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Since 2014, Wand have made five albums (and an EP) in the studio and a living playing on the road. Business/pleasure: the two sides of their (multiverticed, decagon) coin, flipping in the strobe light of ongoing self actualization. And yet, by doing both at the same time-making a record of them playing live-they"ve now made their best one yet. How do you get Spiders In the Rain? Start by going all the way back to January 2020. Do you remember? Wand do. They"d been touring Laughing Matter for ten months. They"d done the coast, spanned the country, crossed the water twice, came back home and kept on going...driving, flying, occasionally floating (or maybe just thinking they were?), always on to the next town. They did all kinds of shows-clubs, ballrooms, festival gigs with no roof overhead-the songs expanding and contracting according to the dimensions of each day. Seventy-nine shows, and everything that was involved-the miles that ran beneath them, the different places and people everywhere, the music as it reathed, making everyone change every night-alchemized the band, and they drove deeper into their far horizon than they"d ever previously gone. The essential truth of the live vibe-that it"s always better when everybody"s here-was clear, so they booked a few shows more in Cali, from L.A. up to Marin. They brought along light and projections from The Mad Alchemist Liquid Light Show and Mike Kreibel and Zac Hernandez too, to tape everything-to get the big-deck energy out of performances in S.F. and L.A., but also to draw it out of the margins in Sacramento, Novato and Big Sur. It all happened, too. Everyone brought their experience. Packaged sumptuously with artwork from Sam Klickner, Spiders In the Rain is an arc of natural beauty and man-made abstraction inside and out, on an epic scale. Wand are orchestra and machine on Spiders In the Rain, one with the audience, able to get inside any dimension of their sound, whether its songs from their second album or their last one.

2xLP + Book (Black) Heavy metal? Glam? Hard rock? Make your own fuckin' call, you poser. We're not gonna do it for you. Bound for Hell is early `80s L.A. rock as it actually was: a California cataclysm of drunk and horny headbangers, dressed in sharp, shiny, leather androgyny and fire, kicking crowds in the teeth to clear the way to that one big shot. This 2LP set delivers 21 tracks by 21 artists in an ephemera-stuffed gatefold, plus 144-page hardbound book detailing the Sunset Strip's most razor-sharp heathens. Drumsticks burned. Hands were severed. Faces bled. Heavy was HELL for a half decade and it was a long, long way down.

2xLP + Book (Black) Heavy metal? Glam? Hard rock? Make your own fuckin' call, you poser. We're not gonna do it for you. Bound for Hell is early `80s L.A. rock as it actually was: a California cataclysm of drunk and horny headbangers, dressed in sharp, shiny, leather androgyny and fire, kicking crowds in the teeth to clear the way to that one big shot. This 2LP set delivers 21 tracks by 21 artists in an ephemera-stuffed gatefold, plus 144-page hardbound book detailing the Sunset Strip's most razor-sharp heathens. Drumsticks burned. Hands were severed. Faces bled. Heavy was HELL for a half decade and it was a long, long way down.

- The complete score by Tom Holkonborg aka Junkie XL - 180g Double LP Multicolor Vinyl: Blue and Pink & Orange and Black - 12x12 Art Print - Heavyweight Gatefold Packaging with Matte Finish // Description: Waxwork Records is excited to present GODZILLA VS KONG Original Motion Picture Soundtrack by Tom Holkenborg aka Junkie XL (Army of the Dead, MAD MAX Fury Road)! Godzilla vs Kong marks the fourth in Legendary Pictures' titan universe. Godzilla & King Kong are back and they've led us to the center of our hollow Earth. In this movie, directed by Adam Wingard, tech mogul "Apex" and a band of conspiracy theorists, tech moguls, and scientists try to harness the power of the center of the earth to defeat a suddenly violent Godzilla and return King Kong to his original home. Junkie XL delivers a score that convinces you that this coalition of outcasts from across the world has to be correct. Huge orchestral arrangements perfectly match the intensity level of the multi-level coverup that hides the truth about the hollow earth theory. The composer complements awesome battles with sweet flashes of humanity from the two monsters, leaving hearts both racing and breaking for the creatures. Waxwork Records is thrilled to present the official double LP score with 180 gram "Godzilla" & "King Kong" colored vinyl, deluxe packaging, heavyweight gatefold jackets with matte coating, 12x12 art print, and more!

• Celebrating 40 years since the game-changing “For Dancers Only” LP, KENT 001, “For Dancers Forty” revisits the Los Angeles labels that have given us so much.

• Like KENT 001, the collection represents the broad church of the Biharis’ recordings and features soul stompers, rhythm & blues busters, girly grooves and heavenly harmony.

• Most tracks are new to Kent LPs and there’s a brand new 1966 soul recording from 50s Modern R&B artists Aaron Collins & the Teen Queens. Long-time Kent favourites Jackie Day, Z.Z. Hill and Johnny Copeland are included with some of their underplayed tracks – for Copeland it’s the first vinyl outing for his dancer ‘I Was Born To Love You’. As ever on our rare soul scene, it’s the lesser-known artists who we revel in and there are stunning tracks from the Simms Twins, the Marvellos, the Intentions and the in-demand (due to the Kent 45 being deleted) ‘I Got Love’ by the Other Brothers.

• Tommy Youngblood’s LP track ‘Tobacco Road North’ has been a sleeper, eventually being picked up by hip hop samplers for its atmospheric musical qualities – and we at last give its proper accreditation after decades of misinformation. Little Joe Hinton’s ‘Tired Of Walkin’’ is now looked on as an R&B dance classic, despite its poor sales on release.

• The Sweethearts adorn our cover with a recently discovered colour photo from the archives of Modern’s head engineer Bill Lazerus. Apart from their bouncy ‘This Couldn’t Be Me’, they provided backing for many of the stable’s 60s recordings.


• You Have “Only”, “Also” and “Forever” – make space for “Forty”

OLD FIRE - das Projekt des in Abilene, Texas, ansässigen Komponisten und Produzenten John Mark Lapham - kündigt sein zweites Album "Voids" für den Herbst an. Für das Album, das größtenteils aus Kollaborationen besteht, hat Lapham eine beeindruckende Liste von Sängern und Sängerinnen rekrutiert. Neben Gastauftritten von Julia Holter, Adam Torres und Emily Cross ist auch die lebende Songwriter-Legende Bill Callahan auf drei Songs zu hören. Einer davon ist die ergreifende, düstere Lead-Single "Don't You Go ft. Bill Callahan". Es handelt sich hierbei um eine Coverversion des britischen Singer/Songwriters John Martyn, bei der auch Thomas Bartlett alias Doveman am Klavier, Semay Wu am Cello und Robin Allender an den Tasten/Gitarren zu hören sind. Ein wunderbares Stück, über das Stereogum treffend schreibt: "If you've ever wondered what Bill Callahan singing a Radiohead dirge might sound like, it would probably sound a lot like this."

Limitierte Auflage - nur 500 Exemplare - alle auf violettem Vinyl. Buzzsaw Joint ist eine monatlich stattfindende Londoner Clubnacht, die die Fans mit einer hochoktanigen Mischung aus Rhythm & Blues und Rock & Roll Trash betankt. Buzzsaw Chef Fritz hat zudem eine Mixcloud Seite ins Leben gerufen, mit Mixen zum Thema von Sammlern und Jägern rund um den Globus. Da war es nur folgerichtig, dass das ganze auch auf Vinyl und CD stattfindet. Mit Stag-O-Lee fand sich schnell jemand, der das für eine gute Idee hielt. Mehr Volumen/Cuts to follow. Get your ears around the wild"n"weird sounds of the extraordinary and inimitable Buzzsaw Joint! Für den 8. Cut der Buzzsaw Joint Serie wühlen Johnny Alpha und Carl Combover in ihren reich bestückten 7"-Kisten. Beide sind Meister in Sachen sleazy, greasy und fuzzy. Carl ist Chef der Go Go Cage Nacht in Liverpool und Johnny legt in und um Wigan (legendärer Ort - Wigan Casino!) auf. Beide sind auch weltweit gefragt und unterwegs. Für Cut 8 wählten sie Tracks, die sich nicht auf anderen, ähnlich gelagerten, Compilations finden. Ein weiteres Highlight in dieser starken Serie.

Pure Noise Records and Pabst Blue Ribbon have teamed up to present ‘Dead Formats Volume 1’, a 15-track compilation featuring the Pure Noise Records roster sharing their takes on the celebrated punk/emo/ska songs that helped shape the scene in the 90’s and 2000’s.

It’s a beautiful phenomenon,” says Trampled by Turtles’ Dave Simonett, before adding with characteristic sincerity: “Everybody should see it." Simonett is talking about alpenglow, the natural event that washes mountains on the horizon in smoldering red and pink light, just before the sun sets or rises. It’s a harbinger of change––the space between new and old. It’s also the name of Trampled by Turtles’ new album, the band’s tenth. “My favorite part about making music is making records,” says Simonett. “I’m really excited about this one.” Produced by Wilco’s Jeff Tweedy, Alpenglow offers resounding proof that the beloved six-piece from Minnesota remain uncontested champs of understated virtuosity, literary songwriting, and a joyful hodgepodge of folk heart, rock-and-roll muscle, and string-band zen. Almost 20 years after first getting together, Trampled – that’s lead singer and songwriter Dave Simonett, bassist Tim Saxhaug, banjo player Dave Carroll, mandolinist Erik Berry, fiddle player Ryan Young, and cellist Eamonn McLain – also keep finding new ways to surprise us and one another. While many of the songs on Alpenglow grapple with change, none try to offer answers. Nothing’s neat and tidy. Instead, Trampled find endearing ways to sit in the tension, hope, and sense of loss that transitions and hard questions create. Then, just by expressing what’s there, the music offers comfort.

At any given time, you’re likely to find Jim Lauderdale making music, whether he’s laying down a new track in the studio or working through a spontaneous melody at his home in Nashville. And if he’s not actively crafting new music, he’s certainly thinking about it. “It's a constant challenge to try to keep making better and better records, write better and better songs. I still always feel like I'm a developing artist,” he says. This may be a surprising sentiment from a man who’s won two Grammys, released 34 full-length albums, and taken home the Americana Music Association’s coveted Wagonmaster Award. But forthcoming album Game Changer is convincing evidence that the North Carolina native is only continuing to hone his craft. Operating under his own label, Sky Crunch Records, for the first time since 2016, Lauderdale recorded Game Changer at the renowned Blackbird Studios in Nashville, co-producing the release with Jay Weaver and pulling from songs he’d written over the last several years. “There's a mixture on this record of uplifting songs and, at the same time, songs of heartbreak and despair—because that's part of life as well,” he says. “In the country song world especially, that's always been part of it. That’s real life.” Lauderdale would know: He’s been a vital part of the country music ecosystem since 1991, when he released his debut album and began penning songs for an impressively long roster of country music greats. “When I was a teenager wanting to be a bluegrass banjo player, I never would have imagined that I would get to work with people like Ralph Stanley and Robert Hunter and George Jones and Elvis Costello and John Oates,” he muses. “Getting to work with them inspires me greatly to this day, and I know it always will.” From rollicking guitar riffs on “That Kind of Life (That Kind of Day)” to the slow, sweet harmonies of “I’ll Keep My Heart Open For You,” Game Changer shows off Lauderdale’s ingenuity as a singer, songwriter, and producer—while reestablishing him as one of Americana’s most steadfast champions..”

Out of the Fog is a masterpiece of divine beauty and charm from the Norwegian composer / performer Daniel Herskedal featuring fellow Norwegian singer-songwriter Emilie Nicolas (4 Times Norwegian Grammy Winner - 2014: Pop soloist of the year and new artist of the year. 2018: Album of the year and pop artist of the year). Crafted with a warmth and awe-inspiring finesse, it’s the blend of Daniel’s unequivocally trademark sound of multi-layered brass, empowering harmonies and soaring melodic lines, with warmth and emotive power of Song and the collaboration with Emilie Nicolas that gives this album its uniquely defining quality. Having emerged in recent years as one of the most prolific and exciting Norwegian composers, Daniel is adeptly capable of straddling Jazz, Classical, soundtracks and now High-Art Pop as well as being a performer who has pushed his instrument beyond its limits. As a consequence it has earned him numerous awards and accolades including a Norwegian Grammy for Best composer and seen him write music for a global Coca Cola ad, the film (The Last Black Man of San Francisco), and the soundtrack for the 9/12 podcast (nominated for Best Score And Music Supervision at Ambie Awards) as well as his own acclaimed albums. Featuring legendary guitarist Eivind Aarset and percussionist Andreas Helge Norbakken, Out of the Fog is an astonishing album from Norwegian Jazz and Pop royalty, with music that is long-lasting and that leaves you wanting more and more. It’s breathtaking and powerfully moving.

For Fans Of Temples, Allah-Las, Unknown Mortal Orchestra, Khruangbin, David Axelrod. Each song on Ghost Funk Orchestra's 3rd album, A New Kind of Love, due to be released on Colemine Records … 2022, resonates like the soundtrack to a scene from an imaginary movie. The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones & The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. In the tradition of the "production forward" discographies of such record makers as David Axelrod and the Mizell Brothers, it's easy to visualize Applebaum as a "mad doctor" figure, hunkered down in a studio channeling this musical representation of his inner world into the 12 compositions which make up A New Kind of Love. His writing stretches his psyche to explore a terrain in which to capture emotional notes of love going well, love gone sour, manifesting love songs based in ghostly affairs. While the studio is obviously a wondrous happy place of experimentation and creativity for Applebaum, he's a band guy too (having actually fronted punk outfit The Mad Doctors). Applebaum has the wherewithal to bring his dreamy material to the 10 piece all star Ghost Funk Orchestra, leading them to breathe life into this sophisticated body of work which heralds the celebration of a new era for the group. Ghost Funk Orchestra will be touring in concert this summer and fall to celebrate the release of A New Kind of Love, an album which is sure to stand the test of time. Also Available From Ghost Funk Orch: Night Walker/Death Waltz LP/CD, Opaque Red LP, An Ode To Escapism LP/CD, A Song For Paul LP / CD 1. Introduction 2. Your Man's No Good 3. Scatter 4. Prism 5. Quiet Places 6. A New Kind Of Love (pt. 1) 7. Why? 8. Blockhead 9. A Song For Pearl 10. Bluebell 11. Rooted 12. A New Kind Of Love (pt. 2)

blue marbled vinyl

One of the most revered and respected artists to ascend in the immediate wake of the Autonomic wave - Sam KDC's innate understanding of depth and emotive layering has marked his path as one that leaves an indelible impression.

While his innovative adventures with Grey Area and the outer edges of Techno continue unabated, a collaboration with like-minded artist Flaminia has drawn Sam back to his original home in 170bpm.

Flaminia is a versatile and extremely skilled musician who has lent her talents to luscious dark ambient, and experimental Techno and continues to work on rediscovery and innovation. In our view, Flaminia is one of the more interesting artists currently rising in prominence in the electronic music scene.

Sam and Flaminia are an apt pairing and Grounding brings out a new side to both of them. Textures are applied with considered discernment, never overdone, and always embellishing the delectable grooves. Grounding has a truly ethereal, almost mystical overlay, while also brandishing dance-floor potency - a now inherent skill both artists have spent years assimilating into their construction processes.

auf Opaque Gold Vinyl, (Limited Edition)

Ursprünglich 1998 veröffentlicht, enthält "These Are Special Times" ein Duett mit Andrea Bocelli. Celine singt mit ihrer Familie "Feliz Navidad" und "Les cloches du hameau".Limitierte farbige Doppel-Vinyl-Neuauflage von Celine Dions Weihnachtsalbum "These Are Special Times" in "goldfarbenem" Vinyl. Hervorzuheben ist der Bonustrack "I Met an Angel (on Christmas Day)". Enthält zudem: "O Holy Night", "Blue Christmas", "Ave Maria", "Happy XMas (War is Over)" etc.

‘For the Roses’ is the fifth studio album by Canadian singer-songwriter Joni Mitchell and was released in November 1972. The album was released 50 years ago this November and is BPI certified silver. It was added to the Library of Congress’ National Recording Registry in 2007. The album was met with critical acclaim and notably features ‘You Turn me on I’m A Radio’ as well as ‘Banquet’ and the title track ‘For the Roses’.












l Judgement Of The Moon And Stars (Ludwig's Tune) 2022 Remaster

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favorite tunes while uncovering new musical grounds at the same time.

Various Artists - Tens Collected features Sam Smith “Stay With Me”, Lorde “Royals”, The Weeknd “Starboy”, Dua Lipa “Be The One”, Niall Horan “Slow Hands” and Ellie Goulding “Love Me Like You Do” amongst others.

Lee Fields is arguably the greatest soul singer alive today. In an age when the shelf life of an artist largely depends on posturing and trends, he has proven to be an unassailable force of nature. His prolific, decade-spanning career continues to reign supreme on the modern soul scene.

In early 2022, Lee reunited with Daptone Records and producer Gabriel Roth to record Sentimental Fool, a deep, blues-tinged, whollyconceived soul album. From his first line to his final plaintive lyric, the beauty, power, and raw humanity of Lee' s voice is on full display here; the culmination of an astounding career that has seemed to defy gravity, rising to only greater and greater heights.

As Anomalie, the shape- shifting production project he unveiled in 2016, Dupuis has channeled his musical upbringing (his mother, a piano teacher; his father, a host on Radio- Canada), formal schooling, and stage- seasoned chops into two companion EPs — Metropole and Metropole II — the Chromeo collaboration Bend the Rules, and a series of singles lighting a pathway to his upcoming long-form debut, Galerie.
Galerie’s forward-facing approach may call to mind a timeless phrase familiar to any jazzhead: The Shape of Jazz to Come. Ornette Coleman’s 1959 opus reconfigured traditional notions of harmonic structure, its title and content serving as both a blueprint and open question for progressive music’s future. With Dupuis’ reverent but revolutionary project, that answer is no longer in the past or on the horizon; it’s here.

After the release of their critically acclaimed first album « Bluestaeb & S. Fidelity Present Underground Canopy » (MENACE - 2020), Underground Canopy (UC) was able to take time, due to the unforeseen period of doubt in 2020, to craft new compositions with a fresh approach. Throughout this forced period of introspection, the Parisian band experimented with more refined musical codes and colorful sounds.

Following the new additions of Raphaël Henry on drums and Christopher Johnson on electric guitar, UC was able to record and film a live rendition of four original pieces at the end of 2020, thanks to an invitation by the Centre des Arts d’Enghien-les-Bains’s artistic program and SENSE. These music videos, each filmed in one shot by Romain Lalire, capture UC’s musical digressions away from their mainly hip-hop and groove-infused jams and into new territory.

The resulting new EP «Séquences : Live Session» celebrates cinematic aesthetics and the suspension of time. It stands as an audiovisual testimonial to the band’s continued progression. In this era marked by uncertainty but full of hope, what will come next?

Dieses ausgegrabene Matthew Dear Album wurde ursprünglich nach seinem gefeierten Album Asa Breed (2007) aufgenommen. Für Fans von Beck, Bill Callahan/Smog, Bibio. In erster Linie kennt man den gefragten texanischen DJ und Elektronikproduzenten Matthew Dear seit über zwanzig Jahren als Grenzgänger der Clubmusik, der nur im erweiterten Sinne als Popmusiker aktiv ist. Auf seinem 'neuen' Studioalbum überrascht der US-Musiker jetzt mit ungewöhnlichen Klängen. "Preacher's Sigh & Potion: Lost Album" wurde vor zehn Jahren aufgenommen, aber das Material nie veröffentlicht. Inspiriert vom Gitarrenspiel seines verstorbenen Vaters und klassischen Country-Folk-Favoriten wie Emmylou Harris, wendete Dear an, was er über Techno-Arrangements wusste, um einen organischen, loop-zentrierten Sound zu erforschen, der bluesig, persönlich und verspielt ist und die Geschichte von Pop und Rock, den Twang von Country, den Aufbau und das Loslassen von Techno durcheinander wirbelt.

The fourth installment of MdCL’s Midnight Snacks series features remixes of snacks from vol 1 & 2, reimagined by Foursixone (Germany), Sound of Fractures (UK), Laroye (France) and Coflo (USA) – instrumental dancefloor pressure for the broken beat and soulful house heads. Curated by the Mashibeats community – community-sourced remixes and community-A&R’d – the EP kicks off with Foursixone’s broken beat reimagining of ‘Crush Velvet’: file alongside BITA and 2000Black. Sound of Fractures blends jungle bass-line pressure with a 2-step bounce on ‘Blue Hour’. On the flipside we dive into house with Laroye’s alternate mix of ‘Crush Velvet’ – a future nu-jazz house classic, and wrap up with the gospel organs and deep 4/4 grooves courtesy frequent Osunlade collaborator, Coflo.

Blue Vinyl

Since 1996, Buddha-Bar has created and developed a new vision of Life. With its enchanting venues and intoxicating music, Buddha-Bar has created Lounge Music. Widely copied but never equaled, our musical signature has delighted millions of people around the world and through the years. Selected by Ravin, this triple Best Of Vinyl gathers the greatest titles that made the Buddha-Bar history from 1996 to 2013.

Blue Vinyl

Breezy instrumental soul from California's The Ironsides. Featuring members of Monophonics, 'Changing Light' is a cinematic and orchestral track that is uber-pleasing to the ears. The B-Side, "Sommer" is a cover of an obscure 1973 song by Stig & Steen, but the mood seems very modern with the help of some excellent production by brothers Max and Joe Ramey. FOR FANS OF.. Menahan Street Band, The Budos Band, Antibalas, El Michels Affair, Ikebe Shakedown

After two utterly essential releases on ae Recordings and Primary Colours in 2021, Altone once more delivers the goods for Lempuyang.

The label's eighth release brings together two of the most respected heads in the business on remix duties. Altone's deep & pulsing title track Vortex gets Yagya's glacial treatment on side A. Customization on the flip gets a Bluetrain rework; Steve's trademark Special Edition Dub giving the track a dancefloor edge.

Delia Derbyshire's work at the BBC's Radiophonic Workshop in the 60's was recognised initially for her realisation of the now iconic Doctor Who Theme which was written for the show by Ron Grainer. More recently though, she has been celebrated for her own compositions and experiments at what was then the cutting edge of electronic music. The AA side, Blue Veils and Golden Sands, was written for a TV documentary in 1967, a composition in which she used her own voice and a handy green BBC lampshade: "I analysed the sound into all of its partials and frequencies, and took the 12 strongest, and reconstructed the sound on the workshop's famous 12 oscillators to give a whooshing sound. So the camels rode off into the sunset with my voice in their hooves and a green lampshade on their backs."

On the A side is The Delian Mode, which was used as incidental music during The Sky At Night in 1969, finding critical acclaim in Gramophone Magazine's review of the album BBC RADIOPHONIC MUSIC (often known as The Pink Album), in September of the same year: "… Blue Veils and Delian Mode are probably the finest music here. It may be no accident that the latter is reminiscent of the beginning of Xenakis's OrientOccident for Delia Derbyshire follows the analytical approach of the more sustained electronic compositions. If her best pieces seem the most imaginative here—and they are—it is because she more fully explores the implications of her material."

(REISSUE)

Genius Loves Company is the final studio album by rhythm and blues and soul musician Ray Charles, posthumously released August 31, 2004. Recording sessions for the album took place between June 2003 and March 2004. The album consists of rhythm and blues, soul, country, blues, jazz, and pop standards performed by Charles and several guest musicians, such as Natalie Cole, Elton John, James Taylor, Norah Jones, B.B. King, Gladys Knight, Diana Krall, Van Morrison, Willie Nelson, and Bonnie Raitt. Genius Loves Company was the last album recorded and completed by Charles before his death in June 2004.The album is known as one of Ray Charles" most commercially successful albums. On February 2, 2005, Genius Loves Company was certified triple-platinum in sales by the Recording Industry Association of America following sales of over three million copies in the United States. It also became Charles" second to reach number one on the Billboard 200, after Modern Sounds in Country and Western Music (1962). On February 13, 2005, the album was awarded eight Grammy Awards including Album of the Year and Record of the Year.

Herbert Bodzin's "Revival II" is the next exciting vinyl highlight on our young label. It features completely unreleased electronic music which was recorded between 1979 and 1982. On the album we can hear the sounds of legendary analogue machines like the ARP 2600, the Korg PS-3300, the Roland System-700 Modular synthesizer, the PPG Waveterm and the PPG Wave 2.2 as well as classic synths like the Roland Jupiter-8, the Polymoog and the Prophet-5. The album additionally features Bernd Hollendiek, as well as Bodzin's two sons, Stephan and Oliver Bodzin. Most of the music they performed was completely synthesizer based while Oliver Bodzin played drums on a few tracks. The songs are a mixture of mostly ambient, deep, psychedelic, yet experimental and futuristic sounds as well as more vibrant recordings that featured the complete band. One of these vibrant tracks is "Lifting Blue" which qualifies as a unique version of space rock. On other tracks like "Voices of the Mind" we hear deep melodies topped with dreamy vocoder voices. "Against the Wall" sounds like it could be taken off of an Italian horror movie soundtrack while the mid-tempo "Orbital" pre-dates the sounds of techno and trance. As a side note, the album may also show early musical influences of Stephan Bodzin, who became world famous in the 1990s as one of the leading techno producers. Without any doubt, "Revival II" should be an exciting lost masterpiece of German electronic (rock) music and a must have for synth music lovers - revived and finally alive!

A showcase of Monty Alexander’s iconic Montreux Jazz Festival live performances between 1993 to 2016.

The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital. Brand new liner notes based on an interview with Monty has been created for this release, which also includes rare photos from his Montreux shows.

2021 has been an incredible year so far for Jessie Ware. ‘What’s Your Pleasure?’ re-entered the Top 10 following a brilliant Graham Norton performance of ‘Remember Where You Are’ which has proved itself to be one of Jessie’s most connective singles to date. In addition, Jessie has two BRITs nominations, one for Female Solo artist and one for Album Of The Year – the category with a historic four women up for the award. On 28th April Jessie returns with a brand new single ‘Please’ taken from the upcoming deluxe release of ‘What’s Your Pleasure?’ officially titled as ‘What’s Your Pleasure? The Platinum Pleasure Edition’. Released on 11th June, the album features 6 brand new songs and more.


Her newest track, ‘Please’ sees Jessie continue the energy of ‘What’s Your Pleasure’ in the form of a throwback to 70s and 80s dance music, and pulls it together in a wonderfully anachronistic style, all packaged with Ware’s outstanding vocals. The track fits perfectly into ‘What’s Your Pleasure - The Platinum Pleasure Edition’, Ware’s deluxe offering of her sensational 2020 record. This edition still bears the cohesive, complementary songwriting, the killer grooves and flawless production of the original version. The Platinum Pleasure Edition only serves to heighten the rich and powerful soul of last year’s release with tracks like Please, 0208 featuring synthpop visionary Kindness, the Endless Remix of ‘Adore You’ and a whole host more.

Talking about the upcoming deluxe and new single Jessie said: ”I had such an amazing response to the ‘What’s Your Pleasure?’ record that I didn’t want the lights to go up and the party to be over just yet! ‘Please’ is full of optimism and ready to be played in a place where we can all be together and flirt, dance, touch and kiss. A wonderful excuse not to stop the party from ending.”

It’s safe to say that the last twelve months have been pretty stellar for Jessie Ware. June 2020 saw Jessie release ‘What’s Your Pleasure?’ and gain not only her fourth UK Top 10 album of her career, but also her highest charting record when it entered straight into the UK Official Album Charts at No.3. As if this wasn’t amazing enough, she went on to release her first cookbook and continued her immensely popular podcast Table Manners and recently hit a massive milestone of 21 million individual listens, oftentimes featuring household names such as Dua Lipa, Kylie Minogue, Yungblud, Robbie Williams, Alanis Morissette., Dawn French and Dolly Parton to name a few.

Last year saw the album continue to receive widespread critical acclaim, with ‘What’s Your Pleasure?’ featuring heavily amongst ‘album of the year’ lists including for music critic Anthony Fantano, also known as The Needle Drop, who gave What’s Your Pleasure?’ the coveted no. 1 spot on his ‘Best Albums of 2020’ list, declaring it to be “a religious experience”. The record garnered praise from The Guardian who say it’s“Ware’s finest record yet"; Rolling Stone laude it as a “fantastic dance-pop record”; Pitchfork say “Jessie reminds us why we listen to dance music in the first place.”, GQ proclaim it as “the perfect album” and NME stated it was“pure escapism.”

GOSPELHEIM haben mit "Ritual & Repetition" eine ebenso wunderbare wie wunderliches Wesen erschaffen: Seine glitzernde Haut ist aus eingängigen Dark Rock Melodien gemacht, seine Knochen aus massivem Gothic Metal geschnitzt. Seine gespaltene Zunge singt sowohl mit weiblicher Schönheit als auch mit klarer männlicher Härte. In seinen feurigen Augen spiegelt sich eine tiefe Melancholie, doch seine scharfen Zähne beißen ohne jede Reue zu. Diese junge britische Band legt auf ihrem Debütalbum ein erstaunlich ausgereiftes Songwriting vor, das scheinbar mühelos eine Fülle diverser Einflüsse vereint und mit seiner stilistischen Spannweite beeindruckt. Neben dem offensichtlichen Dark Rock und Gothic Metal fügen GOSPELHEIM eine Vielzahl an Klangaromen hinzu, die sogar Blues Rock und eine gesangliche Prise Rush aufbieten. Diese und andere würzige Zutaten kitzeln den musikalischen Gaumen und schmeicheln den Ohren. Gitarrist und Sänger Ricardo hat GOSPELHEIM zusammen mit Bassistin und Sängerin Coco in Manchester während der dunklen Tage des Jahres 2020 gegründet, als die Welt zum Stillstand kam. Das Duo ließ sich von der Lage der Menschlichkeit, Moral und existenzieller Konzepte wie Gut und Böse inspirieren, sowie von Horrorfilmen der Stummfilmzeit. Anfang November 2020 nahmen GOSPELHEIM im No Studio in Manchester ihr Debütalbum "Ritual & Repetition" mit Joe "Doctor" Clayton auf. Das Line-up der Band wurde später durch den zweiten Gitarristen Jordan und Rob am Schlagzeug komplettiert. Mit einer so beeindruckenden Visitenkarte wie "Ritual & Repetition" hinterlassen GOSPELHEIM einen bleibenden Eindruck bei ihren Hörern. Für alle, die sehnsüchtig auf ein Dark Rock Debüt gehofft haben, das es mit dem glorreichen Erstling von BEASTMILK aufnehmen kann, ist dies ein Album, das sich mit Nachdruck für eine Hörprobe empfiehlt.

GOSPELHEIM haben mit "Ritual & Repetition" eine ebenso wunderbare wie wunderliches Wesen erschaffen: Seine glitzernde Haut ist aus eingängigen Dark Rock Melodien gemacht, seine Knochen aus massivem Gothic Metal geschnitzt. Seine gespaltene Zunge singt sowohl mit weiblicher Schönheit als auch mit klarer männlicher Härte. In seinen feurigen Augen spiegelt sich eine tiefe Melancholie, doch seine scharfen Zähne beißen ohne jede Reue zu. Diese junge britische Band legt auf ihrem Debütalbum ein erstaunlich ausgereiftes Songwriting vor, das scheinbar mühelos eine Fülle diverser Einflüsse vereint und mit seiner stilistischen Spannweite beeindruckt. Neben dem offensichtlichen Dark Rock und Gothic Metal fügen GOSPELHEIM eine Vielzahl an Klangaromen hinzu, die sogar Blues Rock und eine gesangliche Prise Rush aufbieten. Diese und andere würzige Zutaten kitzeln den musikalischen Gaumen und schmeicheln den Ohren. Gitarrist und Sänger Ricardo hat GOSPELHEIM zusammen mit Bassistin und Sängerin Coco in Manchester während der dunklen Tage des Jahres 2020 gegründet, als die Welt zum Stillstand kam. Das Duo ließ sich von der Lage der Menschlichkeit, Moral und existenzieller Konzepte wie Gut und Böse inspirieren, sowie von Horrorfilmen der Stummfilmzeit. Anfang November 2020 nahmen GOSPELHEIM im No Studio in Manchester ihr Debütalbum "Ritual & Repetition" mit Joe "Doctor" Clayton auf. Das Line-up der Band wurde später durch den zweiten Gitarristen Jordan und Rob am Schlagzeug komplettiert. Mit einer so beeindruckenden Visitenkarte wie "Ritual & Repetition" hinterlassen GOSPELHEIM einen bleibenden Eindruck bei ihren Hörern. Für alle, die sehnsüchtig auf ein Dark Rock Debüt gehofft haben, das es mit dem glorreichen Erstling von BEASTMILK aufnehmen kann, ist dies ein Album, das sich mit Nachdruck für eine Hörprobe empfiehlt.

Freedom – the debut album from Leah Weller – a modern soul soundtrack to her head spinning twenties turning into empowered, contented thirties. Completed last year, Weller’s first complete album follows a decade-long career on catwalks, in front of cameras and making dancefloors shake, constantly on the move and with music as a constant companion. Finding the escape route out of anxiety-inducing mix-and-match career moves with the stability of love, the slowdown of repeated lockdowns and, finally, motherhood, Weller’s race is now to be run at her own pace with a collection of songs set perfectly to her flow.



Gathering nine, finely-tailored songs together with a drum beat of support from producer and collaborator, Steve Craddock, the collection speaks, much rather than screams, of finding the sweet spot between the need for hope, however naïve, and the truths that only experience can spell out.

Freedom – the debut album from Leah Weller – a modern soul soundtrack to her head spinning twenties turning into empowered, contented thirties. Completed last year, Weller’s first complete album follows a decade-long career on catwalks, in front of cameras and making dancefloors shake, constantly on the move and with music as a constant companion. Finding the escape route out of anxiety-inducing mix-and-match career moves with the stability of love, the slowdown of repeated lockdowns and, finally, motherhood, Weller’s race is now to be run at her own pace with a collection of songs set perfectly to her flow.



Gathering nine, finely-tailored songs together with a drum beat of support from producer and collaborator, Steve Craddock, the collection speaks, much rather than screams, of finding the sweet spot between the need for hope, however naïve, and the truths that only experience can spell out.

We Jazz Records presents the second volume of their reworks albums dealing with source material from the Helsinki-based label's catalog. This time around, it's Carl Stone's turn to tackle the source albums at hand and filter the label's output through his musical lens.

We Jazz Reworks is an idea that repurposes some of the label's output 10 albums at a time. That is, the label invites producers whose music they love on board, and one by one, they tackle 10 albums worth of source material, of which they are free to use as much or as little as they choose. The series evolves chronologically, so this volume being number two, the source material is pulled from We Jazz LPs numbers 11 through 20. The artist has complete freedom.

Volume 2 in the series happens with Carl Stone, a legendary figure in creative music. His career spans decades of unlimited musical innovation. Stone's recent output on Unseen Worlds, the label who has also been instrumental in issuing some of his remarkable earlier work, ranks among the most original art of our time and renders notions such as "genre" virtually meaningless.

Here, We Jazz originals by Terkel Nørgaard, OK:KO, Jonah Parzen-Johnson and more are met here with a fresh sense of discovery, spun around and delivered ready for the turntable once again.

Carl Stone says:

"It was wonderful that We Jazz gave me carte blanche to work with any materials from the set of ten releases in its catalog. This freedom to work with everything could have been a mixed blessing though, as it could be a challenge to try to deal with so much musical information. In the end I did what I almost always do: Let my intuition be my guide and to seize upon any musical items that seemed to fit into an overall approach."

"To make a new piece I usually start with an extended period of what really is just playing, the way a child plays with toys. Experimentation without necessary expectation, leading to (hopefully) discovery of things of musical interest, then figuring out a way to craft and shape these into a structured piece of music. Each track uses a different approach, which I found along the way during this play period."

This conceptual approach becomes complete with the design, in which album graphics are treated in a similar fashion, reworking what's there. This time around, the artwork is reinvented by Tuomo Parikka, a regular cover collage contributor for the We Jazz Magazine.

CURACAO BLUE TRANSPARENT VINYL, INSIDE OUT SLEEVE, OBI W/ LINER NOTES, PRINTED INNER SLEEVE WITH SOURCE ALBUM DESIGN REFLECTIONS.

'The Arbitrary Dimension of Dreams' is Cate Kennan's oblique exploration of memory, nighttime, and narrative. The resulting 12 compositions are brisk, evocative, and lingering. Kennan's sonic palette is vast yet harmonized, deftly matching spectral synthesizers to hazy lap steel guitars and watery analog effects. Existing in the sparsely occupied world of early melodic electronic music, her songs call to mind the sonic landscape's of Malcolm Cecil, Hans-Joachim Roedelius, and Deux Filles. Each individual track sculpts a setting, constructing an amorphous landscape of surreal musical vignettes. Picture a boat tied to a dock, bobbing with the waves, wisps of fog refusing the complete vision. This is the nebulous space of 'The Arbitrary Dimension of Dreams,' an enveloping, insistent realm that feels both intimately familiar and profoundly otherworldly.

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

Blue Marbled Vinyl