Suche:as one

Argentine producer Pedro Canale returns from a three-year sojourn with his long awaited third album. Originally coming out of Buenos Aires's famed digital cumbia scene, Chancha has notoriously broken way outside those boundaries to forge unprecedented mergers between Brazilian rhythms, Paraguayan harp, Andean mysticism and the solitude of Argentinian folklore - all processed through his own futuristic style of postdubstep.

Chancha's sound is without question truly unique and instantly recognizable to the point he has become a key reference point for an entire crop of artists that have begun to carry his genes.

Hailed by the Washington Post, the New York Times, Pitchfork, NPR and countless others, Chancha Via Circuito defies even the shrewdest of marketing geniuses. On one hand, he is something of a cult artist within micro-circles of electronic music, having been invited to perform at Montreal's MUTEK as well as the Roskilde and Vive Latino Festivals. At the same time, Chancha's music has found broad appeal outside of the avant-garde, most notably his magnificent remix of Jose Larralde's "Quimey Neuquen" which was heavily featured in 2013 as part of the final season of the critically acclaimed television series Breaking Bad. Fans of the show undoubtedly remember Walter White burying his millions in the desert, soundtracked by the wide and gentle grooves of Chancha Via Circuito.

Amansara is a natural progressing of Chancha's special strain of electronic South America. Lead single "Coplita" features the haunting vocals of previous collaborator Miram Garcia, while "Sueno En Paraguay" merges Andean folklore sounds with bleeps and blips and pounding drums in a way that sounds completely natural and ordained. "Jardines" features the driving vocals of Lido Pimienta merging with heavy synths, percussion and bells into an unforgettable track, while both "Tarocchi" and "Guajaca" ramp things up into deep, electronic dancefloor inna rainforest territory.

Art for Amansara comes from Argentinian psychedelic folklore painter Paula Duro who has crafted the look of all of Chancha's previous releases.

"(…) Pak Yan Lau, one of the most original pianists of the new European creative scene, has the ability to build complex formal architectures starting from minimal materials – insistent rhythms, barely hinted melodies, electronic effects as evocative as they are mysterious. Darin Gray uses his long experience as the backbone of many improvisational groups with a painstaking work on timbre and a deep and multiform sound, providing a solid support to extemporary creations that have the solidity of pondered compositions. The music of the duo develops on wide structural strings, elegantly combining the continuous surprise of free improvisation with the material suggestions of electroacoustic experimentation, in a game of references and narrative developments almost cinematic, which tell a fascinating sound world, strangely familiar yet constantly new and surprising."
(Nicola Negri, Centro d’Arte Padova, Italy)

EXPERIENCE FRANK OCEAN THROUGH THE EARS AND SOUNDS OF HIGH PULP, AS THE MUTUAL ATTRACTION SAGA CONTINUES, WITH THE FINAL INSTALLMENT OF THE PROJECT.

While the first 2 volumes in the series pay homage to free and experimental jazz legends that have informed the lens of the Seattle, Washington-based band. Volume 3 steps into the R&B/Hip Hop world, as the band performs their fresh takes on 3 Frank Ocean tracks, from the ‘Endless’ album.

A Frank Ocean record that flew under the radar for some but didn’t miss with the High Pulp crew. The 3 arrangements are a homage and a thank you to Frank, who has had such a heavy impact on the band and the way they think about writing music. Mutual Attraction 3 challenged the band to think critically about these compositions and how they could deliver a similar sentiment that they were born out of, but also put it through the High Pulp lens.

Along with digging into a different genre of music and focusing on just one artist to pay tribute to for this volume in the series. MA 3 also has the band performing as their largest ensemble yet. A 15-piece band, including a 5-piece string section. Giving no limits to these reimagined versions of Frank Ocean tunes.

Cementing his reputation as the star toaster with the small but popular El Paso sound system, based in the Waltham Park area, Dennis Alcapone was one of the first deejays to rise to prominence following U Roy’s breakthrough in the late 1960s. Born Dennis Smith in the rural district of Culloden, he became immersed in sound system culture after settling in western Kingston. Once El Paso became big on the sound system circuit, dental technician- turned-producer Keith Hudson brought him into the studio for his debut recordings, which led to a debut album for Studio One and hit material for Duke Reid, some cut in concert with his deejay sparring partner, Lizzy. Alcapone’s longstanding links with Bunny Lee yielded the excellent Guns Don’t Argue album, first issued in 1972, on which the toaster raps with style over some of Lee’s all-time greatest rhythms, including Delroy Wilson’s Better Must Come, John Holt’s Left With A Broken Heart and Slim Smith’s rendition of the Temptations’ soul classic Ain’t Too Proud To Beg.

Originally released on cassette in 1994 and now for the first time on vinyl, this is an incredible document from a teenage Arrington de Dionyso. All the seeds of his 30+ career are engrained on these fully formed Tascam recordings. From Arrington: "Orga Ar is how Old Time Relijun came into being. It was the first time I ever had a "real" drummer (Bryce Panic) come in to give me some tracks to build songs with, and then I had Aaron come in and play upright bass on one tune (Qiyamat). When they heard the tape they both asked me if I had ever thought about starting a band and getting some shows organized. It's so weird to imagine now, because I really didn't have my shit together to do the kind of live performance I wanted to do all by myself. So the idea was that we would start with the songs on the tape but allow them to "breathe" in the live setting. I think at first I really wanted the band to be mostly improvisational, and just using the lyrics as a way to have continuity. But after a lot of trial and error in setting up our own shows we decided that having a more structured setlist had better results in getting people to dance. The Olympia scene at that time was kind of "anti-dance party"- most of the punk shows downtown were heavily politicized and were more about the connected activism than about the music per se. For me at the time, I felt like the REAL "political statement" that needed to be made was for the music to be an affirmation of one's physicality, that movement and enthusiasm were both OK and sometimes necessary for self-and-social liberation. We weren't popular at all in the "scene" until years later, in fact all of our US tours were disastrous until we were invited to tour in Europe by an Italian fan who organized everything in 12 different countries. In pre-internet era Olympia, our only aims were playing fun shows for our friends, with little regard for reaching the outside world."

What is probably the weirdest U-TRAX release ever, is now available again on original heavy weight vinyl and has been remastered for digital download and streaming.

Jo-I is Johan Sagel and nine of the drumtracks he made in the 90s with his quite un-hip Roland R-70 drumcomputer ended up on this heavyweight vinyl EP. Label boss DJ White Delight also abused Johan's R-70 together with DJ Zero One, adding a trancey acid re-interpretation of the Jo-I tracks to the EP.

Back in 1995, Johan was a young advertising professional, originating from the far Northern part of Holland, where only potatoes grow and very few people live. He later moved to the city of Groningen and became very active in the scene there, that included Thee J Johanz, of Bally Hoo fame. Johan teamed up with Reyer Caderius van Veen, who released a 12" as Lynx on the U-TRAX sublabel Phoq U Phonogrammen. Together they performed and recorded as Live Acid Performance (L.A.P.) 01 in the 90s.

Original release date: March 1995.
Available again on original 220 grams vinyl

‘Feelings’ took shape amidst the months of anxious tension that 2020 laid upon us, written and produced by Turkish artist Ekin Fil, it took around 1 year for the album to manifest in its final form.

Yet underneath the opaque veneer of swooning drones, timeworn chords and verbal lamentations, glimpses of sanguinity and optimism flicker through the fabric of the work, mirroring the perpetual state of uncertainty and isolation we collectively faced in 2020; suspended between minute, optimistic spur and months of dissolute ambivalence.

You need to go hunt this down. They’re making incredible music!” Tony Minvielle – Jazz FM

Vertaal’s debut double LP, “Paradigm Shifting” was released earlier this year to wide acclaim from the international jazz community and sold out on initial pressings.

Featuring 4 singles including the atmospheric “Alcazar” and live favourite “Drop Off’, the album was subsequently re-pressed on limited edition black vinyl which is also at the point of selling out.

2020’s lock down and subsequent cancellation of the band’s tour schedule led to extended periods recording in their home studio, on a barge on the River Stort near Stansted Airport.

The duo, comprising keyboard player and producer Theo Howarth and drummer Ajit Gill recorded “live”

versions of some of the Paradigm Shifting album tracks for various radio shows, joined online by guest bassist Severin Bruhin, guitarist

Luca Gianassi, conga player Simon Todd and saxophonist Loren Hignall.

Some of those recordings have now been made available on a special limited edition cassette EP featuring 4 tracks live studio tracks

– three previously unreleased versions from the album “Paradigm Shifting”, “Drop Off”, “Paradigm Shifting” and “Alcazar” and a completely new track “NDY”

Designed to look a box of Swan Vesta matches, the tape itself is pink with an onbody sticker of a collection of pink-headed matches.

Rush-released for Christmas, The Lockdown Tapes will make a nice stocking filler for jazz aficionados!

Vertaal have been an increasingly notable presence in the nu-jazz scene over the past 3 years.
Tipped as “ones to watch for 2019” by Jazz Re:freshed, in 2021 Vertaal have played an exclusive pick of sold out shows at prestigious venues such as

Ronnie Scott’s, Pizza Express Soho and the Jazz Café, along with festival appearances at Standon Calling, High Tide Festival and Lost Village.

They have also supported the likes of Mark Guiliana (David Bowie), & Pete Ray Biggin (Level 42) Richard Spaven

and this year embarked on a tour of the UK’s record stores playing tracks from the album.

Out Of Print On Vinyl For A Decade And A Half Mobb Deep’s “Free Agents” Hits For RSD Black Friday In A Never Seen, Never To Be Repeated Colored Vinyl Pressing. 5000 pressed worldwide. First released in 2003 on CD and LP. Out of print on vinyl since the mid-2000s. Mobb Deep redefined East Coast hip hop in the early 90s with their release “Juvenile Hell” and the break-out follow up “The Infamous.” As the group moved into the 2000s and parted ways with their long-time label, Loud, they released “Free Agents” as a celebration of their moving on to … well, free agent status. With Havoc handling production on all but 3 cuts and only two guest appearances (one being from long-time Queensbridge associate Big Noyd) “Free Agents” is uncut, undiluted Mobb Deep all the way through. The reaction from fans was solid catapulting the record to peak at number 21 on the Top 200 with a top 5 position on the R&B/Hip Hop charts. Out of print for well over a decade, this chapter in Mobb Deep’s legacy is back in effect for RSD Black Friday

In 1978 ,three friends.

Woody Whittaker, Ronnie Arch, and Wayne Chatman

Came together with their musical ideas and talents to form the music production company, “Cabfare Productions”.

Under that parent company, the performing group T.A.X.I.E.



Talented

Artist

Xclusively

In

Entertainment

​

Archwoods Productions and Archwoods Publishing was born.



Eventually adding musicians/song writers, Charles (Ice Cream) Williams,

Oneida James, and the amazing vocalist, Carlita Durhan, the original guitarist for the R&B group Taste Of Honey.

​T.A.X.I.E. performed many engagements through out the Los Angels Hollywood circuits. Opening and appearing with renowned artist such as Stevie Wonder, Dennis Edwards, and the Mary Jane Girls.

The members of T.A.X.I.E. are not only great musicians and performers, but also are very talented and awesome song writers.



Some of their compositions have been performed and recorded by, Grammy winner Diane Reeves, Tahj Mowry, AlfredaJames, Greg Rose, and musical groups such as Infinite.

Archwood’s Productions also produced, published and promoted music and live concerts throughout the United States and Europe.

Over the years, this partnership has developed a music catalog of over 100 songs, compositions, and videos. In the future, they will continue to write and produce excellent music, promoting new and established artist.

Believed to have been recorded in 1983, ‘O Filho Do Homem’ is a newly discovered and previously unreleased single by the late Brazilian composer and keyboardist Ana Mazzotti. Though it’s her only known studio recording of the decade, ‘O Filho Do Homem’ is one of several unreleased compositions Mazzotti and her band performed on TV Cultura and Programa MPB during the 80s.*

These performances showed Mazzotti had transitioned towards a harder edged and more daringly experimental sound in this period, while keeping the core components of samba, jazz and funk that characterised her two studio albums from the 1970s, Ninguem Vai Me Segurar (1974) and the self titled Ana Mazzotti (1977). This evolved 80s sound had evidently taken a similar path to that of her contemporaries and mentors, like Azymuth, whose keyboardist José Roberto Bertrami arranged her debut album, and Hermeto Pascoal who described her as “a super musician.”

Following the resurgence in appreciation for Ana’s music that arose from the 2019 reissues of her two studio albums, her son Toni Mazzotti was compelled to re-examine the archive of artefacts he’d inherited from his parents. Amongst the LPs, chord sheets, photos and VHS recordings, Toni stumbled upon a mysterious reel of tape, which he swiftly dispatched to the Far Out office in London. Toni and the Far Out team were delighted to discover the mystery tape was a hazy jazz-funk gem recorded by his mother (and father, drummer Romildo Santos) during the twilight of her short career; Ana Mazzotti sadly passed away in 1988 from lung cancer at the age of just 37. Aside from Ana on keyboards and vocals and Romildo who produced and played drums on all of Ana’s recordings, the line-up for the quartet is unknown.

“O Filho Do Homem” will be released on 7” vinyl and digitally on the 10th December 2021 via Far Out Recordings.

As current lead vocalist and co-songwriter of the hugely successful modern progressive metal band HAKEN, ROSS JENNINGS needs no introduction in some circles, having released 1 ep, 1 Live album and 6 full length studio albums of consistently high quality with the band, HAKEN have been climbing that mountain with grace and gusto, albeit on the fringe of mainstream rock and metal. In 2019 HAKEN won ‘Best UK Artist’ at the annual PROG awards, with their latest release ‘Virus’ reaching #2 in the UK rock charts and entering the US Billboard Hot 100 at #52.

On the back of this release ROSS JENNINGS set out to write, record and self-produce his debut solo effort ‘A SHADOW OF MY FUTURE SELF’ with an ambition to become a new household name and keep mainstream classic rock alive and well.

Fueled By Ramen will be reissuing one seminal album from our 25- year history each month throughout the calendar year of 2021, again this will be on Silver Vinyl as part of the FBR 25th Anniversary.

FBR 25 Podcast

We are currently working on a 16 part podcast that will delve into the history of FBR, it’s cultural relevance and Global impact over the past 25 years. Each episode will look at the careers of some of our most important artists, and deep dive into the making of albums told by the artists themselves in their own words.

25th Anniversary Merchandise

We announced the 25th Anniversary around Thanksgiving last year with our first 25th Anniversary limited merch drop, and then will be working throughout 2021 on new and exclusive designs to drop throughout the year.














m 13. Good Girls Go Bad (Frank E Remix) [feat. Flo Rida]

“The Colchester quartet’s first offering for tastemaker label Nice
Swan stands up as a vital, visceral cut from a band of any
demographic.” - DIY
 “Anorak Patch are unquestionably an alternative godsend” - So
Young
 “Rising Stars” - Daily Star
 Already championed by BBC 6 Music, BBC Radio 1, Radio X,
Daily Star, BBC, i Paper, DIY, DORK, So Young and more,
Colchester’s Anorak Patch have been quick to grab the
attention of tastemakers across the UK. They were even
snapped up by label Nice Swan Records, who have put out
releases from some of the UK’s buzziest acts, including Sports
Team, Silverbacks, Hotel Lux, FUR, Courting and Malady.
 Following breakout tracks ‘6 Week Party’, ‘Irate’ and ‘Blue
Jeans’, the 4-piece share new single ‘Delilah’, a tale of wanting
more than the small town you call home, and further proof of
why Anorak Patch are one of the UK’s most exciting young
bands to emerge in recent times.
 Of the track, the band say, “‘Delilah is a story. It’s about a girl
who’s struggling her way through life... the song is sort of a
snapshot of how difficult life can be when you are in a bad
headspace without good people around you. It’s a lonely place
to be. The ‘town’ is just a reference to wanting something more
than the place you grew up in... I guess in that sense it’s a little
autobiographical. We are from a little place in Essex, it’s not a
bad place, but we collectively dream that by playing our music
we will have a chance to move out of its orbit.”
 Anorak Patch are also set to perform their debut headline
shows, including in their hometown of Colchester next month,
and in London next year.
 Keyboardist Effie Lawrence formed the group in late 2019 with
high school friends Luca Ryland (drums), brother Oscar (guitar)
and bass player Eleanor Helliwell. The drummer being just 15,
and the oldest member 18, the new single continues to show
the band’s immense musical talent at such a young age.

Beyond the reference to the « Blue Hours » and to the New York recording studio, these albums are a hymn to life.

The orange colour reminds us of the Sun’s light at dusk, the hopes of dawn, a promise of a new day .
In that regard, we asked each artist to express three wishes for the future.

Kevin Hays-Yotam Silberstein
Nicole Glover-Alexander Claffy
Johnny O'Neal-Paul Sikivie
David Kikoski-Peter Bernstein

Recorded in Brooklyn NYC at Big Orange Sheep Studios -October 2020-

BOSS BY NAME, BOSS BY NATURE. The five heroes finally follow up the Steel Box 45 (Goner) with Cash 'Em In. A disgustingly catchy yet charming ode to the lost art of picking up one lucky person and, well, chucking them over a bar. Might as well, right? Sonically, this is still hitting that sweet spot between early UK punk and glam rock n roll, and once you've flipped both sides you'll be getting ready to cash someone in yourself (and don't worry, Cal from The Chisel pops up to provide full instructions). Featuring members of Fucked Up, Rixe, Chubby and The Gang and The Chisel. The 7" is limited to 450 copies on white vinyl and comes in a fold out poster sleeve with artwork from Tin Savage.

Brand new music from Warpaint's jennylee (Jenny Lee Lindburg). Newtopia is the first release of a series of singles, culminating in full album to come on RSD 2022.

Feeling is at the core of jennylee’s music. Having spent the past decade defining the grove that allows Warpaint the luxury to drift between genres and eras, jennylee’s solo record proved more loose, open, and driven by the rhythm of the heart.

Critically acclaimed LA quartet Warpaint have been confounding expectation since the band’s inception in 2004. Releasing their third album ‘Heads Up’ to rave reviews in 2016, Warpaint remain on top of their game; cementing themselves as one of the bands of a generation.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

Scuba begins a new project with London vocalist and producer DOMiNii, who makes his debut with ‘Diivorce’.

Paul Rose (aka Scuba) has long since explored cross-genre sounds, blending disparate elements and mining nostalgia to create cool moods and moments of pure escapism. Over four critically acclaimed albums and mix CDs for DJ Kicks, fabric, and Ostgut Ton, he’s established himself as one of the industry’s most respected artists and tastemakers. He’s continued to evade musical pigeonholing over the course of his career, never hesitating to challenge himself with new creative endeavours. The fresh sonic direction expressed on ‘Diivorce’ is one he’s been developing since 2018, when he took an indefinite break from the full-time DJ circuit.

‘Diivorce’ is a collaboration with debut artist DOMiNii, a vocalist and producer who takes influence from the likes of Wang Chung, David Newman, Arthur Russell, and The Blue Nile. Although he appeared uncredited with backing vocals on Scuba’s ‘Forgive Me’, which initially came out last summer, ‘Diivorce’ marks his first official release.

Covering areas as varied as power pop, indietronica, exuberant house, and classic rock, the project seemingly touches as many points as it can think of, something Rose acknowledged in a recent interview where he stated that “we made so many tracks, with no real set direction, so with this record I just wanted to pick a limited number that kind of showed where we’d been. We are working on something now that I’d call a ‘proper album’, which I think will come out in 2022, Diivorce is something I see as a documentation of a period of time.”

The project includes illustrations by French artist Virginie Kypriotis who tells the story of ‘Diivorce’ through the eyes of DOMiNii, detailing a world of abandonment and separation against a backdrop of a faded paradise. Rose was first acquainted with Kypriotis’ work through her iconic illustration ‘A Night at Berghain’, which was later used by the club as their official flyer artwork in December 2017.

The vinyl edition of ‘Diivorce’ includes previously unreleased (and vinyl-exclusive) track ‘Tricks’, and is packaged in a limited edition, numbered, screen-printed sleeve.

The very first live stream on 9128.live broadcast from the studio of Rafael Anton Irisarri, as he and Thomas Meluch (Beno�t Pioulard) pieced together a completely live improvisation, christening the newly created 9128 airwaves and setting the bar for many more live takeovers. With one album between them as Gailes, and profound work individually (also together as Orcas), Rafael and Thomas are masters of the ambient craft, combining intricate field recordings, guitar, pedals, vocals and heady reverb across a 40-minute non-stop immersive listen, split into two 20-minute sides for the inaugural 9128 vinyl release. The 9128 label aims to document significant live performances by artists that previously performed on the 9128.live platform. With recordings initially created for a singular collective listening moment, and often as part of a festival or takeover weekend, label recordings will re-present this music for further listening across various formats that best suit each release. Gailes - Session Two, will be available as a digital download and 12", printed in a reverse-board die-cut sleeve, black vinyl.

Multi Culti launch a new quarterly 12" series in step with the seasons beginning with SOLSTICE I:

Post-pandemic lockdown inspiration can be found in the great planetary balancing act that has taken place since a cataclysmic impact with an asteroid caused mass extinction and set our earth’s orbit off axis. This AXIAL TILT, or obliquity, is responsible for the seasons, and life as we know it has evolved around these unleashed forces. As our lives and for many, careers, have spun dramatically off axis as of late, we look ahead to the coming seasons, with the hope that we can weather the changes, and maintain inner stability. To aid in this quest, Multi Culti promises to deliver sonic support with utmost regularity at the peak moments of cosmic significance, with each Solstice and Equinox.

Beginning this journey are some of the label’s most beloved artists. Israeli duo RED AXES provide a chakra-elevating soundtrack with their inimitable blend of psych-garage-tronica, a sun-kissed banger that signals a long-awaited return to the togetherness of the dancefloor.

ZILLAS ON ACID turn in a robustly wiggly jam that electrifies, frazzling zaps and frenetic percussion recall the fritzy tension of the past year, a cathartic shock-treatment for traumatized dancers looking to get back to prime spine-shaking shape.

Mexico managed to stay open for the most part, and TYU seems to have not skipped a beat here, still in perfect form after breaking out as one of the hottest young producers to emerge in recent years. Dark disco, Mexi-chug, call it what you want, but the emergent genre is never better represented than here… spooky, phosphorescent tribal dance, Tulumminati-tested and approved.

Finally, the big guy - MANFREDAS - whose remixes and edits have been highlight-reel material the past couple of years, delivers a long awaited original track with his requisite heavy-weight swag. Wonky tunings and a chunky downtempo beat underpin Manny’s trademark masterful arrangement style, building patiently, with breakdowns that managed to wring every last drop of impact out of an odd, other-worldy assortment of sounds.

Returnal sees Daniel Lopatin fine tune his craft for creation of deep atmospheres and texture even further.
"Returnal" is the fourth album from Daniel Lopatin's Oneohtrix Point Never project, after "Betrayed In The Octagon" (Deception Island, 2007), "Zones Without People" (Arbor, 2009) and "Russian Mind" (No Fun, 2009). All 3 albums being superbly compiled on the "Rifts" double CD (No Fun, 2009). It sees Lopatin fine tune his craft for creation of deep atmospheres and texture even further. Starting off with the mind blowing triptych of "Nil Admiari / Describing Bodies / Stress Waves", which fires off into a noise / rhythm excess before entering a zone of relative calm building to the melancholy of the final part. This sets the tone perfectly for the albums title track, a stunning out of this world ballad featuring Lopatin's near desperate vocal delivery, ending what could be seen as one of his most chilling and thought provoking sides to date. The atmosphere is slightly lifted as the darkened sun comes up over the ruins on "Pelham Island Road" and "Where Does Time Go", with the album closing with edgy broken beats and fourth world possible landscapes of "Preyouandi", which fades into the distance with echoes of the "Returnal" chorus, closing the loop. What's burnt into memory here is Lopatin's love affair with the long, slow path back home... the cycle... the hypnotic sector... the ghost in the machine... and whether people are making dance music or hip hop or space head music or metal, the ouroboros is present in every sector - as it was in Bach's study, and in the elephant songs of the Ituri forests. Available on CD in digipack and LP in gatefold cover.

If it wasn't for the global lockdown, we might never have had the chance to hear one of this year's most intriguing and inventive albums. Lonely Guest was conceived and put together over the last 18 months by one of British music's true innovators: Tricky. Bu tas he's keen to make clear: this ain't noTricky album. Rather it's a thrilling meeting of musical mavericks, with the likes Idles' JoeTalbot pitting his unique approaches to songwriting against Tricky's otherworldly production. From an unsettling tale of isolation courtesy of Maxïmo Park's Paul Smith ('Christmas Trees') to the grunge stylings of Marta's 'Move Me', via the tense storytelling of London rapper Kway's 'On A Move', these diverse statements come together as a bold artistic statement of their own. The late artistic visionary and legend Lee "Scratch" Perry features vocals on 'Atmosphere' with Tricky and Marta. It is with great sadness that Tricky and the False Idols team acknowledge and honour Lee "Scratch"Perry's passing.

THE MUSLIMS formed in 2017, brought together by the aftermath of the 2016 election. They have since released three albums The Muslims (2018), Mayo Supreme (2019), Gentrified Chicken (2020), and one EP Inshallah: Tomorrow We Inherit the Earth (2020). The all-queer, black & brown Muslim punk band unapologetically use music as a vessel to call out racism, the American political landscape, and white supremacy. THE MUSLIMS have a lot to say and they aren't afraid of hurting any feelings in the process. The band's upcoming album, Fuck These Fuckin Fascists, is the ultimate sing-along anthem against all forms of oppression. It's the perfect balance of humor, tenderness and political rage, wrapped in affirmations for op?pressed peoples. Musically, the band continues to bring dynamic melodies to the foundation of classic punk riffs, sprinkled with out-of-this-world rhythmic outbursts. Fuck These Fuckin Fascists is easily the punk album of the decade that will definitely make your grandparents cry. The Muslims are QADR (vocals/guitar), Abu Shea (bass), and Ba7Ba7 (drums).

Clear Vinyl

For our second anniversary, KR3 is excited to present the second installment of our Various Artists series with contributions from 8 artists.
Vortex Chronologies Evo.2 – will be available both 2×12” Double Transparent Vinyl and Digital.
The concept embodied in the label’s logo once again comes to life in this compilation;
Each artist involved was asked to represent their Sonic Idea of a Vortex, resulting in a selection of tracks different in sound but connected by the same concept.
Like different paths of the same labyrinth, all converging in a common end.

This November, American cult hero Dev/Null debuts on Trickfinger & Aura T-09's Evar Records with MICROJUNGLIZM, an 8-track album that explores the power and beauty of darkcore, jungle tekno and breakbeat rave. Chopped drums, hairpin turns and alluringly emotional pads open up a time portal between the past and the future, decorated with haunting samples and musical Easter eggs that show off Boston-based Dev/Null's deep history as a rave historian and scholar.

MICROJUNGLIZM's fantasy suite was written over the last year, arranged and sequenced entirely without a computer. Dev/Null fell in love with Teenage Engineering's PO-33 Pocket Operator – a portable, pocket-sized sequencer that he started using during his DJ sets to create special versions on the fly. The limitations of making entire tracks inside the PO-33 immediately suggested the sampling techniques and stylistic hallmarks of early jungle, already one of Pete's longtime obsessions.

"The PO-33 has some of the same low-fi sonic charm as retro gear used back in the day," Pete explains. "8-bit samples, 11khz mono sound, kind of like an Amiga computer. It's been really fun and exciting to have my own tracks to throw into sets – even if they're raw, unfinished 3-minute things which get played once and never again. A few of these tunes were done for my sets at parties thrown by Aura T-09 in L.A., so I'm happy they're coming out on her label."

Freestyle Records in association with Rare Sounds USA present a stellar repress of Speedometer's 2003 debut LP This Is Speedometer.

Originally released on Clive Johnson's Blow It Hard (started after the demise of the well-loved weekly Soho club night of the same name, and home to the New Mastersounds first releases alongside choice cuts from JTQ and others) This Is Speedometer showcased the sounds of one of the UK's premier acts in the deep funk scene of the early noughties for the first time on the long player format.

Starting out back in 1999, Speedometer started out as an instrumental quartet gigging in small clubs in the Southeast of England, paying homage to classic funk tunes by artists such as The Meters and The JB's. The band soon expanded and began writing original material, adding the highly regarded horn section and vocalists in 2001, which enabled them to deliver the powerhouse deep funk sound on display here. In addition to their own albums, singles and live shows, Speedometer have backed many US funk & soul legends including Sir Joe Quarterman, Eddie Bo, Marva Whitney, Sharon Jones & Lee Fields and more.

Now coming up on 20 years since it's original release, you can now marvel at Speedometer's classic, original soul-funk sound thanks to a sparkling new cut. Dig in!




d 04: Just Keep On (Doin the Do) feat. The Speedettes

Record Kicks presents "Gurami" the first single from the forthcoming "Origin of Forms" album, the vibrant debut album by Moscow funk band The Diasonics with a mix of cinematic funk, instrumental hip-hop and soviet psychedelia.

Record Kicks is proud to present the mesmerizing psychedelic universe of The Diasonics. "Gurami" is the first single taken from "Origin of Forms" the startling debut full-length by the Muscovite band, coming out on January 28 2022 on ltd edition LP, CD and Digital. "Gurami" is an instrumental funk cut with heavy abstract hip hop influences and it will be available on limited edition 45 vinyl and digital.On the flipside the instrumental soul bonus track "Gradients". The 45 is limited to 500 copies wordwide.

Welcome to "hussar funk", that's how The Diasonics call their music: a style that blends infectious deep funk instrumentals, East European flavours, hip-hop rhythms and psychedelia. Firmly rooted in the late 60s and early 70s, their debut album "Origin of Forms" was recorded on an 8-channel Japanese tape recorder Otari MX-5050 MK III at The Diasonics HQ's Magnetone Studio in Moscow and was mixed by Henry Jenkins (The Cactus Channel / Karate Boogaloo) in Melbourne.

The Diasonics are one of the latest additions to the Russian instrumental funk scene. The band was only formed in 2019 and it's made of five young and seriously talented Muscovite musicians: Anton Moskvin (drums), Maxim Brusov (bass guitar), Anton Katyrin (percussions), Daniil Lutsenko (electric guitar) and Kamil Gzizov (keyboards). In just a couple of years the band has amassed a cult following, releasing a shower of ten celebrated singles and various in-demand 45 vinyl records on funk labels such as Funk Night Records and Mocambo Records.

Fans of Khruangbin, Dj Shadow and of instrumental soul, take note!

Digital Afrika return to the fray with this incredible EP for ASW. Featuring the original Gnawa plus it’s acoustic source recording as performed by Radouan Naim in Morocco PLUS two truly excellent remixes from the legendary Jose Marquez and Melbourne’s own TEYMORI (Amin Payne).

The original source recording for this track was laid down in Planet Essaouira and recorded by Zhonu “Nui” Moon (Digital Afrika ) on one of his many cultural trips to his ancestral home land. The studio is situated on the Moroccan coastal town of Essaouira , a cultural hub for the Berber (indigenous Moroccan) traditions.

This enigmatic town , popularised by the beatniks and bohemians of the 60ʼs, most famously by Jimi Hendrix and The Rolling Stones , has a mystique all its own as well as a long musical history.

“Gnawa” in Berber language literally translates as “Trance“ music , and is traditionally performed in “Lilas” musical ceremonies accompanied by dance that can go on for days .. where the purpose is to produce trance-like states of being where different types of healing or catharsis can occur ..

The recording was then brought back to Melbourne, Australia. Where the Digital Africa team applied its electronic Afro-house touches , while keeping true to its original North African aesthetic.

WRWTFWW Records is absolutely honored to announce the release of Kenji Kawai’s complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime PATLABOR 2: The Movie, available on vinyl for the first time ever and housed in a beautiful heavy gatefold sleeve with obi, as well as on digipack CD. Both versions come with liner notes by the great Masaaki Hara.
A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult animes and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. PATLABOR 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai’s minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn’t hide hints of hope for a joyful future.
PATLABOR 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai’s Ghost in the Shell soundtrack, already available on WRWTFWW Records.

Nate Smith Recruits Special Guests Vernon Reid, Brittany Howard, Kokayi, Joel Ross, Michael Mayo, Stokley, AmmaWhatt and Regina Carter for Kinfolk 2, the successor to his Grammy-nominated debut.
Kinfolk 2: See the Birds is the highly anticipated follow-up to the 2017 Grammy-nominated album Kinfolk: Postcards From Everywhere. Featuring the diverse and all-star talents of Brittany Howard, AmmaWhatt, Joel Ross, Kokayi, Michael Mayo, Regina Carter, Stokley and Vernon Reid, Kinfolk 2: See the Birds is the inspired and emphatic album that exemplifies Nate's artistry as one of the most exciting, dynamic and innovative drummer-composers of his generation, adept across multi-genres and styles. Taking inspiration from his teenage years spent absorbing the diverse and eclectic riches of Prince, Michael Jackson and Living Colour. Kinfolk 2: See the Birds is a multi-faceted jewel and is set to be one of the most significant albums of 2021. Nate is one of the most important artists in the progressive jazz world (Kamasi Washington, Makaya McCraven, Shabaka Hutchings, Robert Glasper, and Nate Smith) He's a torchbearer of progressive music / "one of the faces of progressive jazz" His profile / reach is significantly larger than that of his peers (larger than most successful pop/mainstream artists too) Nate accesses wider audiences by seamlessly operating in the jazz and mainstream/pop worlds. Nate operates in a unique space within the progressive world because of his drumming, his collaborations with Brittany Howard and the Fearless Flyers (Vulfpeck spinoff), his recording work with famed producers Dave Cobb and Mike Elizando, and his talent as a composer/arranger/producer. He also brings a "grown" R&B element to his music the Makaya, for example, does not. Nate Smith is an icon. He represents where jazz as a genre is going and is easily one of the most important artists you can cover in 2021/2022.

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

Tenor saxophonist Timo Lassy, one of Finland's leading jazz artists, is back with a new album release "Trio" on We Jazz Records. The album, to be released on 27 August, introduces Lassy's new combo with bassist Ville Herrala and drummer Jaska Lukkarinen – both We Jazz Records roster artists on their own right.

The new Lassy sound is tight, swinging and funky, led by the strong and riff-ready sax of the tenorman. That being said, the album's sound is not limited to that of the swinging trio. Lassy's new vision also brings in some subtle electronics (played by Lassy, Dalindèo frontman Valtteri Laurell Pöyhönen and Ilmiliekki Quartet pianist Tuomo Prättälä) and lush strings performed by Budapest Art Orchestra as arranged by Finnish artist Marzi Nyman. It's a new sound for Lassy, but one which keeps true to his no-nonsense cookin' on the tenor.

This combination proves to be a winning one on the album, ranging from the more solemn moments on tracks such as "Sunday 20" and "Sointu" to the all out groovers like "Pumping C" and "Subtropical". The basic three sylinders of the band tenor sax, bass and drums, are strong throughout and the strings add air beneath the wings to really lift things off. Electronics are used as a tasty condiment, not taking over the main course but adding to it just right.

"We began the process with the bare bones trio but along the way, the sound started evolving into something else" Lassy explains. "That's how I like to work, anyway, while the trio can take this music to great lengths live, on the album I like to paint a fuller, more colourful picture sonically."

Speaking of painting, the sleeve of the album features the original artwork "Subtropic" by Finnish artist Ilari Hautamäki. "Trio" by Timo Lassy will be released by We Jazz Records as blue and black vinyl editions complete with a heavy duty tip-on sleeve, on CD and digitally. The special BUNDLE version includes the LP with a 7" featuring two non-LP tracks, available with blue LP + blue 7" or as black LP + black 7", bound together in a re-sealable "Japanese styled" sleeve, plus a We Jazz sticker.

NOW Music is delighted to introduce our new sub-brand ‘NOW Presents…’. This new series starts with ‘NOW Presents… The 1970s’, the first-ever NOW vinyl boxset featuring 5 LPs uniquely designed to reflect the era.

The boxset is a musical time capsule of the decade that saw so many different genres find chart success. Across its 74 tracks over 10 sides of vinyl, the massive hits sit alongside enduring classics from each year. The set not only includes 5 beautifully designed front covers on the individual albums (that slot into a rigid slip case), but also features track by track annotations with chart positions and facts about the artists and songs.

Each year, 1970-1979 is presented as 1 side of each LP… Kicking off with the iconic ‘Bridge Over Troubled Water’ by Simon & Garfunkel from the biggest selling album of the year, and of the decade. 1970 also includes Motown classics from Stevie Wonder, Smokey Robinson & The Miracles, and the debut hit ‘I Want You Back’ from the Jackson 5.

1971 includes the seminal ‘What’s Going On’ from Marvin Gaye, alongside Elton John’s breakthrough – the timeless ‘Your Song’, Rod Stewart’s breakthrough ‘Maggie May’, and The Who’s defining rock anthem ‘Baba O’Riley’.

The charts in 1972 began to reflect the popularity of ‘Glam Rock’ – and ‘Virginia Plain’ by Roxy Music, and ‘Metal Guru’ by T. Rex are included, as is the David Bowie-produced ‘Perfect Day’ from Lou Reed.

‘Killing Me Softly With His Song’ – one of the most beautiful songs, and vocals ever from Roberta Flack opens 1973’s side – and is joined by, amongst others, Billy Joel’s signature song ‘Piano Man’ and Bob Dylan’s ‘Knockin’ On Heaven’s Door’.

1974 celebrates Queen having their first Top 5 single with ‘Killer Queen’, and title tracks from two of the decades’ biggest selling albums: Paul McCartney & Wings with ‘Band On The Run’, and ‘Tubular Bells’ from Mike Oldfield.

John Lennon released ‘Imagine’ in 1971 – but it became a UK hit in 1975, and so, starts this side… and finds space for some of the year’s perfect pop from Steve Harley & Cockney Rebel, David Essex, 10cc, and the biggest hit ‘Bye Bye Baby’ from Bay City Rollers, at the peak of their popularity.

ABBA enjoyed 7 UK Number 1’s in the 1970s, and their biggest was the enduringly popular ‘Dancing Queen’ which leads into 1976. Electric Light Orchestra had a huge hit with ‘Livin’ Thing’, as did Thin Lizzy with ‘The Boys Are Back In Town’ – plus Joan Armatrading emerged with ‘Love And Affection’.

1977 saw Fleetwood Mac release their mega-selling album ‘Rumours’, and from it ‘Don’t Stop’ is here, as is Donna Summer’s ‘I Feel Love’ – one of the most influential dance tracks of all time – and one of 1977’s favourite TV stars, David Soul, enjoyed a #1 single with ‘Don’t Give Up On Us’.

With ‘Wuthering Heights’, Kate Bush not only had 4 weeks at number 1 in 1978, but became the first female artist to achieve this with a self-written song. The Jam, The Boomtown Rats and Siouxsie And The Banshees all found consistent success as Punk & New Wave established new chart stars.

1979 concludes the set and opens with the iconic ‘London Calling’ from The Clash, and includes two of the biggest bands of the era, The Police and Blondie. A couple of years later the first video played on MTV would be ‘Video Killed The Radio Star’ from The Buggles – and it’s fitting that this is the final track on the collection, a #1 in late 1979 – it signposted the synth-pop wave that would define the early 80s…. (but that’s a different box set).

Nostalgia is a hell of a drug. No one in particular is renowned for that cliched statement, but when something is so universal, who cares who said it? And is there anything more nostalgia inciting than a blurry film, bursting with colours but aged just perfectly so that you know, it's from a past which will never return. Het Jaarronde, a 1977 short film by Dutch amateur filmmaker Jan van Keulen is a picture perfect study of Dutch rural life. Filmed at an observer's distance it, as the title states, follows the Netherland's throughout the year. It's not bombastic and grand like 1967's John Fernhout film, Sky Over Holland. Instead it's modest, even shy, as if afraid to document too much because to document means to acknowledge change and loss.

For the second time, Nous'klaer and The Netherlands Institute for Sound and Vision's RE:VIVE initiative have teamed up for a split 12" featuring two new film scores of Nous'klaer staple, Mattheis and newcomer Ranie Ribeiro. Each artist was given half the film to compose for, resulting in two sonically disparate pieces that are emotionally twinned. Mattheis offers a lush, heart melting wave of pianos and synths and field recordings to appease his own inner-nostalgia, as the images struck an immediate chord with his childhood and youth in Goeree Overflakkee, South-Holland.

Ranie Ribeiro, known under his solo moniker for his slamming chopped beats and earlier club oriented releases as D-Ribeiro unveils his talents as a harpist for the first time. His work, is an encapsulation of a calm autumn day. A work in the present rather than a reflection on the past. But as the day fades into night, one can't wish for it to stay, just a little bit longer, because who knows what tomorrow is going to bring?

Mouth Congress – friends Paul Bellini and Scott Thompson of Kids In The Hall fame - wrote and recorded hundreds of songs in the ‘80s with - out ever putting out a proper release. Alongside various cohorts and conspirators, the band drew on their experiences as gay men to craft hilariously crude punk songs that run the gamut of strange characters and taboo subject matter. Their rag tag approach to songwriting blended various styles from noisy punk to lo-fi new wave and DIY disco, all with a very gay bent. Without trying, they were surprisingly cutting edge.

Mouth Congress did dozens of live shows through the mid-80s that gained a reputation for being theatrical, combining props, sets, multiple costume changes, unusual song choices, guest stars, and Scott’s stand-up comedy. In 1988, they recorded a 7-song demo tape. The tracks were recorded quickly, as the Kids in the Hall were about to go to New York City to develop their material. Then, caught up in the excitement of the Kids in the Hall being signed to television, Mouth Congress activities slowed to a crawl.

In 2011, Paul dug out an old VHS tape of one of the live shows. The sight of one of the Kids in the Hall covered in sweat, writhing on stage like Iggy Pop, was something he felt comedy fans might enjoy seeing. Naturally, Scott agreed and they uploaded everything - over 600 recordings - onto Bandcamp. One day in 2019, Mike Sniper of Captured Tracks stumbled upon the Bandcamp page, got in touch, and suggested assembling a compilation of the best recordings to be officially released for the very first time.
Waiting for Henry is a collection of 29 tracks over 2 LPs with a booklet of interviews and ephemera from one of the ‘80s
last queercore bands.

Who is Henry? We don’t really know, but we certainly hope he shows up soon.

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

British duo The Boy Least Likely To are not new to Christmas music. It started in 2005 with a charming cover version of ‘Little Donkey’ on a give away CD single, followed three year later by the first Christmas original they recorded, ‘The First Snowflake’, that made it into an episode of Grey's Anatomy. In 2010, the band released the album ‘Christmas Special’, with mostly originals, including the single ‘George And Andrew’, that came with a much watched and liked video. Last year, The Boy Least Likely To released a new Christmas song ‘It Will Still Be Christmas’, that reflected the difficult time the world was going through in 2020. What was still lacking in The Boy Least Likely To Christmas discography was a Christmas 7”. That is now also taken care of, as the band recorded two new Christmas songs for the ninth edition of the Snowflakes Christmas Singles Club. The nostalgic sounding original ‘Two Christmases’ is typical for the somewhat bittersweet nature of many of the duo’s songs, as it is about a recently divorced couple who, for the first time, will celebrate Christmas separately, one after the other, so that their children can celebrate Christmas with both their parents. On the flipside of the record, The Boy Least Likely To rework Shakin’ Stevens number one hit ‘Merry Christmas Everyone’ into an uptempo cross between indie pop and western swing. The record comes on white vinyl and is limited to 300 copies.

The Boy Least Like To are composer/multi-instrumentalist Pete Hobbs and lyricist/singer Jof Owen, both originally from Wendover in Buckinghamshire, England, who met at school and began making music together in 2002. They debuted in 2003 with the 'Paper Cuts' 7” on their own label To Young To Die. In 2005 the duo released their first album, 'The Best Party Ever', that made it into Pitchfork's top 50 albums of 2005. Three more albums followed (2009's 'Law Of The Playground', 2010's 'Christmas Special' and 2013's 'The Great Perhaps') and in 2018 the career spanning collection 'The Greatest Hits', including classic tracks like 'Be Gentle With Me' and 'Hugging My Grudge' was released. Their music, once described in Rolling Stone as sounding like what would happen "if all your childhood stuffed animals got together and started a band.” incorporates influences from all over the indie landscape (twee pop, indie country, jangle pop, piano pop) and blends it into something that is unmistakingly To Boy Least Likely To – often joyous and uplifting, sometimes melancholic, with lyrics that reflect our everyday fears and anxieties, as it’s not all sunshine in our lives. In 2021 the band celebrated the slowly opening world by releasing a new digital single, 'Get Into The Summer', a joyous burst of fresh energy, showing that the band’s music is for all seasons

“And now for a gentleman who’s come all the way from Kingston, Jamaica and a place called Cling Cling Avenue. We present to you the one and only, the Originator, the Godfather, Daddy U Roy!”

U Roy had visited Brighton before but there was something special about that balmy night in August 2017, when he walked out on stage at the Komedia to a hero’s welcome and immediately got the crowd cheering and dancing. There was so much warmth and excitement generated that night, and it’s all captured on this final live album of the reggae superstar’s illustrious career.

U Roy wasn’t quite the originator, but he was the first Jamaican deejay to dominate the Top 3 places on both radio stations and turn his predecessors’ simple exhortations into an artform – one that evolved into a global phenomenon. It was his performances on King Tubby’s Hometown Hi-Fi that made him the talk of Jamaica and led him to Treasure Isle studio, where he voiced hits like Tide Is High and Wear You To The Ball. From then on his catchy, uplifting rhymes could be heard on radios and jukeboxes throughout the island, as well as from behind the control tower of his King Stur Gav sound-system, where MCs like Josey Wales, Brigadier Jerry and Charlie Chaplin learnt their craft. The veteran deejay, who died in February 2021, continued recording and touring into his late seventies, and without abandoning either his musical standards or Rastafarian beliefs. At his peak, U Roy voiced for Jamaica legends like Lee “Scratch” Perry, Bunny Lee and Channel One, in addition to several European labels. What most of his recordings have in common is a sense of hope and often joy, because even Get Up Stand Up is delivered with optimism. They are the qualities that come across on this life-affirming set, recorded in front of an appreciative audience, and backed by some of the UK’s finest reggae musicians.

"UMC celebrate the 50th anniversary of The Band’s classic fourth album, Cahoots, with an assembly of newly remixed, remastered and expanded 50th Anniversary Edition packages, including a multi-format Super Deluxe 2CD/Blu-ray/1LP/7-inch vinyl box set along with a 2CD and 180-gram half-speed-mastered black vinyl. All the Anniversary Edition releases were overseen by principal songwriter Robbie Robertson and sport a new stereo mix by Bob Clearmountain from the original multi-track masters. The box set and CD configurations boast a bevy of unreleased recordings, including Live at the Olympia Theatre, Paris, May 1971, a rousing bootleg partial concert consisting of 11 tracks culled from the initial throes of a European tour that found The Band perched at the top of their live game; and early and alternate versions of “Endless Highway” and “When I Paint My Masterpiece” along with six other early takes, outtakes, instrumentals, and stripped-down mixes.
Exclusively for this box set, Clearmountain has also created new Dolby Atmos and 5.1 surround-sound mixes of both the album and four bonus tracks, presented in high resolution on Blu-ray, alongside the new stereo mix. Every new audio mix has been mastered by Adam Ayan at Gateway Mastering. The lift-top box set also includes an exclusive reproduction of the Japanese pressing of The Band’s 1971 7-inch vinyl single for “Life Is A Carnival” b/w “The Moon Struck One” in their new stereo mixes; a 20-page booklet with new notes by Robbie Robertson and extensive insider liner notes by Rob Bowman; three classic photo lithographs, one each by Barry Feinstein, Richard Avedon (his infamous eyes-closed group portrait from the back cover) and noted New York artist/illustrator Gilbert Stone (who painted the still stunning stretched-out portrait of The Band on the album’s front cover); plus a wealth of additional material and other historical data from the original recordings sessions. The limited-edition 180-gram black vinyl release that features a tip-on jacket also contains a photo lithograph by Barrie Wentzell that’s unique to the package."

“We go round and round in the night and are consumed by fire” *

After their highly acclaimed 'Come La Notte' (2019) WOW are back with 'Falene' a special limited release, a flickering light in the dusk where the comedown is ecstatic, intense and staggering.
In between lockdown the Roma Est quartet played the liberating Meletao festival in the Simbruini Mountains in the middle of a forest. One night a moth (falena) started dancing above the fire attracted by the light and after a few twirls dived into the flames.
Somehow ‘Come La Notte’ anticipated many of the atmospheres and emotions we’d encounter during confinement and isolation; ‘Falene’ instead was born directly from those ashes, ghostly homes, clandestine get-togethers, an old farfisa saved from dust that sparked the initial motif of the album’s title-track, a somber march, a mini-opera that sways gently, sprinkled by the beautiful sax played by Gianlorenzo Nardi and by one of the most intense China performances layed down on tape, foreshadowed by Julie Normal’s Ondes Martenot that graciously elevates the ‘Anticoda’ intro.
Tropicantesimo’s remix of ‘Occhi Di Serpente’ breathes new life into ‘Come La Notte’s classic, elevating the hypnotic and extending the pure tribal force with one of the signature trademarks of the Pescheria crew. ‘Partirai’ sung by Leo Non again is WOW at its purest, escapism to the max encapsulated in a nugget of primitive rock’n’roll and 60s night clubbing. Folks, it’s time to start living again.

The latest entry from Furanum sees label boss Dominik Muller and repeat contributor Tomohiko Sagae return from remix duties on the label's preceding long play release for a four-track split vinyl treatment of Fu020. On The Other Colours of Poison, acting apart yet seemingly as one, they both dispense with nearly any pretense of an introduction, epilogue, or abstract ambiences, and instead opt for a pure and dancefloor-bound effort of four-to-the-floor industrial relentlessness encapsulated in two compositions to a man.

Sagae notably eschews his signature noise-manifesto driven approach in favour of a compelling centering of groove as a prime determinant of musical force. The results of this approach are on display first in 'Tartrazine,' where a rhythmic mind-worm seemingly burrows it's way in, assimilating and holding the beholder in a frantic dance of oscillatory sway. Likewise, in 'Amaranth' an ineluctable sense of technoid acceleration is achieved, with each of the composition's successive loops driving the sense of propulsive sonic force relentlessly forward,
not unlike the turning of a violent accretion disk tearing matter apart.

As for Muller, he builds on his previous work to construct two reliable aural vehicles for the delivery of unrelenting and thematically oriented vehemence. 'Demut' is like a scene of surrender to an engineered and shifting collosus, overwhelming all attempts at its full apprehension as cogent reverberations puncture the surrounding temporal space. On the flipside, in 'Toxic Environment,' he captures the narratively framed pulse of a phrenetically beating heart, beating on despite all odds through sheer force of will and self-overcoming.

Mastered by Kassian Troyer, The Other Colours of Poison will be available on vinyl

CAM Sugar is proud to present the first physical release, on LP and double CD, of the original soundtrack to the TV series “MEDICI - MASTERS OF FLORENCE” (2016-2019), that received international praise following the Netflix distribution. The original score composed by Paolo Buonvino brings the Italian Renaissance back to life. The soundtrack mixes traditional instruments belonging to classical music (a common practice with historical dramas) with smooth electronic elements, allowing the listeners to take a journey of exploration through one of the most exciting periods of European history as much as into one’s intimacy.  The result is a score that is impactful and enjoyable for a broad audience, also thanks to the voice of Skin (Skunk Anansie), who performs “Renaissance” and “Revolution Bones”, respectively the theme songs to season 1 and season 2 & 3. The LP version offers a selection of the best tracks composed for the 3 seasons, while the double CD edition features the series’ complete soundtrack.

Reissue of the 1961 Classic debut album by the American Jazz tenor saxophonist. BOOKER ERVIN was one of jazz’s biggest what-if’s; he died young, at 39, from kidney disease, right as he was hitting another wave of sonic experiments. He was a tenor who played the blues like they emanated from deep inside him, taking inspiration from field hollers as much as bebop. He got compared to Coltrane--who made a lot of similar playing decisions--but he had a different way of playing his blues. His debut LP, THE BOOK COOKS, shows he arrived on the solo scene essentially fully formed; he’d change towards the end of the ‘60s, but this LP was a roadmap for him for the first part of his bandleader career.

Black Truffle is pleased to announce Live Hubris, documenting the hypnotic and electrifying live performance of Oren Ambarchi’s 2016 LP Hubris by a fifteen-strong band at London’s Café Oto. Over three days in May 2019, Oto toasted Oren Ambarchi at 50/Black Truffle at 10 with Ambarchi and a large group of close friends and collaborators in a series of performances that interspersed existing projects with new collective endeavours, culminating with this: fourteen members of the extended Black Truffle family together on stage, joined by one special virtual guest, to translate the intricately studio-constructed layers of Hubris into a muscular live band workout.

Operating with only the bare minimum of pre-gig preparation after the planned afternoon rehearsal had to be wrapped up prematurely due to noise complaints, the gargantuan group lurches into motion with a 21-minute rendition of ‘Hubris Part 1’, powered by the pulsating electronics of Konrad Sprenger (the ‘ringmaster’ at the ensemble’s core) and no less than seven electric guitars spinning a web of intricately interlocking palm-muted polyrhythms. The layers of closely related but metrically distinct lines create ripples of shifting accents, flickering changes in emphasis that ricochet along the endless central pulse. Gradually building in density, this motorik continuum becomes the backdrop for the haunting tones of Eiko Ishibashi’s processed flute and an extended feature from long-distance guest Jim O’Rourke on guitar synth.

After the brief interlude of the second part, where Albert Marcoeur-esque guitar arpeggios accompany a halting attempt at phone conversation, the full ensemble gears up for the epic side-long rendition of ‘Hubris Part 3’. Now joined by the astonishing triple drum line-up of Joe Talia, Will Guthrie and Andreas Werliin, the layered pulse of the opening piece becomes a burning funk-fusion groove. Beginning on a medium simmer, the ensemble initially stick to its pulsating one-note mantra, over which Ambarchi unfurls a beautiful example of his signature shimmering Leslie-toned guitar harmonics, eventually joined by Ishibashi’s flute and some brooding, distorted dissonance from Julia Reidy’s guitar. Building steadily for the first nine minutes, the heat then rises dramatically with a first, gloriously loose chord change: with the all drummers now rolling and tumbling like a twice-cloned Jack DeJohnette circa 1970, Mats Gustafsson enters on baritone, his tortured roars and shrieks driving the band to peaks of insane intensity. Finally, the exhausted ensemble drops out, leaving only the jagged, skittering fuzz of Ambarchi’s guitar, brought to an abrupt conclusion at the command of crys cole. Arriving on hot pink vinyl with artwork by Lasse Marhaug and an extensive selection of live photos by Ivan Weiss and Fabio Lugaro, Live Hubris brings this ambitious and outrageous evening of music to the safety of the home stereo.

The multiple award winning action-adventure game God Of War was first released in
2005, but became such an instant hit, that Santa Monica Studio created seven more versions of the game. The most recent one, released in 2018 for the PlayStation
4, focusses on main character Kratos’ journey in the Greek world together with his son Atreus, following a path of vengeance as a result of being tricked into killing his family by Olympian gods.

God of War received universal acclaim for its story, design, graphics, combat system, characters and music. It was awarded ‘Game of the Year’ by numerous media outlets and award shows. God Of War (2018) performed well commercially, selling over five million copies within a month after its release. It became one of the best-selling PlayStation 4 games.

The official soundtrack won a BAFTA Award and is composed by Bear McCreary. It is set up around themes he created around primary characters in the game. Inspired by Viking folk music, McCreary used exotic instrumentation and languages from various Northern European folk traditions. It resulted in a score featuring deep choirs, pounding drums, shrieking brass and features Faroese singer-songwriter Eivør (Pálsdóttir). The American composer Bear McCreary is best known for his work on TV shows like Battlestar Galactica, Outlander, The

Tete Mbambisa has performed and recorded with many of the giants of South African Jazz (Bazil ‘Manenberg’ Coetzee, Johnny Dyani, Dick Khoza, Duku Makasi, Gideon Nxumalo, Dudu Pukwana, etc...), and is one of the very few South African jazz musicians that can claim to have played with the three jazz generations of the last fifty years. His work as a pianist, vocalist, composer and arranger is a landmark on South African jazz history.

After a recording hiatus, Mbambisa returned in 1974 with an octet album, 'Tete's Big Sound' released on a newly formed label, As Shams or The Sun, established by South African record store owner and independent producer Rashid Vally. 'Tet's Big Sound' included tracks like 'Unity' and the 'Black Heroes Lamentation', now considered a classic in the South African jazz underground. The sound that Mbambisa carved in this period was wholly acoustic, and is a style that now is often loosely labelled spiritual jazz, a sound that alludes to deep African textures and rhythms balanced with clear nods to American hard bop and modal jazz, sometimes edging toward free improvisation in echoes of John Coltrane and Pharaoh Sanders.

Previously unreleased on vinyl, ‘Sex O’Clock’ was
planned for release before Anita Lane’s untimely
death earlier in 2021 as a 20th Anniversary edition
of her timeless album.
 Initially released in 2001, ‘Sex O’Clock’ was
produced by Mick Harvey and features co-writes
with various Bad Seeds, along with unique
interpretations of other songwriter’s tracks
including Gil Scott-Heron’s searing ‘Home is
Where the Hatred Is’.
 Known for being one of the most creative forces to
come out of Melbourne’s post-rock scene, Anita
came to London in 1980 with The Birthday Party.
Credited as a co-founder of Nick Cave’s Bad
Seeds, Lane exerted a strong influence over the
band and co-wrote the universally acclaimed ‘From
Her To Eternity’ and the haunting ‘Stranger Than
Kindness’, whilst also collaborating with the likes of
Barry Adamson, Einstürzende Neubauten, Die
Haut and Mick Harvey on his celebrated Serge
Gainsbourg albums.
 First time on vinyl. Includes a printed inner sleeve
with lyrics and digital download code.

Baltimore, Maryland’s Angel Du$t have announced details of their new album ‘YAK: A Collection of Truck Songs’, which will be released on CD on 10th December on Roadrunner Records and the band have also shared the new song ‘Big Bite’, which is joined by a music video directed by Ian Shelton.

Vocalist / guitarist Justice Tripp commented, “People get really married to the idea of making a record that sounds like the same band. If one song to the next doesn’t sound like it’s coming from the same band, I’m ok with that.”

Put simply, Angel Du$t are the guys who do whatever you don't expect.

Produced by Rob Schnapf (Kurt Vile, Elliott Smith), ‘YAK: A Collection of Truck Songs’ follows Angel Du$t’s 2019’s album ‘Pretty Buff’, and sees the group channelling an anything-goes philosophy into their tightest, most forward-thinking material yet. Recorded over a two-month period in Los Angeles last year, the album is a rotating smorgasbord of percussion, guitar tones, effects, genres, and influences, fashioned in the spirit of a playlist as opposed to a capital-R ‘Record.’ The album’s 12 tracks span jangle-rock gems (‘Big Bite’), piano-spiked power pop (‘No Fun’), and a breezy duet with Rancid’s Tim Armstrong (‘Dancing On The Radio’).

‘YAK: A Collection of Truck Songs’ also features ‘Love Is The Greatest’, ‘All The Way Dumb’, ‘Turn Off The Guitar’ and ‘Never Ending Game’, all of which appeared on Angel Du$t’s 2021 EP ‘Bigger House’,

Breezy but determined as they imbue their laid-back acoustics with sharpness, Angel Du$t continue to prove they are band averse to boundaries. The band’s Roadrunner Records debut ‘Pretty Buff’ was produced by Will Yip and earned the band critical acclaim. Widespread international attention included UK praise from Kerrang! (“13 super-accessible, honest and artfully crafted songs… there’s lots to love about them”), NME (“the fun-first hardcore group bringing ‘90s pop-rock to the pit”) and The Line of Best Fit (“a cacophony of good times and soul”).

Blood On Satan’s Claw – AKA Satan’s Skin in the USA, is a cult British horror movie from 1971. It’s a film from the golden age of British horror, and one that ticks most of the horror connoisseur’s boxes - it stars the Devil, Olde England, it has nudity, strange ritualism, a fair smattering of blood and of course, sublime music. Produced by cult masters Tigon, this film was the perfect companion piece to their earlier Witchfinder General (1968). Set in rural 17th century England, it tells the fine story of a small village that quickly falls under the devil’s spell. It’s brilliantly told and quite beautifully shot with a very fine cast of superb character actors.
Over many years the film has slowly gained a cultish reputation, and there are rumours that good old Tim Burton is a very big fan and used the movie as an influence for his “Sleepy Hollow” production.
The score was never released. Written by Marc Wilkinson, former director of music for the National Theatre, this cult soundtrack takes its lead from “The Devil’s Interval”, but more about that in the next paragraph. Musical appearances from the Ondes Martenot (the earliest electronic instrument) and Cimbalom add to the overall spookiness of this recording. And in 38 years the music has lost none of its depth or addictive, evil hooks. The first pressing sold out many years ago and commands high prices. A repress has been requested for many years.
Here’s Marc Wilkinson’s thoughts…
“The descending chromatic scale which features throughout the music omits the perfect fifth (the only true consonant in the chromatic scale) and therefore highlights the diminished fifth, which ever since the middle ages in Europe has been known as the Devil's Interval!!”
BRIEF ARTIST INFO: Marc Wilkinson was musical director of the National Theatre throughout the 1960s. He scored a number of films in the late 1960s and 1970s including “If” for Lindsay Anderson. Wilkinson currently lives in France.

Limited edition coke bottle clear LP with download card.
Currently, there is a bleak outlook on global ecology. With glaciers melting at an alarming rate and wildfires decimating over 6 million acres of forest each year, it is clear; we as a species are running out of time to rectify our planet's destructive direction.
Italian ambient duo ILUITEQ has composed their second album, aptly titled The Loss of Wilderness, echoing our current ecological situation's sentiment. By way of meticulously crafted subterranean ambient utilizing guitars, piano, and a myriad of synthesis techniques, the duo of Sergio Calzoni and Andrea Bellucci create arcadian movements in memory of landscapes destroyed by humanity's negligence.
A strong yet bucolic statement from one of the newest additions to the n5MD roster

Yellow Vinyl

From his early years on the music scene in Edinburgh, Theo Kottis has built a buzz as one of the UK's most exciting DJs. He is also the curator of his own unique sound, crafted on his Beautiful Strangers series, and gained clout from star DJs the world over.

The Mirror EP is fronted by a euphoric party track inspired by Kottis' lockdown yearning for "the kind of party where you don't stop dancing" - and crafted perfectly for this purpose. The raw energy of breaks and rave piano stabs is permeated by Busola's pep talk, getting the listener and the dancer geared up for the summer of release after a year of restrictions.

On the B Side, "Onda" takes its name from the Spanish word for waves. This is a blissed out relaxation after the intensity of the A-Side, an ode to an Ibiza poolside which still maintains a strong groove. Playful
pads pop out under sublime strings for an instantly nostalgic vibe.

Theo Kottis words on the release "Earlier this year during peak winter lockdown, craving the kind of party where you don't stop dancing, I took matters into my own hands, producing this new single "The Mirror", featuring Busola - who is the life of the party - to bring euphoric sounds to my living room and now to yours.

The thought of the impending "Summer of Love" got me through lockdown and I wanted to create something energetic and fun to mirror that excitement. I'd seen Little Gay Brother, the LGBTQ+ party and community perform at many festivals and knew their vibe would be an ideal source for this raw energy - I was introduced to Busola who provided the ultimate summer of self-love pep talk, something we all needed to get back out there post lockdown!

The second track is a nod to my summer escape to Ibiza where I played Pikes poolside and spent time in the sea and watching waves - "ondas" in Spanish - to reset and relax.

Unforgotten is a British crime drama television series. The program follows a team of London detectives, led by DCI Cassie Stuart (Nicola Walker) and DI Sunny Khan (Sanjeev Bhaskar), as they solve cold cases of disappearance and murder. Each season deals with a new case, introducing seemingly unconnected characters who are gradually revealed to have some relationship with the victim. Seasons 1 to 4 were broadcasted between 2015 and 2021. A fifth series was announced, scheduled for release in 2022.

Unforgotten has received critical acclaim, with Tom Courtenay winning the 2016 BAFTA TV Award for Best Supporting Actor for the first series and Mark Bonnar winning the 2017 BAFTA Scotland for Best Actor in Television for the second series.

Michael Price is one of the UK’s most sought after composers. His debut album Entanglement (2015) was critically acclaimed by furthermore Rolling Stone, Uncut and Clash. His work for film and television has been widely recognized in general, winning an EMMY award in 2014, a BAFTA nomination and 2 further EMMY nominations for his score with David Arnold for the critically acclaimed BBC series Sherlock.

This is a limited edition contains of 1000 individually numbered copies on crystal clear vinyl. The LP package contains liner notes by Andrew Collins and Michael Price.

Rough Trade Records announce the release of the
15th Anniversary edition of The Long Blondes’
debut album, the acclaimed ‘Someone To Drive
You Home’.
 The home of a host of indie disco classics with its
noir atmospheres and vivid storytelling - qualities
that saw the record inspire recent, generationcapturing movie ‘Giddy Stratospheres’ which takes
its name from The Long Blondes’ iconic single -
the Sheffield band’s first album managed that rare
trick of capturing the 2000s zeitgeist while leaving
a timeless artistic mark for the ages.
 Initially inspired by the frisson of the indie disco -
now, fittingly, a classic of low lit dancefloors
everywhere - ‘Giddy Stratospheres’ is The Long
Blondes’ sophisticated calling card. A swirl of
razor-sharp guitars and vivid storytelling, waltzing
melodies and burning vocals, the Sheffield band’s
2000s single fizzes with dancing, desire and the
most stylish sing-a-long you’ll ever hear.
 The Anniversary edition of ‘Someone To Drive You
Home’, which was originally released in November
2006 and was produced by Pulp member Steve
Mackey, comes as a gatefold double LP, pressed
on to red and yellow vinyl to mirror the album’s
artwork - a picture of actress Faye Dunaway
painted by frontwoman Kate Jackson. The edition
features the original record, plus 11 additional
tracks that the band used on B-sides.

White Light, White Heat, White Trash is the fifth album by American punk rock band Social Distortion, which was originally released in 1996. The album is produced by Michael Beinhorn.

This album received the highest chart position, entering the Billboard
200 Album Chart at #27. In the first week of its release, it sold over
30.000 copies. It includes the hits “I Was Wrong”, “Don’t Drag Me Down” and a praised cover version of the Stones’ “Under My Thumb”. Stylistically, the album is considered a return to their hardcore punk roots. Social Distortion is one of the best-selling punk rock bands and continue to receive worldwide respect and support.

White Light, White Heat, White Trash is available as a 25th Anniversary Limited Edition of 4000 individually numbered copies on silver & black marbled vinyl.

Drawn from three sessions in 1958–59 that featured The Incredible Jimmy Smith in a quartet with tenor saxophonist Percy France, guitarist Kenny Burrell, and drummer Donald Bailey, Home Cookin’ stands as one of the most deeply soulful albums the Hammond B3 organ virtuoso ever made. The band gives a soul jazz symposium that covers tunes by Ma Rainey, Ray Charles, and Jimmy McGriff along with originals by Smith and Burrell. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Repress

Second release on Nina Kraviz (pronounced 'trip') label is another double-EP compilation this time entitled 'De Niro Is Concerned'.

'The idea of this compiled album/concept compilation is about one of those moments when you suddenly realise that you can't continue as you did before and there is no way back. I was in a 4am facebook chat with Reynier (Deniro) and we both thought Robert De Niro might have had a moment like that. Most of the tracks in TRP002 are live recordings, which is a key part of the label's concept: to release music that is abstract and very specific in texture, yet very human, unplanned and organic, because I really believe in music that captures the emotional moment of when it was made." Nina Kraviz

Featuring a great introductory track from the Icelandic wunderkind Bjarki, a superb collaboration between Nina and the seminal Exos, the legendary Steve Stoll delivers a brilliant acid groover, two classic techno tracks from Amsterdam based Reiyner Hooft AKA Deniro, the wonderful trance induced 'L'Importance De Doute' by Parrish Smith, a slice of melancholic techno from Nikita Zabelin and a welcome re-release of the legendary, highly sought after secret weapon Barcode Population - Barcode Population (which will be on the vinyl only) . An eight-track no-holes barred barnstormer of a double-pack.. !!

Narrow Head’s debut full-length record Satisfac- tion is available once again on vinyl for the first time since its initial release in 2016. Reissued by Run For Cover, this version of the album includes updated album art and a limited color vinyl release. While the band offered a handful of one-off sin- gles and demos prior to Satisfaction’s release, this record offers a perfect introduction to the Houston band’s world.

Narrow Head’s debut full-length record Satisfac- tion is available once again on vinyl for the first time since its initial release in 2016. Reissued by Run For Cover, this version of the album includes updated album art and a limited color vinyl release. While the band offered a handful of one-off sin- gles and demos prior to Satisfaction’s release, this record offers a perfect introduction to the Houston band’s world.

Italian bass collective D-Operation Drop marks their debut on Dub-Stuy Records with “Pon Pause SP”, a heavyweight 12”single featuring legendary singer Al Campbell. Formed in 2010, the six members of D-Operation Drop have a wide range of experience and production styles, releasing on various labels such as ZamZam, Moonshine and Lioncharge. For their first collaboration with Dub-Stuy, they connected with the great Al Campbell, a singer with a storied career working with Studio One, Lee ‘Scratch’ Perry’s Black Ark, and more. Together, they crafted a modern steppers anthem that seamlessly connects old and new.

‘The Centre is Everywhere’ is our first album. We created it in rather extraordinary circumstances, at a time when we were all slowly sinking into the banal dystopia of a pandemic-stricken world. Our lives, it felt, had slowed to a crawl. Normally we’re fuelled by our audiences, but touring was off the menu. So, we made this record. For us, it was personal.

In such an uncertain time, we wanted to play music that we loved. We ended up with a set of work written over a 120-year period – weightless and transcendent new music alongside Schoenberg’s anguished fin de siècle storytelling.

Edmund Finnis’ work in particular (the titular ‘The Centre is Everywhere’) is important to us. He’s a friend and a colleague, and it’s been a profound experience for us to live with this piece, to tour it, and to make the first ever recording. Somehow in the writing of it, Edmund seems to have prefigured the lack of certainty that has been one of the defining characteristics of this period. His music spins freely through time and space, wraithlike and beautiful.

Whilst recording both ‘Company’ by Philip Glass and ‘Transfigured Night’ by Arnold Schoenberg, we found ourselves drawn to a pervading sense of wildness and nature. The hypnotic rise and fall of the rhythms and textures in Glass’ quartet (presented here in an arrangement for string orchestra) feel quite separate to industrial, man-made structures and forms. Like Edmund’s work, these short movements feel out of time and cyclical, like eternally repeating tides or moon-phases.

Schoenberg’s masterpiece for string sextet opens on a moonlit forest scene, two lovers venturing through a bare, cold grove. We’ve tried to create a recording that paints the violent contrasts of this piece as vividly as possible, from the claustrophobic confessions that open the work through to the gleaming sound world of the second half. As the piece closes, our wooden, earthbound instruments seem to have been transmuted by the glamour and glow of Schoenberg’s music. We finish amongst the stars.

Headline performance at this summer's BBC Proms at the royal Albert Hall

‘Expressions of Interest’ is the debut album from Melbourne/Naarm post-punk group screensaver.

Sonically, the 10 track album is rich and detailed, and pays homage to its era of inspiration (late 70s-mid 80s post-punk and new wave) with gripping vocals, dissonant guitar, melodic basslines, washes of synths and motorik drumming. Engineered by Julian Cue alongside band member Chris Stephenson and recorded over multiple studio sessions between 2020-2021

The album opens with the ominously titled ‘Body Parts’, an immediately arresting song that showcases the bands penchant for blending classic post-punk elements, leaning into a sound somewhere between the Banshees and Protomartyr.

Maynard doubles down on these themes in the frenetic second track, ‘No Movement’. Guttural organ tones swim under overdriven guitar, jagged and intense. Additional textures and sound effects are used percussively to embellish the dynamics, creating a feverish atmosphere with some Martin Hannett like flourishes.

The album takes a surprising turn into electronic driven krautrock on track three with 'Buy, Sell, Trade' - a rollicking piece of danceable ephemera, dominated by swirling synth sounds and punctuated with electronics reminiscent of Sparks/Moroder collaborations. Chris Stephenson's masterful guitar work begins with Greg Sage-esque determination before a crescendo into a lush Frippertronics outro.

'MEDS' transports us back to the foundation established on 'Body Parts', a gothy piece, full of tribal toms and dirge-y synths. Industrial punk rock nearly swallowed whole by the keys in the middle and slowly building back to complimentary guitar and vocal hooks.

It's from this point in the album that the band let's their other influences rise to the surface, as they explore touches of EDM on 'Static State' - a brutal, death-disco style track, Krystal Maynard's lead synth and gloomy vocal complimenting the pounding drums and dub-esque bass line culminating in a track worthy of the dancefloor.


Opening side two we have 'Skin', beginning with a solid and simple backbeat, James Beck’s post-punk percussion provides a steady and minimal framework for the rest of the band to colour in with great depth and detail. Giles Fielke’s bass guitar wobbles brilliantly leading the verse melody, whilst Chris Stephenson’s guitar drives the chorus that folds neatly in on itself.

In ‘Attention Economy’, Krystal Maynard is flexible with her lyrical style, and knows how and when to lend her voice to the greater backdrop of the composition. ‘Attention Economy’ has an almost Kraftwerkian structure - repetitious, but engaging with its constant tom driven beat, lush synth lines and minimal bass tones.

Just when you thought things had slowed down, screensaver ramp things right back up again with ‘Overnight Low’ - a no holds barred thumper. Giles Fielke underpins the hard-edged sound with his bassline, keeping things smooth and tight. It brings to mind a hybrid of PiL’s ‘Annalisa’ and Wire’s ‘Two People In a Room.’

Before you can catch your breath, we have ‘Regular Hours’ - another industrial track, and perhaps the sister song to ‘Static State’ heard earlier on side one. Seething electronic drum samples cut through an abyss of growling synths, Giles Fielke hanging up the bass temporarily to accompany Krystal Maynard on synth duties.

The album closes with the fittingly titled ‘Soft Landing’, literally bringing the listener back down...softly. The song is heavy on atmos, and resembles the aesthetics previously encountered on ‘Attention Economy’ a few tracks earlier.

‘Expressions of Interest” was recorded at various locations across Melbourne, with a handful of songs being captured before the start of the Covid pandemic in January 2020. With the recording timeline being drastically altered, the band shifted focus to work on what would become their first single ‘Strange Anxiety’, throughout the first months of the Melbourne 2020 lockdown.

Initially released digitally on Christmas Day 2020 as a surprise gift to her fans, Tink's "A Gift and a Curse" was met with wide praise from fans and virtually every outlet. Celebrating the one year anniversary, Tink continues the holiday tradition with a limited edition exclusive pressing for her ride-or-dies. In keeping true to its title, A Gift and a Curse delivers themes of heartbreak, love, and all that goes in between.

50th Anniversary Re-Edition - Includes Original Releasesheet Inlay - Original Release: 1972 - 2021 Re-Cut carefully overseen by Manuel Göttsching

We proudly announce the authorised 50th Anniversary Edition 2021 of the 1972 Original release , one of the most important German Krautrock albums in a 2021 Re-Cut carefully overseen by Manuel Göttsching himself. As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book, Publisher : Head Heritage (1 Oct. 1995) : “Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I’ve written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off.

EPMD’s initial success in 1987 seemed to take a lot of people by surprise. Without build-up or fanfare, they launched this stunning debut 12” and, so ill-prepared were people for it, that the label was still misspelling their name.

Those early 12” copies of ‘It’s My Thing’ – and the hard to find UK 7” that followed shortly after – have them billed as EPEE MD. Before they were signed, they were going by EEPMD, but they decided to drop an E due to the success of the west coast’s Eazy E. The one person not surprised by their success, however, was hip-hop pioneer and producer Kurtis Mantronik, who actually signed them to Fresh Records.

It’s fitting that he’s the man that saw their promise, as he himself was one to go against the grain. His electro-influenced productions for Mantronix and Just Ice were ahead of their time, and perhaps in EPMD he saw kindred spirits. Because, at the time this dropped, hip-hop was going up tempo, taking its cue from James Brown samples and picking up the pace.

On both ‘It’s My Thing’ – underpinned by the languorous ‘Seven Minutes of Funk’ by The Whole Darn Family – and ‘You’re a Customer’, with its combination of ZZ Top and Steve Miller Band – Erick Sermon and Parrish Smith slow things right down. It gives their vocals time to breathe and allows us to enjoy the interplay of their metaphor and simile-heavy lyrics. As calling cards go, they don’t come any better than this.


• Stunning debut that has become a Hip Hop classic.

• Only previous 7” release very hard to find.

All Them Witches are an American rock band from Nashville,
Tennessee. The band consists of drummer Robby Staebler,
vocalist / multi-instrumentalist Charles Michael Parks Jr.,
guitarist Ben McLeod and keyboardist Allan Van Cleave.
 The band’s musical style incorporates elements from multiple
genres, such as hard rock, stoner rock, psychedelia, neopsychedelia, blues, folk and southern rock; however, Julian
Marszalek of The Quietus noted that: “... this isn’t blues of the
‘woke-up-this-morning’ variety but one of malaise, anxiety and
fear brought on a by world seemingly dead set on destruction;
nor is this an escapist variant of psychedelia wherein one form
of reality is jettisoned in favour of another for reasons of cheap
thrills.”

Mr Bongo is delighted to present a new and exciting collaborative project with Swedish label Piano Piano Records.

Hearing the Swedish outfit Sven Wunder for the first time is as refreshing as an ice-cold Limoncello after an Italian meal. One of those bands that feel instantly familiar like an old friend, yet simultaneously fresh and new. Straight away we fell in love with their sound and knew we had to work with them.

The first fruits of our partnership is a collector's edition 7”. We have selected two tracks of Turkish inspired funk goodness taken from their already cult-classic 2019 album, 'Doğu Çiçekleri (Eastern Flowers )'. Both instrumentals, 'Tulip' and 'Magnolia' could easily have come from a lost soundtrack to a psychedelic movie. With their beautiful, yet raw aesthetic, they will enthrall funk, B-Boy / Girls, and psychedelia fans alike.

Cut at the Timmion Records Cutting Lab in Finland.

All Them Witches have built a career out of playing music that cannot be pigeonholed into one specific genre.

‘Nothing As The Ideal’ was recorded in Studio 2 at the world famous Abbey Road with the help of longtime mixing engineer Mikey Allred. The history and vibe of that setting laid the groundwork for what was to come.

The band’s signature psychedelic blues riffs, relentless drums, melodic basslines and non-linear lyrics are all present.

The resulting album is a thought provoking headbanger that is the band’s most cohesive album to date.

140g black vinyl gatefold LP.

The Mighty Soulmates is a towering early 90s project from the legitimate super group of André Cymone (bass player with Prince), St. Paul Peterson (guitarist with The Family and Prince), Mic Murphy (of Sass and The System fame) and Gardner Cole (writer, producer and musician probably best known for his work with Madonna). The sound is a majestic blend of sophisticated funk, emotional R&B, New Jack Swing flava and slick deep soul.

These should-be legendary sessions have been almost a secret since they were recorded back in 1993. The first Be With knew about the project was whilst working with Mic on some Sass re-issues and he told us he had something else we might be interested in hearing.

Mic explained, “In the summer of 1993, Gardner Cole asked if I’d be interested in coming out to work with him, André, and St. Paul. So we all headed out to what can best be described as a fantasy music summer camp at Gardner’s house in Woodland Hills, California. We had all worked together in the past in some form or another so everyone was energized and enthused and excited to see what we could create together. St Paul and Andre had already begun some songwriting at Gardner’s well equipped home garage studio. The songs and ideas progressed quickly and some additional recording was completed at André Cymone’s studio in downtown LA. We ended up working on the project for about 6 months, off and on, until Gardner's house fell victim to the Northridge Earthquake in January 1994.”

There were some vague ideas at the time about turning the sessions into a finished record, but everyone went back to their day jobs and as St. Paul puts it: “for nearly 30 years it just sat there, marinating like a fine funk masterpiece. Everything has its right time and now just be the time”.

From all the tracks Mic sent over, we’ve cherry picked the absolute cream for a tight four track EP. In an alternate history all four for these would’ve been radio smashes. No doubt. But these songs never even reached a plugger. A mixture of beat ballads and uptempo non-hits, coming on like Al B Sure! or Babyface take on Shalamar or, dare we say it, The Purple One - maybe not so surprising given who’s playing!

The feel-good dancefloor dynamite of “I Wanna Be The One” is the explosive opening track. A piano-driven, groove-laden blast of yearning deep-pop, with perfectly delivered soulful vocals and an unmistakable “early 90s” sound. Indeed, fans of Eddie Chacon’s old group will dig this for days. “Back In The Day” has a timeless swing and swagger, the lyrics reminiscing about the halcyon streetlife of the Soulmates’ youth, about Curtis, Superfly and innocent days gone by, about hustling with friends. Yet more spine-tingling vocals over yet another perfectly produced musical backdrop. Stunning.

Opening side B, “Blue Tuesday” is the thrilling pinnacle of the EP, at least for us. It’s absolute soulful-pop perfection, and the one we’ve been asked about most after teasing this collection on our NTS show. A soaring beat ballad full of chiming guitars, gorgeous harmonising, falsetto “doo-doo-doo-doo do-do-do-do” backing vocals and a real steppers’ groove. Glide to this with your loved one at the next roller rink party.

Dramatic, purple-hued closer “Private Time” seems to predict the Timbaland-dominated sound of the mid-to-late 90s, all synthetic strings and squelchy, acidic-drum-machine soul. There’s even room for funky piano breaks, vocoder bridges and more cowbell than you can shake a cowbell at. You could just as easily hear Aaliyah vibing over this as much as Mic.

This EP represents the sound of four incredibly soulful, talented, and influential (soul)mates jamming together over one long hot summer and weaving pure sonic magic. André Cymone loved the “kinda pop, experimental exploration of sound and music. I think these songs make a statement. Not just because of the collection of talented musicians involved but the idea of musically branching out and experimenting; which is what I loved about the project and for people to hear and hopefully appreciate the artistic adventure this music takes, I think it’s a much needed breath of fresh air.” As Mic recalls, “it had the feeling of recovery in a circle with my dudes making music sitting around catching up on life - it felt like living a second childhood. We just wrote what we felt. I don’t remember ‘aiming’ at anything but a great song, melding all our different influences from throughout our lives. We had no restraints. For me personally, it was a time to make music and regroup. I call it the ‘Soulmate Experience’ because in many ways we are kindred souls as a band. We did have an amazing time making the record and so much fun together. Probably my best summer ever”.

The Mighty Soulmates EP has been mastered for vinyl by Simon Francis, cut by Pete Norman at Finyl Tweek and pressed at Record Industry. That early 90s gloss sounds spectacular, if we do say so ourselves.

And such a special record needed some truly almighty artwork, so thanks go to DJ Ruby Savage for directing us to London-based illustrator and designer River Cousin. This music needed something elegant and indulgent yet soulful and striking and something as simultaneously tongue-in-check and deadly-serious as the group’s name. The end result is as modern yet timeless as the music itself.

And these are just our four picks. There’s plenty more where this came from and Mic tells us he’s even picked the album title: “Earthquake Summer”.