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South London's restless pulse runs through British-Bengali musician Tara Lily's latest collaboration with the enigmatic King Krule. On 'Quiet Nights (Early Takes)', the pair craft shadowy soundscapes where hazy jazz chords and warped synths blur into something raw and hypnotic. The standout track, "Tropical Storm," described as a "lucid dream playing in our minds again and again" captures flashes of early Archy Marshall chaos, refracted through Tara's sleek and sleepy vocals, over a bed of guitar pedals, synths and DIY beats. Talking about the project Tara says: "'Quiet Nights' are some of the early sketches from a deadly quiet and beautiful period of time. For myself it was a time of stripping back, dropping down into the ground and channelling something raw and real."

The stunning debut album by Peki Momés is back in store after selling out the first edition in a few weeks! This 2nd pressing has a different label design. Featuring twelve outstanding original tunes. Turkish psychedelic, global disco and outernational!

Peki Momés is a Turkish artist living in Germany - who only started to record music by accident in 2024. Blessed with style and intuition rather than formal education, her fresh and uncompromisingly authentic approach to music took hearts and ears by storm.

Ever since her debut 45 on Mocambo Records, Peki Momés has become a little sensation in and outside the organic groove scene: turntablist DJ Koco played doubles of "Göc Mevsimi" in his set, Iggy Pop announced "Rüya" on his "Iggy Confidential" show on BBC and the second vinyl single surprised everyone with a mesmerizing cover of Marco Valle's much loved "Estrelar" in the turkish language. Both records sold out quickly and are in the bags of tastemakers like Coco Maria.

Peki Momés' music is an eclectic mix of sounds from the global underground, tastefully crafted by producer Dustin Braun and a troupe of ridiculously talented jazz musicians. Dirty disco, fuzzy funk, anatolian rare grooves, experimental synth, library music and japanese city pop all blend naturally with her distinct vocals to create a unique ethereal outernational sound that is all her own.

Once dubbed as 'turkish discodelic', Peki's songs have a dreamlike, enchanted and psychedelic quality and instantly take the listener on a journey. In a poetic way, she approaches topics like "dreams and a naive fear of losing or not fulfilling them" or expresses "worries about our weary world and call for solidarity from all" - always with an outlook of hope. You do not have to speak turkish to understand - the message is transported by a universal language.

With her debut album, Peki Momés is now telling her full story. Displaying a young Peki on the cover, the artwork hints at the freshness and enthusiasm of the project. We should consider ourselves lucky that Peki chose to disrespect rules in favor of self-empowerment and made this wonderful longplayer that you never knew you needed.

A love letter to the deep history of the dancefloor, the three-tracker begins with 'Scouse Kiss', where Chicago meets Liverpool as Discothèque Credits reimagine a hidden Lil’ Louis-inspired pop mix into the 12” club dub that never was. 'Dirty Talk' follows, transforming an Italo classic, often cited as the blueprint for New Order’s Blue Monday - into a stripped-back proto-house workout from Machine Disco, dripping with machine funk and looped 808 programming. Finally, 'Burnt' burns bright with acid-soaked sharpness – a hypnotic groove built for the deeper hours of the night.

Transparent Purple vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

Dear Wormwood acts as a volume II to Through the Deep, Dark Valley. While Through the Deep, Dark Valley is about the protagonist's past, Dear Wormwood is about the character's future. The duo explains, "This album is a collection of letters, all written by a single protagonist and addressed to a single recipient, a conversation to which the listener is an observer as a relationship gone wrong reaches its breaking point - the words and music are at times affectionate and bittersweet, at others resigned and resolute."

Coke Bottle Clear vinyl. Jun 25, 2021 (EST) CD MRG755cd 673855075525 $6.00 Jun 25, 2021 (EST) LP - Black MRG755lp 673855075518 $11.00 Dec 02, 2022 (EST) LP - Coke Bottle Clear MRG755lp-dlx-C1 673855075556 $12.50 TOTAL Quietly Blowing It was written and arranged by Taylor in his home studio_his 8' x 10' sanctuary packed floor to ceiling with books, records, and old guitars_as he watched the chaotic world spin outside his window. "Writing became a daily routine," he explains, "and that was a ballast for me. Having spent so much time on the road over the past ten years, where writing consistently with any kind of flow can be tricky, it felt refreshing. And being in my studio, which is both isolated from and totally connected to the life of my family, felt appropriate for these songs." Between March and June, Taylor wrote and recorded upwards of two dozen songs_in most cases playing all of the instruments himself_before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road. "We all needed to be making that music together," he recalls. "We've all spent so many years traveling all over the world, but in that moment, it felt cathartic to be recording those particular songs with each other in our own small hometown."

15th Anniversary Edition. Black Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.
Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.
One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.
Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.
Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.
Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

Making his long-awaited return to Spatial, JLM Productions serves up another sizzling andvaried concoction of atmospheric breakbeat goodness.

A1 - Unraveling

Opening with a blissful, playful melody which fades in and out of effects and padwork,Unravelling shows off an insanely crisp 2-step break at its core - definitely suited for thedancefloor with a buoyant bassline rumbling beneath the waves. The track leaps furtherinto life with JLM adding some additional drums to elevate the breaks further still, all withserene, harmonious melodies dancing around in the mix.

A2 - Forced Perspective

A purposeful melody opens Forced Perspective as JLM Productions unleashes a stellarblend of atmospheric bliss with a unique epic urgency. Sci-fi synthwork surrounds anenergetic selection of drums edited with trademark clarity as layers upon layers of synthintertwine dynamic patterns with ease. This is a great example of JLM's expansive suite ofinfluences combining to create a deliciously detailed and unique whole.

AA1 - Surface Scan

Light cymbals commence a DJ-friendly intro to the second track, Surface Scan. Bothrousing and deep, smooth padwork leads into a drop which brings with it long, whooshingmelodic synths and crunchy stacked breakbeats. As the atmosphere develops, JLM addsin a bunch of effects and subtle, sumptuous sci-fi synthwork, strings and more to completeanother masterpiece from a true pillar of "old school brand new" methodology.

AA2 - Mixed Motive

Straight into a serving of subdued breaks perfect for the intro, JLM rounds off this stunningEP with Mixed Motive. This is a track which explores the atmospheric drum & basslandscape in style. Our creatively-edited breaks soon evolve into a crescendo of joyousdrum patterns with an old 720-style stabby melody punctuating the mix while deep &melodic basslines jostle below, adding dense texture to a stunning piece of music.

Words by Chris Hayes (Spatial / Red Mist)

Katie Meluas zweites Album Piece By Piece (2005) folgte auf ihr rekordverdächtiges Debüt Call Off the
Search und festigte ihren Platz als eine der erfolgreichsten jungen Künstlerinnen Großbritanniens. Mit gerade einmal 21 Jahren lieferte Katie eine reife, selbstbewusste und emotional reiche Songsammlung ab, die
weltweit beim Publikum Anklang fand. Das Album wurde europaweit mehrfach mit Platin ausgezeichnet
und enthielt mehrere Hit-Singles, allen voran „Nine Million Bicycles“, das zu einem internationalen Klassiker und einem von Katies beliebtesten Songs avancierte. Mit einer Mischung aus Folk-, Blues-, Pop- und
Jazz-Einflüssen unterstrich „Piece By Piece“ Katies unverwechselbare Stimme und ihr wachsendes künstlerisches Können. Anlässlich seines 20-jährigen Jubiläums wurde das Album in den Londoner Metropolis
Studios neu gemastert und um umfangreiches Bonusmaterial erweitert, darunter B-Seiten, Live-Auftritte
und unveröffentlichte Demoaufnahmen aus Katies Archiv.
Diese Jubiläumsausgabe ist eine prägende Veröffentlichung in ihrem Katalog und bietet Fans und Sammlern die Gelegenheit, ein Album neu zu entdecken, das Katie Melua in einem entscheidenden Moment ihrer
Karriere einfing.

Zur Feier ihres Debütalbums „Identity Crisis“ aus dem Jahr 2000 veröffentlicht Thrice das Album erstmals
seit über einem Jahrzehnt wieder auf Vinyl. Diese einzigartige Pressung enthält ein spezielles Album mit
exklusiven Fotos aus dem ursprünglichen Albumzyklus, die die Band aus ihren Archiven ausgegraben hat.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vols.
1 & 2: Fire & Water“. Diese einzigartige Pressung enthält den „Fire“-Teil des Albums auf transparentem
12-Zoll-Vinyl in Orange Crush und den „Water“-Teil auf transparentem Sea Blue-Vinyl.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vol. 3 &
4: Air & Earth“. Diese einzigartige Pressung enthält den Air-Teil des Albums auf transparentem, milchigklarem 12-Zoll-Vinyl und den Earth-Teil auf transparentem, hellbraunem Vinyl.
Diese Veröffentlichung ist Teil des ersten Band-Events mit speziellen Katalogveröffentlichungen, genannt
„Thrice-giving“, in der Weihnachtszeit.

Zur Feier ihres Debütalbums „Identity Crisis“ aus dem Jahr 2000 veröffentlicht Thrice das Album erstmals
seit über einem Jahrzehnt wieder auf Vinyl. Diese einzigartige Pressung enthält ein spezielles Album mit
exklusiven Fotos aus dem ursprünglichen Albumzyklus, die die Band aus ihren Archiven ausgegraben hat.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vols.
1 & 2: Fire & Water“. Diese einzigartige Pressung enthält den „Fire“-Teil des Albums auf transparentem
12-Zoll-Vinyl in Orange Crush und den „Water“-Teil auf transparentem Sea Blue-Vinyl.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vol. 3 &
4: Air & Earth“. Diese einzigartige Pressung enthält den Air-Teil des Albums auf transparentem, milchigklarem 12-Zoll-Vinyl und den Earth-Teil auf transparentem, hellbraunem Vinyl.
Diese Veröffentlichung ist Teil des ersten Band-Events mit speziellen Katalogveröffentlichungen, genannt
„Thrice-giving“, in der Weihnachtszeit.

Zur Feier ihres Debütalbums „Identity Crisis“ aus dem Jahr 2000 veröffentlicht Thrice das Album erstmals
seit über einem Jahrzehnt wieder auf Vinyl. Diese einzigartige Pressung enthält ein spezielles Album mit
exklusiven Fotos aus dem ursprünglichen Albumzyklus, die die Band aus ihren Archiven ausgegraben hat.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vols.
1 & 2: Fire & Water“. Diese einzigartige Pressung enthält den „Fire“-Teil des Albums auf transparentem
12-Zoll-Vinyl in Orange Crush und den „Water“-Teil auf transparentem Sea Blue-Vinyl.
Thrice veröffentlicht erstmals eine eigenständige Vinyl-Version des Albums „The Alchemy Index, Vol. 3 &
4: Air & Earth“. Diese einzigartige Pressung enthält den Air-Teil des Albums auf transparentem, milchigklarem 12-Zoll-Vinyl und den Earth-Teil auf transparentem, hellbraunem Vinyl.
Diese Veröffentlichung ist Teil des ersten Band-Events mit speziellen Katalogveröffentlichungen, genannt
„Thrice-giving“, in der Weihnachtszeit.

„Tell ‘Em I’m Gone“ wurde in Zusammenarbeit mit der Legende Rick Rubin produziert und zeigt Yusuf,
wie er einige seiner bluesigeren Einflüsse erkundet. In vielerlei Hinsicht knüpft das Album an „Foreigner“
und „Numbers“ an, da er seinen bekannteren Folk-Sound vorübergehend beiseitelegt, um sich anderen
musikalischen Traditionen zuzuwenden, die ihn maßgeblich geprägt haben. Eingefleischte Fans wissen
vielleicht, dass Leadbelly schon immer einer von Yusufs Lieblingskünstlern war, und zum ersten Mal wird
dies in seiner Musik deutlich spürbar.
Neben Eigenkompositionen enthält „Tell ‘Em I’m Gone“ eine Reihe von Coverversionen von Songs, die
Yusuf am Herzen liegen, wie Edgar Winters „Dying to Live“ und Luther Dixons/Al Smiths „Big Boss Man“.
Sogar eine bluesige Neuinterpretation von Jimmie Davies/Charles Mitchells „You Are My Sunshine“ ist
dabei.
(Eingeweihte Fans wissen, dass Leadbelly schon immer einer von Yusufs Lieblingskünstlern war, und zum
ersten Mal wird dies in seiner Musik deutlich.) Klanglich besticht das Album durch kraftvolle Grooves und
schlichte Arrangements, die authentisch für das Blues-Genre wirken, doch Yusufs einzigartige musikalische
Handschrift ist unverkennbar.
Das Albumcover wurde von Yusuf entworfen und vom Künstler William Stout illustriert. Es unterscheidet
sich von der Sony Legacy-Veröffentlichung, die ein Foto von Danny Clinch verwendete.

Nach einem kurzen Intermezzo bei Art Blakeys Jazz Messengers und einigen gemeinsamen Aufnahmen mit
dem Altsaxofonisten Gigi Gryce gründete Donald Byrd 1958 sein erstes eigenes Quintett, das er gelegentlich
auch zum Sextett erweiterte. In der Bläserfront stand dabei oft der Baritonsaxofonist Pepper Adams an der
Seite des Trompeters. Wie heiß diese Band zu swingen verstand, zeigte sie im November 1960 bei einem
zweistündigen Auftritt im New Yorker Half Note Café, der auf zwei separaten LPs veröffentlicht wurde.

Zum 100. Geburtstag der unvergessenen Hildegard Knef erscheint eine außergewöhnliche Hommage: die
hochwertige Doppel-LP „GROSSE ERFOLGE & RARITÄTEN“. Auf 28 sorgfältig ausgewählten Titeln
entfaltet sich ein faszinierender Panorama-Blick auf ihre größten Highlights, bewegendsten Balladen und
charmantesten Geheimtipps – ein musikalisches Porträt voller Eleganz, Tiefgang und Persönlichkeit.
Diese exklusive Edition präsentiert sich in wunderschönen Vinylfarben, ist streng auf 1.000 Stück limitiert und einzeln nummeriert – ein echtes Sammlerstück für Liebhaber und Neuentdecker gleichermaßen.
Ein klangvolles Stück Musikgeschichte – und eine liebevolle Verneigung vor einer der größten deutschen
Künstlerinnen des 20. Jahrhunderts.