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Nightports is based on a simple but unbreakable rule of restriction: only sounds produced by the featured musician can be used. Nothing else. These sounds can be transformed, distorted, translated, processed and reprocessed, stretched, cut, ordered and reordered without limitation. Nightports w/ Tom Herbert is the third in a series of albums from musician-producers Adam Martin and Mark Slater to be released on The Leaf Label, following 2018's Nightports w/ Matthew Bourne and 2020's Nightports w/ Betamax. Tom Herbert made his name as the bass player in Mercury Music Prize-nominated bands Polar Bear and The Invisible, and has become an in-demand collaborator and session musician, including work with Adele, Lana Del Rey and most recently The Smile. Having honed his craft holding the low-end down in some of the most forward-thinking British groups of recent times, and also appearing on some the biggest tracks of the last twenty years, Nightports w/ Tom Herbert brings Herbert's command of the double bass into the spotlight.

While Bobby Oroza puts the finishing touches on his next album, he treats us to this killer two-sider to end out 2021 and hold us over until the new record is finished. Bobby's debut album "This Love" made big waves around the world and amassed him a cult following from the US to Japan and everywhere in between. He found big love in the sweet soul scene early, but has since made fans in a myriad of circles and subcultures globally. It has by now become clear that his music is not just one thing, analog soul textured for sure, but also with an array of influences that span far beyond the soul ballad world. It is that inability to really nail down his sound that has become the biggest charm, an esoteric and profound passion permeate the lyrics and vibe of everything about Mr. Oroza. This new 7" shows off two sides of Bobby's song writing, an upbeat number on the "plug" side and a heavy duty ballad on the flip. The A side "The Otherside" is an optimistic tune that Bobby humbly shares his story about the troubles we can create for ourselves and the possibility of having a change of mind that frees us from them. The track is equally encouraging with its sunny energy that carries an important message from Bobby to anyone who is struggling and can't see a way out. The B side "Make Me Believe" is another instant classic for the slowie enthusiasts. A moody, soul bearing, cry for help that comes off with a sweet- ness.

Twice JUNO-nominated and two-time Polaris Prize listed, Toronto's soul songstress Tanika Charles unveils her album "Papillon de Nuit: The Night Butterfly".

"Papillon de Nuit: The Night Butterfly" is the third studio album from Canadian Soul/R&B powerhouse Tanika Charles and is slated to be released worldwide on Milan-based Record Kicks label on April 08th. Composed and recorded while in and out of lockdowns, "Papillon de Nuit" is an album anchored in growth and maturity. The thematic inspiration came from an unlikely source, a creature that soars after the sun sets, but often goes unnoticed until the light shines on it. It is the "papillon de nuit" to some, but drably referred to as a moth by others, revealing a bias in language alone.

"I always thought it was a strange insect. Once while in Paris, a friend swatted at one and I asked: 'Was that a moth?'. I was told: 'No, that's a papillon de nuit.' I thought that was the most beautiful description for this otherwise overlooked creature. When I later learned of the symbolism associated with it, I felt that really spoke to both my own situation and also what we've all been going through." Production on "Papillon de Nuit" was helmed by a mixture of old and new collaborators. The Safe Spaceship Records production team, consisting of Scott McCannell (Lydia Persaud, Claire Davis), Ben MacDonald and Chino de Villa (re.verse, Jessie Reyez), produced four songs on the album. The group also assisted as session musicians for songs produced by newcomer Todd "HiFiLo" Pentney (Allison Au Quartet, JUNO Award winner). "The Gumption" contributor Kevin Henkel ("Tell Me Something", "Look At Us Now") returned with three compositions, and old friend Jesse Bear (Sean Kingston, Stan Walker) contributed to one song.

Following the success of "Soul Run" (2016/17) and "The Gumption" (2019), Tanika had found a comfortable pace of releasing albums then hitting the road the following year to bring her show to new markets far and wide. So when things changed for all of us, and plans of touring "The Gumption" properly fell through, there was a realization that getting to work on the next project was the healthiest choice to make.

"I was in some dark places. My energy was stagnant and the only reliable constant was this perpetual uncertainty. I had gone from feeling like I was everywhere to only being in one place. From seeing so many new faces, to only my own, in the mirror, everyday and having to face that. Getting back to work on music allowed me to explore these feelings through the format I know best. And I wanted to make sure that when things were ready to resume, I'd be ready with something new for my audience too."

Tanika, who took part in the writing of most of the album, was also assisted by regular co-writer Robert Bolton ("Soul Run", "Remember to Remember") and accomplished solo performer Tafari Anthony (Priyanka, of RuPaul's Drag Race). Featured guests include the multi-disciplinary artist Khari McClelland and rising Toronto rapper, DijahSB. Both Dakarai Morris-James (Joanna Majoko, BeBe Zahara Benet) and Sean "D/SHON" Henderson ("Love Overdue", Serena Ryder) assisted with vocal arrangements across multiple songs.


"I think this album represents my best work to date. And yet, it also represents me coming to terms with who I am as an artist. For the first time I think I've actually accepted my own voice. I can hear beyond the imperfections, and I realized that when paired with the right music, it can sound pretty good. I still have my doubts and my dark places, but a little less of them."

To celebrate the tenth anniversary of the iconic HELP album a new generation of artists came together to create, at the time, the fastest recorded album ever. They recorded Help! A Day In The Life on Thursday 8th September 2005 which the record available for download just 32 hours later.Help! A Day In The Life is part of a series of four re-releases by War Child Records making the amazing music artists have donated to the charity available on DSPs and vinyl for the first time. All proceeds from these releases will directly fund War Child’s life saving work with children affected by conflict.

Growing up in the Californian sprawl and the vast suburbs of Phoenix, Arizona, Caleb Dailey largely dismissed the country and western music that surrounded him. Instead, he was drawn to independent rock, experimental zones, and other genre-defying forms, which led him to create skewed rock music with Bear State and establish the “minimal art label” Moone Records with his brother Micah Dailey in 2013. But in the early half of the 2010s, Dailey began to hear things differently. Drawn into the left-of-center works of artists like Gram Parsons and Blaze Foley, a more idiosyncratic take on country, folk, and roots music began to swirl in his imagination.

Wandering into the form’s cowboy chords and lonesome scenes, Dailey found himself wondering what his own country album might sound like. The result is his debut solo album, a collection of covers called Warm Evenings, Pale Mornings; Beside You Then. Produced by John Dieterich of Deerhoof, Keiko Beers, and Dailey himself, it’s a melancholy charmer, rooted in traditional ideas but free roaming in its scope. Laced with synths, pedal steel, acoustic guitars, and commanded by Dailey’s full and woozy voice, it owes as much to the busted waltzes of Lambchop and the homespun lo-fi folk of Little Wings (whose Kyle Field appears on the album via a spoken intermission) as it does to the songwriters and performers who provide its source material, which include Parsons, Foley, Elvis Presley associate Chips Moman, steel guitarist Buddy Emmons, and others.

“The subversive nature of country music isn’t as much at the surface as some other genres,” Dailey says. “But the deeper down the ‘country hole’ I went, the more I wanted to be part of it. It is truly a strange world.”

The hands of Dailey and his collaborators, which includes a wide roster of DIY experimentalists like James Fella of art punks Soft Shoulder, Jay Hufman (Gene Tripp), Lonna Kelley of Giant Sand, Japanese DIY hero’s Koji Shibuya and Tori Kudo, Nicholas Krgovich, Markus Acher of The Notwist, and more, that strangeness is accentuated. Dailey doesn't aspire to retro Nashville fetishism or sanctioned notions of “realness” so much as a genuine outsider authenticity. Take his version of Gordon Lightfoot’s “If You Could Read My Mind” for example: a highlight of the record, it pairs familiar genre signifiers like pedal steel and guitar strums with warbled synths. Then there’s his read of “Dreaming My Dreams,” originally made famous by Waylon Jennings (who also did time in the Arizona desert), which morphs from a mournful ballad into a wash of far-off sonic noise.

The attention here is on the songcraft itself, with Dailey inhabiting these songs and turning them inside out to reveal unexpected tenderness and playfulness.

Recorded at home with an acoustic guitar and 4-track, Dailey began open correspondences with his collaborators, who fleshed out ideas and added touches, often working with skeletal frames before Dieterich and Dailey shaped it into a cohesive whole. “John is the reason this album exists,” Dailey says. “He sculpted all these parts together in such an otherworldly way. He is truly a magician.” Deeply allergic to insincerity, Dailey avoids any trace of irony. He’s created a cohesive gem out of disparate parts, uniting Americana songcraft with experimental disassemblage. From this bric-à-brac, he’s made something touching and beautifully strange.

Dengue Fever on Vinyl! This Deluxe Reissue contains 5 bonus tracks not
availble on the original release / w download
Fronted by amazing vocalist Chhom Nimol, Dengue Fever has surprisingly
universal appeal - Chhom herself is already quite accustomed to seizing the
hearts of listeners (including the King and Queen of Cambodia), as she comes
from a family best considered as a Cambodia pop music dynasty– not unlike a
Cambodian version of the Jacksons. The rest of the band is no flake-fest either,
consisting of Zac Holtzman (Dieselhed) and his brother Ethan on Farfisa organ,
Senon Williams (Radar Brothers), David Ralicke (Beck) and seasoned drummer/
engineer Paul Smith. Their covers stay remarkably true to the crazy party music
spirit of the '60s- and '70s-era originals. But there are also original songs, some of
which veer off into the darkened corridors of lost love and ghostly noir
romanticism, dissolving sometimes into spaces of genuine bleakness and
tragedy — all in the Khmer tongue. Far from mere novelty or cheap Orientophile
thrill, Dengue Fever keeps listeners on their toes, dancing to their way-out tones.
The Deluxe Reissue contains 5 bonus tracks not availble on the original release.

Gold Vinyl

'You Belong There' ist Daniel Rossens ausgefeilte und eindringliche Betrachtung dessen, was nach dem rastlosen Enthusiasmus der Jugend kommt. Es ist eine fesselnde 10-Song-Wiedereinführung in eine Stimme, die sowohl völlig vertraut klingt, als auch durch den Akt des ungehinderten Ausdrucks und der neu gefundenen Selbstsouveränität völlig neu belebt wird. Fast zwei Jahrzehnte lang war Rossen entscheidender Bestandteil von Grizzly Bear, deren gemeinsame Harmonien und verschachtelte Texturen die Musik der frühen 1980er neu interpretierten. Er ist auch Gründungsmitglied der gefeierten Folk-Electronica-Band Department of Eagles. Vor vielen Jahren verliess Rossen die Enge Brooklyns, zog zunächst ins New Yorker Hinterland und dann nach Santa Fé, wo er in seinem Haus in der Wüste langsam die Welt von 'You Belong There' aufbaute. Rossen besorgte sich Kontrabass, Cello und Holzblasinstrumente und spielte fast alle Songs selbst ein, wobei Chris Bear von Grizzly Bear als Gast auf 'Tangle' mitwirkte.

The previously unrecorded Drone Mass was described by its composer, the late Jóhann Jóhannsson, as “a contemporary oratorio”. Written for voices, string quartet and electronics, it was commissioned and premiered by the American Contemporary Music Ensemble, aka ACME, who toured and recorded with Jóhannsson for almost ten years. Now they have made the world premiere recording of this richly atmospheric work, in collaboration with Grammy Award-winning vocal ensemble Theatre of Voices, conducted by Paul Hillier, also a multiple Grammy Award-winner. The members of both ACME and Theatre of Voices worked closely with the composer many times, both in the studio and in multiple live performances and tours, before his untimely death. Drone Mass is an extraordinary, mysterious accomplishment which at times bears comparison with the meditative minimalism of composers such as Arvo Pärt or Henryk Górecki. Beginning with strings and voices, but slowly integrating Joìhannsson’s electronic techniques into its landscape, the work represents what the Icelandic composer called “a distillation of a lot of influences and obsessions”.

Following up This Time, Al Jarreau released his eighth studio album Breakin’Away in 1981. It soon became the standard bearer of the LA pop and R&B sound and remains his best and most popular effort to date. It spent two full years on the Billboard 200 and was certified Platinum by the RIAA. Breakin’Away was nominated for Album of the Year at the
1982 Grammy’s and won him Best Male Pop Vocal Performance.

The album was produced by Jay Graydon and features top-level musicians including Steve Lukather (Toto), David Foster and George Duke. Breakin’ Away contains four tracks that became individual hits, “We’re In This Love Together”, “Breakin’ Away”, “Teach Me Tonight” and “Roof Garden”.

Breakin’ Away is available as a limited edition of 1500 individually numbered copies on crystal clear & pink mixed coloured vinyl and includes an insert.

Genuine, warm, almost primal house music to celebrate the first release of Time To Play Records, a label founded by Filippo Tazzer on the wave of the ten-year Vicenza party dedicated mainly to black music. The debut of the label bears the signature of Reekee, Emilian producer founder of Wrong Notes Records and globally recognized for the releases on Uzuri Rec. And the prestigious collaborations with artists such as Kai Alcé, Erik Rico, Patrice Scott and Alex Attias .Side A opens with “Don’t look back”, which will then also be the title of the ep, in which you breathe the air of Detroit for the construction of a powerful and hypnotic rhythm, embellished with refined piano turns. Then follows Butterfly, who blends the intense bond between Reekee’s exquisitely house background and his passion for jazz, which is touched with light keyboard virtuosity.On the B-side, Reekee “completes his work with Wanna be Away” by flirting with his Drum machine to reach the territories of the broken beat. The ep is completed by a remix of Don’t look back signed by Colosimo (it will be his second release of Time to Play records), capable of essentially working on the drums of the song and giving it an acid touch perfect for the most energetic tracks.

His first single Come On, Let’s Go was recorded in July 1958 at Studio B of the Gold Star Recording Studios. Phil Spector was also recording To Know Him Is To Love Him with the Teddy Bears, and dropped by Studio B to say hello to Ritchie. Released a couple of weeks later, Ritchie’s debut quickly became a number one in Los Angeles. The record went on to be named ‘Pick Of The Week’ in September’s issue of Billboard, soon reaching #42 on the national charts. Valens’ follow-up was Donna, which went to #2 on the charts in January 1959. Not only was the record a hit, it was almost eclipsed when radio DJs discovered the Bside, La Bamba, which Valens described as “an old Mexican folk song they play at weddings”.

This also became a hit, though it only reached #22 – although when La Bamba, the 1987 biopic of Valens was released, the title song went to Number One. From this point on Valens spent most of his time touring the West Coast and beyond, and also managed time for several TV shows and a movie appearance in Go, Johnny Go! So put this record on right now. Let’s go!

In the galaxy of popular music, Elvis Presley can lay claim to his very own constellation. It is not just the global record sales he accumulated, or the No. 1 hits from all over the world - nor even the songs made famous from his film career...It is simply that it is now impossible to imagine the world of music without 'The King'. Some forty years on from his untimely death, his enduring legacy still
prevails. A musical debt acknowledged by Bob Dylan, The Beatles and Rolling Stones.

A globetrotter in the most pure and respectful sense, away from the trappings of neo-colonialist ventures and predatory tourism, Discrepant head honcho Gonçalo F. Cardoso returns to his Island impression series to offers us another glimpse of his deep, abstract impressions of (an)other island.

After passionately collecting the sounds and lives inhabiting the main Island of Zanzibar, Unguja, released through Edições CN back in 2018, Cardoso now dwells into the Malaysian heartbeat of the Borneo forest through Island recordings made during a trip in 2016. Assembled in situ with meticulous craft from portable recorders, samplers and battery powered synths, these nice recollections conjure the spirits that lurk behind the inhabitable and the communal that are as much part of a personal memoir as an impressionistic portrait open to new meanings. Focused compositions that flow organically, bending the environment in & out of shape into a new dreamlike exotica with plenty of breathing room for every detail, silence and movement to surface.

A particular moment suspended in time, haunted perpetually by its bygone existence. Something no postcard or photograph could ever, ever come even close to.

Repress in soon!!

Morning Trip & Yoga Records are proud to finally reveal one of the ultimate lost masterworks of new age music: Alice Damon’s Windsong. Gently propelled by Damon's haunting breath-of-life vocal winds reminiscent of Joan La Barbara underscored by field recordings and Damon's fretless bass sound calling to mind mid-70 Joni Mitchell, Windsong is traveling music, for the roads or for the skies. Instantly moving, it conjures vistas both romantically familiar and cosmically mysterious — waterfalls and wind, the voice of the earth, as heard through heavenly prisms.

Damon attended college in Massachusetts, where she formed and fronted the all-female garage band called The Moppets in the late 60s. The band began to garner national attention, but Damon moved instead to the wilds of northern Vermont to homestead and raise a family. In 1981 or thereabouts she was able to gain use of an early Sony digital home recorder, and created her masterwork, Windsong.

But Damon waited until 1990 to release a packaged version of this album, now titled "Windsong II", and sent samples to regional distributors like Vermont’s fabled Silo-Alcazar, where a copy of the album was first discovered, but little evidence exists of a proper commercial release. Alice Damon passed on in 2011 and remained essentially unknown until the landmark I Am The Center: Private Issue New Age In America 1950-1990 first revealed her genius to a wider audience two years later. Now, just in time for the recording's 40th anniversary, Alice Damon's Windsong may at last be heard as one of the most singular, moving and profound examples of new age music's psychedelic essence. Morning Trip & Yoga
Records proudly present Windsong.

To celebrate the tenth anniversary of the iconic HELP album a new generation of artists came together to create, at the time, the fastest recorded album ever. They recorded Help! A Day In The Life on Thursday 8th September 2005 which the record available for download just 32 hours later.Help! A Day In The Life is part of a series of four re-releases by War Child Records making the amazing music artists have donated to the charity available on DSPs and vinyl for the first time. All proceeds from these releases will directly fund War Child’s life saving work with children affected by conflict.

Previous album released on Dead Oceans. Previous album was a collaboration with Brian Eno. Past press coverage from Pitchfork, SPIN, The Guardian, Drowned in Sound, Dusted, The Quietus, and many more. Since the release of his last album 2017’s Finding Shore, a collaboration with Brian Eno pianist and singer-songwriter Tom Rogerson’s life has undergone a number of dramatic transformations. While writing his new album Retreat to Bliss, Rogerson had a child, lost a parent, and received his own diagnosis of a rare form of blood cancer. The new decade brought him from Berlin to the Suffolk of his childhood, composing profound pieces of minimal songwriting in the church next to his parents’ home. Rogerson studied composition at the Royal Academy of Music under mentors like Harrison Birtwistle, and he made his live debut as an improvising pianist in 2002, before releasing an improvised record with Reid Anderson (Bad Plus) and Mike Lewis (Happy Apple, Bon Iver) in 2004. He formed the band Three Trapped Tigers in 2007, expertly blending elements of electronic, jazz and noise rock into a cohesive whole. The band earned a reputation for innovative live shows and went on to perform and collaborate with artists like Brian Eno, Deftones, and the Dillinger Escape Plan. It was working with Eno, another Suffolk native, that eventually led Rogerson back to his roots and back to a place where he could write Retreat to Bliss, his solo debut album. “All my life, the piano has been my constant companion, my confessor, my best friend, and my worst enemy,” Rogerson explains. “I’ve always written music on and for the piano, but it felt too personal, too private to release.” Indeed, listening to Retreat to Bliss feels almost like eavesdropping, as though you’re crouched in the belfry of a Suffolk church, bearing witness to a form of musical bloodletting. For the first time in his noteworthy career, Rogerson has combined masterful piano playing and subtle electronics with the texture of his own voice, an attempt to express deeply private emotions that were difficult to articulate using instrumental music alone. “The last few years have brought some struggle, some joy, and a lot of change. My response has been to retreat to what I trust the most: the piano, my voice, and the landscape I grew up in. That’s how the album got its title, and how I came to be ready finally to release a solo record.” The eleven tracks that make up Retreat to Bliss were recorded by Leo Abrahams (Brian Eno, David Byrne, Grace Jones) over the course of just a few days, a process that emphasized spontaneity and the artist’s own commitment to improvisation. Secular yet devotional, intensely personal yet profound, the experience of listening to Retreat to Bliss seems to evade characterization. It’s physical and emotional, a glimpse into the mind of an artist who has chosen exposure over withdrawal, who uses his command of the piano to chart an unflinching path forward, never looking back. UK press campaign by Someone Great. Press Quotes "A meeting of minds that is full of rewarding surprises, challenging and surprising one another, and their listeners, with music that feels alive and wondrous…” Pitchfork // "Both mournful and dazzlingly optimistic, a taste of the conflict found so ofen in nature and reflected so elegantly across the course of the record.” The Line of Best Fit // "Many avant-garde instrumental albums exist to craf a mood; Rogerson and Eno merge these moods, sounds and themes together efortlessly and radiantly on Finding Shore” Exclaim // Track List 01 Descent 02 Oath 03 Buried Deep 04 Toumani 05 Drone Finder part 2 06 Chant 07 Rapture 1 08 Open Out Span Wide View 09 A Clearing 10 Retreat To 11 Coda

Scott Walker, PJ Harvey, Coil, Matmos, Autechre & Pan Daijing. 180g LP with inner, 12”x24”poster + DL card. The Debut Full-Length By Montréal Producer Kee Avil, The Project Led By Avant/Improv Guitarist Vicky Mettler, Also Known As A Member Of Sam Shalabi’s Land Of Kush And As Co-Founder Of Concrete Sound Montréal. Advance Single “See, My Shadow” Premiered By Mary Ann Hobbs On BBC6 And Picked Up By Music & Riots, Backseat Mafia, Aural Aggravation, Etc In Dec 2021. Kee Avil, a project led by Montréal producer and guitarist Vicky Mettler: a singular expression of fractured dream logic concretized in chiselled postpunk guitar, sinuous low-end electronics, a panoply of organic and digital samples creating alternately twitchy and propulsive rhythm, and the anxious intimacy of her finely wrought lyricism and vocals. Bound by an outstanding production sensibility throughout, Crease unfolds one oblique earworm hook after another, with compositional innovation anchored to an inscrutable and compelling voice across 10 songs of tremendous and imaginative sonic detail. Kee Avil brings a contemporary electroacoustic sensibility to bear on traditions and conventions of pop, postpunk, electronic and sound-art songwriting, where touchstones range from Scott Walker and Coil to Fiona Apple, (early) PJ Harvey and (later) Juana Molina to Eartheater, Pan Daijing and Smerz; or Grouper produced by Autechre. Her unconventional alloys also conjure the guitar-inflected deconstructions of Gastr del Sol and the crystalline micro-worlds of Bjork, Matmos and Rashad Becker. Crease is one of those debut records that excites a wide range of peerless references precisely because it's so compelling in its own idiosyncratic authority, originality and execution. Each song on Crease is its own sculpture, meticulously assembled to resemble disassembly: “each of these worlds was built without consideration for the other; it felt impossible to me, once I would enter the atmosphere of a song, to try to start another until that idea was finished.” The album nonetheless unfolds in impressive holistic integration through a palette of textures and techniques deployed in recurring but continually refracted ways. Alongside her superb austere guitar work stitched into electro-industrial, dark-ambient and minimal-techno soundworlds, it’s her voice and lyrics confidential, hermetic, implacable that provide the galvanizing, always captivating through-line. Her more compositional, exacting, (de)constructed musical identity was first unveiled with the self-titled Kee Avil EP (Black Bough Records) and further honed by pre-pandemic tours sharing stages with Pere Ubu, Marc Ribot and Bill Orcut among others. Woodshedding since then, Crease presents a quantum leap in Kee Avil's exploration of studio-based experimentation, arrangement and production, signaling the arrival of a brilliantly genre-melding, refined and assiduous new voice in avant-garde songcraft.

Having received critical acclaim for releases 1 and 2, ‘Marc Riley Sessions Volume 3’, features 9 tracks recorded for the award winning BBC Radio 6 Music show in 2015 and 2016. “The two sessions on this compilation feature many songs that appear on

‘Going, Going...’ the studio album that The Wedding Present released in 2016. ‘Going, Going...’ itself was an extensive audio-visual

project recorded over the space of eighteen months in Provence, Liverpool and Seattle. Track listing: A. Tracks 1-4 Recorded 04/11/15 1. Ten Sleep (Going, Going… 2016) 2. Broken Bow (Going, Going… 2016) 3. You Only Live Twice 4. 1000 Fahrenheit (Valentina 2012) B. Tracks 1-5 Recorded 08/09/16 1. Rachel (Going, Going… 2016) 2. Bear (Going, Going… 2016) 3. Jumper Clown 4. Kill Devil Hills (Going, Going… 2016) 5. Santa Monica (Going, Going… 2016)