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Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

Limited metallic silver/white "disco ball" splatter vinyl available while supplies last.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

Hank Dogs – Andy Allan, his partner Piano and Lily, Andy’s daughter from a previous relationship - started out at folk clubs in London in the early 1990s before going worldwide in 1998 when legendary producer and late 60s Folk Rock guru, Joe Boyd declared them the first British act he'd loved in 30 years. Their debut album ‘Bareback’ saw them touring the US with Joan Baez and winning fans with their quiet, haunting sound featuring ethereal vocal harmonies, strong traces of blues and Celtic music and Allan’s fluid acoustic finger-picking recalling UK folk guitarists such as John Renbourn. Another part of their appeal, particularly in the States, was their ‘Carter Family’ image but then, when Andy and Piano split-up in real life, so did the band. A follow up album ‘Half Smile’ appeared in 2002 but this turned out to be their swansong. However, the story was not quite over yet.. a third unreleased album ‘Fiveways’ had been recorded before they went their separate ways and now it’s finally seeing the light of day on South London label Scratchy Records, plus the band are re-uniting for some long overdue gigs to celebrate the release. ‘Fiveways’ contains much of the Hank Dogs’ trademark English folk/US country-straddling sound. Piano’s voice bounces between early Suzanne Vega, Tracey Thorn and Mary Margaret O’Hara with occasional hints of Dolores Cranberry and Bridget St. John, while underneath the acoustic guitars run freeform tangled and Lily’s backing vocals add sky. Stand out track ‘Logic’ with its pensive lyrics and haunting guitar line recalls the way Suzanne Vega (her again) could sometimes make songs stand still in their tracks but it’s the dreamy ‘Nut’ that really captures the mood “You had me when I was sweet as a nut.. Not sweet enough” sings Piano. This is the sound of two ex-lovers still able to work together but unable to hide the odd dig here and there.. like a follow up album a couple of years later on from ‘Blood On The Tracks’. Andy sings a few songs too including the raggedy, swashbuckling ‘Gazetteer’ revolving around a ‘Pre-CBS Maple neck Sunburst bought off The Pretty Things’ and hinting at a whole lifetime of music biz escapades from watching his dad Elkan Allan produce 60s TV show ‘Ready Steady Go’ to a stint on bass in The Professionals along with Steve Jones and Paul Cook. Next year the story carries on with his long-running South East London ‘Easycome’ club night featuring in US TV queen Lena Dunham’s new Netflix series ‘Too Much’. Towards the end of the album an angelic setting of Dylan Thomas’s ‘Do Not Go Gentle Into That Good Night’ in the song ‘Nod’ recalls Christmas TOTP number ones from days gone by and captures Hank Dogs ability to transport the listener. This album is definitely one for the dreamers. FFO Pentangle, The Innocence Mission and William Blake

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

Es ist ein Beweis für Stan Rogers’ Wirkung als Songwriter,
dass 40 Jahre nach seinem plötzlichen, tragischen Tod bei
einem Flugzeugbrand im Jahr 1983, als er gerade einmal 33
Jahre alt war, immer noch Menschen – ob jung oder alt –
seine Lieder singen und seinen Einfluss feiern. Seine Lieder
„Northwest Passage“, „Barrett’s Privateers“ und „The Mary
Ellen Carter“ sind tief in der nordamerikanischen
Seefahrtskultur verwoben. Jetzt erhältlich: Neupressungen
seltener Stan Rogers-Aufnahmen auf Vinyl. „For The Family
“ erschien erstmals nur Monate nach seinem Tod und enthält
Interpretationen traditioneller kanadischer Volkslieder,
darunter auch solche von Rogers’ Onkel Lee Bushell und
Großvater Sidney Bushell. „Coffee House to Concert Hall“ ist
ein Kompilationsalbum mit Live-Auftritten, und der letzte Titel,
„Down the Road“, wurde fünf Tage vor Stan Rogers’ Tod live
in McCabe’s Guitar Shop aufgenommen. „Home in Halifax“ ist
ein Live-Album, das im März 1982 im Rebecca Cohn
Auditorium in Halifax, Nova Scotia, aufgenommen wurde.

REISSUED!!! Received an 8.1 rating from Pitchfork. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo—but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings—which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine ) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow, there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith—but unlike Odds , other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound , we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room—we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..."—Tom Carter

"Cedar Walton was one of the most influential hard bop pianists and became well known as the pianist with Art Blakey's Jazz Messengers. Bassist Ron Carter and drummer Jack DeJohnette both gained fame early in their careers for their associations with two different Miles Davis groups. This jazz album from 1984 was the only recording that these three jazz legends did together and was created on December 22-23 in 1983. The album is also known as The All American Trio. Cedar Walton / Ron Carter / Jack DeJohnette contains newly written liner-notes by jazz journalist/historian Scott Yanow."

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
“Sweet Rain” gilt als eines der besten Alben von Tenorsaxofonist Stan Getz und führt dennoch so etwas wie
ein Schattendasein. Aufgenommen hat er es im Anschluss an seine ungemein populäre Bossa-Nova-Phase
mit einer neuen Band aus Pianist Chick Corea, Bassist Ron Carter und Schlagzeuger Grady Tate, die ihn zu
neuen solistischen Höhenflügen inspirierte und wesentlich freier aufspielen ließ als in den vorausgegangenen
Jahren.

DJ Support: Derrick Carter, Mark Farina

Whiskey Disco #74 follows up Michael The Lion’s stellar single with a return to classic Whiskey Disco form; a mix of somewhat recognizable samples tweaked for the floor or the poolside.

Summer is in full swing and so are the artists on the latest Whiskey Disco ode to summer parties. The A side showcases a long lost gem from Cole Medina that never quite saw the light of day. It’s a longtime honour to be able to put this song on the label and we can’t wait to have a loud 45 side in our hands to drop at the choicest of rooftop parties, poolside, beachside, or to break the tension after a dirty underground session. On the flip, we see Love Athletics breaking out with All of My Love, a cheeky vocal sample underpinned by a rocking bass groove and high hats that are more than a nod to Sex Shooter. The flanged groove will be perfect for day or night tie parties. Closing out, label boss, Sleazy McQueen provides an all analog cut up with palpitating drums and hypnotic grooves, with a nice surprise to break things up a bit.

"Music On Vinyl proudly presents the first installment of the acclaimed Miles Davis Bootleg series on pristine 180 gram vinyl!
The explosive transformation of Miles Davis' 'second great Quintet' with Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) is laid bare on Live In Europe 1967: The Bootleg Series Vol. 1.

Culled from original state-owned television and radio sources in Belgium, Denmark, and France, this 5 LP box set spans three northern European festival performances over the course of nine days in October-November 1967. The audio shows consist entirely of previously unreleased or previously only bootlegged material. Miles' Quintet lineup of 1965 to '68 is acknowledged as one of the high reference points in 20th century jazz, and its influence continues to reverberate in small group jazz today, and it was the quintet's live performances, as they evolved into Miles' ideal of a ""leaderless"" jamming ensemble, that truly immortalized them.

Live In Europe 1967: The Bootleg Series Vol. 1 is the best historical album of 2012, according to the Downbeat Critics Poll 2012. "

Live In Europe 1967 - The Bootleg Series Vol. 1 showcases the ex- plosive transformation of Miles Davis’ “second great quintet” with Wayne Shorter (tenor sax), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums). Miles’ Quintet lineup during that time is acknowledged as one of the high reference points in 20th century jazz, and its influence continues to reverberate in small group jazz today. It was the quintet’s live performances, as they evolved into Miles’ ideal of a “leaderless” jamming ensemble, that truly immortalized them.

Culled from original state-owned television and radio sources in Belgium, Denmark, and France, this set contains three northern European performances over the course of nine days in October and November 1967. Live In Europe 1967 - The Bootleg Series Vol. 1 is the best historical album of 2012, according to the Downbeat Critics Poll 2012.

Live In Europe 1967 – The Bootleg Series Vol. 1 is available as a deluxe 5LP boxset, housed in a lift-off box. The set includes printed inner sleeves and a 16-page booklet with exclusive photos and liner notes by jazz-historian Ashley Kahn.

The 8-LP box set Miles At Newport 1955-1975 - The Bootleg Series Vol. 4 features of live performances by Miles’ stellar band lineups from 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in New-
port, Rhode Island, New York City, Berlin, and Switzerland. From Miles’ debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan), to his final public performance of the ‘70s in 1975, the box set traces the ascen- dance of Miles’ music as the jazz superstar he has become known to be.

The full-length concert performances alone of Miles’ famed “Kind Of Blue” Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in ‘66 and ‘67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

Miles At Newport 1955-1975 - The Bootleg Series Vol. 4 is available as a deluxe 8LP box set, housed in a lift-off box. The set includes print- ed innersleeves, a mini poster of Miles, and a 12-page booklet with extensive liner notes and rare photos.

Miles Davis' 20-year association as an artist at impresario George Wein's renowned Newport Jazz Festival is a thriving tradition that is celebrated with the release of Miles Davis At Newport 1955-1975: The Bootleg Series Vol. 4.

The 8-LP box set, comprised of live performances by Miles' stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland.

The 4th entry in the critically-acclaimed Miles Davis Bootleg Series, contains hours of previously unreleased material. From Miles' debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter's Columbia signing), to his final public performance of the '70s in 1975, the box set traces the ascendance of Miles' music as the Jazz superstar he has become known to be.

The full-length concert performances alone of Miles' famed ""Kind Of Blue"" Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and second great quintet in '66 and '67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.

On White Rabbit CTI boss and producer Creed Taylor placed George Benson in lavish Spanish arrangements by Don Sebes- ky. The title track “White Rabbit” remains strong even without the lyrics, while “California Dreaming” sounds relaxed and warm with its Andalusian harmonies. On the closer, “El Mar,” Benson comes through with some truly inspiring playing. This was Benson’s first release on CTI (Beyond The Blue Horizon was released on its subsidiary Kudu Records) and the debut of guitarist Earl Klugh. Herbie Hancock adds his magic touch to the Rhodes, as does Ron Carter on bass.

Das Album "Songwriter" entstand im Jahr 1993 als Cash ein Album mit selbst geschriebenen Songs aufnahm. Jedoch vergaß er dieses Album prompt wieder, als er bei American Recordings unterschrieb und sich daraufhin nochmal einer komplett neuen Generation von Fans als einer der besten Songwriter der Welt präsentierte. Diese (fast) vergessenen 11 Songs des Songwriters wurden nun von seinem Sohn John Carter und dem langjährigen Produzenten von Cash, David Ferguson, überarbeitet.

Das Album "Songwriter" entstand im Jahr 1993 als Cash ein Album mit selbst geschriebenen Songs aufnahm. Jedoch vergaß er dieses Album prompt wieder, als er bei American Recordings unterschrieb und sich daraufhin nochmal einer komplett neuen Generation von Fans als einer der besten Songwriter der Welt präsentierte. Diese (fast) vergessenen 11 Songs des Songwriters wurden nun von seinem Sohn John Carter und dem langjährigen Produzenten von Cash, David Ferguson, überarbeitet.

All Black Everything, the debut EP by UK-based, Parisian bassist, vocalist and composer Amy Gadiaga, is an expansive, boundary-pushing 5-track collection showcasing prodigious bass playing and a voice brimming with power and emotion. It's a profound exploration of self-acceptance that presents both a celebration and acknowledgement of Gadiaga's deep-seated darkness.

Inspired by the 2020 Black Lives Matter movement All Black Everything confronts racial identity complexities and the challenges of being a societal 'black sheep' and sees Gadiaga courageously transform her insecurities into a narrative of self-empowerment.

Born to parents of Senegalese, Gambian, and Malian descent, and hailing from the outskirts of Paris, the multitalented Gadiaga has been making waves in the UK music industry since she moved to London aged 18. With a fresh and unique style that bridges the old school jazz tradition of musicians such as Betty Carter and Wayne Shorter with the raw, rootsy modern sound of artists such as D'Angelo, Stevie Wonder and Twinkie Clark, Gadiaga's breadth of ambition and revitalising approach have brought early critical acclaim and ardent fans.

Signalling the arrival of a significant new voice on the London music scene, All Black Everything communicates the liberating essence of embracing individuality and presents a journey through Gadiaga's personal struggles, standing as a testament to art's transformative power and encouraging listeners to find strength in their uniqueness. "All Black Everything is very much an exploration and embracing of one of my archetypes in life which is the black bird/black sheep" she explains. "That feeling of not thinking you belong anywhere, of being misunderstood and really tending to your own. No helping hand. But it's ok sometimes because you also feel like nobody can compete with you, you're one of a kind."

Zwei schwarze 180-Gramm-Vinylplatten in bedruckten Innenhüllen, ein 40-seitiges Booklet mit bisher unveröffentlichten Bildern und ein gefaltetes Sammlerposter.

Zwei schwarze 180-Gramm-Vinylplatten in bedruckten Innenhüllen, ein 40-seitiges Booklet mit bisher unveröffentlichten Bildern und ein gefaltetes Sammlerposter.