best
known as the keyboard and guitar player with Ozzy Osbourne and Black Sabbath,
Adam has also released several albums with his father Rick Wakeman.

Broken Keys, as you may know, is a multi-talented musician and producer based in Los Angeles. His cut 'Assorted Colors' has become a real underground house classic that now lands on wax for the first time as a special extended 12" remix that really locks you into the languid grooves. The legendary Galcher Lustwerk steps up to add his own distinctive take on the original and infuses it with a techy yet atmospheric groove. Then Broken Keys explores a different facet of his sound with three distinct cuts on the flip that range from blunted beats and sun-kissed Balearic to chilled-out future soul. They make for a diverse package that has something for many different situations.

Following last year's ground-breaking return with "The Course of The Inevitable", Lloyd Banks is back with more hunger on this 2nd instalment! Featuring guest appearances by Jadakiss, Dave East, Vado, Conway The Machine, Benny The Butcher and Tony Yayo.

In this musical journey, Banks weaves together a compelling storyline, sharing pieces of his own pain and struggles, inviting listeners to connect with his authenticity. With Method Man's signature lyrical prowess, Cormega's poetic finesse, and the raw energy of 38 Spesh, the album boasts a stellar lineup of features that enhance its impact.



Banks' sharp lyricism and introspective storytelling shine throughout the album, exploring themes of resilience, triumph over adversity, and the complexities of life. Each track serves as a piece of his soul, revealing layers of vulnerability and strength. With the collaborative efforts of his fellow artists, "The Course of the Inevitable 3: Pieces of My Pain" delivers an immersive and powerful listening experience, solidifying Lloyd Banks' position as a master in the rap game and the one and only Punch Line King.

HYPERVIOLENCE is the evolution of Australia-based Windwaker's unique songwriting, tapping into a darker and heavier tone than previous release Love Language It serves as a fresh chapter in Windwaker's journey, capturing the individual and authentic nature of Love Language, while improving on its focus, maturity and cohesion. As Windwaker always has, HYPERVIOLENCE draws from an eclectic
range of influences including rock, metal and hip-hop, with nods to EDM, Dubstep, Punk, and even Country/Folk.

LP+7" (Clear Vinyl). When the Ramones lost it, the Zero Boys found it; Adding a slam brigade fist to the Blitzkrieg Beat. The Zero Boys managed to come with one of the best early 80's punk records, or one of the best records ever, period. From 1979 to 1983, the Indianapolis-based Zero Boys were the finest hardcore blitz in the Midwest if not all the lower 48 states. Compiled and released as a post-mortem following the band's breakup, History Of_ is the proof, if more was needed, that their take of American hardcore wasn't all white bread numbers. Yeah, they played shows with Minor Threat, Dead Kennedys, Subhumans, and others but in Terry "Hollywood" Howe's guitar there was harmonious terror and unstoppable cadence. Terry's licks and chops _ a leap beyond two or three chord punk _ offered a zone and measured count for drummer Mark Cutsinger and bassist David "Tufty" Clough, a rhythm unit in par with the Minutemen if not The Meters, to run lines like quicksilver. Meanwhile, frontman, Paul "Z" Mahern provides a constant wash from beginning to end. Originally released in 1984 with a limited-edition reissue in 2009, this 40th anniversary edition includes the original LP of `History Of...' and a 7" featuring four live recordings never previously pressed to vinyl and recorded at iconic hardcore/punk venue Crazy Al's in 1980: "Livin' In The 80's", "Stick To Your Guns", "Commies", and "I'm Absent".

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

One look at the axe-wielding marauder (drawn by famed heavy metal illustrator Edward Repka) on the front of this album and you know it’s not for the faint of heart. Canadian metal band 3 Inches of Blood’s musical attack (an appropriate term indeed) featured a unique, dual lead vocal line-up of Cam Pipes on “clean” vocals and Jamie Hooper on “screaming” vocals, with bludgeoning guitars (okay, axes) provided by Sunny Dhak and Bobby Froese (Dhak, Froese, and drummer Matt Wood left after this album to form Pride Tiger). Though this record came out in 2004 on the Roadrunner label, it wears its ‘80s metal allegiances on its sleeve, harkening back to the vein-popping intensity of vintage Judas Priest and Accept. Remastered on its 20th anniversary for an orange and black “ashen dawn” vinyl pressing, with a full-color inner sleeve sporting lyrics. Storm the castle!

Don’t let the list of stellar sideman gigs (with Elvin Jones, Miles Davis, Freddie Hubbard, McCoy Tyner, Woody Shaw et al.) make you overlook the solo work of saxophonist Azar Lawrence; for over 45 years he has recorded a string of spiritual ‘n’ soulful jazz albums that come closer to the ethos and aesthetic of John Coltrane than probably any of Lawrence’s contemporaries. Recorded for the legendary Prestige label in 1976, People Moving is his third solo album, and it’s one of his best; it features such luminaries as Lee Ritenour, Patrice Rushen, Harvey Mason, and Mtume on a soaring set of funky tunes produced by a young Skip Scarborough, who would go on to helm recordings by Bobbie Humphrey, Con Funk Shun, and Phyllis Hyman among others. First vinyl reissue!

ohn Fahey’s Takoma label is best known for pushing the envelope when it comes to acoustic guitar playing, but in 1967 it released a record that has become one of the true cult classics of the ‘60s free jazz movement. Charles Martin Simon was an aspiring writer whose artist wife died in 1965. When he tried to pick up the torch and become an artist using her art supplies, he was, in his words, “reduced to nothing,” and thus created an alter ego or “psyche fragmentation,” Charlie Nothing. Under that moniker he became most famous for creating “dingulators,” working guitar sculptures made from parts of American cars; in 1967, though, he recorded The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic, an album consisting of two separate saxophone improvisations accompanied only with gong, tabla, and ukelele. Its cover adorned by Nothing’s own hand-drawn art, this record has since become not only something of a “secret handshake” among free jazz fans, but also a classic of outsider art, fitting right next to your Moondog records if not in sound than in spirit. For its first ever reissue in any format, we’ve gone back to the original tapes to present an all-analog release of The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic on black vinyl with the original art intact, offering an unfiltered experience of this man’s cracked genius. A memorable look ‘n’ listen to say the least.

American trumpeter Chet Baker was a major innovator in cool jazz, leading him to be nicknamed “the prince of cool”. He earned much attention and praise through the Fifties, particularly for albums featuring his vocals. This included his 1954 album Chet Baker Sings and its follow-up Chet Baker Sings Again in 1985. The latter he released on the Dutch jazz label Timeless Records. He recorded the album with bassist Ricardo Del Fra, drummer John Engels and pianist Michel Graillier. Chet Baker's Sings Again is available as a limited edition of 500 copies on yellow coloured vinyl.

How could Canadian heavy metal band 3 Inches of Blood dial up the intensity even more after their 2004 masterpiece Advance and Vanquish? Well, by bringing in Slipknot drummer Jordy Jordison to produce their next record, and adding a new instrumental line-up of former Allfather lead guitarist Justin Hagberg and former Walls of Jericho drummer Alexei Rodriguez to the band’s unique dual vocalist assault of Cam Pipes on “clean” vocals and Jamie Hooper on “scream” vocals. The result was 2007’s Fire Up the Blades, which, as Hooper put it, was “a faster, more intense version of us.” Which means that albums don’t get any faster and more intense than this one; that the epic lyrics are good enough to have been penned by George R.R. Martin of Game of Thrones fame is just a bonus. Speaking of bonus, for the vinyl debut of Fire Up the Blades (and after consulting the band) we’ve upped the stakes with a 2-LP release featuring an entire side of extra tracks that were released right around the time the album was, including their cover of the Lucifer’s Friend song “In the Time of Job When Mammon Was a Yippie.” All pressed in “Crimson Fire” vinyl housed inside a gatefold jacket with lyrics…limited to 1250 ferocious copies!

This band hit the metal scene like a (sorry) house afire, going double platinum with their 1990 debut and charting with three singles from the album: “Don’t Treat Me Bad,” “All She Wrote,” and the power ballad to end all power ballads, the
5 hit “Love of a Lifetime.”

The accolades soon followed: FireHouse won the American Music Award for Best New Hard Rock/Heavy Metal Band and best newcomer nods from a host of music mags. And you can see, er hear why: this is glam metal perfectly polished (by producer Dave Prater of Dream Theater fame) for pop radio, with hooks and harmonies galore. But it’s never been out on LP in North America; now, we at Real Gone are bringing one of signature metal albums of the ‘90s to “smoke and fire” vinyl as a tribute to lead vocalist C.J. Snare, who just passed away from cancer this year. Includes inner sleeve with lyrics. Folks have been waiting for this one!

Originally part of an exhibition curated by Elysia Borowy last September, Scott Grooves' contribution to After The Dance transcends the dancefloor, exploring experimental expressionism in visual arts and electronic music. Critiquing capitalist culture and drawing from afrofuturism, his work prompts reflection on consumerism and futuristic themes. The CD release features deep ambient pieces that caccaompnied six thought-provoking installations: Sweet Dreams Anakin, Foot Work, Vinyl, For All-Dee People, Yellow Sun Bricks, and Found Sound. It shows another side to the deep house don's work and is just as essential.

Recorded on a hot night in a one-room gospel music studio in Accra, comes Gbɛfalɔi -- a remarkable record exploring the edges of contemporary African music. It's at once traditional and Avant Garde,
extremely local and thoroughly cosmopolitan. Anchored in folkloric instruments and free improvisation, the music is more like the Art Ensemble of Chicago than the court drummers of the Ashanti king.

" In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)
From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)
Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)
On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)
Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet."

New Jersey producer, DJ and Inimeg Records head honcho Joey Anderson takes on the role of Obiaman for Obia Records 005. Well known for his deep and intriguing records Joey Anderson takes the label far into the night sky with Vanish EP. Accompanied by label owner Wendel Sield the EP sets to serve a variety for all tastes.

Anderson’s style of hypnotic rhythm and cosmic synth work finds common ground with the labels African background in “Masked Ones”. With haunted vocal shots and elegant drum work. Minimalistic use of elements fill the track exceptionally well.

“Vanish”, the records main cut fills any ear with an astonishing panned bassline accompanied by loosely layered hihats. Strange and eerie pads float around the bassline, while piano chords give structure to the music. Followed by “Escape” this well-crafted jam explores the deep even further. Jumping synth lines that sound from another planet edge the depth of Anderson’s amazing musical ear. The track is layered by dirty low frequencies that suck you in with weird noises and atmospheric melodies.

Orbiting an icy moon Wendel Sield's “Cultivate” shows itself at the end of the EP. A pulsating synth line dominates the track main character. Intricate percussion patterns drag the track along to a dirty mono sequence. Big open snares makes this a track a slap in the face to its listener.

Record producer, composer, singer, and pioneer of the dub music genre Lee Scratch Perry passed away in August 2021. His influence over popular music since the 1970s is hugely significant, with artists including Bob Marley & The Wailers, The Clash, Beastie Boys, Max Romeo, Junior Murvin and The Orb all enriched by Perry’s legendary touch, innovative studio techniques and production style.

Conceived, written and recorded during the COVID pandemic, ‘King Perry’ was produced by Daniel Boyle, and features guest performances from Greentea Peng, Shaun Ryder, Tricky, Marta, Rose Waite and Fifi Rong. Two tracks were also co-produced with Tricky, who releases Perry’s last recorded performances on his False Idols label.

Over a career spanning six decades, Lee Scratch Perry left the music world with a huge catalogue of albums, productions and appearances that cannot be underestimated. Releases for Island Records, Trojan, Adrian Sherwood’s On-U Sound, Mad Professor’s Ariwa...the list goes on. It was in 2014 that Perry teamed up with UK producer Daniel Boyle, and from this collaboration came the Grammy nominated album ‘Back At The Controls’ and was followed up five years later with the ‘Black Album’.

The ‘King Perry’ album was born out of a request from Perry that he “wanted to do something new, something different but still with a dub framework”. And so, armed with influences as diverse as synthwave, big beat, drum & bass and electronica, Boyle and Perry traded ideas, beats and lyrics in a project that continued to grow as its various guest performers were added, resulting in a kaleidoscopic and engaging melting pot of rhythms, melodies, and voices. Poignantly, closing track ‘Goodbye’ was Perry’s last ever recorded vocal performance.

'Miss Your Life' is a punky, new wave style tune written initially as a poem but pretty soon transformed into a song. It's a rant about British apathy, complacency and the all pervading sense of powerlessness, passiveness and pessimism that's currently in the air. Its a call to stand up and fight back before its too late. JTQ's guitarist Mark, managed to get the punky intro just right despite usually playing more cerebral parts for us. JTQ revisit our adolescent years in a joyful and defiant style.