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UK label Dawn State continue their hot streak this summer with further eclectic moods for the dance floor and beyond. On the tools for the fifth outing on the label is KIDWHO, a blossoming talent who through the last years whilst enduring the pandemic found light by burying himself in his studio experiencing new creative flows. The “Warez House” EP varies in tastes, similar to the highs and lows of the times that just passed us by.

Diving into the deep end is the title track, “Warez House”, loopy and hypnotic, swaying between shades of low end leaned house and techno. Off kilter synths and pads maneuver their way around the driving force of the track. “It came together layer by layer, eventually turning into a dense (and at times, unruly!) groove. A final touch
of atmospherics from an old Roland ROMpler and the track was done - bar a generous helping hand in mixdown from Joel Kane (who also turned out a heads-down dub version which might make an appearance!).”

Leaning in a more hazy direction is the blissful cruiser, “Leploop Lagoon”, a deep and emotive vibe crafted especially for the early mornings. A sophisticated deep house energy from the talented producer. “‘Leploop Lagoon’ is the oldest track on the EP, a cleaned-up version of a rough jam I made around four years back. It takes its name from the Leploop, a quirky semi-modular analogue groovebox of sorts, hand-built in Italy. A very unique and unpredictable machine, it’s on bass duties here as well as providing some percussion sounds via the MPC sampler.”

On the flip side lies “Spectral Pattern”, and it packs a certain punch. The rolling arrangement converses in harmony with icy hi-hats that flash in and out teasing the energy, all of the elements having space to breathe and work their magic.“‘Spectral Pattern’ came together quickly one very productive weekend in the studio last year. It developed from the bass sequence, which comes from a Yamaha TG-33, an unassuming 80s digital synth known for its glassy mix of ROM samples and FM tones - very New Age sounding, or 90s computer game soundtracks. But when you strip it back to basics, it punches hard in the low-end.”

Slipping on to the B side is a five minute transcendental trip, offering yet another series of textures to this otherworldly EP. The final track “At Least We Hav Music” is an ethereal soundscape waiting to be explored, wandering amongst ambient realms throughout. “The label was keen to include an ambient track on the release, and I wanted to record something specially for them. At first I had in mind something droning and melancholic, but after a few experiments with cassette
loops and reverb pedals this was the one that stood out. It was recorded during one of the lockdowns, and I guess I needed to create something that sounded more hopeful than brooding. I messaged DS boss Tom Haus with a rough version, and we went on to have a grumble about the gloomy state of things, locked-down in our respective cities and missing friends, family, activities… At some point I wrote ‘at least we have music’ - and almost as soon as I had sent it I knew I had found the track’s title. I’m very lucky to have had my home studio as a refuge through the long months of lockdown, and I’m honoured to have the chance share some of my output from this period on this record.”
KIDWHO fitting the Dawn State ethos to a tee here as they set up shop for what looks to be another fantastic release. “Each of these tracks came about in quite different ways. Like many creative people, I had moments of struggle during the pandemic, where the lack of variety and day-to-day stimulation lead to periods of writer’s block, and so I used those times to focus on smaller, more manageable projects such as making synth patches, recording sounds and and throwing together short loops in my samplers for later use. A number of
these short loops eventually laid the foundations for title track ‘Warez House’. Big thanks to Dawn State, Joel Kane, El Choop and everyone else who has helped make this happen.” -

KIDWHO

Following the relaunch of his Breakbeat Kaos label with Dancing In The Dark alongside Buunshin, DJ Fresh drops the full ‘Dancing In The Dark’ vinyl package, including a very special A.M.C remix of Heavyweight.

Over 20 years since he set the D&B world alight with his Bad Company crew, DJ Fresh is returning to his roots, relaunching Breakbeat Kaos with heavy-hitting, raw and undiluted D&B designed to destroy the dancefloor.

One of the most respected D&B labels of all time, Breakbeat Kaos helped launch the careers of Pendulum, Sigma, Chase & Status, Nero and the Brookes Brothers. Now the label is set to make a legendary impact once more. It relaunched with a fresh look and team that encapsulates the same core values as before, guiding the label back into the pole position that originally placed D&B on the mainstream map, whilst nurturing and showcasing new music from exciting and emerging talent.

Having returned to the world of gritty D&B, his first release back on Breakbeat Kaos saw Fresh team up with rising producer Buunshin for the ‘Dancing In The Dark’ single that landed no.1 on the D&B Beatport Chart and no.4 on the overall Beatport Top 100.

The love from the scene was overwhelming with Radio 1’s Drum & Bass show host René LaVice making Dancing In The Dark his Track of the Week and everyone from UKF, A.M.C, Andy C, Pendulum, Wilkinson, Mollie Collins, The Prototypes, Doctor P, N-Type, TC, Sub Focus and so many more reaching out with support and excitement about the return of DJ Fresh and Breakbeat Kaos.

‘Dancing In The Dark’ marked a skyrocketing new beginning for the label and is set to continue the impressive relaunch with the Vinyl package ready to be unleashed. Including legendary producer A.M.C steps up for a remix of Fresh’s D&B iconic anthem Heavyweight. Three-times Best DJ winner in the Drum&BassArena Awards and renowned for his razor-sharp, four-deck performances, A.M.C is part of the last generation of DJs to graduate from original dubplate culture. So, there is no one better suited to update one of the biggest D&B anthems ever made. A.M.C delivers the ultimate rework with playful jungle breaks and bass-face ready drops set to cause damage on packed dancefloors.

From a humble storefront studio located in a shoeshine parlor on Norfolk, Virginia's Church Street, Noah Biggs built a world. Hustler by day, gambler by night, the always-in-a-suit Biggs took a gaggle of off-brand singers and combined his connections and charisma to forge timeless soul music during a period of deep upheaval. Compiled here are 25 of Shiptown's most compelling sides recorded between 1965-1977, from the likes of Ida Sands, The Soul Duo, The Anglos, Dream Team, The Grooms, Positive Sounds, Barbara Stant, Wilson Williams, Art Ensley, and yes, Flip Flop Stevens.

From a humble storefront studio located in a shoeshine parlor on Norfolk, Virginia's Church Street, Noah Biggs built a world. Hustler by day, gambler by night, the always-in-a-suit Biggs took a gaggle of off-brand singers and combined his connections and charisma to forge timeless soul music during a period of deep upheaval. Compiled here are 25 of Shiptown's most compelling sides recorded between 1965-1977, from the likes of Ida Sands, The Soul Duo, The Anglos, Dream Team, The Grooms, Positive Sounds, Barbara Stant, Wilson Williams, Art Ensley, and yes, Flip Flop Stevens.

Snatch's label boss Riva Starr steps up to the plate to deliver delectable edits of two early 2000’s club classics. First, he joins forces with Mark Broom for a Star B extended remix of Bob Sinclair - I Feel For You with the duo looping the vocal hook and juiced up beat to maximum effect. The result is a star studded, disco house stomper.

On the flip Riva goes solo, offering up a tasty-and-cheeky edit of one of Groove Armada's most successful tracks to date, 'Superstylin'. Riva’s fresh-sounding rework features most of the original’s main ingredients but tweaked and manipulated to fit around a stomping new house groove.


DJ Feedback:

Laurent Garnier - Very cool disco track

Todd Terry - always banging

Hector Romero - The classic that keeps on giving. H

Sam Divine - Dopppeee!!!

Mixmag - Star B always delivers

Kiss FM - vibes!!

Jamie Jones - the remix of superstylin is dope!!

Hot Since 82 - sick armada remix is pretty heavy oooosh…. nice work x

Fatboy Slim - LOVING that mix of 'supersylin'!

Loco Dice - I dig !

Maya Jane Coles - I did like the edit of the classic

Tiger Stripes - Classy!

Huxley - feeling the superstyling edit!!

Solardo - big

DJ Mag Spain - coooool tunes!

Rocksteady Disco returns with a remix record for the first time since 2018, with new versions from Igor B, Blair French, Dazzle Drums, and Eddie Logix. The whole EP takes heavy inspiration from Pan-African sounds, with Ontario-based Igor B leading the release with a drum and sub bass heavy dance floor reimagining of Moonlighter’s iconic “Give Us Rain (Ah Mila)”. Blair French picks up where Igor left off, channeling his inner King Sunny Ade for his remix of Sol Power All-Star’s “Every Time You Move”. He taps in Jazzanova’s Paul Randolph for electric bass duties, dubs out Frank Martin’s (Elcados, Shina Peters, Tyna Onwudiwem, and many more) guitar, and extends DC-based Besufekad Tadesse’s baritone sax solo for afro dance floor bliss. The flip side goes even deeper, with Tokyo-based Dazzle Drums giving Eddie Logix’s “Sunday Palaver” the hi-fi Afro Tech treatment, perfect for those dingy after hours parties. The release closes with Eddie Logix’s reinterpretation of Nois Land’s cult classic “Big Kahuna”, reimagining it in a balearic-esque disco-not-disco mid-tempo stomper that highlights Peter Croce’s electric guitar performance.

Coming 40 years after he first started performing in bands in his native North West of England, Butterfly Mind is the most surprising release yet from Tim Bowness. From the short, sharp shocks of Always The Stranger and Only A Fool to the long-form ambition of the sensuous Dark Nevada Dream, the cinematic Electro-Ballroom of Glitter Fades and the dystopian paranoia of Say Your Goodbyes Parts 1 and 2, Butterfly Mind delivers a thrilling fusion of Art Rock invention, Post-Punk energy and epic soulful ballads. Tim’s seventh solo album features the stellar rhythm section of Richard Jupp (in his first major session since leaving Elbow) and Nick Beggs alongside a spectacular guest list including Ian Anderson (Jethro Tull), Dave Formula (Magazine), Peter Hammill (Van Der Graaf Generator), Martha Goddard (The Hushtones), Gregory Spawton (Big Big Train), Mark Tranmer (The Montgolfier Brothers / GNAC), Saro Cosentino (Franco Battiato), Italian Jazz musician Nicola Alesini, US singer Devon Dunaway (Ganga), Stephen W Tayler (Kate Bush) and, marking his first studio work with Tim for nearly three decades, former No-Man violinist Ben Coleman. Produced by Tim Bowness and Brian Hulse (Plenty), the album was mixed and mastered by Steven Wilson. Available as Limited 2CD Edition (featuring alternate mixes and bonus material), and a Limited 180g LP + CD edition featuring special die-cut artwork by Carl Glover. Also available as Digital Album.

A Boogie Wit da Hoodie will be releasing his third studio album ‘Artist 2.0’ on vinyl on the 5th August.

The Bronx-bred artist Artist Dubose, better known as A Boogie Wit Da Hoodie, first hit the rap scene with the breakout hit “Still Think About You” which was featured on his 2016 debut mixtape, ARTIST. The mixtape also introduced fans to “My Shit” which went on to become RIAA certified platinum and was also listed as one of “The Best Songs of 2016” on Apple Music. A Boogie quickly proved himself to be one of the game’s newest heavyweights after XXL dubbed him as “one of the hottest and newest up-and-comers in hip-hop” and included him in the 2017 Freshman Class. The young star also went on to release the 3x platinum “Drowning feat. Kodak Black” along with the platinum certified singles “Jungle” and “Timeless.” A Boogie went on to release his highly anticipated, now gold certified, debut album, THE BIGGER ARTIST, which quickly sprung into the Top 5 on Billboard’s Top 200. He also became the top emerging acting in the U.S. as he simultaneously sprung to #1 on Billboard’s Emerging Artists chart.

It is easy to see why The New York Times named A Boogie “the most promising young rapper the city has produced in some time.” A Boogie earned a BET Award Nomination for “Best New Artist” at the end of 2018 in addition to releasing his gold-certified sophomore album, HOODIE SZN, which made its debut at #2 before spending three non-consecutive weeks at #1 and maintaining a stunning 17-week streak within the top 10 on the Billboard Top 200 chart. The album also soared on streaming, garnering over 83 million streams the week it went #1. Following his latest album as well as his sold out “A Boogie Vs. Artist” tour, there’s no doubt A Boogie will continue to make waves and redefine the sound of New York rap.










[i] 9. Calm Down (Bittersweet) [feat. Summer Walker]

180g audiophile vinyl reissue of Mary Lou Williams' highly sought after
1976 LP 'Free Spirits', featuring bassist Buster Williams and drummer
Mickey Roker
The First Lady of jazz, Mary Lou Williams (1910 - 1981) was the evolution of jazz
itself. Starting her professional career as pianist/composer/arranger in the 20s,
her style was swing but in the '40s she adopted the bop and later on she even
ventured into the realm of avant-garde jazz. Yet she never lost her blues feeling
which is evident in this long-awaited LP.
She contributed compositions and arrangements for many famous big bands
such as Andy Kirk, Benny Goodman, Earl Hines, Duke Ellington and Dizzy
Gillespie. In the late '60s and the '70s she was more focused on composing
sacred music. And one of her jazz masses was choreographed by Alvin Ailey.
Around the time of this recording Mary Lou in her mid-60s was still active in the
New York jazz scene performing regularly at the Cookery with the group recorded
here. SteepleChase was proud to have the opportunity of recording one of the
most significant artists of jazz of this century.

City Jazz is a collection of re-imagined Japanese and Cantonese
classics, which is a veritable journey through sonic styles and emotion,
riddled with well-thought-out arrangements and creative interpretations
that simply cannot be done any better by any other group of musicians
As the main man/musical director/producer/pianist of 4te!, KRIZ B was quoted
saying in a previous interview: "it's always a big challenge and not as easy as it
would seem, re- imagining these well- loved classics; my task is to spin it 180
degrees yet maintain the melody and the spirit of the song," City Jazz is a very
entertaining and well-rounded album for both the novice, casual listener, and has
the rare ability - in its accessibility - to reach even the most discerning aficionado
of the genre

DJ Rap is without a doubt the Queen of Jungle and Drum ‘n’ Bass! With a career spanning three decades she has earned that title through immense talent and endless hard work, and from having been there from the start of the rave scene, producing some classic slices of breakbeat hardcore, jungle and D’n’B. Spiritual Aura is one of the biggest of her releases, and the DJ Rap Gets Raw Remix is her darker slice of the original. But the flip is even darker with a classic Ray Keith Remix! Fully remastered and sounding better than ever, this is a must for any classic junglists.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

In late 1961 Spector formed Philles Records with Lester Sill, buying his mentor out the
following year. The slogan was ‘Tomorrow’s sound today’, and Phil Spector proceeded to live
up to that boast. Three-track tape machines were then state of the art, and he perfected the
method of ‘bouncing’ the tracks to get the biggest possible sound. As time went by, his ‘twominute symphonies for the kids’ would be increasingly gilded by his ‘everything but the kitchen
sink’ production including Strings, Percussion and banks of Vocals. Spector gained his
second U.S. chart-topper and his first as a Producer in 1962 with the Gene Pitney penned,
He’s A Rebel. Spector became increasingly obsessed by the production process. ‘My records
are built like a Wagnerian opera. They start simply and end with dynamic force, meaning and
purpose. I dreamed it up.’ He retired from the music business, returning only sporadically to
work with first The Beatles (their Let It Be album, plus solo LPs by George Harrison and John
Lennon), plus a handful of other artists including Dion, Cher and the Ramones.

7A Records announces the release of Dolenz, Jones, Boyce & Hart’s original studio and live albums. In the mid-1970s promoters were trying to reunite the Monkees, but with Michael Nesmith and Peter Tork unavailable, it was suggested that Micky Dolenz and Davy Jones team up with Tommy Boyce and Bobby Hart to tour as ‘The Golden Great Hits Of The Monkees Show - ‘The Guys Who Wrote ‘Em & The Guys Who Sang ‘Em’’. The group signed a deal with Capitol Records to record a self-titled studio album of new material. They later released a live album from their tour of Japan. Both albums have been unavailable and out of print for many years. 7A Records have tracked down the original master tapes, that were presumed missing for at least 27 years, and remastered both albums for this release. Available as deluxe 2CD and 2LP sets, the CD version will include a big 40 page colour booklet featuring extensive liner notes and previously unseen photos. The 2LP version comes in a gatefold sleeve and is pressed on special 180g Green, Black and Yellow Quad Vinyl.

2 Reggae sweet tunesand 2 massive Dub verses...

BIG as expected !

• Esther Marrow began singing professionally in the early 60s. Her big break came in 1965 when she was asked by Duke Ellington to take part in his ground-breaking Concert of Sacred Music at the Grace Cathedral in San Francisco. Marrow toured with the Duke Ellington Band as well as Harry Belafonte and came to the attention of Bob Thiele who recorded and released this debut album on his Flying Dutchman label in 1969.

• Musically, it’s a compelling mix of funk and soul, occupying similar terrain to Alice Clark’s great album that was released on Mainstream in 1972. For example, Jesse Stone’s ‘Money Honey’ is given a crunching funk arrangement and is one of three tracks that tempt collectors to pay big money for an original copy; ‘Walk Tall’ and ‘Chains Of Love’ are the other two. ‘Chains Of Love’ was originally recorded in Detroit by J.J. Barnes and became a Northern Soul classic. ‘Walk Tall’ is one of the album’s highlights and features music originally written by pianist Joe Zawinul and performed by Cannonball Adderley, with lyrics by James Rein and Morrow. It has become something of a jazz standard, but no version ever bettered this original track.

• Add to the mix the lush string driven power of ‘Peaceful Man’, ‘Mama’ and a tilt at the classic ‘What A Wonderful World’ and you have a truly wonderful album.

• Pressed on 180gm vinyl, we have remained faithful to the original pressing replicating the Flying Dutchman label style and gatefold sleeve.

In 1994, Sator released the cover album "Barbie-Q-Killers" where the band made their own versions of "obscure" punk songs!
The album quickly became a favorite among the band's fans and the demand for a sequel have followed the band ever since.

Now, the wait is over! We proudly present the album "Return of The Barbie-Q-Killers" the long-awaited sequel, which is the band's tribute to bands like Redd, Kross, Devo, Blitzkrieg Bop, 999, The Waves, Pointed Sticks, The Undertones, The Boys, Zero boys, The Last, Unnatural Ax, White Flag, Screamers, The Go-Go's, The Young Lords, Darby Crash Band, The Normals and many more!

Saturday Night pogo rules OK!

Sound Like: the nomads, wilmer x, docenterna, ksmb, dundertåget, mimikry, the scams, union carbide productions

Fear Factory ist eine amerikanische Industrial-Metal-Band, die 1990 in Los Angeles gegründet wurde. Im Laufe ihrer Karriere haben sie neun Alben veröffentlicht, ein zehntes Studioalbum ist für 2021 geplant. Sie haben sich durch eine Reihe von Klängen entwickelt, alle im Hauptstil von Groove Metal und Industrial Metal. Die Band hatte großen Einfluss auf die Heavy-Metal- und Industrial-Szene, vor allem Mitte bis Ende der 1990er Jahre, inspiriert aber auch heute noch junge Musiker. Soul Of A New Machine ist das Debütalbum der Band für Roadrunner Records und wurde am 25. August 1992 veröffentlicht.

Top roots outing from the mellow canary on this dreadlocks man 1979 classic, backed by the Roots Radics in full effect on the big showdown Scientist dub. Both tracks produced by Henry "Junjo" Lawes and recorded at Channel One studio. Limited one-time press only, 7-inch-single with Jah Guidance label prints in a grey/white sleeve with Barrington Levy and "Junjo" images. European pressing.

Alien Transistor present Alien Parade Japan, a joyous double-album compilation of groups from Japan’s indie-pop and avant-garde undergrounds, all of which feature brass or woodwind instruments as part of their line-up. Compiled by Markus Acher (Alien Transistor, The Notwist, Hochzeitskapelle) with plenty of support and help from his Spirit Fest bandmate, Saya (also of Tenniscoats), it features some familiar names – Tenniscoats, naturally, but also Zayaendo, Tori Kudo’s Maher Shalal Hash Baz – alongside lesser-known groups like Biobiopatata, Mitamurakandadan?, Kourakuen, sekifu, and Noah Lewis Mahlon’ Taits, amongst many others.

The collection of songs here rests upon a simple question, and an interesting parallel: Why do so many groups from Japan include brass and woodwind, and how closely does this echo the scene that Acher is involved with in Munich? The idea was formulated in Acher’s mind after one of his groups, Hochzeitskapelle, had been invited by Saya to Japan in 2019, to take part in the Alien Parade Japan tour. “Saya and her friends recommended a lot of music to me that I didn’t know of,” Acher recalls, “and I was surprised and excited to find so many Japanese bands who use brass and woodwind instruments.”

This approach was something Acher had been familiar with for a while, thanks to his experiences in Munich: “Until then I thought of the Munich scene, where Hochzeitskapelle come from, as being quite unique in having ex-punk and still-indie musicians form loud acoustic bands with many brass instruments and play a wild mixture of styles.” And indeed, that variety is reflected in the twenty-two songs on Alien Parade Japan, which flits from the pastoral melody of Maher Shalal Hash Baz’s “Crossin The Tama River”, through the tenderness of various sighhorns’s “people have called them flowers”, to the folksy lament of Gratin Carnival’s “Just Watching”.

Alien Parade Japan reaches further afield, too, drawing in some groups, like HOSE, Fuigo, and popo, that feature musicians like Toshihiro Koike, Masafumi Ezaki and Taku Unami, who may be better known for their experimental and improvised releases on labels like ftarri and Erstwhile. It also looks back to material recorded in the 1990s - the swinging slide guitars and sax/tuba duet of Strada’s “Swamp”, from 1998, and Compostela’s energetic, rousing “ghhgh”, from 1990. Both pieces were written by, and feature, saxophonist Kanji Nakao; Compostela’s membership also included late saxophonist Masami Shinoda, who was also part of such storied Japanese groups as Pungo, A-Musik, Orquestra Del Viento, Ché-SHIZU, and the fiery free jazz outfit, Seikatsu Kōjyō Iinkai.

Groups like Compostela help to draw some through-lines to the aesthetics of chindon’ya, a type of Japanese marching band made up of costumed street performers who advertise businesses; the music made by these bands is brash, spirited, and full of energy. Alien Parade Japan weaves all of this together – chindon’ya; jazz; indie-pop; psych-folk; big band – into one beautiful, big tapestry of gorgeous melody, sweetness, and melancholy, with plenty of creative fraying at its edges. “The collection is a very personal view of Japanese bands using brass and woodwind instruments,” Acher concludes: “it’s not a representative anthology, it’s mainly held together by my personal taste, experiences, and friendships.” But it’s also a wonderfully coherent collection of some of the most playful and elated music you’re likely to hear this year. As musician and writer David Grubbs says:

„Now it is confirmed: my favorite genre of music is Alien Parade Japan. Hopefully now people will know what I’m talking about when I gush about the unassailable brilliance of longtime favorites like Maher Shalal Hash Baz, Popo, Mitamurakandadan?, Hose, and Tenniscoats, presented here alongside others whose music I have only begun to search out. Please share in my gratitude and enjoyment of this lovingly assembled collection, one that I welcome into my home as I would a long-anticipated guest.“

A Ride is the new dark alt-country concept album on the road by Phill Reynolds, to be released on June 17th, 2022 by Bronson Recordings; Like all the best concept albums, A Ride takes you on a journey. This one concerns the last three days of an American runaway’s life. Part road-trip, part engrossing mystery, part search for redemption, it’s the fictional tale of a troubled man whose past comes back to haunt him. Via eleven intimate, chronologically-sequenced songs, we travel with him. There are epiphanies and dream sequences, drunken dive-bar nights and chats with Jesus and Lucifer. As the narrator battles with his dark side, it is ultimately we, the listeners, who must weigh-up and flesh-out his story. According to its creator Phill Reynolds, AKA Italian alt-country singer-songwriter Silva Martino Cantele, the key to The Ride’s mystery might lie within its fifth song, A Clockwork Dream. “That’s where we discover that, because of some kind of courtroom trial, the narrator has lost someone who was very important to him”, Reynolds explains. “But we never find out her name or her relationship to the main character. Is she a blood relative? Is she his wife or someone else?”. The origins of A Ride go back to 2015. On tour in the US, Reynolds took in the shifting landscapes, the people he met and their stories. All of this fed into the album he recorded at the all-analogue TUP Studio in Brescia, near Milan. Reynolds played almost all of the instruments himself and co-produced A Ride with long-term collaborator Bruno Barcella. If A Clockwork Dream features a full band arrangement – “I think of it as the kind of thing Neil Young & Crazy Horse might do on a Sunday morning”, says Reynolds – other songs are sparer, more intimate. Banjo, Fender Rhodes, harmonica and glistening slide guitar all feature as Reynolds delivers haunting confessionals such as Run, Run Away and The Fault Is Mine, songs likely to appeal to fans of artists such as Damien Jurado, Strand Of Oaks or For Emma, Forever Ago-era Bon Iver. Intricate, rapid-fire fingerpicking on the first single This Isn’t Me and The Call of The Dark demonstrates Reynolds’ dexterity, while his voice is a rich, fully-lived in instrument seasoned with the salt of experience,and strengthened by the 120 or so gigs a year he used to do before COVID took his one-man show off the road. Long an inhabitant of picturesque Italian towns in the Vicenza province, Phill Reynolds was born in Marostica and currently lives in Zugliano. He was only five when The Beach Boys’ Barbara Ann worked its magic upon him via the radio. Later a fan of ‘90s Californian punk bands, Reynolds was writing and performing in his own post-hardcore bands by 13, but didn’t make it to the nearest big city, Milan, until he was 19. Bands still matter deeply to him. But his love for folk music has deepened over the last decade or so, hence his solo act alter-ego. Where did the name Phill Reynolds come from? “Everybody asks me this,” he smiles. “Especially in the UK. The truth is I needed an alternative name for a gig I was doing, and at the time I was in love with the music of Phil Ochs and Malvina Reynolds. Malvina Ochs didn’t sound too good to me, so I became Phill Reynolds, and I like that, because it sounds like a normal person”. The esteemed Italian label Bronson Recordings will release his fourth solo album A Ride on June 17th, 2022, on CD, vinyl and digital. A Ride is the most ambitious and fully-realised Phill Reynolds album to date. He was assisted by Stefano Pilia (lead guitar on Dive Bar Oblivion), IOSONOUNCANE (backing vocals, synth, bass and field recordings on World On Fire), and C+C=Maxigross (bass, drums and backing vocals on In The Dark). The record’s story is a dark one, but not one without hope. “Every end is a new beginning”, says Reynolds. “One of the main themes here is that life can be a sort of trap unless you recognise your own demons and try to deal with him. So we must be prepared and try to live well”.

Bringing together some of the most incredibly spellbinding songs from a masterclass in song writing and one of R&B's biggest forces in the development of
black music. More than any other artist on the planet, Stevie Wonder's music has crossed the divides and cemented different races and generations with
million-selling records that offer both depth and jubilation. Greatest Hits Live celebrates the journey to worldwide success with a sublime collection of live
performances that not only capture his most iconic hits, but also the soul of the man who made them.
Get Yer Vinyl Out invites you to experience the legendary Stevie Wonder, performing hit after hit, live on stage, in a sensational and exclusive collection.
Superb, professionally remastered original broadcasts, presented with background liners and timeline photos.
Tracks recorded at ‘Wonderlove’, Soul! TV, New York City, NY, 19th November 1972 (WNET 13); Masonic Temple Theatre, Detroit, MI 14th April 1984 (WRIFFM); ‘NYC Song Competition Awards’, Madison Square Garden, New York, NY 27th September 1986 (WNEW-FM) and Fox Theatre, Atlanta, GA, 28th
November 1988 (WREK-FM).
A 180g Eco mixed vinyl release, pressed on randomly mixed colour compound and presented in a deluxe gatefold sleeve.

One of the most active bebop trumpeters, Kenny Dorham started in the big bands of Mercer, Ellington, Lionel Hampton, Billy Eckstine and Dizzy Gillespie and eventually landed in the Charlie Parker Quintet. In addition, he was a charter member of Art Blakey’s Jazz Messengers, recorded as a sideman with Thelonious Monk and Sonny Rollins and replaced Clifford Brown in the Max Roach Quintet. Throughout his career he can be heard playing trumpet on various recordings with Lou Donaldson, Sonny Stitt, Fats Navarro, Kenny Clarke, Mary Lou Williams and many more musical legends.

“Quiet Kenny” is a jazz masterpiece. Recorded by the great Rudy Van Gelder with a group of musicians playing at the top of their game, this title continues to be one of the most collectible Jazz LPs due to its high demand and short supply.


PLAYERS:

Kenny Dorham, trumpet
Tommy Flanagan, piano
Paul Chambers, bass
Art Taylor, drums

Released in 1957, Loving You did very well at box offices around the world. In the UK the album was issued on 10-inch vinyl and topped the album charts featuring popular tracks Mean Woman Blues, (Let Me Be Your) Teddy Bear, Got A Lot O' Livin' To Do!, Party, Lonesome Cowboy, Hot Dog and the title song Loving You. In the US, the album was issued on 12-inch vinyl with four extra additional tracks
topping the US album charts for 10 weeks. Those four songs are equally strong with Elvis covering Blueberry Hill, I Need You So and Have I Told You Lately That I Love You? Plus, the original version of Don't Leave Me Now, which he would later re-record for his next film, Jailhouse Rock. The reception of the film placed
Elvis among the biggest selling box office stars, and he was now managing both a musical and acting career with the call of the US Army draft.

Taking inspiration from the likes of Isaac Hayes and Lonnie Liston Smith, ‘Piggyback’ is up-tempo and simmering from the off, with synth strings building tension in the intro alongside a menacing guitar riff and haunting brass stabs.

‘Piggyback’ is a social commentary on the idea that we all become more successful only by associating with people higher up the ladder than ourselves.

‘Deeper In Love’ sees Corbin return to his soulful roots, drawing influences from the likes of Al Green, Syl Johnson and Leroy Hutson to create a smooth groove helped along by some stunning horns and backing vocals.

Speaking about the song Nick says, “Lyrically it was partly inspired by John Legend’s ‘Ordinary People’ - I wanted to write a love song about how challenging times can bring people closer together. The last year or so has really tested a lot of relationships and I felt it was important to have light and shade.”

Recorded at Ernie McKone’s Boogie Back studio in North London, Nick is supported by a stellar line-up of musicians including Mick Talbot on Hammond and Wurlitzer and the dream team horn section of Tom White (Labrinth) and Paul Jordanous (Rag 'n' Bone Man).

Sunny Ozuna is a living legend and a man worthy of praise on many levels. In the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than Sunny is. He became a star right out of high school in the late `50s and hasn't looked back in the seven decades since. Among countless other honors and notable achievements, Sunny was the first Latino artist to appear on Dick Clark's "American Bandstand" (in 1963). He penned "Smile Now, Cry Later," a hit for him and The Sunliners, which along with the theater masks that grace the album's cover, became staples in the Chicano Soul and Lowrider Soul cultures. We have been fans of Sunny & The Sunliners' music for a long time. We first got in touch with Sunny to try to reissue some of his records in 2013 but we didn't sign a deal until 2015. It took a trip to San Antonio and then two years of steady phone calls before they decided "if you have been chasing us for this long, you must be serious." With Sunny's blessing we started getting everything mastered, scanned, and planned. First we released 2017's Mr Brown Eyed Soul Vol. 1 compilation that put rare 7" sides next to some of his biggest hits and mixed in some choice album cuts for good measure. In the wake of that, we released three of Sunny's full lengths with their original track lists and art: Smile Now, Cry Later, Little Brown Eyed Soul, and The Missing Link - all of which were Record Store Day releases that raised money for the victims of 2017's Hurricane Harvey. For the 7" collectors, we reissued 45s, making some very hard to come by sides widely available again and pressing some tunes on the format for the first time. In 2020, as an homage to Sunny, we released Dear Sunny... a compilation of Big Crown artists covering Sunny & The Sunliners songs. Through all of this we were able to do what we set out to do: get Sunny's music to a new audience of people and make it all accessible and available again to his existing fanbase. Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His music and the music that it directly influenced are seeing a resurgence in popularity in the last few years. With any luck at all, our efforts played some small part in that, and on that note, we present Mr Brown Eyed Soul Vol. 2 - another compilation curated by us, where we dig a little deeper into Sunny's catalog and pull some lesser known gems that hold court with his hits. Hats off again to Mr Brown Eyed Soul himself, San Antonio's own, Sunny Ozuna, we are sure you will enjoy the music.

Sunny Ozuna is a living legend and a man worthy of praise on many levels. In the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than Sunny is. He became a star right out of high school in the late `50s and hasn't looked back in the seven decades since. Among countless other honors and notable achievements, Sunny was the first Latino artist to appear on Dick Clark's "American Bandstand" (in 1963). He penned "Smile Now, Cry Later," a hit for him and The Sunliners, which along with the theater masks that grace the album's cover, became staples in the Chicano Soul and Lowrider Soul cultures. We have been fans of Sunny & The Sunliners' music for a long time. We first got in touch with Sunny to try to reissue some of his records in 2013 but we didn't sign a deal until 2015. It took a trip to San Antonio and then two years of steady phone calls before they decided "if you have been chasing us for this long, you must be serious." With Sunny's blessing we started getting everything mastered, scanned, and planned. First we released 2017's Mr Brown Eyed Soul Vol. 1 compilation that put rare 7" sides next to some of his biggest hits and mixed in some choice album cuts for good measure. In the wake of that, we released three of Sunny's full lengths with their original track lists and art: Smile Now, Cry Later, Little Brown Eyed Soul, and The Missing Link - all of which were Record Store Day releases that raised money for the victims of 2017's Hurricane Harvey. For the 7" collectors, we reissued 45s, making some very hard to come by sides widely available again and pressing some tunes on the format for the first time. In 2020, as an homage to Sunny, we released Dear Sunny... a compilation of Big Crown artists covering Sunny & The Sunliners songs. Through all of this we were able to do what we set out to do: get Sunny's music to a new audience of people and make it all accessible and available again to his existing fanbase. Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His music and the music that it directly influenced are seeing a resurgence in popularity in the last few years. With any luck at all, our efforts played some small part in that, and on that note, we present Mr Brown Eyed Soul Vol. 2 - another compilation curated by us, where we dig a little deeper into Sunny's catalog and pull some lesser known gems that hold court with his hits. Hats off again to Mr Brown Eyed Soul himself, San Antonio's own, Sunny Ozuna, we are sure you will enjoy the music.

The genre re-defining chameleons of Hard Ton are back on Schrödinger’s Box with their own brand of style splitting acid house disco. Bigger is Better, a double EP album, has all the depravity and drama you would expect from these disruptors. “Be Somebody” is a proud call to a dirty beat; chin up, chest out and let the claps and hi-hats fly. Flanger effect units are pushed to the max in “Trip To Your Mind”, an acid dripping, falsetto bending banger. Rhythms collide and sweat hits the floor in the body jacking “You Want Me” before new age rave mantra of “Transcend Your Body” with its steepling synth stabs and 303 barbs. The close, “Girls and Boys,” is inspired by a Brit Pop hit. Beefed-up, muscled-up, this club ready weapon will bring the house down.

• From critically acclaimed composer, producer and multi-instrumentalist Bobby Krlic comes the Ivor Novello-nominated Original Soundtrack to Returnal™. Returnal is a roguelike psychological third-person shooter developed by Housemarque and published by Sony Interactive Entertainment. The game launched last April on PlayStation 5 and won several end-year accolades, including Best Game at the 18th British Academy Games Awards.

• Best known for his work as the Haxan Cloak, Bobby Krlic brings his experience as an award-winning to Returnal, imbuing the score with a gritty and experimental quality that matches the tone of the third-person shooter game. Punctuated by atmospheric strings and intensely foreboding synths, the music captures the high stakes energy of the futuristic world.

• Published by Milan Records the score to Returnal is now available on vinyl and is pressed on a transparent yellow vinyl housed in a dress jacket.

• The album marks Krlic’s first-ever video game title as lead composer and follows his critically acclaimed, award-winning scores for director Ari Aster’s Midsommar, Hulu’s Reprisal, TNT’s Snowpiercer and The Alienist, and more. With each project, Krlic adds new elements or experiments with techniques that he has never used before. Returnal was no exception. His creative process began in a similar way, as usual, tinkering away with melodies and themes on his acoustic instruments. But much like the ever-shifting environment in the game, the acoustic roots of Returnal’s sound shifted, allowing Krlic to venture further into the world of modular synthesis.

• “With Returnal, it felt to me that they wanted to do something with that genre that I hadn’t really seen before. In the game, when you die, you never die. You wake up back at this crash where your spaceship landed. The landscape is ever so subtly changing every time you wake up, so you have this constant feeling of disorientation that grows bigger and bigger. I thought that concept was so cool. There were so many ideas that I could build into the music from that.”- Bob Krlic

Sunny Ozuna is a living legend and a man worthy of praise on many levels. In the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than Sunny is. He became a star right out of high school in the late ‘50s and hasn’t looked back in the seven decades since. Among countless other honors and notable achievements, Sunny was the ­rst Latino artist to appear on Dick Clark’s “American Bandstand” (in 1963). He penned "Smile Now, Cry Later," a hit for him and The Sunliners, which along with the theater masks that grace the album's cover, became staples in the Chicano Soul and Lowrider Soul cultures. We have been fans of Sunny & The Sunliners' music for a long time. We fi­rst got in touch with Sunny to try to reissue some of his records in 2013 but we didn't sign a deal until 2015. It took a trip to San Antonio and then two years of steady phone calls before they decided "if you have been chasing us for this long, you must be serious." With Sunny's blessing we started getting everything mastered, scanned, and planned. First we released 2017's Mr Brown Eyed Soul Vol. 1 compilation that put rare 7" sides next to some of his biggest hits and mixed in some choice album cuts for good measure. In the wake of that, we released three of Sunny's full lengths with their original track lists and art: Smile Now, Cry Later, Little Brown Eyed Soul, and The Missing Link all of which were Record Store Day releases that raised money for the victims of 2017's Hurricane Harvey. For the 7" collectors, we reissued ­ve 45s, making some very hard to come by sides widely available again and pressing some tunes on the format for the ­rst time. In 2020, as an homage to Sunny, we released Dear Sunny... a compilation of Big Crown artists covering Sunny & The Sunliners songs. Through all of this we were able to do what we set out to do: get Sunny's music to a new audience of people and make it all accessible and available again to his existing fanbase. Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His music and the music that it directly in‑uenced are seeing a resurgence in popularity in the last few years. With any luck at all, our efforts played some small part in that, and on that note, we present Mr Brown Eyed Soul Vol. 2 – another compilation curated by us, where we dig a little deeper into Sunny's catalog and pull some lesser known gems that hold court with his hits. Hats off again to Mr Brown Eyed Soul himself, San Antonio's own, Sunny Ozuna, we are sure you will enjoy the music. Tracks: Side A 1 I Can Remember 2 Sitting In The Park 3 Give Me Time 4 Should I Take You Home (Keyloc Version) 5 If I Could See You Now 6 Come Back Baby 7 Viva Mi Triestesa Side B 1 Runaway 2 Sharing You 3 I’ve Never Found A Girl 4 Together 5 I’m No Stranger 6 Best Of Both Worlds 7 Baby, I Apologize

Decomposed recalls classic American hardcore like Bad Brains, Poison Idea and Jerry’s Kids or Japanese ragers like Paintbox, The Comes, Eiefits and Skizophrenia. But there’s also a healthy slug of classic UK and US punk and even a bit of Krautrock, psychedelia and Black Sabbath in there too. Nottingham has always been a melting pot for heavy music. For a small city, it has boasted more than its fair share of genre defining bands and artists, not to mention record labels. Bands cross-pollinate, form projects and offshoots and play one-off gigs that would result in lengthy careers and world tours if they had happened across the Atlantic. It has always been like that there. No big deal (but yet, a really big deal if you know). One such band/project/offshoot were Endless Grinning Skulls. Formed by guitarist Andy Morgan (also from Bloody Head, Army Of Flying Robots, Nadir and countless more), drummer Steve Charlesworth (Heresy, Wolves Of Greece, Meatfly, Geriatric Unit) and bassist Gords (Hard To Swallow, John Holmes, Geriatric Unit) in the early twenty-teens, they re-set the bar for the 3-piece hardcore band before (perhaps inevitably) burning out in 2018. Morgan and Charlesworth weren’t done though. They’d forged a bond in EGS and wanted to carry on playing together so - in a familiar Nottingham storyline - they recruited former Pitchshifter guitarist Stu Toolin on bass and Anmarie Spaziano (who you might know from running a famous burger joint) on vocals and formed Blind Eye. They knew Toolin was about to relocate to Portland, Oregon so they wrote and recorded an EP (released on Morgan’s own Viral Age Records). Quick-sharp. No messing about. And that – by rights – should have been that: over and out. New band please. However, the demo captured a rare intensity and vitality that more considered projects often fail to achieve. This was a band let loose, free from previous shackles and loving the noise they made. It seemed a shame to stop there. Recruiting Matt Grundy (a former bandmate of Morgan’s in both Nadir and Dead In The Woods) to the bass vacancy they went back to Stuck On A Name Studios in 2021 with Ian “Boulty” Boult at the helm again and delivered the album Decomposed.
Decomposed genuinely rocks out without losing one iota of the effervescent anger that made the demo such an essential listen. From the insistent, minimal opener Ready To Go Now via the unhinged thrash of Straw Man and the menace of the stomping Pero No Quieres, to the measured chugging and epic crescendo of closer Broken Star, this record is a fucking blast. Needle off, flip it back over, play it again. Your neighbours are loving it so much they’re banging on the walls to tell you. “I suppose the intention was to write high energy, catchy hardcore, with a nod to what has come before, but also to do our own thing,” explains Andy. “Lyrically, the album was written during the pandemic, and although it’s not ‘a pandemic album’, I think it deals with a lot of the feelings of loss, separation and isolation

Évariste is one of the rare specimens of artist-cum-scientists. Among his kind stand others like Pierre Schaeffer, a Polytechnique graduate (an engineer but also the father of musique concrète) and the eccentric Boby Lapointe (graduate of the École centrale and inventor of the Bibi-binaire system, patented in 1968). Évariste's songwriting, joyful and full of energy (albeit extremely critical), shrouds an original tragedy: born in 1943 among résistants, Joël Sternheimer (aka Évariste) grew up without a father, lost to Auschwitz. Although he makes little reference to Jewish culture in his music, his origins leave their mark: in 1974, he sings a Hebrew song on television. In 1966, the young Joël sports Princeton's colourful paraphernalia - that's because he's freshly returning from the US, where he was sent to pursue his research on "particle mass and the interpretation of observed regularities, such as the effects of a wave" (will understand who may). When he gets there the country's in the midst of the Vietnam War. With McNamara keen to find an alternative to the nuclear weapon and calling upon the country's biggest brains to undertake the task, there's a "fund shift" within the university - a diplomatic way to give notice to whoever may not be disposed to follow the government's scheme. Joël, who's under the supervision of a rebellious physician, is dismissed. He regardless keeps following the prestigious seminaries of the Institute for Advanced Study, chaired by Oppenheimer, inventor of the atomic bomb. Likely inspired by the hippie movement and music, Joël buys a guitar and starts playing in Washington Square - after all, Bob Dylan himself started there. He blithely skips Oppenheimer and receives a warm (though surprised) welcome from a crowd thoroughly unfamiliar with French. When the ageing physicist questions him about his decreasing attendance, Joël explains how drawn he is to music, and how he thinks it could help him in self-financing his research. Évariste recalls seeing the sickened man, his face torn by remorse, lighten up to his words and say: "What's keeping you - go for it! If I was still young that's exactly what I'd do." The student takes these words as a testimony from his professor - and it's enough to convince him . And so he takes the leap during the Christmas vacations he spends in Paris. A journalist friend he often sees around the Sorbonne introduces him to the artistic director of Disques AZ. The latter passes the tapes on to the label's boss, Lucien Morisse, also program manager on Europe N°1. Morisse is blown away - and signs him onto the label right away. Michel Colombier, arranger for Serge Gainsbourg and co-author of "Psyché Rock", with Pierre Henry, contributes some of his original ideas to the 7 inch "E=mc2": Évariste's preoccupation with the percussion sound on the track "Le calcul intégral" is that it goes "poom poom" and not "tock tock" - Colombier is aware of the issue and records Évariste's guitar like a percussion in an isolated booth. The organist Eddy Louis, who is to participate, in 1969, to the success of Claude Nougaro's "Paris mai", also appears on the record. It's 1966 and the Antoine phenomenon (signed on Vogue) storms through France. The two singers share similarities: Antoine is an engineer of the École centrale, gifted with a great originality in his song-writing. A godsend for the two labels who turn this resemblance into a commercial strategy, setting them out as rivals. To this day though, Évariste still denies what was little more than slushy tabloïd gossip. Success comes around swiftly and in 1967 Évariste launches into a second 7 inch, "Wo I nee", again arranged by Michel Colombier. Quantum mechanics fans finally get their anthem with "La Chasse Au Boson Intermédiaire" (or the "Intermediary Boson Pursuit"). To sum up what's a boson, say he's a close pal of the meson, photon and other gluons. A few months later, it's May 68 and everything's turned upside down. Évariste writes a series of songs inspired by the events, which he immediately submits to Lucien Morisse. When the man behind "Salut les copains", once married to Dalida, hears the song "La révolution" - a father and son dialogue - he can't take any more: AZ simply cannot release this. But there and then Lucien Morisse makes a gesture which will remain engraved in French music's history: sorry to be unable to officially stand by the singer, he encourages him to self-produce the record, but with his tacit support. He calls the pressing factory and asks they apply the same rate for Évariste as they would for AZ. The singer and his musicians use the same studio as for the previous record, all of them playing for free awaiting a return on investment. Évariste keeps singing at the Sorbonne with "Jussieu's gang" and "the young Renaud" he nicknames "le p'tit gavroche" (or "street urchin"). Renaud volunteers to type the lyrics of the song "La révolution" so that the chorus can be sung and recorded. A boy in the group is related to Wolinski and introduces them. The two get along so well that Wolinski ends up drawing the cover for the record "La révolution", for free. The self-released 7 inch "La révolution / La faute à Nanterre" is sold under the table and door-to-door for half the price of a standard record, on and around the boulevard Saint-Michel; and it runs out fast. In the end, there will be 6 releases of the record, and 25000 copies sold. When the theatre director Claude Confortès decides to adapt Wolinski's drawing series titled "Je ne veux pas mourir idiot" ("I don't want to die a fool"), he asks Évariste to write the original soundtrack. His friend, now cartoonist for Hara-Kiri Hebdo, often promotes him in accordance with a principle dear to him by virtue of which he gives a special place to his friends. Dominique Grange (writer of the song "Nous sommes les nouveaux partisans") soon joins the team. After 150 performances, Évariste leaves his place to Dominique Maurin (brother of Patrick Dewaere). Évariste composes the songs for Claude Confortès' next play, "Je ne pense qu'à ça" ("That's all I think about"), co-wrote with Wolinski in 1969. The comedians of the play record the songs on a 7 inch, with a cover signed, again, by Wolinski. In 1971, French television produces the documentary "Évariste et les 7 dimensions", but doesn't air it. Indeed, the scientific sub-comity of the programming comity (sic) censors the show. The given justification is that "Évariste dangerously mixed science with science-fiction, numerology and other non-scientific disciplines". The underlying motive might have been a will to censor the singer-mathematician's political discourse. In the documentary and among other things, Évariste discusses hierarchy, alienation and revolution. Half a century later the documentary remains invisible, though some excerpts resurfaced in 1992 in the cult show "L'oeil du cyclone", on Canal +. Though flourishing, Évariste's career is nearing its end. 1970 is the beginning of a decade in the course of which he is to make a decisive discovery in the musical and scientific domains. Following this breakthrough, he moves away from self-produced music and gaucho magazines to focus on science. He keeps Oppenheimer's encouraging words in mind, now freely pursuing his research thanks to the sales of his records. Joël realises that when decoding protein sequences, one finds musical sequences recognisable to humans. He names them "proteodies". If, when listening to a proteody, one responds by being so sensitive as to finding it beautiful, then it reveals a deficiency of the related protein - and this peculiar music may be the cure. We could trace back the music history in light of proteins lacking in a given artist, or within a public's majority. You always thought these hysterical groupies who'd throw their underwear with passion and faint in the pit had miraculously appeared because they had never heard anything as wonderful as the Beatles? Make no mistake! For Évariste, it all boils down to an intro's protein content. Indeed, the beginning of their first hit "Love Me Do" corresponds to dopamine, the neurotransmitter linked to compulsive buying. An intro like this could only unleash the fervour of groupies, victims of fashion and biology. Évariste's success is such that the income from his sales gives him the autonomy to which he had aspired when confiding to Oppenheimer. It made it possible for him to pursue his research without any institutional constraints. He now devotes himself to his proteodies, sat in the offices of the European University for Research, just around the corner from the Sorbonne he knew so well. Évariste is no more. Joël regained control of this strange and comical beast.

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl.

Repressed

It's been four-years since La Coka Nostra released their sophomore album, Masters Of The Dark Arts, (the groups first project without Everlast was also their most critically acclaimed project - featured collaborations with Vinnie Paz, Sean Price & production from DJ Premier and Statik Selektah) and the music industry has changed considerably in that time. However, a few things still remain constant; La Coka Nostra will always be as their aptly-titled 2009 debut verified, A Brand You Can Trust, and the group will continue to dazzle their rapid fan-base with sold out shows around the globe with their rau-cous live performances. Always known for tackling controversial topic matter, the group’s new album, To Thine Own Self Be True, finds them once again in torchbearing mode, addressing subjects that most artists shy away from.“This album was created during a time of unique and individual transformation for each member of the group” ILL Bill stated. “Speaking for myself, it’s been a heavy last couple of years.It’s definitely the most personal record we’ve made under the La Coka banner and while we’re still making music that’s hard as fuck, there’s a maturity to this latest batch of songs that makes it different from a lot of the older stuff. I notice the biggest reactions come from the songs our listeners can personally relate to and we needed to make a record like this right now, not only for the fans, but for ourselves. I got alot off my chest on this one. Making music can be extremely therapeutic and making To Thine Own Self Be True was a rebirth and a re-ignition for me.” Slaine had a similar take on the projects thera-peutic manifestation “You don’t put as many years in the game as we have without having ups and downs. We all have gone through struggle and adversity—personally and professionally”Slaine la-mented. “This album was recorded as I walked out of a very dark time toward a place of truth and understanding. Music has been how I feed my family, my plane ticket around the world and a place I’ve built real friendships; but at the very core it’s a tool I use to get through life.This album is a moment in time. It is visceral and real.” While DJ Lethal continues to oversee the production end ofToThine Own Self Be True, the group also enlisted Statik Selektah, Marco Polo, Salam Wreck (D-12, Obie Trice, Proof, B-Real, Tha Dogg Pound) & ChumZilla (from the Demigodz) and get vocal contributions from extended family members such as Vinnie Paz, Apathy, Q-Unique, Sick Jacken, SKAM2? & Rite Hook.

Singer-songwriter Bob Lind will forever be immortalized by his 1965 hit, »Elusive Butterfly«, but his career is so much more interesting than the fading wonder of that one hit. Once a hard-partying buddy of Charles Bukowski, Lind was the inspiration for the character »Dinky Summers«, a down-on-his-luck folk singer in Bukowski's 1978 novel Women. Lind also doubled as a writer, penning a number of novels and plays as well as serving as a long-time staff writer at the lowbrow tabloid Weekly World News.

If that wasn't enough, Lind is also responsible for one of the greatest major-label 'loner' albums of all time, 1971's Since There Were Circles. After several years languishing without a second hit for the World Pacific label, Lind signed to Capitol and went into the studio with some of the biggest names in the LA country-rock scene including Doug Dillard, Gene Clark, Bernie Leadon and legendary session bassist Carol Kaye. While the record was well-received critically, it sold poorly and marked Lind's bitter departure from the music business for several decades.

The intervening half-century has been incredibly kind to »Since There Were Circles«, and it is now regarded as a cult masterpiece that pairs perfectly with Gene Clark's No Other, Bobby Charles' self-titled Bearsville album and Lee Hazlewood's Cowboy in Sweden. Lind's songwriting here is vastly darker and more self-reflective than anything from his folk-pop period, and the production is simultaneously loose and rootsy, yet lushly orchestrated and occasionally bombastic. Lind somehow manages to bring it all together with wry delivery and literate detail.

Red Vinyl

That we live in a world changed is beyond question. Since 2015's Zenith, Berlin-based songwriter Molly Nilsson has surrendered to the world, traveling from Mexico to Glasgow, observing the changing socio-political landscape and imagining a better world. For an artist who has so successfully created her own environment and gradually let others in, her 8th studio album Imaginations sees Nilsson directly engaging with her surroundings, engendering change and allowing love in. Imaginations dreams big, recasting storming, stadium-sized pop into the internal language of the solo auteur. Imaginations is not escapism, it's a kaleidoscope and an alternative view, an agent of change.Opener Tender Surrender encapsulates Imaginations, a tango on the ruins of the past, like many of Nilsson's best songs a collision between the political and personal. Though potentially a love song, there's a glowing anger in the lines I want your ruin, I want destruction, I won't be through until we mend this...' this is rapturous transformation, order and chaos. Molly has built an almost 10 year career on perfectly summing up how we feel and this is no different... Who else could write a song about privilege (Let's Talk About Privileges) and make a heart-rending chorus of It's never being afraid of the police, it's expecting every thank you, every please.' The artist's vision on this album is perhaps more forceful than the emotionally fragile moments of previous album Zenith, at times exemplified on songs like Memory Foam, a bright, driving pop song that belies themes of nostalgia and the past, reminding us that Molly alone can make us feel so welcome in loneliness. If there's overt anger in songs like Money Never Sleeps, an anthem for a post-capitalist utopia if ever there was one, there's also seams of optimism sewn into the album's genetic code. Any revolutionary will tell you that anger alone achieves nothing - Nilsson's mission on Imaginations is to offer some alternatives we can hold close. Not Today Satan is a song about accepting love as the agent of change, Don't be sad, but do get mad at all the small men who act so tall, in the end they always fall, there ain't no sin in giving in to love, that's just how we're winning the fight.' Love can be visceral, a weapon with which to fight the power.On Imaginations Molly is recasting her interior monologue as a prism through which to see the world, a means to live differently and to reject the status quo. We can Think Pink, change our destiny together. This is an optimism about the future when we need it the most. New boys, new girls.. give me your smile and I'll give you mine' Clearly, we are living through a transformation but with alchemists like Molly Nilsson, we're never alone in the process.

Swedish progg is not to be confused with "prog" as in progressive rock music. When we are talking about progg, we are referring to the Swedish music movement influenced by the political climate of the late 60's, to some extent the hippie movement and in many cases also Swedish folk music. Music highly driven by a political agenda. Blod's Knutna Nävar, originally released in an edition of 150 copies on Förlag För Fri Musik in 2018 and later a small cassette run, is pretty much a lost progg classic from the 70's. This is not a case of copying a certain sound though, far from it, neither are ideas really rehashed nor does the album feel nostalgic in that sense. Rather it feels like if someone has read about the progg movement and all the records but never actually heard it, yet decided to do an album and somehow managed to succeed big time. Further developing the sound palette and ambience initiated with parts of the Leendet Från Helvetet recording, the music feels slightly louder and more in your face. It's like it's more of everything. The melodies are immediate and it's quite impossible to resist the brash catchiness of it all. Albeit mentioning progg music and its importance for this recording, the actual musical side of Knutna Nävar has in reality more in common with soundtrack/library music and Swedish composers like the late Björn Isfält when you attempt to break it down. The crude DIY approach and anything-goes mentality just adds an extra dimension to it all and ultimately places the music somewhere else. There's a rather blunt use of samples throughout the record (sources probably best to leave out, though you don't have to be a Einstein to figure these out), but then again this is made by the same guy that gave the world the ABBA album. Those samples has managed to become an integral part of the music through the few years that has passed and though well familiar with the records those snippets are now to me genuinely Blod and nothing else. It seems like everyone has their own favourite but Knutna Nävar is the Blod album I have returned to the most. It has that extra something that sets it apart and if I would have to pick up a few records that sums up why Gothenburg has been a pretty damn awesome place to be in the last 10 years or so, this would definitely be one of the top picks.

Groove Armada’s iconic Back To Mine compilation from the Millennium gets a long-awaited re-issue 22 years after its original release. As Groove Armada celebrate 25 years of touring with their final ever world live tour, which includes nine huge dates across the UK, it’s a chance to relive Groove Armada’s eclectic and expert curation.

The album, which was one of the biggest ever selling editions of the Back To Mine Series, will be available on double heavyweight vinyl for the first timers well as a limited collectors edition in Pumpkin orange. This release marks the first of many reissues of iconic Back To Mine titles.

The Groove Armada special edition package features 12 tracks featured on the seminal album in one of the best loved compilation series’. Despite the length in time since its original release, the album remains timeless with an inspired selection ranging from A Tribe Called Quest, Barry White, Tears For Fears to the compilers themselves.

For nearly two decades, Groove Armada have been established as one of the planet's best loved and biggest selling dance acts. As comfortable on the big stages as they are in sweat soaked basements, the boys cross genres and styles with ease. This translates perfectly into their addition of Back To Mine which boldly, yet effortlessly traverses a multitude of sounds that you wouldn’t imagine could be the perfect match. Collectively, the album is colorfully funky, soulful, and incredibly smooth.


From their house to yours, listening pleasure is guaranteed.

· One of the biggest ever selling editions of the Back ToMine series repressed for the first time.

· Groove Armada will be embarking on their final live tour around some of the UK’s most iconic venues in 2022 & several festival appearances.

· Marketing campaign celebrating 25 years of the Back To Mine series and the start of back catalog reissues

· Available on heavyweight double vinyl only, Including collectors coloured orange vinyl edition.

· Features legends such as Barry White, A Tribe Called Quest, Tears For Fears and Groove Armada themselves.