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Seminal NYC multi-reedist Doug Wieselman announces arresting new album of birdsong arranged for clarinet, flute, banjo and piano WA-Zoh, released on Shahzad Ismaily’s figureight records.

Wieselman has performed with superlative greats (including the Lounge Lizards, Lou Reed, Yoko Ono, Bill Frisell, Iron & Wine, Laurie Anderson, Tricky, Martha Wainwright, Antony and the Johnsons, CocoRosie) and contributed significantly to the NYC Downtown scene over the past three decades. He is described, by NYC Jazz Record, as “a vital force in the New York music scene”.

Over the years, Wieselman has taken hours of recordings of birds both from his world travels and outside his window in Brooklyn. His beautiful new album WA-Zoh uses the recorded bird songs and phrases - slowed down and processed - as source material for original compositions, reflecting the astonishing beauty and inherent musicality of the natural world in a wholly unique take on field recording. Incorporating clarinets, flutes, banjo, piano and percussion, all played by Wieselman himself, the new album is marked step forward from his previous solo outings as a clarinet player, though no less accomplished in its composition, dexterity and skill.


The minimalism, patience, and subtlety here is delicately formed from featherlight interweaving lines of soft, virtuosic instrumentation, resulting in an album that sits somewhere between avian chirrup, rainforest prettiness, the refined intelligence of American minimalism, and the undecorated purity of ambient music.

During the recording of this album, band leader Duane Allman was tragically killed in a motorcycle accident. Still reeling from their loss, the band nonetheless managed to complete this classic album with Dickey Betts on guitar. In tribute to Duane, however, they chose to bring the album to a close with a 34-minute jam taken from the Fillmore East sessions, which showcased what an amazing guitar player and force to be reckoned with Duane really was. Includes 3 bonus tracks and a replica of the original insert." The 4th Allman Brothers album, originally released in 1972. 180 gram virgin vinyl, deluxe gatefold sleeve.

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s 'The House Music Anthem (Move Your Body)' featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

Robert Pollard has a very strong work ethic. With most of their touring canceled due to the pandemic and then a fractured kneecap, Guided By Voices ran up an extremely prolific streak in the studio, recording and releasing eight albums in the past three years and garnering piles of rave four star and five star reviews in the process. In case one were snoozing, the last album, La La Land was Uncut magazine’s “Best Of The Month.” The pandemic records were particularly notable and unique that the band members recorded most of their instruments individually in separate cities. Welshpool Frillies finds the gang back together, in a Brooklyn basement with producer Travis Harrison. Much of it was recorded live to tape. The catchy ear worms in these new songs are undeniable, as the kinetic energy of the band is captured in its most raw and pure form. The album is brash, no-frills, and punky, inspired by the wiliness of 90s-era GBV, specifically the Scalping The Guru compilation that Pollard put together in 2022. 2023 marks the 40th anniversary of GBV’s start in Dayton, Ohio. Robert Pollard was an elementary school teacher with no formal music training, and his unlikely success has been an odds-defying adventure. It’s never too late to discover this vital rock band and join the GBV cult.

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52’s. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece’s only full-length statement. Suburban Lawns’ asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group’s male vocals—courtesy of Frankie Ennui, Vex Billingsgate and John McBurney—maintain the satirical themes of Southern California’s postwar mirage of limitless sprawl. Suburban Lawns’ catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on “Anything,” which could have easily come out on any purely Punk label from LA at the time, while Tissue’s deadpan delivery on “Janitor” glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured “Boom, Boom, Boom, Boom.” From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns’ lone LP remains in a class with precious few. It’s not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.

A masterful funky jazz album by one of the godfathers of acid jazz. Produced by Bob Porter, “Texas Twister” was a continuation of Sparks’ sought-after work at Prestige. The Texas-born guitarist had joined Bob Weinstock’s label at Porter’s request in 1970 after several years working with the likes of Jack McDuff, Lou Donaldson and Reuben Wilson. At Prestige, he recorded three albums as a leader and over a dozen as a session player, showing himself to be a wizard at playing funky licks and energised solos.

When Porter left to set up Eastbound Records in Detroit - as a branch of Westbound Records - Sparks followed, recording "Texas Twister” in 1973 as his label debut. The incredible rhythm section of Idris Muhammad (drums), Sonny Phillips (electric piano), Caesar Frazier (organ) and Wilbur Bascombe (bass) make this album a sure-fire funk bomb. On the front-line, a hard hitting horn section that includes Cecil Bridgewater (tenor sax) and John Faddis (trumpet) are a perfect foil for Sparks. The album includes the monster acid jazz club cut 'Whip! Whop!' and the frenetic 'Texas Twister', as well as a beautiful rendition of the Four Tops’ 'Ain't No Woman (Like The One I Got)’.

After Porter left Eastbound, Sparks recorded the more soul-based “’75” and began to record another album that languished in the vaults for decades. He then mostly concentrated on session work before he was rediscovered by the acid jazz scene in the late 80s, when he was brought over to Europe to tour as part of the BGP All-Stars. This late revival saw him record five further albums of funky blues-drenched jazz funk.

Ace Records now offer you the first-ever UK reissue of this album, that should take pride of place in anyone’s collection of 70s jazz funk.

Texas born guitarist Melvin Sparks is one of the godfathers of Acid Jazz. He first came to prominence in the bands of Jack McDuff and Lou Donaldson, providing an essential element in their funky groove-based classics of the late 60s. He then became part of the Prestige Records funk team, under the tutelage of producer Bob Porter. He made his debut LP “Sparks”, for the label in 1970, alongside Idris Muhammad, Leon Spencer and Houston Person. Two further exciting albums appeared on the label with “Spark Plug” and “Akilah” and over a dozen side-man appearances.

When Porter left to set up Eastbound Records in Detroit - as part of Westbound Records - Sparks followed, recording his label debut "Texas Twister” in 1973. The following year, after Porter left, he recorded the album that became “’75” with some of the label’s top session players, including members of Funkadelic and vocalist Jimmy D Scott, who sang on ‘I Got To Have You’ and ‘If You Want My Love’. The nine tracks featured a slicker sound, that mirrored the contemporary soul jazz of the time and included club classics like 'Get Ya Some' and 'Get Down With The Get Down’.

Sparks began recording one more album for the label which languished in the vaults for decades and then mostly concentrated on session work before he was rediscovered by the acid jazz scene in the late 80s, and was brought over to Europe to tour as part of the BGP All-Stars and this late revival saw him record five further albums.

This is the first vinyl reissue of this album since 1975.

The Counts formed in Michigan in 1964 as the Fabulous Counts, releasing two singles, ‘Jan Jan’ and ‘Get Down People’ on the Moira label in 1968 and 1969 that became R&B chart hits. This led to the album “Jan Jan”, issued by Cotillion in 1969.

Snapped up by Westbound, the line-up that recorded “What’s Up Front That Counts” included Mose Davis (Organ), Leroy Emmanuel (guitar), Demetrius Cates (sax) and Andrew Gibson (drums). Although tenor player Jim White is on the front cover, he left the band shortly before the album was recorded. Extended, mostly instrumental tracks like ‘Why Not Start All Over Again’ and the title track are now recognized as some of the juiciest funk ever laid down in the studio. Shorter tracks like ‘Rhythm Changes’, ‘Thinking Single’ and ‘Bills’ are equally sweet. What gives the album such powerful musical chemistry was the fact that the Counts were jazz players weaned on the likes of Miles Davis who were also into the funk of James Brown and Sly & The Family Stone so every track features groove-driven interplay. One might argue this is the sound that Miles Davis was trying to find on his early 70s albums.

The Counts were to tour with Funkadelic and record more singles and albums but it is this 1971 offering that is, and remains, an all-time classic. Indeed, the track ‘What’s Up Front That Counts’ has been sampled by artists like Queen Latifah and Eric B & Rakim, keeping the music of the Counts firmly in the minds of a young contemporary audience.

Out of print on vinyl for nearly two decades, Ace is proud to reissue this beauty

Attia Taylor is a NYC based musician, writer, and content producer. She is the founder of Womanly Magazine, The Dorothy and a member of The Art Dept Collective. Her work is rooted in social justice, art, and design, to bring inclusive and culturally relevant content to sound, print and digital realms. She is passionate about building and cultivating communities through journalism, music, storytelling, and research. "Space Ghost" is her debut solo album, recorded with Jeff Ziegler (Kurt Vile, The War on Drugs) in Philadelphia.

First-ever vinyl repress of her classic 1982 fan-favourite album, third in a series of remastered vinyls of her 1980s albums, and part of Cherry Red’s on-going re-issue campaign of the star’s EMI catalogue in association with RT Industries.

Remastered from the original master tapes and pressed on green coloured vinyl with refreshed artwork including new inner sleeve.

Includes the singles ‘Machinery’, ‘Are You Man Enough’ and ‘I Wouldn’t Beg For Water’ as well as her original recording of ‘Wind Beneath My Wings.’

Sheena Easton rocketed to overnight fame in 1980 with the BBC broadcast of ‘The Big Time’ – arguably the first pop reality show – subsequently breaking records with her first two singles ‘Modern Girl’ and ‘9 To 5’ simultaneously hitting the UK Top Ten. Within a year, she had topped the US Hot 100 with the renamed ‘Morning Train (Nine To Five)’, recorded the Bond theme ‘For Your Eyes Only’, released two platinum-selling albums and become an international sensation.1982 proved another whirlwind year for Sheena – beginning with her ‘Best New Artist’ win at the Grammies, followed by first national US tour, the recording of her first TV special ‘Live At The Palace, Hollywood’ and capped with the release of her third album
– the aptly-titled ‘Madness, Money and Music’. Produced by Christopher Neil, the album ranged from the hyperkinetic new wave-infused ‘Machinery’ via the smooth west coast yacht rock of ‘There When I Needed You’ to classic, Streisand-style balladry on the top 20 AC hit ‘I Wouldn’t Beg For Water.’ It also included one of the earliest recordings of the classic ‘Wind Beneath My Wings’.

Revered house mainstay Junior Sanchez makes his debut on Carl Craig’s renowned Planet E Communications imprint today with the digital release of his latest EP ‘‘Art O Fact’ out now with a 12” to come this July. Hailing from New Jersey, Sanchez remains a pioneering force in house music for over three decades and a close ally of Craig’s.

‘Art O Fact’ is an exemplar of the energized rhythm and infectious groove that has become synonymous with Sanchez’s work and genre defining productions. The package seamlessly connects scenes and eras, paying homage to the soulful sonic atmosphere of Detroit, Junior Sanchez’s says:

“Art O Fact -- was created purely and simply out of creative inspiration. I walked into the studio one morning not really knowing what to do, so I let my inspiration guide me and my inspiration really was Detroit. I thought about that city, what it meant to me and what techno really meant to my heart. I have loved so many records by Carl Craig, DJ ROLANDO, Derrick May, Kevin Saunderson and Juan Atkins, so the result is something really beautiful and organic, and the fact that it's coming out on Carl Craig's planet E imprint is such an honor.”

In addition to the original mix, the ‘Art O Fact’ EP features a bouncy ‘Luv4Detroit’ Dub, energized edit, and melodic reprise.

Sanchez’s eclectic palette can be credited in part to his time spent in the sonic melting pot of New York City in the 1990s. A pillar of the underground club scene, Junior Sanchez began DJing at iconic New York City institutions such as Limelight and Club USA at the mere age of 13 and released his first track on iconic house imprint Strictly Rhythm at age 15. Sanchez went on to co-found Da Mongaloids collective, composed of the likes of Daft Punk, Armand van Helden, LaidbackLuke, and more which laid the foundation for him to form multi-generational turntablism trio S-Men alongside Roger Sanchez and DJ Sneak.

Sanchez's extensive repertoire of collaborators includes Madonna, Ariana Grande, Good Charlotte, Azealia Banks and more while his own imprints Cube Recordings and Brobot Records have seen releases from the likes of Felix Da Housecat, Sébastien Léger, and Steve Mac.

Led by legendary Detroit techno pioneer Carl Craig, Planet E Communications has been an integral force in shaping electronic music for the past thirty years. Standing testament to the timeless spirit of techno, over the past two years alone Carl has released the leftfield ‘Attenuator’ jazz fusion project from himself and Moritz Von Oswald, DJ Holographic’s multi-genre Detroit Love Vol. 5, and the first electronic music album from Mexican-American percussionist Francisco Mora-Catlett. Planet E continues to transcend the dance floor, as it perpetuates the unifying spirit and unwavering creativity of Detroit.

'Jump Into Love' is the new album from Half Japanese, true DIY noise-rock royalty, led by the ever-effervescent Jad Fair. It's a meeting of minds, a coming together from the world's favourite indie-alt-rock outsiders. Atypically out there and off-kilter, the album wears its heart on its sleeve through a cascade of new, dark and brooding songs from the band who would be king. Loved by Kurt Cobain, Daniel Johnston, Penn Jillette and outsiders everywhere, Half Japanese continue their quest for answers; creating a soundscape for a post-zombie land where bells chime and it's OK to say "Yes". It's another adventure; series 20 from an introspective parallel world where the super prolific Jad Fair cogitates on life, love, giants, the possessed and even bigger issues that simply swell the brain. Musing on the writing process, Jad explains "I feel a need to do music and do song writing. It's something I really miss when I'm not doing it. There's a certain amount of tranquillity that's obtained from the fact that you can be working on songs each day. I think you use that certain portion of your brain that is otherwise not used. I kind of kind of prefer using it than not using it." Half Japanese currently includes Jad with John Sluggett, Gilles-Vincent Rieder, Mick Hobbs and Jason Willett, a veritable who's who of DIY indie culture. 'Jump Into Love' was recorded at Tempo House, Baltimore, Russian Recording, Bloomington Indiana, Studio de la Trappe, Donneville France and la Casamurada, Tarragona Spain. The album was mixed by long time Half Japanese sparring partner Jason Willett at his home in Baltimore, Maryland. "Amid hard-riff jams, swinging ditties, lovelorn ballads and other catchy gems, Jad persistently breathes life into the Half Japanese" NPR "One of indie rock's most reliable sources of positivity" Pitchfork

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

Covet is fronted by Yvette Young who is revered by guitarists around the world for her mastery of the innovative two-handed tapping technique. Yvette says of the album - "I'd like to be honest - this album process was one of the most challenging ever, and none of the reasons for that was related to the actual music. There was a moment where it felt like it might not come out ever...but I think having patience and faith does pay off. I named this record "catharsis" because the word to me feels like a triumphant exodus. No matter the dire circumstances, music is one of those things that I’ve always needed to create to survive (in all senses of the word), and time and time again, I turn to guitar and songwriting as my outlet to uplift and feel like I have control over something in this chaotic universe. The overall theme of the album is escapism and fantasy, which also feels fitting because in a lot of ways, we use music and art to escape our anxiety, our pain, and our sometimes oppressive realities...to travel to universes that we so badly wished existed. Music is so powerful for this reason because it can be so transformative- it uplifts and empathizes with you without needing to say a single word. With this music, I wanted to tell a concise but dense story that goes many places- not necessarily all joyful. I have been working on it down to the last minute, and in less than 30 minutes, I'd like to take you to all the magical places I’ve been and show you all the highs and lows that I've had the privilege of experiencing during the last 2 years of creating this body of work."

A superb gatefold Sleeve by Mad Karma and a clean powerfull mastering by Stefan ZMK

The music brings a Banging Electro Hardcore, with a solid story telling and lots of sparkling Electro bright frequences... A bit like that Teknosuck 100% DJ Y.
But more in a live-set mode...

An OVNI in the actual music production. And then... A pure pleasure of course !

For the last twenty years, Sami Yenigun has DJed, thrown parties, released records and built community in Washington DC. He lived in and helped produce the underground event space Subterranean A. He's a co-founder of the DC mega party ROAM. He started the label 1432 R alongside Joyce Lim and Dawit Eklund. He's made music for Future Times, World Building, Rhythm Section, and Ghostly International. He’s produced for Dreamcastmoe and jammed with the Lifted crew.

Sami's also an award-winning journalist and Executive Producer of the largest afternoon news broadcast in radio, All Things Considered. He's won a Peabody, a Murrow, A World Press Photo Award and a National Press Club Award for his work, which includes creating a show with the legendary DJs Stretch and Bobbito, serving as editor of NPR's podcast about race, Code Switch, and covering elections, epidemics, insurrections, and of course, music.

It’s a lot, but whether finding a flute that fits, an extra battery for his Marantz, or the energy to make beats after a week of telling stories, Sami's enthusiasm for life, and the people in it, make it work.

The latest record, Elevate, is a testament to that enthusiasm. Four tracks that crackle and pulse with the same electricity that runs through all of what he makes. Just as Sami's interests in his personal and professional life are ranging, so are his tastes for club fare, and you can hear it on this release.

Four views of mother nature: a forest and a mountain range; a wicked city and a well. Traced from house and techno, through a lens and back.

It's a body of work that continues to branch and build. Elevate is a step into Sami's next chapter: Where flutes, stories, queerness and truth curve together.

Shapes of Rhythm is proud to present the self-titled debut LP of Turkish psychedelic pop from MLDVA & Çınar Timur. This record is a celebration of the classic music and culture typically of the 70s and 80s, but which also leans into western jazz funk and soul jazz moments. If you're into the Turkish music legends of the 70s and 80s such as Barış Manço and more recently Altın Gün or Derya Yıldırım & Grup Şimşek, you've come to the right place.

MLDVA were formed in Krakow, Poland in 2013 as a DJ and production outfit. Under the influence of Greek and Turkish folk and psych-rock music they began to transform into a band, taking up instruments including the Saz which is one of the most recognisable trademarks of the Turkish sound. Two years later in 2015 they invited Turkish instrumentalist Çınar Timur to join them and this completes the line up on their debut. This electric album is packed with excellently-recorded expansive tracks which are full of energy, psychedelic deep grooves, hard-hitting breakbeats and everything else you'd expect with classic Turkish sounds.

The instrumental double-header of Neşat Erkaş' Zülüf Dökülmüş Yüze, moving into the time-honoured traditional Kozan Dağıis the perfect opening track. The introduction is an overture of sorts with two minutes of Çınar Timur's pondering guitar. This tees up the record perfectly before heading into a break-beat driven workout with the band matching Çınar's evocative and energetic riffing. The result is a tight sound and a heavy groove that sets the tone for what's to come.

With the band unveiled, Sarı Çizmeli Mehmet Ağa, written by Barış Manço (a legend in Turkish popular music), hits a relaxed, deeper and more psychedelic groove, dominated by Wojciech Długosz's dreamy Rhodes piano, set against choppy wah-wah guitar licks that characterize that classic electric Turkish pop sound. We're introduced to Ulaş Çıbuk's vocals for the first time, telling the historic tale of a charitable village lord Mehmet Ağa from 19c Anatolia known for his generosity. He shared his fortune with people inneed and as a result, died penniless. This track also features the unique sound of Çınar's Mictrotonal electric guitar.

Bir Adım Öte is MLDVA & Çınar Timur's magnificent mellow moment, marking the halfway point in their debut. The group shows that it's not all about the frenetic in a nod to western Soul-Jazz constructs. They showcase restraint, emotion and that joy in repetition of a wonderful guitar refrain. Not content with holding this down, Wojciech Długosz's Rhodes solo steps into a world that's US-influenced Soul jazzand is a lesson in reduction and feeling. Çınar Timur then takes a solo turn, keeping it western-influenced with an on the spot improvisation. When the three minutes of solos are over, we're brought back out of thedream and towards the East again.

Adımız Miskindir Bizim kicks off like a hip hop/funk crossover tune, until the chord changes muscle in, to remind you where you are in the world. As with other tracks on the debut, the tune is marked by recurring motifs, this time from Çınar's microtonal electric guitar. We've more solo Rhodes action, thist ime busier and more urgent. The lyrics–originally written by Yunus Emre – criticizevalues such as holding grudges that destroy ideas of love, friendship and peace among people which causes hostility. Adımız Miskindir Bizim concludes with an uplifting vocal vamp which switches it up unlike any of thetracks on the LP.

In Fesupanallah– made most popular by Erkin Koray – Ulaş Çıbuk sings about the simple subject ofbeing patient with never ending problems in life, and trying to find a solution for them. This cut takes a rhythmical side-step to the rest of the album. The kick drum maps out a solid four-four, but the vocals and guitar lines move around it to impose Fesupanallah as being the record's most traditionally Turkish-sounding cut.

The album's closing track Ölüm Allah'ın Emri (another Manço classic) was recorded live in the band's more familiar surroundings of Krakow's Cheder Cafe during 2020's Jewish Culture Festival. The lyrics tell the tale of someone who has accepted death but cannot accept the separation that comes with it. We open with a dreamy, psychedelic mood before progressing into a heavy-riffing rock feeling with probing synths. Ulaş delivers his vocals over the top of a stripped back, shuffling groove. As the track progresses towards a frenetic conclusion, drummer Szymon Piotrowski cuts loose, combining with Grzegorz Dąbek's synth lines.

MLDVA & Çınar Timur's debut LP is not the sound of a band starting out. Taking time to hone their craft and let influences across the global spectrum of music mature, this is the result of years of jamming, gigging and collaborating. Now, after prestigious festival appearances and their place on Saz Power – an essential modern Turkish music compilation – they're making a lasting contribution to a rich, time-honored culture. MLDVA & Çınar Timur releases Friday 30 June 2023 on limited edition vinyl LP and digital download/streaming services on Shapes of Rhythm. Global distribution by Kudos Records.

Don Glori, a.k.a multi-instrumentalist Gordon Li, returns with a remix EP that tears open five tunes from his groundbreaking debut, Welcome.

Taking an opportunity to sink into some of the ideas explored on the original album, the five remixes featured here sees some of Europe and Australia’s finest throw open the shutters and shine a light on Li’s inventive compositions and remarkable instrumentation.

Rosie from the Block, a.k.a Belgian multi-instrumentalist, producer and DJ Roselien, leans right into the percussion and drum kit playing that made Welcome so infectious, layering this with cheeky bubblegum-beat bass lines that lend the whole affair an incredibly smooth, street-soul styling.

Other key players include Swedish duo Mount Liberation Unlimited, lending their take on things an introspectively dark, brooding atmosphere that evolves into one of their trademark acid-house extended journeys; Australian radio DJ and producer Ennio Styles working alongside Liam de Bruin, hip-hop/soul duo Man Made Mountain, led by MC Cazeaux O.S.L.O, and an insanely infectious organic house take on hit single Dlareme by one of Melbourne’s finest, Teymori.

A perfect companion to an album that broke open the Melbourne scene and laid out new parameters for the quality of jazz, samba and funk-inspired music emerging from that city, Welcome Remixes breathes fresh life into this incredible album and reminds us just how goddamn fun making, playing and performing music can be.

After the white cover of the first volume and the silver one of the second volume, the third new chapter was to be dressed in the golden one.

This brand new "golden edition" double LP includes only rarities and '77/'78 Baia’s heritage hymns.

In the inner case we can find the iconic comics of the "antibaia", made entirely by Andrew Joseph Corsaletti, Andrea for friends. These comics were a regular appointment for all fans of "The Baia's Time", the Baia degli Angeli’s newspaper.

In 1983 there came a sound from the depths of the Brazilian rainforest that was primal, ground-breaking, and completely ahead of its time. The roaring of amplifiers and the beating of drums was the sound of Max and Iggor Cavalera creating their debut cult-classics 'MORBID VISIONS' and 'BESTIAL DEVASTATION', and now it seems that after many years, the Cavalera brothers will be returning to their raw upstarts with a full re-recording of these beloved yet obscure albums.
When 'MORBID VISIONS' and 'BESTIAL DEVASTATION" were first spawned it was done in ramshackle conditions in Belo Horizonte, where the duo grew up. Max and Iggor were 14 and 13 years old during the original recording, and they had all the tenacity and energy of a pack of wild dogs. Only, their sound was not quite refined at that time, their adolescence bled through on those early records. It is well known that Max's guitars were completely out of tune on those sessions, and Iggor's drums often swung around tempos crazily. There's an air of youth and passion that could only be achieved by two teenagers that wanted to shock the world. Four decades later and it is plain to see that they certainly did gather the world's attention.
Despite the production being rough around the edges and the band still carving out their direction, there was a noticeable level of craftsmanship to the song structures and a clear indication that given their desire to thrash like maniacs, these kids from Brazil were going to tear the place up night after night. These albums still hold a dark, mystic and at times eerie quality to them that many have come to love over the years. For some, the music does not have to be delivered with perfect technical precision, the spastic live delivery is something to be cherished, and even with their guitars out of tune, they played like the gates of hell were opening. The crossroads of a shamanistic spiritual summoning at a back-alley metal show in downtown Belo Horizonte.
It is a task of heavy magnitude to try and cross the gap between the accomplished artists that they are today to the scrappy boys that they were when they first wrote these songs, but the duo have executed the performances flawlessly. The perfect bridge between the unbridled energy of the original sessions and the high-quality sound of a 21st century production. It is truly astounding to hear Max once again growl like a monster during "Troops Of Doom" and riff at insane speeds through "War" and "Crucifixion". Iggor's barbaric drumming on "Anti-Christ" is like the galloping hooves of a death-rider. Accompanied by bassist Igor Amadeus Cavalera (HEALING MAGIC, GO AHEAD AND DIE) and lead guitarist Daniel Gonzales (POSSESSED, GRUESOME) the quartet is a force to be reckoned with.
How this re-recording attained such a familiar tenacity is almost a mystery, like some spell that brought these albums back from the grave. Within the first few beats you can hear that the Cavalera’s have lost no momentum, attacking the songs at maximum speed and ferocity. In fact, it seems that the brothers have only empowered their connection through music over the decades. You can feel the spark that those two create, a dynamic sound rich with subtleties and ear-grabbing hooks. As Iggor counts in each song with his drumsticks, and Max's guitar feedbacks loudly as he approaches the microphone, there is palpable apprehension. It is apparent that when these two icons get together to play, they are going to electrify the room with their presence.
Few have had the incredible careers that Max and Iggor have achieved through their music. Even fewer had faith in the young boys that wrote 'MORBID VISIONS' and "BESTIAL DEVASTATION' all those years ago. Yet here they still stand ripping through their earliest works with decades of experience under their belts. For them, it is a breath of fresh air to finally give these songs the desired production that they deserve. They both feel that the fans also deserve a fresh look at these albums, a chance to appreciate them in a completely new light.
From start to finish 'MORBID VISIONS" and "BESTIAL DEVASTATION" are a torrential whirlwind of riffs, beats, and screams. A blast from the past that is sure to take every last listener back to the raucous live shows of the eighties.
Mysterious clouds form above an old cathedral, the summoning of dark magic is upon us, and the troops of doom march forth to announce the arrival of 'CAVALERA'!

The best R&B songwriter and soul singer that most people have never heard of, Sam Dees has written songs for countless artists, including Gladys Knight, Aretha Franklin, Whitney Houston, George Benson, the Temptations, Teddy Pendergrass, Millie Jackson, Jackie Wilson, the Manhattans, Regina Belle, KC & the Sunshine Band, Willie Clayton, and many others. He's also a pretty fine singer, having recorded for the Chess, Atlantic, Polydor, and SSS labels, and he had a nice string of his own hits in the 1970s. His 1975 Atlantic album The Show Must Go On has long been regarded by Southern soul aficionados as one of the best of the genre. Sounding a bit like a deeper-voiced Curtis Mayfield (in both style and theme), Dees sings with assurance, wisdom, passion, and a whole lot of soul here. Songs like "Child of the Streets", "Troubled Child," & "What's It Gonna Be," share Mayfield's commitment to social commentary, and Dees knows his way around a love song, too. It's absolutely essential.

GRAMMY NOMINATED AFRO-FUSION SINGER, SONGWRITER, AND PERFORMING ARTISTE The Nigerian singer-songwriter, Burna Boy, was born Damini Ogulu on the 2nd of July, 1991 in Port Harcourt city, Nigeria to Bosede and Samuel Ogulu and he is the only son and eldest of three children.

He started producing music when he was ten years old. After graduating from college, Burna relocated to London to attend university. After two years, he dropped out and moved back to Nigeria to pursue his passion. Coming from a family where music was loved but where a greater premium was placed on education, he spent most of his summer holidays in the UK and in language immersion summer camps in France, Togo and Cote d'Ivoire, before finally moving to the UK where he picked up the Brixton Patois accents which have become a signature in his music.

Young Damini attended Montessori International primary school in Port Harcourt (1993-2002) and Corona Secondary School, Lagos (2002-2008). It has always been music for Burna Boy as observed by his mum when he was still a teenager. She recounts that he was always hanging around his Grandfather, listening to classical music; little wonder his role model later became the man his grandfather managed, Fela Anikulapo Kuti.

His quest for knowledge took him outside the shores of Nigeria to the United Kingdom to study Media Technology at the University of Sussex (2008–2009) and Oxford Brookes University (2009–2010) to study Media Communications and Culture.

Thereafter, he did a one-year internship with Rhythm 93.7 FM Port Harcourt before officially launching his professional music career when he was signed on to Aristocrat records - prompting a permanent relocation to Lagos.

Burna Boy has released a series of EPs, singles, mixtapes, and albums including 2018’s extraordinary “Outside”. The award-winning collection led to Burna’s U.S breakthrough, debuting at #3 on Billboard’s “Reggae Albums” chart, which was partly fueled by the blockbuster single/video, “Ye”. His most recent album, “African Giant”, released in July 2019 has garnered praise from both Nigerian and international media.

Furthermore, the “African Giant” album got nominated for the 62nd Annual Grammy Award in the Best World Album category. Burna is among the contemporary African music’s brightest stars and also the pioneer of an enigmatic genre he simply dubs “Afro-fusion”. The gifted singer-songwriter got featured on American songstress Beyonce's curated Lion King soundtrack, “The Gift”. He also recently took home the 2019 BET Best International Act Award and 2019 MTV Europe Music Award for “Best African Act”.

After the release of 2001's 'Fuck Art', The Dirty Nil jammed in their practice space for weeks, not overthinking anything or taking any external input. They didn’t sweat the small details or fret over transitions and arrangements. Less second guessing, more reckless abandon. It’s the same approach to rock they’ve taken since they were kids. “We had the best time pulling these songs together. It made me feel like a teenager in my parents’ basement again,” Bentham says. What came out was the appropriately titled Free Rein to Passions. Their youthful rock-worship approach is immediately apparent on the album’s opener “Celebration,” which cuts in via a chugging metal riff, a subtle ode to one of the Nil’s influences, Power Trip’s late frontman Riley Gale. From there, the band indulges their loudest, gnarliest inclinations, making casual nods to their more chaotic favorites, including everything from the Jesus Lizard to the Blood Brothers. And on the album’s catchiest single, “Nicer Guy,” the Nil reminds listeners that they also still wield the power to stitch a perfect, infectious pop hook into their rock fabric. Free Rein to Passions keeps things simple lyrically as well, and doesn’t get bogged down with overly complicated messaging. Nothing overwrought, nothing didactic. Just songs about working soul-sucking jobs, shredding on guitar, and striving to be a kinder person. “The only real central theme of the album is an acknowledgment of the crazy circumstances that we all occupy at this point in time, and being nice,” Bentham stresses. “It’s about being nice to everyone around you, and enjoying your silly little life and not getting too smashed down by prevailing negativity in the air.”

Second pressing on 180g ultra-clear vinyl, printed inner-sleeve, download card included.

"When everyone left NYC, the sewer opened and we crawled out." Prolific Brooklyn institution The Men return with their ninth studio album, 'New York City'. Arriving following 2020's 'Mercy', the new LP is released February 3rd 2023 on the group's new label home Fuzz Club Records and marks a return to the more scuzzy and abrasive rock ploughed over their decade and a half spent coursing through the grimy sewers of NYC. Here, nocturnal proto-punk meets a timeless, all-guns-blazing rock'n'roll gusto. That the album leans into a more primitive, back-to-basics sound owes largely to the way in which was forged, an earlier version of the record scrapped in favour of four people playing in a room together. "The New York City album was revised, reorganized and shaped until it became clear that things fall into place like the hammer driving the nail or the scythe's swipe through the tall grass." The end result is a series of cuts played live and recorded to 2" tape in Travis Harrison's (Guided By Voices, Built To Spill) Brooklyn studio. New York City' is a record that doesn't stop moving for a second, packed full of the kind of energy you can only really capture in a live setting. "These songs became the blood of the band as the band could only exist for and of these songs. There was no place else to hang their hats. Without making this record, the group would not exist, so there really wasn't another option. NYC is fluid. It means a lot of different things to all kinds of people. We present the record in that spirit."

SLY & THE FAMILY STONE: One of the most innovative groups popular music has ever known, the band that instigated a musical revolution! Black and white, male, and female, SLY & THE FAMILY STONE were the first- and still the most significant - integrated combo in the history of popular music.

Founded in November 1966 by Sly Stone by merging The Stoners with his brother Freddie’s Stone Souls, this new sound was a unique and unprecedented fusion of Soul, Funk, Rock, R&B and Psychedelia. Sly himself was a master musician who wrote, arranged, and produced all the group’s material, fashioning ingenious musical arrangements with a blend of syncopated rhythm, pop melody, lowdown funk and unorthodox harmony.

And he chose the best players in the San Francisco Bay Area to implement this outrageous musical vision. With the compilation STONE SOUL we are focusing upon their rarely heard roots and the earliest examples of the style that would take the music world by storm. This fascinating set includes the complete recordings of FREDDIE AND THE STONE SOULS, early solo experiments by SLY and ROSE STONE, the very first SLY AND THE FAMILY STONE studio session that predates their signing with Epic Records, and the tremendous 1968 demo ‘Man Does Not Live’. Also featured are the gospel sounds of THE HEAVENLY TONES, whose members would provide vocal backgrounds on multiple Family Stone albums and later become known as Little Sister.

So Ride the Rhythm and let the music take your mind

SLY & THE FAMILY STONE: One of the most innovative groups popular music has ever known, the band that instigated a musical revolution! Black and white, male, and female, SLY & THE FAMILY STONE were the first- and still the most significant - integrated combo in the history of popular music.

Founded in November 1966 by Sly Stone by merging The Stoners with his brother Freddie’s Stone Souls, this new sound was a unique and unprecedented fusion of Soul, Funk, Rock, R&B and Psychedelia. Sly himself was a master musician who wrote, arranged, and produced all the group’s material, fashioning ingenious musical arrangements with a blend of syncopated rhythm, pop melody, lowdown funk and unorthodox harmony.

And he chose the best players in the San Francisco Bay Area to implement this outrageous musical vision. With the compilation STONE SOUL we are focusing upon their rarely heard roots and the earliest examples of the style that would take the music world by storm. This fascinating set includes the complete recordings of FREDDIE AND THE STONE SOULS, early solo experiments by SLY and ROSE STONE, the very first SLY AND THE FAMILY STONE studio session that predates their signing with Epic Records, and the tremendous 1968 demo ‘Man Does Not Live’. Also featured are the gospel sounds of THE HEAVENLY TONES, whose members would provide vocal backgrounds on multiple Family Stone albums and later become known as Little Sister.

So Ride the Rhythm and let the music take your mind

Charli XCX is an iconic figure in the arts, having helped expand the landscape of popular music over the last decade by seamlessly traversing the underground and the mainstream with her artistic output. Pop 2 is highly regarded as one of Charli’s most fan favourite records, and includes a plethora of iconic collab-orators including Caroline Polachek, Kim Petras, Carly Rae Jepson and Tove Lo. It features Pop 2 features track Unlock It which soared to popularity last year on TikTok, and single Out Of My Head.

Celebrating 5 years since original release, Charli XCX’s mixtape. Pop 2, will be available on translucent purple vinyl with updated packaging including poster and silver mirror board.

Long time Leng recording artists 40 Thieves are back with one of their most notable singles to date – a surprise collaboration with two NYC disco originals, storied vocalist Cinnamon Jones and multiinstrumentalist/producer Gary Davis.

San Francisco outfit 40 Thieves has been serving up cosmic, dubbed-out and otherworldly contemporary disco treats since the mid 2000s, and have been part of the Leng family since 2011. The crew, headed up by Layne Fox, Jay Williams and Corey Black, have released countless killer cuts on the label, as well as an expansive
debut album, 2014’s The Sky Is Yours.

They’ve worked with other artists before, but nobody at the same legendary level as Cinnamon Jones and Gary
Davis. The latter cut his teeth as a musician working with iconic disco producers Patrick Adams and Peter Brown at their P&P Records stable, before becoming a producer and artist in his own right writing and arranging the disco classic ‘Got To Get Your Love’ performed by Clyde Alexander & Sanction.

Jones, meanwhile, has enjoyed a hugely successful career both in her native New York (as Joyce Jones, an original member of First Choice) and on the West Coast, where she not only became an in-demand performer, but also snagged a role in the Supremes biopic Dream Girls.

‘The Gift’ is one of Jones’ most cherished solo songs – a joyful celebration of a new day dawning that has long been popular in her live sets. With input and instrumentation from Davis and a fantastic delivery of her own lyrics by Jones, 40 Thieves has successfully re-framed the track as a sunrise-ready future Bay Area free party
favourite; a dubbed-out, suitably cosmic creation that’s presented in three potent versions.

Leading the charge, and stretched across side A of the vinyl version is the band’s ’Disco Mix’ which boasts a fully realised instrumental arrangement and extensive use of passages from Jones’ vocals. Not all the lyrics are present as the Bay Area band has chosen to focus on selected lines that most neatly fit their musical vision and
celebrate the joys of dancing at sunrise. There are more spaced-out keyboard solos, sharper guitars (smothered in effects in true 40 Thieves fashion) and sound design that’s as immersive as it is heady and intoxicated.

On the flip is the ‘Disco Dub’. A bona-fide dub disco chugger rich in relentless synth-bass, addictive guitar licks, echo-laden vocal snippets, sparkling nu-disco electronics, tactile, deep house style electric piano stabs and cosmic effects aplenty, it’s a track tailor-made for slowly shuffling while the sun peeps over the horizon.

To complete an inspired package, 40 Thieves have also included a killer DJ tool: a ‘Beats’ take that wraps energy packed percussion hits, trippy electronic noises, trailing dub delays and sparse melodies around a metronomic drum machine beat. It’s a wavy, groovy and pleasingly mind-altering way to conclude one of 40 Thieves’ most magical EPs to date.

Marc Richter aka Black To Comm released his debut record 20 years ago. In 2023 he is still busy releasing music under various disguises and is currently signed to the Thrill Jockey label. To celebrate this anniversary his own Cellule 75 label is re-releasing some classic out-of-print vinyl albums that originally came out on the defunct Type and De Stijl labels. The LP will feature a full-colour lyric sheet / poster exclusive to this edition.

After releasing the critically acclaimed Alphabet 1968 on the seminal Type label (Grouper, Jóhann Jóhannsson, Yellow Swans), Richter chose De Stijl for this 2012 album, an American label that had just put out future classics by the likes of Circuit Des Yeux, Hype Williams and Wolf Eyes.

EARTH is a 2009 silent film by Ho Tzu Nyen, one of Singapore's foremost visual artists. After hearing Black To Comm's Alphabet 1968 Ho Tzu Nyen invited Richter to accompany the film at Berlin's Asian Film Festival, Unsound in Krakow and several other art biennals and music festivals around the world.

In his own words: "Most of the music was composed under the influence of heavy pain killers while recovering from a broken leg (the recordings literally took place in bed). The music (like the film) is about slowness and decay, states of unconsciousness, sleeping and waking up, dying and being reborn. The film is a post-apocalyptic collage based on paintings by classical European painters (Caravaggio, Delacroix, Rembrandt, Gericault) -- the music translates this concept employing corresponding collage-based sampling techniques using loops made from vintage vinyl and shellac records combined with acoustic and electronic instrumentation and voice."

From the original De Stijl one-sheet:
"Richter’s already formidable expressive power stretches over all of EARTH. Reflecting the countless cyclical forces that make up, oh, more or less everything we know and are, the music on EARTH is bracing, lovely, bustling and still, and at times bittersweet, a commingling of sensations and emotions that can’t be neatly separated from one another. (EARTH is complex, as you know.) Guests on EARTH include David Aird, a.k.a Vindicatrix (on the Mordant Music label), contributing startling vocal work; Renate Nikolaus on an array of instruments and noise devices; Rutger Zuydervelt (singing bowls); and Christopher Kline (singing saw). EARTH is Black to Comm’s seventh album and his debut for De Stijl, following the acclaimed Alphabet 1968 (on Type) and last year’s vinyl-only collaboration with Mike Kelley of Destroy All Monsters (on the En/Of label)."

Alex Neilson in The Wire:
"The most marked aspect of Earth is the voice of David Aird, aka Vindicatrix. Imperious and dolorous, he has the gravity of post-Climate Of Hunter Scott Walker, David Sylvain or Klaus Nomi stripped of the pathetic ritz. This is something that's easy to do badly, but Aird pulls it off with aplomb. On "The Children" he breaks into a morose yodel, rolling the words around his palate and colouring each syllable black before gifting them to the air. The meaning isn't understood verbally as much as viscerally. Beneath Aird's ululations, Richter casts handfuls of angelic debris from keyboards and digital devices, generating a celestial electronic tapestry reminiscent of Japanese musician Nobukazu Takemura. Sounds vie and twist at frequencies you can't so much hear as feel in the bridge of your nose, and the variety and full-bloodedness of the accompaniment is what prevents Aird's vocal from occassionally lapsing into shtick."

Rock and Roll Hall of Fame® inductees, Songwriters Hall of Fame inductees, and GRAMMY® Award-winning music legends The Isley Brothers proudly present their anxiously awaited new album, Make Me Say It Again, Girl. It marks the duo’s first full-length LP since 2006 and thirty-first original album overall. They originally set the stage for the record with a recreation of The Isley Brothers classic 1975 love ballad, “Make Me Say It Again, Girl,” joined by none other than Beyoncé. It recently catapulted to #1 on the Billboard Adult R&B Airplay Chart, standing out as their first #1 since “Contagious.” It incited a flurry of critical applause from the likes of The FADER and Vulture who proclaimed, “For this one, Bey is out of Club Renaissance, trading lines with Isley over a smooth, polished track.” Make Me Say It Again, Girl THE ALBUM places the pair’s classic sound in the spotlight for a whole new era. Whether it be the cinematic scope of “Long Voyage Home” or R&B escapism of “Disappear,” they lean into the hallmarks of their signature style with undeniable energy. They’ve also brought a few friends—both old and new—along for the ride. El Debarge and Earth, Wind & Fire team up with The Isley Brothers for the generational banger “There’ll Never Be,” while Rick Ross flexes with pure lyrical fire during “Biggest Bosses.” Elsewhere, Quavo and Takeoff ignite the irresistible and infectious “Keys To My Mind.” After more than 60 years of creating massive hits, The Isley Brothers continue to produce timeless and impactful music showing why they are international treasures who are firmly woven into the fabric of our culture.

Rock and Roll Hall of Fame® inductees, Songwriters Hall of Fame inductees, and GRAMMY® Award-winning music legends The Isley Brothers proudly present their anxiously awaited new album, Make Me Say It Again, Girl. It marks the duo’s first full-length LP since 2006 and thirty-first original album overall. They originally set the stage for the record with a recreation of The Isley Brothers classic 1975 love ballad, “Make Me Say It Again, Girl,” joined by none other than Beyoncé. It recently catapulted to #1 on the Billboard Adult R&B Airplay Chart, standing out as their first #1 since “Contagious.” It incited a flurry of critical applause from the likes of The FADER and Vulture who proclaimed, “For this one, Bey is out of Club Renaissance, trading lines with Isley over a smooth, polished track.” Make Me Say It Again, Girl THE ALBUM places the pair’s classic sound in the spotlight for a whole new era. Whether it be the cinematic scope of “Long Voyage Home” or R&B escapism of “Disappear,” they lean into the hallmarks of their signature style with undeniable energy. They’ve also brought a few friends—both old and new—along for the ride. El Debarge and Earth, Wind & Fire team up with The Isley Brothers for the generational banger “There’ll Never Be,” while Rick Ross flexes with pure lyrical fire during “Biggest Bosses.” Elsewhere, Quavo and Takeoff ignite the irresistible and infectious “Keys To My Mind.” After more than 60 years of creating massive hits, The Isley Brothers continue to produce timeless and impactful music showing why they are international treasures who are firmly woven into the fabric of our culture.

In collaboration with Timmion Records, Daptone is proud to present My Echo, Shadow and Me, the debut album from the soulful Chicano brother, Johnny Benavidez. Hailing from San Diego (via El Paso, TX), Johnny's desire to sing was influenced by his grandfather, John Lorenzo Guzman, who as a teen in the early sixties spent some time harmonising with groups in El Paso, most notably Sonny Powell and the Night Dreamers. When he was 13, Johnny was given a record player and a box filled with R&B, Doo-Wop, and Soul 45s that he studied obsessively, employing the harmonies and melodies therein to cultivatehis own unique voice. After a chance encounter with the legendary Dimas Garza, Johnny's career began to blossom and soon he would find himself singing alongside stars like Eugene Pitt and Archie Bell, garnering the interest of Timmion Records..


Backed by the incomparable Cold Diamond & Mink (Bobby Oroza, Pratt & Moody) two incredibly successful singles were cut and plans for a full length were struck, culminating in 11 original songs penned by Benavidez. From the uplifting bounce of the title track, the doo-wop dinged "Dedicated to You", the Latin flare of "Uncle Sam," to the Sweet Soul masterpiece "Somebody Cares" (licensed and released on a Penrose Records 45), My Echo, Shadow and Me is not only an aweinspiring display of Jonny's versatility as an artist but also serves as a window into the eclectic array of soulful sounds that inspired him to fall in love with music and become a singer. A must have for fans of Daptone, Timmion, Penrose, et al.

Originally reissued as part of the Promise Kept: The Complete Artist House Recordings boxed set, now available separately LP contains the original 5 tracks – CD/Digital include an additional 3 bonus tracks Remastered by Grammy® winner Michael Graves, with vinyl cut by Jeff Powell Producer John Snyder had always wanted to record Pepper and booked him into a week at the Village Vanguard in New York. At the time, Pepper was under contract to Contemporary Records and label head, Les Koenig, decided he would record the gigs, quashing any notion Snyder had of doing the same. However, Art promised Snyder that he’d record an album for Snyder’s label, Artists House, at some point down the road. Together they wound up making four. Here again on vinyl, CD & Digital are the original albums drawn from these sessions, lovingly recreated in their original form, remastered by Grammy® winner Michael Graves and recut by Jeff Powell. So In Love (originally issued in 1980) features Pepper’s takes on classics from Thelonious Monk, Cole Porter, and Hoagy Carmichael, plus a pair of originals including “Blues For Blanche.” The CD and Digital add three bonus performances from the sessions. The AllMusic review by Scott Yanow noted: "Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations". “John and Art both kept their promises. John brought Art into the wider world; he put him on the road. Just as he said he would, he brought him to New York and to the Village Vanguard, got his picture in the papers, got him on the radio. From Art, John got his dearest wish. He made these recordings.” —Laurie Pepper






[f] 6. Yesterdays (Take 2) [Bonus Track]
[g] 7. Landscape [Bonus Track]
[h] 8. Straight, No Chaser (Take 4) [Bonus Track]

12” LP cut at 45 (for the first time) (color vinyl only) Pressed on a 12" for the first time and cut at 45 RPM so it's EXTRA loud. Jacket is an extra hefty 24pt board with printed inner sleeve full of rare never before seen photos When Acid King pressed up their self-titled debut EP on a tape and started handing them out at shows with business cards, it wasn’t an aesthetic choice. It was 1993. And while the world was still reeling in the aftermath of grunge breaking big on rock radio, this dirty-as-hell trio founded by guitarist/vocalist Lori S. were digging into even heavier vibes. Born out of Lori's shiftless days of wasted youth hanging around Chicago-area public parks, Acid King laughingly adopted the name from the book 'Say You Love Satan' and its subject Ricky Kasso, a local drug dealer who killed a friend over angel dust, thereby becoming the stuff of Satanic Panic local news broadcasts all over the country. Founded after a move to San Francisco, Acid King were outliers on punker bills in the tradition of West Coast rifflords like Saint Vitus and Sleep, and this four-song outing captures them at their rawest. Long before the career-defining roll of Busse Woods (1999) and the psychedelic mastery of their latest offering, Beyond Vision, this EP set in motion one of American heavy rock’s most landmark careers. Presented on reissued vinyl through RidingEasy Records – the original 10” was on Sympathy for the Record Industry – Acid King’s Acid King also established one of the most crucial partnerships in underground rock in that between Lori S. and producer/engineer Billy Anderson (see also: Neurosis, Sleep, Om, Amenra, Eight Bells, Cattle Decapitation and too many others to list). As Acid King went on to help define stoner rock in the mid and late ’90s with Zoroaster (1995), their Man’s Ruin Records split with Altamont (‘97) and Busse Woods, that creative relationship would flourish no less than the band’s sound, and here it is distilled to its meanest and most elemental self. Led as ever by Lori, Acid King at the time featured bassist/vocalist Peter Lucas and drummer Joey Osbourne – legend has it both had to read 'Say You Love Satan' before joining – and Melvins drummer Dale Crover had a hand in producing it as well as singing lead on “The Midway” after Lucas took a turn on “Drop.” A preface to the many majesties to come throughout Acid King’s many-storied career, behold the formative incarnation that started it all. A piece of heavy rock history AND killer riffs? You can’t possibly go wrong. - JJ Koczan, May 2023

Yo! Boombox is the new instalment of Soul Jazz Records’ Boombox series on the early days of hip-hop on vinyl and features some of the many innovative underground first-wave of early rap and disco rap records made in the USA in the period 1979-83.

The album includes the first releases of seminal groups such as Grandmaster Flash & The Furious Five and The Funky Four Plus One More through to a host of rarities and little-known obscurities such as the Carver Area High School band’s ‘Get Live 83’, an awesome record made at a Chicago high school.


The album is released as a deluxe triple LP complete with 3x full inner sleeves of extensive sleeve notes, exclusive photography and original label artwork. There is also a very-limited one-pressing only special deluxe version that comes with an extra bonus super-rare 7” single of ‘Magic’s Rap’ by Magic’s Trick, aka ex-marine Magic Fraga, a record that was only ever available on US military bases!


Yo! Boombox also features the stunning photography of Sophie Bramly, one of a very select group of photographers (alongside Henry Chalfant, Martha Cooper, and Joe Conzo) who were allowed full access to document the exciting early days of hip-hop in New York.
These first exuberant wave of innocent, upbeat, party-on-the-block rap records were the first to try and create the sounds heard in community centres, block parties and street jams that first took place in the Bronx in the mid-1970s. Where the first DJs – Flash, Kool Herc and Bambaataa – were back-spinning, mixing and scratching together now classic breakbeat records like The Incredible Bongo Band’s Apache or Babe Ruth’s The Mexican, these first pre-sampling rap records were all made using live bands, often replaying then current disco tunes.

As Chic’s ‘Good Times’ was to ‘Rappers’ Delight’, the songs here feature then-current dancefloor hits such as the Tom Tom Club’s ‘Genius of Love’, Cheryl Lynn’s ‘To Be Real’, MFSB’s ‘Love Is the Message’ while MCs rapped over the top, creating a unique new sound. In fact, the links between disco and rap date back earlier to the ‘party style’ MCing of figures such as the legendary DJ Hollywood or radio DJs like Frankie Crocker.

This new Soul Jazz Records collection
celebrates these first old-school rap
records, bringing together rare, classic
and obscure tracks released in the
early days of rap.

The state51 Conspiracy is proud to announce Wacław Zimpel’s long-awaited fourth solo album, ‘Train Spotter’, due for release on 31 March 2023 on state51 Records.

In the seven years since the release of his debut solo album, ‘Lines’, Wacław Zimpel has developed from his idiosyncratic approach to jazz to growing into a potent and inventive force in the field of electronic music.

‘Train Spotter’ was created for a specific brief from The City of Warsaw: to capture the Sound of the City of Warsaw. But, as Zimpel soon found out, the sounds of a city don’t exist in isolation; they’re part of a wider environment that is itself undergoing upheaval against a background of internal and external forces.

“Train Spotter is about my experience of a city that recently went through a pandemic, endless anti-government demonstrations against human rights violations against women’s right to choose and the LGBTQ community, as well as waves of war refugees from Ukraine and the extraordinary solidarity of people willing to help and unite across political divides to help others in need.”

Spread over six tracks, the manipulated samples are blended with Zimpel’s own electronic production flourishes and playing to create a seamless blend that’s uniquely his. Recording a variety of mechanised and repetitive sounds including tramlines, baggage carousels and bouncing basketballs in municipal parks among many other found sources, Zimpel fed the results through a host electronic equipment including synthesisers, keyboards and plug-ins.

For all its production methods, ‘Train Spotter’ bears an organic warmth that reflects the city that inspired it. But what also adds to the sonic intrigue is a rise in intensity within each of the individual tracks that themselves become ever more forceful as the album continues.

Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry.

The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music.
Cable Ties are dedicated to their local community and independent networks, and to playing diverse and inclusive shows. They have toured Australia a number of times and have developed into a lean and efficient touring band who deliver powerful and meaningful shows. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. They have also self released three 7” singles which have all sold out. The debut album is on its third vinyl pressing.

The band toured UK/Europe in 2017 supporting Jen Cloher, and played Punk’d Festival in Berlin. They returned to the UK in May 2019 to play The Great Escape and shows with Tropical Fuck Storm and Amyl & the Sniffers. In Australia they played Bigsound 2018 and festivals such as the national Laneway Festival tour in 2018, Boogie Festival 2018, The Plot 2017, and Meredith Music Festival in 2016. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.

Before there was Saturday Night Fever there was underground disco. DJs across America went out and found the music to play; dancers went out and found the clubs. At this point, in the early seventies, the disco was the venue and not a genre of music.

By the time Nik Cohn’s short story Tribal Rites of the New Saturday Night was published by New York magazine in June 1976, disco was the biggest genre of music on the charts and was about to get bigger still, becoming an all-enveloping cultural phenomenon. Cohn sold the film rights to Robert Stigwood, and his classic club yarn became Saturday Night Fever.

“Tribal Rites Of The New Saturday Night” is the soundtrack to Cohn’s story, where disco began; a 1975 score for the underground clubs of Brooklyn and Queens that played R&B, soul and Latin beats to people who lived for the weekend.

Bob Stanley has put this collection together, sourcing what was actually played in Brooklyn discos in 1974 and 1975. Only a few specific records were mentioned in Cohn’s feature, but two of them – Ben E King’s ‘Supernatural Thing Part 1’ and Harold Melvin’s ‘Wake Up Everybody’ - were cosmically great and both are included here, alongside underground favourites like Moment Of Truth’s Four Tops-like ‘Helplessly’ and Gloria Scott’s Barry White-produced modern soul classic ‘Just As Long As We’re Together’. Ivano Fossati’s incredible ‘Night Of The Wolf’ has fans in northern soul, disco and prog circles.

Without Cohn’s original story, it’s quite possible that disco would have remained an underground phenomenon – “Tribal Rites Of The New Saturday Night” paints a scene in full flower. Saturday Night Fever would eventually, if unintentionally, wreck the underground nature of this scene, and clubs like Studio 54 would destroy the democracy of the party, but for two or three years the scene was largely undocumented and magical. This album is the sound of disco before it was captured.

Batov Records “Middle Eastern Grooves’ 7” series have become staples in the sets of DJs looking to broaden their sets to incorporate psychedelic and Middle Eastern sounds alongside the familiar funk, jazz, and soul catalogue. In the process, the series has enjoyed support across BBC 6 Radio Music, from Gilles Peterson to Gideon Coe, and made waves around the world, from Radio Nova and FIP in France, across the Atlantic to KEXP and Music Is My Sanctuary,
and laid the seeds for debut albums from series staples, Sababa 5 and Şatellites.

The compilation opens with the desert funk sound of "Badawee" by the iconic producer and multi-instrumentalist, Kutiman, followed by the instrumental edit of "Ya Raiyat" by Tel Aviv digging pioneers Radio Trip. Other highlights include the deranged & spooky synths of “The Egyptian” by Baharat, a prime example of the label's core sound, the
psychedelic Middle Eastern groove bomb "Deli Deli" by Şatellites, and “Nasnusa”, Sababa 5’s acclaimed collaboration with Japanese vocalist Yurika Hanashima.

Batov Records is thrilled to announce the release of ‘Middle Eastern Grooves’, a double gatefold LP compilation of standout tracks from the label’s highly successful series of 7” singles released
under the same name, hand selected by label co-founder DJ Kobayashi. Spanning from 2015 to the present day, the compilation features a mix of classic favourites, new releases, and neverbefore-heard gems from some of the most talented emerging artists.

The compilation also includes some exclusive tracks, released here for the first time. Following their recent collaborative EP, Sababa 5 back the newly discovered vocalist Shiran Tzfira with a simple but
effective combo of synths and percussion on the haunting “Manginat Mahepeha”.

Şatellites band leader Itamar Kluger contributes “Saved From The Jazz” from his new psychedelic funk project Eje Eje - watch out for the drums on this!

And finally, underground belly dancing princess turned Mediterranean psych chanteuse, Cherry Bandora, contributes the hypnotic “Esý”.
This first volume of highlights from the Middle Eastern Grooves 7" series offers a comprehensive look at the evolution of the label's sound and its place in the wider musical context. From surf rock
to Mediterranean psych, this collection showcases the diverse and captivating sounds of the Middle East and its influence on modern music. The compilation will be available on double gatefold vinyl and for digital download and streaming from 19th May, 2023.

When he isn’t managing Batov Records, DJ Kobayashi can be found digging for grooves and melodies that stand out from the norm, and sharing them at the likes of Brilliant Corners, Spiritland, and his biweekly show on Soho Radio. His vast collection spans funk and beats from across the globe, and reflects, of course, a particular
predilection for Middle Eastern grooves. His refined tastes have created a great demand for his selections, leading to him playing alongside the likes of Islandman, Balkan Beat Box, The Apples, and Baba Zula.