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To celebrate the fabulous Corrs returning to the live arena with their 2024 UK and Ireland Talk On Corners tour, the band are reissuing six of their classic studio albums on limited edition colour vinyl (Forgiven Not Forgotten was reissued on colour vinyl in 2023). This marks the first time that these special albums have been available on vinyl (apart from Jupiter Calling which has a limited black vinyl release in 2017), and the first time that any of them have been available in collectible colour vinyl/ The albums will be released in 3 batches to coincide with the tour

8 cuts of minimalist electronic bliss

"Dark Entries calls on Philadelphia experimental duo The Ghostwriters to resurrect their 1981 LP of minimalist mayhem, Objects In Mirrors Are Closer Than They Appear.

The late Buchla maestro Charles Cohen and multi-instrumentalist Jeff Cain joined up in 1971 to craft electroacoustic chaos as Anomali, later renaming themselves The Ghostwriters. Their collaborations with choreographers and visual media artists led to their singular style, straddling improvisation and composition, the oneiric and the immediate.

1981 saw the release of their debut album, Objects In Mirrors Are Closer Than They Appear, a whirling, messy, telepathic slipstream cascading across an imaginary landscape. Recorded in Don Buchla’s childhood home, Objects offers 8 cuts of minimalist electronic bliss, equal parts icy and quirky, with standout cuts including the grooving havoc of “Fix it in the Mix” and the otherworldly hymn “Moon Chant.” These angular pearls will be cherished by fans of John Bender, Ceramic Hello, and all strains of outsider 80s electronics.

Objects In Mirrors Are Closer Than They Appear has been freshly remastered and includes an insert with photos and liner notes. Proceeds from the album will be donated to SOSA (Safe from Online Sex Abuse), a nonprofit that combats online child sex abuse and trafficking"

Weval (consisting of Harm Coolen and Merijn Scholte Albers) are an Amsterdam-based duo who have established a solid reputation across the globe for crafting highly textured and sophisticated electronic music. They announce a new EP called ‘Night Versions’ which contains brand new, club-focused alternatives to key tracks from their recent critically acclaimed album, ‘Remember’. ‘Night Versions’ is set to release on Ninja Tune imprint Technicolour on 4th October. With the announcement Weval share a Night Version reimagining for title track “Remember".

Speaking about these new versions, Weval say, "It was so much fun to return to the material and make some bold moves. Just to see how far we could push the tracks with the dance floor in mind. We've been road-testing a few of these in our DJ sets lately, and it's so rewarding to watch people dance and hear the tracks blasting on the dance floor. It's addictively fun to experience and see the second life of the songs from the LP."

‘Remember’ embarked on a high energy journey of nostalgic memories and euphoric emotions, with elements of pop, dance and every genre in between being thrown in and whittled down to make an intense, spontaneous and substantial work. PopMatters noted the album as "a kaleidoscopic, gut-turning, jaw-dropping wondrous journey" while it received additional support from the likes of Cool Hunting, Clash Magazine and Stereogum among others.

The Leeds jazz scene is the gift that keeps on giving. From the dub-leaning ambience of Submotion Orchestra through to the afro-jazz fusion of Nubiyan Twist and TC & The Groove Family, a multi-generational lineage has emerged. Adding yet another page to the eclectic story of jazz from the city, emerging punk-jazz upstarts Plantfood announce the imminent arrival of their debut album ‘Carnivores’ on Friday 4th October via Bridge The Gap.

Consisting of JJ Petrie (percussion), Ruben Maric (keyboards), Joe van der Meulen (tenor saxophone), Woolley (baritone saxophone), Finn Hamilton (drums) and Woody Hayden (bass), Plantfood began in the throes of lockdown, during which all the members lived together. The group spent day after day sharing their eclectic music tastes, ranging from the electronic punk of The Prodigy and art-rock of Black Country New Road, through to the jazz dance of Steam Down and The Comet Is Coming. Taking these influences, they crafted their own sound, but without live shows, their only audience was the plants in their rehearsal room:

“We called the band Plantfood because we were writing and rehearsing in one of our bedrooms which was full of house plants. The plants kind of became our only audience, so it was like the music was food for the plants.”

The band’s debut album ‘Carnivores’, plays on this theme, referring to the plants as carnivores for consuming the bands music, whilst also reflecting the apocalyptic palette of sounds and chaos found within the record. However, mirroring the dynamism of a Plantfood live show, the album is anything but one-dimensional. The group expertly balance moments of serenity and vulnerability with cataclysmic urgency, all brought together under the guidance of producer David Haynes (TC & The Groove Family, Nubiyan Twist). The group share:

“The album’s moments of vulnerability and hope are intended as the depiction of a return-to- earth theme (circle of life, growth and decay), reflecting that the cycle of nature is not simply destructive.”

The project’s lead single ‘Y.U.S.’ drew praise from tastemakers including Jamz Supernova on BBC Radio 6, with the track featuring the talents of UK-Palestinian MC Yung Yusuf, a serial collaborator who also appears on album closer ‘Monstera’. Both tracks channel Plantfood’s explosive live energy into a blend of afro-latin rhythms and broken grooves, with the distinctive blend of tenor and baritone saxophone weaving in and out of grime-leaning, poetic exchanges with Yusuf.

Elsewhere, the second single from the project ‘Birdgang Pt. II’ is a fresh take on the band’s contemporary jazz sound, blending jazz, Balkan folk and Moroccan rhythms with a punk edge. The album’s title track resets the balance, soothing the soul through a swirling approach to spiritual jazz that wouldn’t be amiss amongst the Gondwana Records catalogue.

THE DYNAMICS • DRAG’N'FLY
by VINCENT HELLO.

Jamaica, 1960s. Ska artists, rock steady and reggae take back some soul songs of the United States, thus giving their versions that will in turn become future classics. The hits of the moment are also seasoned with Jamaican sauce, no matter where it comes from Original, pop, country, jazz... The rhythms of the island permanently transform the tracks of origin. In 2024, with their third album called Dragn'fly and decorated with a beautiful dragonfly (a "dragonfly" so in the language of King Tubby) the Dynamics honour Jamaican tradition and dynamite 10 versions of hits from yesterday and today. The Dragonfly spread his wings reggae, soul, funk to land in all headsets at the heart of good stereos and on spicy dancefloors. Because this dragonfly is a true superfly that speaks to the heart... and legs.

After two albums whose success led them to walk the globe of Glastonbury in Tokyo, honoured by the large elders (the first part of Lee Perry here, a regular dj support of Don Letts over there) the Dynamics are alive so their 'soul reggae vocal sound system” in front of audiences specializing in Jamaican or to those who are who were lucky enough to meet them by chance in Chemical Brothers... or Lady Gaga.

The Dynamics have forgotten the weight of ancestors to make their own recipe. They proclaim it, they are Sound System! The voices of Mounam, Steve Levi and Mr Day are in the front row, so making lovers, preachers, crooners and crooners to Turns of Duty, while Fab Master Flab all in one of the roots and futuristic echos. But if the mind is a sound system, the dynamics sounds also as a group through instruments live performances that plunge the tracks into a fervor unique. And then there are the hits, so, from all times and of all styles.
The low rider becomes toaster and leaves the road a American carried by these vocal harmonies Sky to take the exit Kingston. On the roadside, the joker delivers his lovers soft rock after a small detour to Muscle Shoal, The time to borrow a guitar from Duane Allman. In the south again, Mounam “Mrs Dynamics” meets the spirit of «Mr Dynamite» and tells him his radical, soul version. “ man’s world...” inna digital style! The spiritual anthem “you got to have freedom” by Master Pharoah Sanders becomes a universal skank, pop and dub who sends resounding high its universal message Dance! The dynamics are mutating the classic of ESG into a small, minimal pop bomb that is not without resemblance to the Neptunes of Mr Pharell Williams. On the edge of the track, Peter Gabriel sees his “Sledgehammer” groover as he does could imagine it and dissolve into sublime soul scrolls. Later, “After laughter...” soul classic celebrated and sampled Born into a rock steady air promised also to eternity. JJ Cale’s "cocaine," leaves its on the dancefloor for a reggae disco version, necessarily! And then, we must conclude. So it’s time to send an original title. It will be "Rubba Sub", to the aromas of sleng teng, which proves that far from the hits, the Dynamics deploys same layouts to deliver fresh and authentic sounds. And when the dub echoes evaporated, that the riddims have been silent, only remains an album majestic, in turn a future classic, full of unique Dynamics sound that mixes with instinct the echoes of yesterday to its own voices today.

The genesis of the film lay with actress Winona Ryder, who wished to make amends with director Francis Ford Coppola after her late withdrawal from The Godfather Part III. She brought him a script written by James V. Hart, which provided an adaptation of the famous 1897 novel Dracula by Irish author Bram Stoker. Coppola decided that he wanted a composer with classical eastern European sensibilities. After listening to a few pieces from fellow Pole Wojciech Kilar, Coppola was convinced that he had found his man. He called him and offered the assignment, which Kilar gladly accepted as he was very impressed with Coppola’s cinematic success. For his soundscape, Kilar chose to utilize traditional leitmotifs. Besides it features “Love Song For A Vampire” by Annie Lennox (Eurythmics).

Available as a limited edition of 2000 individually numbered copies on translucent red vinyl.

"The Night The Zombies Came is Pixies’ tenth album, if you count their classic 1987 4AD mini LP Come On Pilgrim, and first new music since 2022’s acclaimed Doggerel LP. 13 new songs that find Pixies looking ahead to the most cinematic record of their career. Songwriter, vocalist and guitarist Black Francis explains: “Fragments that are related and juxtaposed with other fragments in other songs. And in a collection of songs in a so-called LP, you end up making a kind of movie.” Druidism, apocalyptic shopping malls, mediaeval themed restaurants, 12th century poetic form, surf rock, gargoyles, bog people, and the distinctive dry drum sound of 1970s era Fleetwood Mac are just some of the disparate wonders that inform the new songs. For the new album recording sessions the band returned to work with producer Tom Dalgety, who drummer David Lovering refers to as “a fifth Pixie” after producing 2016’s Head Carrier, 2019’s Beneath the Eyrie and 2022’s Doggerel. Early on in the recording process at Guilford Sound studio in Vermont, the band noticed the new songs were dividing into two camps: what they came to call the “Dust Bowl Songs” - country-tinged, ballad-esque numbers such as ‘Primrose’ and ‘Mercy Me’, and on the other side, the album’s furious punk numbers such as ‘You’re So Impatient’ and ‘Oyster Beds’. Only ‘Jane (The Night the Zombies Came)’ keeps its feet in both camps — reminiscent of early 60s Phil Spector, the band hitting the sweet spot between mushy and abrasive, it’s a track that Black Francis allegedly likened to being chased by a swarm of bees.
The Night The Zombies Came sessions also saw Pixies welcoming new bass player Emma Richardson (Band Of Skulls) to the line up; the first British band member to join the group. There’s also an expanded role for guitarist Joey Santiago. After contributing his first-ever Pixies lyrics on Doggerel, for the new record Santiago wrote the words to ‘Hypnotised’ by completing a complex lyrical riddle of sorts, known as a sestina.
The Night The Zombies Came is released via BMG on CD, black vinyl"

The new album from Tears For Fears, Songs For A Nervous Planet, features four new studio tracks plus live recordings of Tears For Fears on tour and at their best. The album features live performances of hit songs like “Shout”, “Head Over Heels”, “Everybody Wants To Rule The World”, “Mad World” & more. Spanning all eras of the band from The Hurting to The Tipping Point and beyond, this record takes you on the incomparable sonic journey that is a Tears For Fears live show and their career to date.

The new album from Tears For Fears, Songs For A Nervous Planet, features four new studio tracks plus live recordings of Tears For Fears on tour and at their best. The album features live performances of hit songs like “Shout”, “Head Over Heels”, “Everybody Wants To Rule The World”, “Mad World” & more. Spanning all eras of the band from The Hurting to The Tipping Point and beyond, this record takes you on the incomparable sonic journey that is a Tears For Fears live show and their career to date.

"‘Dancing Undercover’ was released in 1986 as RATT toured North America with a brand new LA band called POISON as the opening act. Lead single “Dance” hit the Billboard Hot 100 and spawned another music video hit with “Slip Of The Lip”, while “Body Talk” was featured in a key scene in the Eddie Murphy film, ‘The Golden Child’. ‘Dancing Undercover’ became RATT 3rd consecutive PLATINUM album and reached #26 on the Billboard Top 200.
The album features the classic line up of Stephen Pearcy (vocals), Warren DeMartini (guitars), Robbin Crosby (guitars), Juan Croucier (bass/vocals), and Bobby Blotzer (drums), and is now available on CD and Limited Edition red, black & white stripe vinyl."

Bassline veteran and all-round soundsystem sorcerer Marcel Deptford lands on Sneaker Social Club with two ruff-n'-tuff rave-n'-b re-flips that run as a prelude to big things to come.

This is the first time you will have heard a record under the name Marcel Deptford, but he's got serious skin in the game with an imposing history in the legendary bassline scene from the late-00s. His records as DS1 are the stuff of legend for anyone keyed into the Niche-centric sound, but more recently he's put out some serious heat as Haider running his own Breaker Breaker label and popping up on Aus and the like.

If you're a fan of millennial RnB there's every chance you'll recognise the vocals that breathe life into Deptford's two tracks for this Sneaker release. Moving beyond simple edit territory, the voices are bedded deep down into gritty rave productions that boast the kind of dirt bag sonics that call straight back to the OG days of breakbeat hardcore. 'Rock The Boat' has bloated bass pushing into the red, clattering breaks chopped up with a rugged swagger and a dreamy, haunted dose of dub poured all over the vocals.

'Make It Hot' has a lighter, swung feel which nods to garage, but there's still plenty of weight on the low end. Once the lead vocal sample steps back to open up the space, Deptford's knack for strong melodic hooks comes through in a blown out arp line which the bassline dutifully follows.

Hitting every sweet spot from the low-down dirty rave receptors via moody head-nodding restraint on to iconic vocals, Marcel Deptford shows exactly what he's capable on this release ahead of a more extensive dive into his legacy, due further down the line.

Based in a small town near Modena (Italy), Browbeat formed in early 1998 from the ashes of local Hardcore and Metal bands with the intention to create the most intense music possible joining angst, heaviness and aggressive vocals.

Emerging from the same circle of musicians that spawned Squirrel Bait and Slint, Rodan formed in 1992 out of a failed high school rap project. Guitarists Jason Noble and Jeff Mueller enlisted Tara Jane O’Neil on bass and a couple drummers before Kevin Coultas came aboard permanently. After a couple 7”s and self-released cassettes, Quarterstick Records released the band’s first and only full-length Rusty in 1994. The band broke up at the end of the year, aiding their growing cult following. Jason went on to form Rachel's, Jeff started June of 44, and Tara began a solo career after recording with Retsin, and The Sonora Pine. Jason and Jeff later reunited in The Shipping News. Rodan was Quarterstick’s indie rock super group that spawned numerous other intriguing projects. “(Thirty years ago) a Louisville band called Rodan released the only record they’d make in their two year tenure. Rusty would become one of those records that launched a thousand very f**king good bands in the 90’s, an historical moment in real need of poets and punks and beautiful freaks who could render some sense and beauty out of the cultural grey water”. Joe Manning // “Whatever scene or geographical associations Rodan dealt with by being from Louisville, KY, in the early '90s, setting those aside and looking at the music straight up reveals one key fact: this was an amazing band, one with clear roots but also one with a sense of its own strong fusion… this is an album to readily get lost in”.

Originally hailing from The Isle of Wight but now based in West Norwood, South London, Vertical Cat has been releasing tunes since 2001 on imprints like Smallfish, Vice and his own rather wonderfully named Achingly Responsive, but now finds himself delivering seven varied creations for Chicago's Kimochi Sound to issue via the kind of hand-numbered, limited edition run that's sure to get trainspotters salivating like Pavlov's dogs. From the jazz-inflected phrasing, subtle phasing and jiggly sub-bass of 'Go Willy-nilly' to the Mills-esque thumpfunk of 'Oh You Mucky Bugger!', there's a bit of everything here, but every last moment is delivered with quality and clearly perceptible personality. You've also got to love outro track 'I'm Leaving', which soundtracks an awkward call to HR with some nicely cheeky, perky exotica.

In celebration of National Album Day, All Saints' iconic debut album All Saints is finally making its debut on Green Vinyl. This release brings forth the timeless allure of the British girl group's chart-topping hits, including the infectious rhythms of "Never Ever," the soulful harmonies of "Under the Bridge," and the irresistibly catchy "Bootie Call." Transport back to the late 1990s, where the signature blend of pop, R&B, and hip-hop captivated global audiences.

Ninetoes, the acclaimed DJ and producer behind the global hit “Finder,” is thrilled to announce the upcoming release of his debut album, ‘POV’ set to drop this October via his own label, Head To Toe. This highly anticipated album marks a significant milestone in Ninetoes' career, offering a fresh and personal take on the genres that have shaped his sound over the years.

‘POV’ is a definitive statement from Ninetoes, encapsulating his journey through the world of dance music. Fans can expect a diverse and dynamic album that traverses a spectrum of styles, including Afro House, Acid House, Techno, and Hip Hop. Each track from the collection reflects Ninetoes' deep connection to the roots of electronic music, reimagined through his unique creative lens.

“‘Having been involved in Dance Music a long time, the album touches on every genre that has shaped me since day one. So, I have recreated these styles with my POV‘.” - Ninetoes

The album features 10 tracks, including collaborations with a stellar lineup of artists such as A-Trak, Thomas Mapfumo, Davide Squillace, Mousse T., and Jazzy Jeff, among others. Each collaboration brings a unique flavor to the project, highlighting Ninetoes' versatility and passion for pushing musical boundaries.

The release of ‘POV’ will be celebrated with a worldwide tour, where Ninetoes will bring his distinct perspective on house music to dance floors across the globe. Fans can look forward to an immersive experience, blending his dynamic DJ sets with the innovative soundscapes of his debut album.

Fronted by former South London lovers rock vocal harmony group, Alpha (sisters Jackie & Jean Heron and Marlene Richardson), Take Three was the brain-child of writer/producer trio "S.H.E." - Steve Sinclair, Peter Hinds & Kevin Ellis.

Meeting each other at The Factory community centre in Paddington (now known as the Yaa Asantewa centre and in the last few years, The Yaa Centre) Steve & Kevin began a partnership writing and directing their own theatre productions as part of The Black Theatre Co-Op, which called the centre home at the time. When a song they had written together for one of their productions received praise and plaudits, the path toward writing and producing records began, bringing in more seasoned hand Peter Hinds - formerly a member of key brit funk groups Light of the World and Beggar & Co, and player with Incognito, Imagination & Loose Ends - to complete the circle.

Take Three represented the first project for a creative partnership that would spawn multiple projects/aliases spanning the UK soul, funk & dance scenes, and still continues to this day. With this compilation we showcase for the first time the group's combined output as Take Three, complete with previously unreleased material.

RAWAX prouldy welcomes DJ MoReese to the Family! DJ Mo Reese excites crowds with his unique brand of House music.

A Detroit native, his music is steeped in the tradition of his hometown and blended with his own soulful, funky style.

We are very happy to present you his great release, called S51 EP on HOUSEWAX early October.
Highly recommended!

Slow paced drums with offbeats softly phased with the guitar, misty takeoffs from the synthesizer: a hazy idyll is starting off on the road to the rocket festival (bun bang fai). Answering each other on the responsive mode of the lam soeng, Sothipong engages in a flirt but Oulay Vanh is not ready to trifle with just anybody.

As a stylistic variation of a popular Lao musical genre, the lam soeng was the source of several themes among which the “bang fai” - which is part of the Lao conciliatory festivities preceding the rainy season - remains one of the most renowned.

However, the producer and composer of these songs, Sothy, created an unusual arrangement: the instrumental introduction separates from the sang canon, the synthetic mix is stripped down of the traditional organology - everything here becomes unsettling for a listener familiar with the genre.

Everything comes with a reason: the record was edited in 1981 under the title Sothy Productions yet produced in France by the Parisian label Oxygène (famously known for its unforgettable first French punk compilation 125 grammes de 33 1/3 tours). Chansons Laotiennes still remains hard to classify.

And then who’s Sothy? Along with the unverifiable identity of the seemingly Laotian singers, skepticism gains ground concerning the man behind the pseudonym. Is he an escaped musician from one of the first Cambodian rock bands of the 1960s? A surviving producer from the 1980s Paris? Or a composer in transit in one of the many places of the Laotian diaspora? Sothy eludes any researches and disappears behind his numerous homonyms.

The second track is just as enigmatic: a beat box, a lightly reverberated voice as well as a guitar solo and a small synthesizer break, “Tuei” or “Tawai” offering (as the writing on the record suggests) makes way to dancing step and a truly joyful melody. Twisted and lively steps on a romantic background tune turn this second track into a genuine paslop - a program recommended by therapists to relieve muscular pains due to seated positions: you will unlock your pelvis with some synchronized Laotian choreographies.

For their first edits, Akuphone called on a young Parisian producer. Shelter, aka Alan Briand, mingles his own mixes and electro productions with a large variety of influences and styles: krautrock, disco, traditional music, psychedelic, synth pop, ambient, bossa nova, Japanese funk. He produces both original compositions and remix.

"One of the most iconic groups of the late 20th century, Dire Straits established their timeless sound from the
moment they first appeared on the London gig circuit, in 1977. With faultless musicianship and memorable songs
that quickly connected with music lovers, it was clear the group would set their own path, proving that, even amid
the new-wave era, classic songwriting would never go out of fashion.
After three years of relentless hard work, touring, writing and recording their music, the group entered the 1980s
well on their way to becoming the biggest-selling band in the world. That year’s Making Movies album would also
make its presence felt on the silver screen, thanks to the inclusion of the UK No.8 single ‘Romeo And Juliet’ – later
used in films such as Empire Records, Hot Fuzz and I, Tonya – and live favourite ‘Tunnel Of Love’, which featured in
the 1982 Richard Gere film, An Officer and a Gentleman. Dire Straits’ frontman, Mark Knopfler, would later explain
to The Times how satisfying it was to write ‘Tunnel Of Love’: “It’s the moment when you know you’re really on to
something,” he said. “There’s a certain part of the song that I call the breakdown and when I got there I could feel
the drums, the piano, all the things that I wanted all the instruments to do. When you get to that state, there’s a
strange sense of one thing following another, of elements falling into place quite naturally.”
Paying extra attention to those elements, this half-speed master of Making Movies has been overseen by Miles
Showell at Abbey Road Studios, in London, resulting in a cut that has a superior high-frequency response (treble)
and very solid and stable stereo images. Pressed on 180g vinyl, it comes with alternative artwork that swaps the
red and the blue of the original album sleeve, plus a printed inner sleeve, a “Half-Speed Master”-branded obi-strip
and an Abbey Road certificate of authenticity.
"