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2022 Red Vinyl Repress

New Stay Up Forever

Up for the third installment from the Atlanta, USA based Mithra records, is the first EP of crew member Tito Mazzetta's new moniker as Titino. Titino takes his debut EP into hyperspace with a dance floor oriented EP for all types of rave, dark spaces, and club moments. There is a mood for all types of moments and record bags with a beautiful and ethereal remix by Paolo Mosca. This third installment from the Mithra crew pushes them through the glass ceiling into a multi faceted interpretation of electronic music.

"It's the artist's business to create sunshine when the Sun falls"
- Romain Rolland

The first album in 7 years from seminal electronic music pioneers and twice Mercury Prize Nominated, Leftfield. Currently reaching a new audience through Idris Elba’s Gucci ad, this will be their 4th album in their 28 year history. The new single will be featured in the soon to launched eFootball by Konami (previously PES).

Their last tour (in 2017) featured 7 sold out UK shows (including 2 X Brixton Academies), a sold out world tour and various festival headlines.

Quote from Neil Barnes: "I wanted ‘Pulse’ to be the first statement from the new album. It felt strong. Dance floor. Human. Positive. And I love the bass. It’s Leftfield."

Full pitch notes with bio to come

CULTURE

Leftfield (originally comprised of Neil Barnes and Paul Daley), have been at the cutting edge of dance music since the 1990s, releasing albums that have become some of the most influential electronic records of all time around the world with their debut LP 'Leftism' being widely regarded as one of the most boundary-pushing electronic LPs ever released.

In 2010, Neil Barnes reignited the Leftfield name, and went on to release an acclaimed new album (Alternative Light Source) touring the world with the full live band. Neil has also been cementing his reputation as a top-tier DJ and record collector unleashing modern dance floor weapons, selling out venues, headlining festivals and creating some amazing nights with his sets.

In hugo, there’s a central question that Loyle Carner keeps coming back to: “I’m young, Black, successful and have a platform - but where do I go next?” The answer is explored in this epic scream of a third album. With urgent delivery and gloriously widescreen production, Carner confronts both the deeply personal (“You can’t hate the roots of a tree, and not hate the tree. So how can I hate my father without hating me?) and the highly political (“I told the black man he didn’t understand I reached the white man he wouldn’t take my hand”). Cinematic in scale and scope, hugo is both a rallying war cry for a generation forged in fire and a study of the personal internal conflict that drives the rest of the album - as a mixed-race Black man, as an artist, as a father and as a son. With Mercury and Brits nominations, NME Awards and appearances in global brand campaigns (Nike, YSL, Timberland), Carner has undoubtedly had a meteoric rise to the top, culminating with his second album Not Waving, But Drowning charting at number 3 in the UK albums chart in 2019. However, hugo sees Carner taking a sharp detour from his previous work, putting it down to lockdown and the “hedonistic side of career being stripped away. There were no shows, no backstage, no festivals, no photoshoots”. By continuing to write in these tumultuous times with a renewed clarity and sense of artistic freedom, Carner reached deeper beneath the surface than he ever had before. The result is his most cathartic and ambitious record yet, a coruscating journey into the heart of what it means to be alive in these tumultuous times, and one which looks set to neatly cement his position as one of the most potent and vital young talents around today. Working alongside renowned producer kwes. (Solange, Kelela, Nao), Carner leaves no stone unturned on this album, in both its sound and its stories. In a 10-track album that moves from gorgeous neo-soul moments to thundering hip hop, with immediate, infectious bangers and sampled interludes from non musicians (mixed-race Guyanese poet John Agard and youth activist and politician Athian Akec) Carner shifts seamlessly from micro to macro, confronting everything from strained relationships with family to the societal tears caused by class stratification. It also lays bare bruises in his personal life that he has never revealed before – often in painful, deeply uncomfortable ways, focusing on Carner's experience of becoming a father in the context of growing up without contact with his biological father. With the song “Polyfilla”, against the backdrop of a warm melodic beat, Carner explores his desire to “break the chains in the cycle” of dysfunctional Black fatherhood, commenting on the narrative of fatherhood in the genre, and saying a key part of the process was realising that his father “grew up in a world where nobody showed him how to love or nurture”. The follow up track “A Lasting Place” is an exploration of the MC’s failure and inability to be perfect in this mission. The album closer is a powerful statement of love and forgiveness; with his signature lyrical dexterity, Carner declares his relentless commitment to his son and sees forgiving his father as a key part of this. The song closes with an emotional ending of Carner telling his dad “still I’m lucky yo that we talk”. There’s a striking duality of hugo’s bold, multilayered tracks and its often starkly intimate and tender lyricism, and that dichotomy is deliberate - it is a message for young Black men, but really, anyone, who is listening. Cognizant of the immense pain and fear and confusion that we are faced with everyday, Carner has thrown down the gauntlet, defying us not to rise above the fray, wake up each day and be ambitious. Ambitious in building strong personal relationships. Ambitious in our pursuit of our goals. Ambitious in never refusing to back down against injustice. Rejecting the title of leader, Loyle Carner sees himself “as holding up a mirror”, and that clearly translates into the album's universal messages.

Die Originalbesetzung von Black Ox Orkestar ist nach einer 15-jährigen Pause wieder zusammen. Die aus der fruchtbaren Montréaler Post-Punk-Agit-Prop-Szene der frühen 2000er Jahre hervorgegangene Band besteht aus Scott Gilmore, Jessica Moss und Thierry Amar von Thee Silver Mt. Zion (Amar komponiert und spielt auch weiterhin Bass für Godspeed You! Black Emperor) und Gabriel Levine von Sackville. Black Ox Orkestar haben Mitte der 2000er Jahre zwei gefeierte Alben mit aufgewühltem akustischem Avant-Folk veröffentlicht, auf denen sie osteuropäische und nordafrikanische Folklore durch die Linse einer düsteren, resonanten Indie-Rock-Sensibilität erforschten und Interpretationen von Instrumentalstücken aus verschiedenen jüdischen, rumänischen und arabischen Traditionen den Originalen gegenüberstellten. Auch dank Gilmores politisch aufgeladenem jiddischen Gesang sind diese frühen Alben für eine neue Generation von Musikern und Fans der jiddischen, Klezmer- und jüdischen Diaspora-Musik zu Meilensteinen geworden. Das von Greg Norman (Jason Molina, Nina Nastasia, Electrical Audio) hervorragend produzierte Album Everything Returns macht genau da weiter, wo die Band aufgehört hat: ein einschneidend atmosphärisches, melancholisches und doch entschlossenes Album einzigartiger moderner jüdischer Folkmusik, bei dem Klavier, Geige, Kontrabass, Klarinette und Cymbalom die Kerninstrumentierung bilden und die Gesangsstücke hauptsächlich auf Jiddisch gesungen werden. ENG Everything Returns reunites the original Black Ox Orkestar lineup following a 15-year hiatus. Arising from the fertile Montréal post-punk agit-prop scene of the early 2000s, the band comprises Scott Gilmore, Jessica Moss and Thierry Amar of Thee Silver Mt. Zion (Amar also continues to compose and play bass for Godspeed You! Black Emperor) and Gabriel Levine of Sackville. Black Ox made two acclaimed albums of roiling acoustic avant-folk in the mid-2000s, exploring Eastern European and North African folkways through the lens of a gritty, resonant indie rock sensibility, juxtaposing interpretations of instrumentals from various Jewish, Romani and Arabic traditions with originals led by Gilmore's politically-charged Yiddish vocals. These early albums have since become lodestars for many among a new generation of Yiddish, Klezmer and radical Jewish diasporic music practitioners and fans. First revealing its resurrection in February 2022 with a surprise flexi 7" single issued by left journal Jewish Currents as a gift to its thousands of subscribers, Black Ox has indeed fully and fruitfully reunited. Exquisitely recorded by Greg Norman (Jason Molina, Nina Nastasia, Electrical Audio), Everything Returns picks up right where the band left off: an incisively atmospheric, melancholic yet resolute album of uniquely modern Jewish folk music, with piano, violin, upright bass, clarinet and cymbalom making up the core instrumentation, and the vocal tunes sung primarily in Yiddish, alongside album centerpiece "Viderkol" and closer "Lamed-Vovnik" where English also features. This is not fusion music, but diaspora music: a cross-cultural call and response of musical lexicons, emerging from the history of Jewish persecution and displacement, the musicology of 19th century repertoire from Jewish shtetls , the improvisational traditions of nusakh in Jewish music and taqsim in Arabic music, and a wider polyglot dialogue of Jewish, Slavic, Arabic, and Central Asian musical traditions. Lyrically and stylistically, Everything Returns connects key current issues_from refugees forced to leave their homes, to the return of fascism and exclusionary nationalism_with the legacy of modernist Yiddish poetry and song. The new Black Ox Orkestar album is a sublime, poetic, politically-informed statement of re-energized diasporic musical intent, where Gilmore's voice and the band's simmering arrangements conjure an ardent, doleful balladry that echoes the sound and sensibility of artists like Tindersticks, The National, Nick Cave and Leonard Cohen. Everything Returns is a haunting, richly textured, darkly sparkling song cycle at once from a vanished world and very much of our time and place. Thanks for listening.

Mondo, in partnership with WaterTower Music, is proud to present Michael Giacchino's absolutely brilliant score to Matt Reeves’ highly anticipated THE BATMAN. Featuring the music of Academy, Emmy and Grammy Award-winning composer Michael Giacchino, whose credits feature some of the most popular and acclaimed film projects in recent history, including THE INCREDIBLES, COCO, JOJO RABBIT, RATATOUILLE, STAR TREK, JURASSIC WORLD, ROGUE ONE: A STAR WARS STORY, SPIDER-MAN: HOMECOMING, and WAR FOR THE PLANET OF THE APES. This is the fifth film Reeves and Giacchino have collaborated on.

Giacchino proves himself, once more, as one of the greatest living composers, by introducing a powerful and instantly canonized new theme to one of the most musically iconic superheroes. When director Matt Reeves heard the theme for the first time, he was with film producer Dylan Clark. “I was blown away!” He exclaimed. “It was so emotional. The two of us literally cried…it was amazing.”

Though it's not only the world's greatest detective who emerges with a new theme - Selina Kyle / Catwoman's new string heavy theme is slinky and haunted like that of a classic noir's femme fatale. And Giacchino's take on The Riddler is far more haunted, accompanied by the Tiffin Boys choir, a truly terrifying and dread-inducing motif for one of the scariest takes on a Gotham villain, to date.

With nearly two hours of score, housed on three discs, featuring all new artwork by Henry Abrams.

Composed by Michael Giacchino
Artwork by Henry Abrams
Manufactured in Czech Republic

Violet Vinyl

The debut of Hamburg trio Cloud Management stages the meeting of three proven exceptional figures: Thomas Korf and Sebastian Kokus have been responsible for some stunning leftfield neo-kraut releases with their band Love-Songs in recent years; Ulf Schütte has been one of the most productive, and innovative protagonists of experimental electronic music in Germany for many years (see Datashock, Phantom Horse, or his most recent collaboration with G. Steenkiste/Hellvete on Umor Rex, for example). Following Love-Songs' highly acclaimed collaboration with Schütte, »Spannende Musik«, released in 2021, the formation of Cloud Management as a group in its own right marks a new beginning, which is celebrated with the long player on Altin Village & Mine.

The album is characterized by a dense texture of repetitions in which (modular) synthesizers and bass go head-to-head. It is on this foundation that the formal grammar of the album develops over its nearly 45-minute running time, organized along precise interventions into the hypnotic pulse: What is recognizable as echoes of 1960s/70s minimalism or Cluster functions on »Cloud Management« not in the sense that the sequences or the sequencers are left to themselves, but as highly concentrated, microscopic work on repetition. This virtuosically arranged, groove-based and even danceable density of the seven pieces never sounds strained or as an end in itself, but floating, cloud-like. The polyrhythmic workouts are at all times in the service of a refreshing expanse that opens up from the sonic saturation and is far removed from the formulaic box-checking often associated with the attribute ›kosmisch‹. »Cloud Management«, thus, marks not an exercise in the traditions of a musical past, but a distinctive position within contemporary electronic music.

All songs are written, recorded and produced by Ulf Schütte, Thomas Korf and Sebastian Kokus.

Robbie Williams remains one of the most successful British pop stars of his generation many years after he put out his most notable albums. Life Thru a Lens was one of them and it now turns a frankly hard to believe 25 years old. This special anniversary edition comes on limited clear vinyl and takes you right back to the end of the last millennium. The songs are big singalongs with plenty of Williams's swaggering confidence shining through each one as he muses on growing old, love and of course loss with his biggest single of all, 'Angels.'

LIMITED EDITION PICTURE DISC EDITION OF PAUL DRAPER'S NEW
ALBUM CULT LEADER TACTICS .Meaty art-rock, austere orchestral
interludes & driving future pop - Classic Rock 8/10 Cult Leader Tactics is
sleek & smart, full of melody, humour and flair - Record Collector 4*
Former Mansun frontman, Paul Draper, returned in early 2022 with a
collection of his finest songwriting since the bands' imperial phase
Cult Leader Tactics', is a self-help manual on how to become a complete cult in
the music industry & is his first solo album since 2017's much- lauded Spooky
Action'. Cult Leader Tactics' offers a satirical analysis of the self- help manual
genre. A guide on how you can get to the top of your chosen profession, or ahead
in life & in affairs of the heart, by acting in a Machiavellian manner, employing
dirty tricks or Cult Leader Tactics' to achieve your life goals. After experiencing
these types of human behaviours & themes, the album arrives at the conclusion
that the only true answer in life is love. Paul plays most of the instruments on the
album, including lead vocals, guitar & various Moogs & synthesisers. An album
produced with long-time collaborator & acclaimed producer Paul P-Dub' Walton
(Massive Attack, The Cure, Bjork) at Loft Studios, it also includes guest
appearances from Porcupine Tree's Steven Wilson & Gam of the band Sweat' as
well as featuring a 288-person C.L.T. Lockdown Choir. Cult Leader Tactics' offers
a selection of Paul's most focused & ambitious work so far, a brilliantly dark
commentary on an industry he is all too aware of. Kscope are proud to present a
limited Picture Disc edition of Cult Leader Tactics'.

2022 Red Vinyl Repress

Cluster 97 is 4 tracks of driving techno with the undisputed London Cluster sound. This is guaranteed floor burn from some of the leaders in the Acid Techno scene (mostly)leaving the 303's buried for a chance to get dark and dirty with some warehouse techno sounds.

2022 Repress

Jamaican love songs always came across as heartfelt poetry whether they conveyed a broken heart, unrequited love or even the message ‘it’s all over don’t bother to come back’ anecdotes. But whatever the mood the singers of these songs were so good and versatile that putting such
subject matter over in a few verses was always so moving and believable.
 
Jamaican love songs were a constant in the ever evolving sounds and
journey’s that reggae music took us on, from ska to rocksteady to the early reggae sounds of the late 1960’s early 1970’s. We have complied a great selection of songs that all deal with that timeless subject matter. Max Romeo’s heartfelt ‘Sometimes’ opens our set in fine style, known more for his roots singing this song proves what a great singer he is. The Melodians a great Jamaican vocal group are featured here with ‘Best Girl’. The Sensations provide us with our title track ‘Born To Love You ‘and the theme for this compilation a great rocksteady tune with fantastic harmonies. Alton Ellis gives us the soulful ‘Room Full Of Tears’. Ken Boothe
provides us with his rendition of Dennis Brown’s ‘Money In My Pocket’  the ode that money cannot buy you everything. Cornell Campbell sings one of his most overlooked classic songs with his prideful `She Wears My Ring’. The great singer of love songs  himself  Mr John Holt tells us that we should all `Reconsider’, before giving up on love and a great lost singer Monty Morris gives us two great examples of how to find love in `Do It My Way’ and `Magic Moments’.
A great selection delivered as only Jamaica can do with style and feeling…….

Hope you enjoy the set …greetings from Jamaica… love songs for all…

An Appointment with Mr Yeats sees the words of W B Yeats, one of Ireland's greatest literary sons, merged with the music of The Waterboys, one of Britain and Ireland's greatest rock bands, in a truly unique and ambitious musical undertaking. The album was originally released in 2011, and has been fully remastered for re-issue, and now contains 6 previously unreleased bonus tracks. The Waterboys vocalist Mike Scott, first delivered a new dimension to Yeats' poetry in 1988, when he wrote a musical accompaniment for the classic poem The Stolen Child, during the making of the Waterboys seminal album 'Fisherman's Blues'. Five years later he set another Yeats poem to music, Love and Death, which appeared on their 'Dream Harder' album. Over the years, Scott had been quietly crafting a wealth of material similarly based on the writings of Yeats. A number of these were performed by him at the Abbey Theatre during the Yeats International Festival in 1991, but most had remained in Scott's private songbook awaiting the right vehicle. An Appointment with Mr. Yeats was that long-awaited context. Scott's love of literature is firmly embedded throughout the work of The Waterboys. He has also put the writings of Robert Burns, James Stephens, Kenneth Grahame and George MacDonald to song. Speaking on his literary influences and loves, Scott explained: "I grew up in a house full of books so literature - and language - have always been important to me. Working with other peoples' words is something that comes as natural to me as working with my own. In a way it's even more immediate; I've always found writing music an easier process than the writing of lyrics, and setting words of the quality of Yeats' to music is an enormous privilege and treat." An Appointment with Mr. Yeats is a unique and memorable opportunity for lovers of great music and great literature to celebrate the union of song and word in one spectacular record.

25TH ANNIVERSARY in Yellow Vinyl

The eighth Studio Album by the Band, released on April 22, 1997. It was produced by Roger Moutenot and recorded at House of David in Nashville The Album expands the guitar-based pop of its predecessor Electr-O-Pura to encompass a variety of other music genres, including Bossa Nova, Krautrock and Electronic Music. Most of the Songs on the Album deal with melancholy emotions and range from short and fragile Ballads to long and open-ended dissonance.

Erstmals auf Vinyl: Das zweite Album des britischen Singer/Songwriters Matt Hales aka Aqualung von 2003 mit der Single 'Brighter Than Sunshine'. Mit zusätzlicher Bonus-LP mit Liveaufnahmen aus 2004 aus der St James Church und dem Shepherd's Bush Empire. Himmelblaues Doppelvinyl.

- 'A stunning collection of mostly fragile songs that reels you in and chills you out.' - The Times
- 'A tingling, shimmering collection of gorgeously crafted songs from Matt Hales.' - Telegraph
- 'Unquestionably the greatest collection of painstaking, finely wrought pop to be released this year.' - Sunday Times

Timothy J. Fairplay is a producer based in the UK with a back catalogue of releases under different aliases and as a member of various groups – most notably, The Asphodells with Andrew Weatherall. His EP Chariots In The Sky was made with cult hardware synthesizers (Roland TR-808, SH-5, SH-09 and many more) and is the debut vinyl release on Archaic Future Sounds. Influenced by the Dark Wave side of Italo-Disco, John Carpenter’s soundtracks and electronic Krautrock, it features 4 Science Fiction themed tracks perfect for all sophisticated dancers, DJs and connoisseurs of pure analog sonic bliss!

Limited Green Vinyl Edition of Munich-based quintet Fazer’s second album.
Nadi' follows the underground success of their self-released debut 'Mara', which quickly sold out on vinyl and became one of the most streamed jazz records of the year. Moving freely between composition and improvisation, the band's spacious, organic sound pitches lyrical melodies from guitar and trumpet over double-drummer polyrhythmic grooves and dub-like basslines. The album title 'Nadi' references a term rooted in traditional Indian medicine. Nadis are channels that connect points of intensity within the body. This reflects the band's feeling while playing of moving as one body. Contrary to the creation of the group's debut album 'Mara', both the writing and recording sessions for 'Nadi' were completed in relatively short periods of time.

Emerging from the forced exile of 2020-2021, Barton found himself with a large number of songs. Taking inspiration from the line of English singer-songwriters that runs from Nick Drake through Lloyd Cole to Pete Doherty and beyond, he chose 10 that lent themselves to an indie-folk aesthetic and began work on the new album, “Manchester Sun”.

Ever the storyteller, Barton weaves tales of first kisses, of soldiers trying in vain to remember their hometown, of missed opportunities and unreliable childhood memories. He casts Orson Wells as a modern day dictator, perched on high in a carousel, and tells the story of the spray-painted marriage proposal that appeared overnight on a motorway bridge 50 miles from London.


Manchester Sun was recorded in England with Barton playing most of the instruments himself, moving through guitar, bass, drums, percussion and Hammond organ during an intensive week-long session in the peaceful, rural setting of Echo Studios. The album places Barton and his acoustic guitar centrestage, with additional contributions from long time collaborators

Tripper, the Fruit Bats' 2011 follow-up to The Ruminant Band, is more
pared down, with bandleader Eric Johnson doing most of the legwork
himself
Synthesizers and keyboard loops replace the knotted guitars. Atmospheric
washes of sound replace the sunny, straightforward hooks. On songs like € The
Fen, € instruments replace vocals entirely, sounding more like a clip from an
orchestral movie soundtrack than the work of a rock band. The majority of the
work was done by Johnson and producer Thom Monahan, resulting in a layered
sound that stacks overdubbed harmonies onto combinations of pump organ,
found sounds, acoustic guitar, and various bleeps and bloops. Whether he's
working alone or leading a full lineup, though, Johnson knows his way around a
good pop hook, and Tripper's best songs are rooted in catchy, sunny melodies
that shine through their heavy wrapping paper. Proof that Johnson knows how to
stretch his legs without losing his balance. Pressed with LP on White Color vinyl
and 7" on Seaglass Blue Color vinyl.

Corn, originally released in 2015, features nine tracks Russell recorded in 1982 and 1983. In collaboration with Russell"s partner Tom Lee, Audika"s Steve Knutson compiled Corn from Arthur"s original, completed 1/4" tape masters. Russell himself compiled this material on three separate test pressings-labelled El Dinosaur, Indian Ocean, and Untitled, respectively- in 1985. Russell fans know something of the Corn sound from Audika"s debut release, "Calling Out of Context" (2004), which included four songs from these sessions: "The Deer In The Forest Part 1," "The Platform on the Ocean," "Calling Out Of Context," and "I Like You!" This new collection includes rhythmic alternate versions of "Lucky Cloud," "Keeping Up," "See My Brother, He"s Jumping Out (Let"s Go Swimming #2)," "This Is How We Walk on the Moon," and "Hiding Your Present From You," along with "Corn," "Corn (Continued)," "They and Their Friends," and the closing instrumental "Ocean Movie," one of the most beautiful and curious Russell tracks ever to see the light of day.