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Available on limited edition translucent gold vinyl and very limited vinyl-style cd. "The Young Ones' Flaming Lips meet Jacques Brel in a pean to lost youth, 'Comme dans un Reve' Dream bossa chanson a la Gainsbourg/ Birkin. ‘Dreams’ is the second of the final trilogy of albums by critical darlings The Real Tuesday Weld following last year's acclaimed noir-themed ‘Blood'. This collection references late sixties songwriting a la Lee Hazlewood, Jimmy Webb and Burt Bacharach with nods to Flaming Lips and Tin Pan Alley, all mixed up with hazy lo-fi electronica, ghostly atmospherics and cinematic instrumentals. Guest vocalists A Girl Called Eddy, Sephine Llo and Oriana Curls provide a counterpoint to main man Stephen Coates' Gainsbourg-like crooning. Continuing the band's long preoccupation with dreams, the songs were written in the early morning or late evening on 'either side' of sleep: ‘I’d rise super early and go straight to it with the emotion of the night’s imaginings still heavy on me or work in that strange space-time just before sleep claims us”. The album is sequenced in an approximation of a life, from youth to age, with the band’s perennial focus on London, love, the English landscape and time passing. ‘Bone Dreams Blood’ in particular is a sonic memorial to friends loved and lost in the life of London. "beautiful...giddily recalls Gainsbourg, Pulp, Cole Porter, early Disney soundtracks and seedy postwar revue bars" SUNDAY TIMES // "Utterly unique, utterly delightful" THE TELEGRAPH // "These heart-pricking songs speak to us all" WORD // 'Utterly decadent and darkly humorous' TIME OUT LONDON // 'Superbly atmospheric' UNCUT // Track listing: 1 The Young Ones 2 Kinky Love 3 Bone Dreams Blood 4 I Awoke to Find I was Dreaming 5 Ever After 6 Lost Endeavour 7 Curtain Call 8 Comme Dans un Reve 9 Bodhisattva of the Gulag 10 Everything 11 Last Light

We are proud to present "I'm Always Right" by Imagination, an unreleased jazz rock LP from 1977. Comprised of five tracks with a playtime of roughly 30 minutes, you will hear one of the finest German late-70s rock-tinged electric jazz albums of the era. The recording is a delightful stand-out with unique compositions, aspiring solo work, and a soulful spirit throughout. Additionally, the album veritably glows with exceptional sound quality, as it has been remastered from original tapes that were cut more than four decades ago at the WDR Funkhaus, Cologne.

Here is the story of how label founder John Raincoatman became aware of these lost tapes:
"I first got in touch with members of Imagination from Düsseldorf (not to be confused with the UK disco band under the same name) in 2017 for licensing the track "Strawberry Wine" from their collectible "Shake It" album from 1980. A couple of months later, when I was speaking with Willi Hövelmann, the guitarist for Imagination, he told me about some recordings the band had made a couple of years before, when they had been invited to to the studio of the WDR, a major German broadcaster. A couple of weeks later, when Hövelmann finally sent me the files that he had requested from the WDR, I could not believe what I heard - not only that the songs were totally different from what I expected, but that they were also very very good! The music wasn't comparable to any other kind of fusion release that I knew of. These five songs were straight forward, tight and soulful electric jazz rock, a combination rarely heard from Germany from that time period."

How come Imagination - at that time a young newcomer band consisting of musicians between 19 and 22 years of age - was able to record at the well-equipped Funkhaus studio of German radio and television? Hövelmann explains: "The WDR got to know us from a newcomer band competition called "Pop am Rhein" (Pop at the Rhine) which was set up to support local bands and was promoted by several bigger newspapers. Imagination was one of the 5 contestants which were picked from 59 bands by a jury of music journalists and our band was invited to play a concert at the Philipshalle in front of about 3500 guests. Although a band called "Accept" won the contest (yes, the heavy metal band that gained international success in the following years!) and Imagination only made 3rd place, we were invited by music host and journalist Wolfgang Neumann to record in a professional studio."

Neumann's broadcasting show at the WDR was called "Rock Studio", and one of his special goals was to help push newcomer bands by giving them airplay. As a side note, Neumann actually compiled a series of three LPs on the Harvest label from 1979-1982, each of them featuring four bands. However, the earlier recordings of Imagination had only been used for broadcasting reasons, they were aired a couple of times but never made it to a vinyl or CD release.
So, on October 10th, 1977, it was time for the band to show up and prove themselves in the studio. The tracks were all recorded in one afternoon, mainly as one takes. In some cases flute, saxophone were overdubbed, as well as the vocals on "Love is Genesis", as Hövelmann remembers.

The first song, "Jazzgang" can probably be seen as Imagination's most characteristic composition out of their early period: heavy bass, saxophone leads and speedy solos by the band members. A genuine, rough, yet funky uptempo jazz rock tune. But it's "I'm Always Right", the second track on the album, that raises the bar as the key track of the release with its 10-minute length. The song starts with a great piano solo by Mario F. Demonte. In fact, "Demonte" was a pseudonym of Ratko Delorko, a classically trained piano virtuoso who is still active today as conductor, composer and performer. At that time, it was simply impossible for him to officially be part in a band like Imagination and hence the alias was invented. Anyway, the speedy intro leads to a very soulful mid-tempo jazz funk groove that offers space and time for the band members to perform a solo. First off is Uwe Ziss with sax and flute combined. The second solo belongs to Willi "Sultan" Hövelmann on electric guitar. For the furious ending the pace is set back to high speed. Delorko serves us with one of the most brilliant uptempo piano solos you may have heard in a while on a jazz record.

The next song stylistically stands out from the rest. "Biting My Time" incorporates a rhythm and blues feel with a 60s soul jazz attitude. The track was composed by Uwe Ziss who leads through the track with aspiring flute solos which feel like an easy summer breeze after the first two rock tinged tunes.

"Himalaya" sees Imagination move away from jazz quite a bit, rather approaching the psychedelic rock genre with a vibe reminiscent of the sound of the early 70s. Again starting with a piano solo by Ratko Delorko the pace is quickly at 150 bpm with the full band laying down an energetic jazz rock sound. Just after a little over one-and-a-half minutes there is a breakdown to a slower tempo with overdubbed mysterious vocals and psyche-y screams which may remind more of the legendary krautrock band Can than what is typically known as "jazz". The mood continues with tense saxophone and guitar solos, just to speed up again towards the end with furious drumming by Andreas Oelschläger.

"Love Is Genesis" concludes the release. It was composed and sung by former bassist Robert Schlickmann. Though most of the band members didn't really like the song at that time it still is a one-of-a-kind soft rock pop ballad which partly reminds of some of the vocal song tracks later to be found on the "Shake It" LP from 1980. The track manifested that Imagination were never really supposed to be solely an instrumental band.

We are now happy to have cleared the exclusive rights for this recording from the WDR and are proud to re-present this amazing collection of songs. It should appeal to fusion, jazz rock and jazz funk aficionados but also to late krautrock collectors. We are also certain that it will also please fans of the "Shake It" album, simply in terms of being such a bright and soulful debut with great music overall.

2022 Repress
The Sound of Studio One can be identified by the great singers that it cultivated along the many great songs that these singers released. But as studio 1's dominance was slowly pulled away by the up and coming new breed of producers many of the artists would inevitably end up working for these new camps and so the songs and singers found a new audience. The reggae sound of the Studio 1 would make a great combination and the man to pull this was together Bunny Lee.
The 1960's in Jamaica was run by two main factions, Coxsonne's Studio 1 and Duke Reid's Treasure Isle. These two leading protagonists saw what some of the other great Sound System men like ' Tom The Great Sebastian' had not taken onboard, that when the tunes they imported began to dry up from the USA, their future lied in producing music. Tunes that suited the musical styles that the people of Jamaica still enjoyed. By the late 1960's thse supremacy was being challenged by the up and coming new producers on the scene, Lee Perry being one, and the other being 'Ghost of the Studios' himself, Bunny Lee. Bunny 'Striker' Lee may have inherited the moniker 'Striker' from his liking of a particular TV show called 'The Hitch-Hiker', but it would soon stand also for the considerable hits he would obtain as he was declared producer of the year in Jamaica in 1969, 1970,1971 and 1972.
For this release, we have compiled many of the great Studio hits that Bunny Lee recorded with the singers that had originally cut at the famed Studio 1. Bunny Lee's sprinkling of magic over some classic tunes....the sound of Studio 1 backed up this time Bunny 'Striker' Lee's set of star musicians The Aggravators. Proving you can't keep a good tune down, or a great producer pushing forward.....Bunny Lee strikes back....
Hope you enjoy the set.....

2022 Repress

Junior Ross and The Spears are another great Jamaican Roots group that have been nurtured under the guidance of fellow Jamaican, producer and singer Tapper Zukie.Who not only gave the singer and his band their name but recorded, produced and released their records on his own 'Stars' imprint label.

Junior Ross (Clifford Palmer, b.7 Sept 1953, Kingston, Jamaica) grew up alongside his brothers Frankie Jones and Roy 'Soft' Palmer, who in turn had entered the music business alongside future roots singer Price Alla .

Prince Alla had formed a group called 'The Nazarines' with Roy Palmer and Milton Henry, so music was all around Junior Ross and he would soon follow in their footsteps and start recording some of his songs.

This album you have here had its initial release in 1992...We have added to it various dub versions that were b-sides to the singles and extended recordings again produced by Tapper Zukie.

So you have the Junior Ross and the Spear's classis album and its related musical accompaniments all in one place and sounding better than ever...

We hope you enjoy this classic roots set....

The second release on Boogie on the Mainline Records is a strictly limited disco 12" with two songs by German band, Upstairs, from 1980.

Side A features an exceptional track from their highly sough after “It’s Hard To Get In The Showbiz” album called “Get On A Plane”. The song is still totally under the radar in the collector’s scene and serves us with a smooth uptempo Disco Funk groove, a super mellow AOR vibe and a catchy chorus! The exclusive 12" mix has an extended ending to give you more of the final “Copa Cabana” chorus.

The flip side contains the instant classic “You’re Just Yourself”, a track which could already be found on the “Boogie on the Mainline” double vinyl compilation. Giving it more space, power and loudliness on 45 rpm with a new master we hope this perfect soulful tune will get even more spins in this “audiophile” edition.

Upstairs, a band from Frankfurt, Germany was active from 1977 to 1983. Though considering themselves mainly a rock group, the band incorporated elements of funk, jazz rock and disco into their music. On their rare and privately released debut album "It's Hard To Get In The Showbiz" from 1980 they created something that could be called Germany's definite answer to AOR, yet still with an edgy and unique krautrock flavor.

The album starts with "Wontcha Try," a track where core songwriter, guitarist and lead singer Helmer Sauer is telling the story about being dismissed from his job: "They tried to tell me in a fucking gentle way, that the time had come to kick me…". Sauer serves more personal, hard-edged lyrics on the album as well. On "Happy Hooker," for example, he tells the story of a working girl in the red light milieu: "The job is as hard that you really can never imagine, she serves for the money, degradin' herself in a way - if you'd know how she's feelin' you wouldn't laugh at all". An empathetic view on the subject of prostitution rarely heard at that time.

But aside from the profound lyrics and songwriting, the album has a lot to offer on the groovy side of things. With catchy bass lines, rhythm guitar, Fender Rhodes, Moog synthesizer, Clavinet and swift crisp drumming "It's Hard To Get In The Showbiz" is one of the best examples of late 70s flavored funky rock from Germany. Additional to the aforementioned "Wontcha Try" another DJ delight should be "Make Your Steps On Better Lines" which showcases a superb synth line and disco funk flavors. We also get the slick mellow latinesque AOR grooves of "Get On A Plane" as well as the now-classic "You're Just Yourself", which marks the most soulful track of the LP. As followers of our label are already well aware, "You're Just Yourself" was featured on the compilation, "Boogie On The Mainline - A Collection Of Rare Disco, Funk And Boogie From Germany 1980-1987" from 2018.

The band mainly performed locally and never really had ambitions to release their music on a bigger label. Too bad that Upstairs only released this one album. Of course, the highly sought-after original pressing is almost impossible to find nowadays. Therefore, we are proud to finally make this record available again after 40 years for a reasonable, regular LP price. Only 300 copies of the carefully re-mastered repress have been produced, and included is a printed lyrics insert identical to the original.

Based in Winnipeg, Manitoba, an "inland island that floats on infinite
prairie ground," Living Hour has always been a band that's thrived in
seclusion.Helping to foster a thriving local community, and taking
inspiration from the faces and places of their hometown, the band have
always been motivated by the belief that their own music only gets more
interesting when it includes other voices
For their new album, Living Hour called upon friends from near and far.
The result is "Someday Is Today", the band's third full-length effort and the muchanticipated follow- up to their 2019 "Softer Faces" LP, acclaimed by the likes of
NPR, Stereogum, Paste, Vice, Bandcamp, and more. On "Someday Is Today", the
group's sound is collaborated with a variety of drummers including Jason Tait
(The Weakerthans, Broken Social Scene) and is fleshed out further with the help
of three producers: Melina Duterte (Jay Som, Bachelor, Chastity Belt), Jonathan
Schenke (Parquet Courts, Snail Mail, The Drums), and Samur Khouja (Cate le Bon,
Deerhunter, Regina Spektor) all of whom impart their own backgrounds on the
album's finished glow.
"Someday Is Today" is Living Hour at their most pensive and longing. It was
recorded over seven straight days during the dark depths of a Manitoba winter,
with the band cocooned in the sounds they were making as the temperature hit
-30 outside the door. The album thrives by keeping just enough connection
across its varied palettes to feel like one cohesive world. Whether it's the album's
soft and gorgeous harmonies or the captured sound of wind tubes being swung
above their heads, the songs here feel bound by something bigger than
themselves; an energy that flourished in spite of it all, a human connection that
grips just strongly enough even when pushed to its frayed, unreachable extremes.

Domino Records announce the Tenth Anniversary
edition of ‘Melody’s Echo Chamber’, the
eponymously titled debut album from French
musician Melody Prochet.
Recorded and co-produced with Tame Impala’s
Kevin Parker in Perth, Australia, and finished in the
South of France, the album became a cornerstone
of the new wave of psychedelia on its release in
2012.
The reissue will be released alongside ‘Unfold’, the
lost follow-up album from which seven rare and
unreleased tracks will be made available for the
first time.
‘Melody’s Echo Chamber’ is a hypnotic and
sometimes hypnagogic adventure of the senses,
full of summery, shimmery songs that still sound as
dreamy and vivid as they did a decade ago. At the
time Pitchfork called it “... enchanting, psychedelictinged pop with just the right amount of thematic
darkness,” while NME said it was “subtly
disorientating” and noted that Prochet had created
something that was “just as dark as it is light.”
2LP bundle includes ‘Melody’s Echo Chamber’ on
transparent orange coloured vinyl with two-page
insert and bonus anniversary 16-page booklet plus
digital download card.
Also includes ‘Unfold’ on black vinyl with printed
inner sleeve and digital download card.
Obi-strip style bellyband placed over both LPs.

The super group Deltron 3030 is composed of producer Dan the Automator, rapper Del tha Funkee Homosapien and DJ Kid Koala and sometimes features guest artists who also take on varying futuristic pseudonyms. Originally released in 2000 on the now-defunct 75ARK record label, this hip hop concept album was released the same year as the Gorillaz' first 12" and is on a similar plane. Following the release of Deltron 3030, all three members participated in the Gorillaz' self-titled debut album. With Del aka Deltron Zero on vocals, Dan the Automator aka The Cantankerous Captain Aptos on production, and Kid Koala aka Skiznoid the Boy Wonder on turntables, this album takes the listener on a paranoid journey set in a dystopian year 3030 dealing with viruses, the apocalypse, an oppressive government, and a war waged against a huge company called the Corporate Bank of Time that rules the universe, all to the well-crafted and consistent musical backing of the Automator. Appearances by Damon Albarn (The Gorillaz, Blur), Prince Paul, Peanut Butter Wolf, DJ Money Mark, Paul Barman, Mark Bell (Bjork, production), Sean Lennon, and Mr. Lif compliment Del's vocal style and add the right amount of flavor to this classic period piece.

By the late 1980's Ton Lebbink was a well respected figure in Amsterdam's alternative scene: he was the drummer for the Amsterdam post punk group Mecano, a true punk poet and worked as a bouncer at Amsterdam's main music venue Paradiso. He released two solo albums, both in his unique narcotic style: laying absurd Dutch wordplay over stripped down frigid instrumentals. As the decade came to an end, Ton - already well in his forties - moved away from the often destructive and dangerous nightlife. After a series of odd jobs Ton started as a fitness instructor at an Amsterdam gym called Splash. Meanwhile, the 90's brought the latest musical craze to Amsterdam: House music began to flourish through clubs like RoXy, iT and Mazzo. With House being the ideal score for his fitness classes, the once well known cult figure faded into anonymity at a 120 beats per minute. His musical endeavours were focusing more on finding the right beats for aerobics exercises with self-devised exercise - eventually leading Ton to bootleg some of them on cassette tapes himself. In parallel to this radical shift, Ton did not stop making music. On the contrary, piles of demos showed high activity but in a direction no one was looking. Inspired by music to move to, Ton recorded hours of music that activated the body while staying true to his playful mindset. Discarding his voice as an instrument, the Roland W-30 sampler became his tool to communicate. Gathering vocal snippets from close friends, barflies and pets, a repertoire developed where witty repetitiveness could exist. Going through a vast collection of demos, pictures and many anecdotes, Rubber has been able to create an EP that gives insight into Ton's overlooked 90's era. Three playful dance tracks by Ton Lebbink taking his complete own take on the Amsterdam House revolution of the 90's. Full of inventiveness: hip-shaking grooves, hypnotic beats and rousing vocals. Tracks to move to and tracks to groove to. Essential dancefloor workout tunes for you and me. Ah yeah!

Hame's music is all about shared feelings without the barrier of words. In this three tracker debut EP on the new label of Lola Haro called 'Small Steps', he found the sweet spot between housy energy combined with emotion.

His patiently evolving backgrounds combined with subtle energy buildups through themusic keep you in an hypnotic lock on the dance floor.

Hushed has a straight forward and groovy low end with energy right from the start, while slowly evolving in a viby detailed trip.

Relieve has a more subtle bassline combined with lush percussion elements and a melancholic,yet hopeful human touch - creating a feeling of acquiescence.

Moments Like Now is a groovy, deep, club night bomb. Its ever changing yet repetitive lead is carried by a deep sub bassline and a punchy kick that keeps you moving while textures pads and vocals guide you through the track.

2022 Repress !!

2x12" 180g Vinyl LP w/ Download Card.
The dub master Radikal Guru returns to the trusted Moonshine Recordings to deliver his third album, which highlights his refreshing take on the beloved, dub sound of 2016. A selected few of the cuts involve exciting collaborations that are not to be missed.

Similar to King Yoof's recent album endeavour called 'Homage To The King', Radikal Guru exerts his speciality in various tempo ranges with the 'Dub Mentalist' LP. The result is just as exciting as his existing back catalogue; all mastered to meet the requirements of the true Moonshine vibration.

The polish producer once again shows appreciation to both the dancefloor fans and the more meditating listeners. Fusing his compelling sound in dub, reggae and dubstep with timeless, old school samples makes every release a reminiscing journey. The amount of dread and energy will most definitely spark a riot across the globe.

Radikal Guru executes his mix-up of dub by incorporating a dose of happiness and psychedelics. The effects take over the mixes in wild fashion; delays spin off the tasty spring reverberation tails, delivering a comfortable setting. Radikal's horns, including the trumpet, saxophone and trombone joined the Radikal Guru's live melodica to complement each other in rhythm and sound.

The collaborations featuring Moonshine familiars Jay Spaker, Echo Ranks, Solo Banton, Violinbwoy and Earl 16 bless the righteous sound waves, as the bassweight, immersive vocals and tight arrangements speak for themselves. Whether it is the bass weight, vocal parts or simply the rhythms, you know exactly when Radikal Guru's music is being played on a true sound system.

The contribution of the polish dub genius, to the healing of the nations and to global dub culture trembles, as he immediately reveals why his 'Dub Mentalist' LP forms an important chapter in our history of Moonshine Recordings material.

“I think it’s a mistake to equate ‘perfection’ with flawlessness. To be human is to be perfectly flawed,” Johanna Warren observes while describing the joys of analog recording. Her new LP Lessons for Mutants was tracked live with a band to two inch tape—a revelatory new way of working for Warren. “Tape forces you to commit to a performance, eccentricities and all. The little glitches and anomalies that we’re tempted to ‘correct’ are often what make a thing magical.”

Lessons for Mutants is the prolific songwriter’s sixth solo LP and her second for Wax Nine/Carpark Records. The album’s running theme of metamorphosis (the title of the closing track, “Involvulus,” is Latin for “caterpillar”) reflects major changes in Warren’s personal life: after a decade of relentless touring, as the world was closing its borders, the American multi-instrumentalist unexpectedly found herself quarantining in rural Wales, where she’s now permanently homesteading.

Though tracking for the new album began in New York in 2018 in tandem with the sessions for 2020’s Chaotic Good, the majority of Lessons for Mutants was recorded in the UK surrounded by sheep, cows and a forager’s paradise of wild edible plants—a far cry from the urban jungle of LA that Warren had most recently called home. The body of work that emerged from this dramatic about-face is Warren’s most dynamic to date, shapeshifting seamlessly from searing punk screams to sparkly psych-folk soundscapes, from the bootleg ambivalence of Dylan’s Basement Tapes to cosmic stoner grooves reminiscent of Black Sabbath’s acoustic moments.

“Sometimes I can relate to myself/ I disassociate more than I’d like to, but what can you do?” Warren croons in “Tooth for a Tooth,” a wistful piano ballad that conjures the grainy romance of some smoke-filled 1940s jazz club. This kind of to-the-bone lyrical honesty has always been one of Warren’s strong suits, but these latest reflections are especially unflinching. Being forced to stop touring brought no shortage of self-examination for Warren, who quickly came to view her history on the road as an addiction from which she’s been detoxing. This sentiment dances through opening track “I’d Be Orange,” a drum-driven indie rock number replete with Beatles-esque male backing vocals: “Thirst for power, hunger for fame/ Always was a junkie for pain,” Warren confesses. This exploration of masochistic ambition and artistic martyrdom overflows into grunge anthem “Piscean Lover”: “It’s alright, we’re not ok/ We burn out not to fade away.”

“There’s this unspoken rule in modern music—modern life, really—that everything needs to be Auto-Tuned and ‘on the grid,’” Warren concludes. “This record is an act of resistance against that. There’s beauty and power in our aberrations, if we can embrace them.”

Drawing the night in around his private, unnerving vigil, Ellis Swan returns to Quindi Records with an album of cracked beauty and haunted balladry. The Chicago-based singer-songwriter debuted on the label last year with a collaborative project called Dead Bandit, a vividly produced instrumental set in thrall to the badlands and a laconic, languid Americana.

Under his own name, Swan records intimate, poetic songs in a stark fashion, so fragile they might disintegrate in between your fingers were you to pick them up. He draws the microphone close to pick up every whisper and drags the music through layer upon layer of tape fuzz, leaving room for atmospheric impressions which loom out of the walls like the ghosts of past misdeeds. These pieces play on the natural distortion and delirium which occurs at the farthest end of the night - the hour before dawn might hope to break the veil of darkness.

Swan's is a hauntological sound, but like the late Israeli rockabilly icon Charlie Megira his process strikes a spooked tone past revivalism and out of time or place. The only anchor which places Swan anywhere is the subtle presence of Katherine Swan providing lyrics to '3am' and lyrics and backing vocals to 'It Could Be Worse'.

The impression cast is of one man and his guitar, but there are other textures tucked into the music - the muffled murmur of a drum machine or a low frequency organ hum, some desolate piano, other treated percussive impulses which might well have been the work of incidental sprites while the four-track was rolling.

There are fuller cuts like 'Evening Sun' and the title track '3am' which play with structural dynamics and creep out of the shadows a touch, while passages of plaintive, instrumental unease such as the hypnotic, mantra-like 'Chinatown' protract the space between songs. 'Swing' lolls between moments of bottomless silence and a discernible, rickety funk, and 'Puppeteers Tears' teases out a buried drama. But primarily, it's the light touch of 'Horses Bones' and tin can tenderness of 'She's My Sweet Summer Storm' which spell out the spellbinding character of 3am; a singular creation fusing the best qualities of folk, blues and Americana with a fearlessly experimental sound palette.

Ambolley is revered as the Simigwahene in Ghana – The King of Simigwa-Highlife. Because of his deep, soulful, and funky Highlife sound, he is also sometimes referred to as the “James Brown of Ghana.” And not without reason. His blend of Highlife, Funk, Jazz, Soul, and proto-Rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played In the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful Highlife sound he called SIMIGWA-DO. Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and “musical-life-force” has more than 30 music albums to his credit. On his new album "GYEDU-BLAY AMBOLLEY AND HI-LIFE JAZZ" you can hear his versions of some classic Jazz tunes like "Round Midnite", "Love Supreme", Footprints" and "All Blues" as well as some new compositions by the Simigwa - Man himself.

Jerry Hunt, Philip Krumm, Jerry Willingham, James Fulkerson, Larry Austin, Dary John Mizelle, BL Lacerta, Gene DeLisa, Robert Michael Keefe, Rodney Waschka II Irida Records: Hybrid Musics from Texas and Beyond, 1979-1986 Irida Associates U.S.A., an obscure and short-lived record label formed by composer-performer Jerry Hunt, offers a glimpse into the revelatory world of new music and composition in the artist's native Third Coast. Based first in Dallas and later in Hunt's home outside the rural town of Canton, Texas, Irida presented the innovative and daring experiments_into aleatoric methods, environmental acoustics, improvisation, homemade technologies, and more_pursued by Hunt and his select collaborators, primarily working in or near Texas between 1979 and 1986. Irida's brief and compact output_seven non-sequentially numbered LPs released in unknown quantities_shared work by artists whose practices often challenged the limitations of vinyl recording. Hunt called the label a "vanity project" and frequently talked of a tax loophole he could claim if it all went belly up, but in its short lifespan Irida captured a tremendous period of creative experimentation by the artist and his friends and collaborators. This boxed set gathers Irida's complete discography for the first time. These records include early attempts by Hunt to record his generative and highly permutable scores and performances on vinyl in Cantegral Segment(s) 16.17.18.19. / Transform (Stream) / Transphalba / Volta (Kernel), as well as his only composition for piano, "Lattice," on Texas Music (both records 1979). The label distributed solo and group recordings by those in Hunt's circle as well, including Larry Austin's electroacoustic, syncretic compositions in Hybrid Musics; James Fulkerson's unique, extended techniques for the trombone on Works; a fusion of three overlaid compositions in Dary John Mizelle's Music of Dary John Mizelle; spontaneous pieces and riff-based "character improvisations" in Music of BL Lacerta by the four piece "orchestra in miniature" BL Lacerta Improvisation Quartet; and experiments in compositional "mapping" by external structures in Cartography, featuring Austin, Gene De Lisa, Robert Michael Keefe, and Rodney Waschka II. Accompanying the boxed set is a richly-illustrated reader with a detailed essay on on the label by Lawrence Kumpf and Tyler Maxin; never-before-published archival materials; newly commissioned reflections by Fulkerson and the composer Jerry Willingham; as well as an interview with Hunt and ephemera including album and concert reviews, artworks, posters and flyers, and correspondences from the musicians and composers involved.

If someone would have told me years ago, when I started the label, that one day I would be releasing music by Ernesto Djédjé, the king of Ziglibithy himself, I would have personally driven them to the closest psychiatric institute such is the magnitude of the artist and his iconic tune “Zighlibitiens”.

The star of Ernesto Djédjé started rising in the late 60s, when he became the guitar player and leader of Ivoiro Star, founded by Amédée Pierre, star of Dopé, the leading musical style at the time. Annoyed by the “congolisation” of the Ivorian music that was taking place within the band, Ernesto left the group and emigrated to Paris in 1968 to record his first few singles arranged by Manu Dibango and influenced by Soul, Rhythm & Blues and Jerk. Those recordings reflect the musical mood at that time which was dictated by two musical trends within the Ivoirian scene: Traditional music, embodied amongst others by Amédée Pierre on one hand and imported music from the States, Cameroon and Zaïre on the other. And while the first trend was generally neglected, the youth fully embraced the second and as a result bands such as „Les Black Devils“, „Djinn-Music“, „Bozambo”, “Jimmy Hyacinthe”, shot to stardom overnight by recording mainly funk and disco music. It is within this context that Ernesto would draw the inspiration for a future formula.

Returning to Côte d‘Ivoire in 1974 Ernesto began looking for like minded musicians to form the mighty “Ziglibithiens”. Diabo Steck (drums), Bamba Yang (keyboards & Guitar), Léon Sina (Guitar) and Assalé Best (chef d´orchestre and Saxophon) would become the core of the group and together with Ernesto they began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music.
Ernesto Djédjé died in mysterious circumstances on June 9th, 1983 - at the age of 35 - shocking the whole Ivorian nation. And although the end came abruptly, it didn’t come soon enough, and Ernesto had time - within 5 albums - to cement his legacy as one of the most innovative artists the Ivory Coast ever produced.

The song Zighlibitiens, brought to Colombia by an aeronautical mechanic in the early 1980, would become a huge hit on the Caribbean Coast. Renamed “El Tigre” by locals soundsystem operators - certainly due to the Badmos logo - that particular song would reach legendary status in Barranquilla and Cartagena. Setting fire to uncountable local parties, it has become one of the most sought-after Album in that part of the world. And so, while Ziglibithy has mostly disappeared from the airwaves of its country of birth, on the other side of the Atlantic, its fire continues to shine bright.

Herva started to work on 'Seez' right after the release of his last Planet Mu album 'Hyper Flux' back in 2017. He was experimenting with home-made hardware and after the album release wanted to raise the bar, challenging himself to build a point-to-point mixer from scratch. This task took almost a year of intense soldering and forced him to scrap music production. Eventually all this hard work grew into making studio hardware properly and he co-founded a new company making mixers and compressors that work with Eurorack, called Audio Gear Obsession. On 'Seez' Herva moves away completely from the sample-based music he's most known for and into programming and computational production, which he mixes and compresses with his newly-built hardware tools to give them the life and feeling he requires. There's also an element of randomness in 'Seez' as the music is generative, defined with numbers and ratios from his own software, tuned by ear rather than to set scales, with unexpected outcomes.To make the record, he spent more time digging between the different iterations of each track than coding the programs that generated them. He says "How I make music is kind of weird for most producers, but I like it, and I plan to dig further. You can think of 'Seez' as the alpha version of what I and my system are able to do." The new music still retains Herva's laid back airy feel. Each track is like a small ecosystem of chiming tones, wafting drones and skittering rhythms, hinting at formal patterns and melodies but developing on its own abstract terms. It feels as if it's the audio equivalent of watching sped-up recordings of a camera capturing different combinations of plants growing, a pleasant and curious experience to let yourself enjoy.

Welcome to the FLIP SERIES. It's a new series where a group or an artists are sharing an album together.

Japanese Jazz trio Nautilus are starting with the A-Side. Label head Oonops is working with them since 2017 and this is their eighth common project. He selected two of his favourite tunes from Nautilus back archive which are called "In The Rain" - a cover version of an old soul classic by The Dramatics from 1971 as well as "Kudu" by Eddie Henderson from 1976 (both previously only available on the Japanese market). Additionally there are three new cover versions which Oonops desired to get arranged: "Manhã" by Azymuth, "The Bottle" by Gil Scott-Heron and "Be Thankful For What You Got" by William DeVaughn! All classics and new reinterpreted in the typical Nautilus way.

For the flip side Oonops selected his favourite tunes by traditional Japanese singer Anna Sato & Nautilus drummer Toshiyuki Sasaki. They released two common digital albums named "Message & Message 2 - Reincarnation" and now found on this mini sampler on 12"-vinyl for the first time.

"Manhã" played by Gilles Peterson (BBC Radio 6 Music)

For all fans of this band: stay excited because a debut live tour for Germany in May 2022 is planned! credits released September 2, 2022

Arranged by: Toshiyuki Sasaki
Drums: Toshiyuki Sasaki
Keys: Mariko Nakabayashi
Bass: Shigeki Umezawa

A1 written by: The Dramatics
A2 written by: Azymuth
A3 written by: Gil-Scott Heron
A4 written by: Patrice Rushen
A5 written by: William DeVaughn

Flipside:
Drums arranged by: Toshiyuki Sasaki
Vocals arranged by: Anna Sato

Artwork and layout: Glueset
Photography Nautilus: Orie Ichihashi
Photography Anna Sato & Toshiyuki Sasaki: Rino Kojima
Conceptual project idea: Oonops

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

‘Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene… Yankee Hotel Foxtrot… is simply a masterpiece.’ – Pitchfork, 10/10, April 2002

‘The looped chaos and plangent melodies... effectively heralded the birth of a new band, as Jeff Tweedy overhauled his compositional modus operandi. So tender was the emotional core of songs like ‘Jesus, Etc.’ that the record became wrapped up in America’s post-9/11 cultural discourse... Yankee Hotel Foxtrot embedded Wilco’s great American songwriter status.’
– Mojo

‘It's as if the Flying Burrito Brothers suddenly decided to cover Pavement songs. There is a gentle, rootsy beauty here that Wilco has buried in a box of vulnerability and covered with a handful of dirt.’ – New York Times

‘Born out of turmoil, Wilco’s fourth album was a stone-cold classic.’ – Uncut

Nonesuch releases seven special editions of Wilco’s landmark 2002 album Yankee Hotel Foxtrot. The now-classic record has been remastered and will be available as part of each set. The Super Deluxe version comprises eleven vinyl LPs and one CD – including demos, drafts, and instrumentals, charting the making of Yankee Hotel Foxtrot – plus a live 2002 concert recording and a September 2001 radio performance and interview. That box set includes eighty-two previously unreleased music tracks as well as a new book featuring an interview with singer/songwriter/guitarist Jeff Tweedy, drummer Glenn Kotche, and Jim O’Rourke, who mixed the acclaimed 2002 album; an in-depth essay by journalist/author Bob Mehr; and previously unseen photos of the band making the album in their Chicago studio, The Loft. For the Yankee Hotel Foxtrot recording, Wilco was Jeff Tweedy, John Stirratt, Leroy Bach, Glenn Kotche, and Jay Bennett with Craig Christiansen, Ken Coomer, Jessy Greene, Fred Lonberg-Holm, and Jim O’Rourke.

A live version of ‘Reservations’ from a legendary concert contained on Snoozin’ at The Pageant – Live 7/23/02 at The Pageant, St. Louis, MO – a recording that is part of the Super Deluxe LP and CD sets as well as the Deluxe LP and digital sets – is now available. A limited-edition vinyl 7” with versions of ‘I’m the Man Who Loves You’ and ‘War on War’, from the Super Deluxe box set, is available now from wilcostore.

Wilco marked the anniversary of Yankee Hotel Foxtrot – which was released commercially on April 23, 2002, after a circuitous and storied gestation, including a period of streaming for free on the band’s website – with a performance of the album’s ‘Poor Places’ on April 18’s Late Show with Stephen Colbert, which may be seen here. The band is currently performing Yankee Hotel Foxtrot in its entirety (plus a mix of concert favourites and rarities) in two limited runs at New York City’s United Palace and Chicago’s Auditorium Theatre. The Chicago show on April 23 will be available as a live stream here.

Yankee Hotel Foxtrot was widely acclaimed as one of 2002’s best albums, appearing in year-end lists of Mojo, NME, Q, Rolling Stone, and Uncut, among many others. Yankee Hotel Foxtrot also was featured in multiple decade-end lists, with Rolling Stone naming it #3 Album of the 2000s, as well as many Greatest Albums of All Time lists, including in the NME.

Among Yankee’s inspirations was a recording Tweedy bought at Tower Records in the late 1990s, The Conet Project: Recordings of Shortwave Numbers Stations. As Bob Mehr points out in his new album note, the record got “deep under Tweedy’s skin.” Tweedy said in his 2017 memoir, Let’s Go (So We Can Get Back), “It was as fascinating to me as anything being made by actual musicians using actual instruments… I wanted to know why it was so hypnotic to me. Why could I listen to hours of this stuff, even though I had no clue what any of them were saying. That question became the foundation for Yankee Hotel Foxtrot… the way people communicated or ultimately failed to communicate.” The album takes its title from a haunting recording of a woman repeating those words that is included in The Conet Project; that recording is sampled in the penultimate song on Yankee Hotel Foxtrot, ‘Poor Places’.

“Conceptually, Tweedy had decided to focus on a big idea for the next album: the state of America. His lyrics – often distilled from scribbled pages of free verse or poetry – became a form of inquiry,” Mehr continues. Tweedy said, in 2004, “I wanted to write about the stuff right in front of my eyes, microscopically looking at America and asking questions about each little thing… How can there be all these good things and things that I love about America, alongside all of these things that I’m ashamed of? And that was an internal question, too; I think I felt that way about myself.”

Mehr says, “Exploring those questions, while weaving in strands of Eastern philosophy and bits of autobiography – Yankee lyrics would be loaded with the pained imagery of someone suffering from migraines and mental health issues – Tweedy would conjure a deep examination of both country and self.”

Describing the uncanny, strangely prescient feeling of the album, which Wilco began offering as a free stream on its website in 2001, Mehr notes: “In the wake of 9/11, Yankee Hotel Foxtrot would be burdened with unintended meaning. The disc had originally been scheduled for a September 11 release. Its cover – a Sam Jones-shot image of Chicago’s twin Marina Towers angled in looming fashion – bore an eerie resemblance to the felled World Trade Center towers. And the songs – with titles like ‘Ashes of American Flags’ and ‘War on War,’ and lyrics about how ‘tall buildings shake, sad voices escape’ – took on a terrible new resonance.”

Yankee Hotel Foxtrot was the first Wilco release on Nonesuch Records following the band’s infamous split with Reprise (both labels are part of Warner Music Group). It was also the first release featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. The 2002 Sam Jones film I Am Trying to Break Your Heart documented the fraught recording and mixing process, personnel changes, and label issues.

The relationship with Nonesuch would last nearly a decade and include three more studio albums – the Grammy Award-winning A ghost is born, Sky Blue Sky, and Wilco (the album) – along with a live album and a live DVD, plus reissues of earlier records, before Wilco began its own label, dBpm. The band’s current lineup of Jeff Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Patrick Sansone, and Nels Cline has been together for nearly twenty years.


DISC 5: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2)
Side I: (TRAIN)
1. Radio Cure (Here Comes Everybody Version) *
2. War on War (Here Comes Everybody Version) *
3. Venus Stopped the Train (Here Comes Everybody Version) * #
4. I'm the Man Who Loves You (Here Comes Everybody Version) *
5. The Good Part (Here Comes Everybody Version) * #
Side J: (KETTLE)
1. Pot Kettle Black (Here Comes Everybody Version) *
2. Ashes of American Flags (Here Comes Everybody Version) *
3. Poor Places (Here Comes Everybody Version) *
4. Shakin' Sugar (Here Comes Everybody Version) *
5. Reservations (Here Comes Everybody Version) *

DISC 6: HERE COMES EVERYBODY – BUILDING YANKEE HOTEL FOXTROT (PART 2) / THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3)
Side K: (ESCAPE)
1. Cars Can't Escape (Here Comes Everybody Version) * #
2. A Magazine Called Sunset (The Unified Theory of Everything Version) ** #
3. Remember to Remember (Hummingbird) The Unified Theory of Everything Version ** #
4. I Am Trying to Break Your Heart (The Unified Theory of Everything Version) ** #
Side L: (WAR)
1. Kamera (The Unified Theory of Everything Version) ** #
2. Radio Cure (The Unified Theory of Everything Version) ** #
3. War on War (The Unified Theory of Everything Version) ** #
4. Jesus, Etc. (The Unified Theory of Everything Version) ** #

DISC 7: THE UNIFIED THEORY OF EVERYTHING – BUILDING YANKEE HOTEL FOXTROT (PART 3) / LONELY IN THE DEEP END – DEMOS, DRAFTS, ETC.
Side M: (DRUMMER)
1. Ashes of American Flags (Stravinsky Mix) ** #
2. Heavy Metal Drummer (The Unified Theory of Everything Version) ** #
3. I'm The Man Who Loves You (The Unified Theory of Everything Version) **
4. Pot Kettle Black (The Unified Theory of Everything Version) ** #
5. Poor Places (The Unified Theory of Everything Version) ** #
Side N: (RESERVATIONS)
1. Reservations (The Unified Theory of Everything Version) ** #
2. Love Will (Let You Down) Lonely in the Deep End Version *
3. Lost Poem Demo (Lonely in the Deep End Version) *
4. I’m The Only One Who Lets Her Down (Lonely in the Deep End Version) *
5. Has Anybody Seen My Pencil? (Lonely in the Deep End Version) *














[l] E1. Anniversary (Nothing Up My Sleeve) [American Aquarium Version] *









[v] G2. Not for the Season (Laminated Cat) [American Aquarium Version] *


[y] H2. Not for the Season (Laminated Cat) [Here Comes Everybody Version] * #





[xe] K3. Remember to Remember (Hummingbird) [The Unified Theory of Everything Version] ** #











[xq] N2. Love Will (Let You Down) [Lonely in the Deep End Version] *

While so many follow the status quo, Mat Zo has always danced to the beat of his own drum. From his days topping both the drum & bass and trance charts simultaneously (releasing on Hospital Records as MRSA), to his current status as a big room innovator, collaborating with Public Enemy's Chuck D and dropping genre-blurring 70-track contributions to BBC Radio 1's Essential Mix, the precocious talent is destined to play by his own rules.

Supported by DJs as diverse as Skrillex, Madeon, Pete Tong, Above & Beyond, Steve Aoki and A-Trak, the LA-living producer's much anticipated debut LP 'Damage Control' is a bold, brilliantly diverse statement of intent from one of the scene's most unique talents. In a world of EDM sound a likes, this is electronic dance music with integrity and ambition. The release of the album will coincide with an extensive upcoming world headline tour, which sees Zo playing renowned dance music hubs such as Ministry of Sound in London, Light in Las Vegas, Create/Avalon in Los Angeles, Miami's LIV nightclub, Toronto's Guvernment and New York City's famed Pacha. (See full list of dates below).

The product of nearly three years dedicated work, 'Damage Control' represents a star of the future coming of age. Including his Beatport No.1 smash 'Easy' (feat. Porter Robinson) and recent hook-up with hip-hop legend Chuck D (Public Enemy) on 'Pyramid Scheme', Zo's 14-track LP also features the sun-soaked melodies of his innovative future single 'Lucid Dreams' - another track that perfectly embodies his uniquely quirky take on big room sounds.

What really sets the album apart from the pack are its diversions away from the dancefloor. 'Damage Control' takes in everything from electro-charged French house ('Only For You' feat. Rachel K. Collier), classy trance vibes ('The Sky' feat. Linnea Schossow) and big room progressive, through to wonky, trap-styled beats ('Caller ID' and 'Little Damage'), UK garage updates ('EZ') and hip-hop ('Moderate Stimulation').

Retaining a cohesive thread throughout thanks to Zo's unmistakable sense of fun and infectious grasp of melody, 'Damage Control' is tipped as one of the most forward-thinking debut artist albums of 2013.

repress

The music veers from post industrial heavy electronics with doomsday guitar punctuated with free jazz like woodwinds to ambient drone surf guitar found sound collage and back again.
One night Reuben Maher and Tony Maimone were sitting in a Brooklyn bar called Troost watching Marcus Cummins play solo soprano sax accompanied by one of those wind up toys that is a monkey playing cymbals. Several weeks later the trio met at Studio G Brooklyn and recorded several hours of improvised music. There were no overdubs. Mixes were done quickly and without much edititg. Tony (Pere Ubu) plays an old EML synthesizer which goes from pastoral clouds to industrial wreckage.Occasionally slide bass slinks through these mixes as well as a 70’s RMI electric piano playing ambient chords that cycle around and around.

Reuben Maher (FCAC) plays acid drenched psychedelic Fender Jazzmaster through pedals and loopers and two Fender Princetons, add to that Moog and Roland synthesizers all live. Throughout this weaves Marcus playing soprano, and alto saxophones sometimes individually sometime together ala Rahsaan Roland Kirk.

Private View is distinctly Blancmange while also expanding into new sonic terrain. There’s a deft marriage of futuristic electronic sounds, Neil Arthur’s unmistakable vocal hooks, and songs veer from buoyant and joyful to dark and brooding. Private View will be released on London Records almost exactly 40 years to the day since the label released Blancmange’s debut album Happy Families. This neat full circle of Blancmange re-signing to the same label that ignited things all those years ago is also reflected in the album itself, being the perfect crystallisation of four decades of creativity.

On Private View Neil returns with key collaborator Benge (Wrangler, John Foxx, John Grant), and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) also returns as the guitarist, having previously performed with the band as early as 1982’s Happy Families (as well as several other Blancmange albums).

Private View is a record that manages to capture an artist who is potently in the moment when it comes to creating new work, while also being able to draw on 40 years’ worth of knowledge, experience, and built-in intuition. “I'm really lucky to be able make the music completely on my own terms,” Arthur says. “Being able to just continue being creative...that's when I'm happiest.” As he said before: “within myself there are no limits.”

Blancmange is also reflected in the ongoing influence the music has on younger generations of artists and fans over the years. Contemporary electronic producers like Honey Dijon and Roman Flügel have paid tribute with remixes, Moby once called Blancmange “probably the most underrated electronic act of all time.”; while John Grant continues to profess his love for Arthur’s music, old and new, and has invited Blancmange to perform as part of Grace Jones’ Meltdown festival.

The new EXOTICA sensation has a Name : The ROUNDELLS, This talented French trio+1 is exploring the world and its crazy rhythms on this amazing debut album. All the cuts were recorded and mixed at the ELECTROPHONIC studio, down in Lyon, France, by the wizard of the place Hervé Bessenay. With a handfull of vacuum equipment and vintage effects, Hervé"s got it ! The mid century Lounge Exotica sound that was in vogue from Miami to Malibu in the 50"s... full analogical recording rules ! So get your Bamboo skirt and Limbo barefoot in the sand !

First time reissue of one of the essential and most sought-after Venezuelan rock albums, originally released in 1970, along the lines of what other artists such as Santana or El Chicano were doing from the United States in those same years. Grupo Pan was led by Carlos "Nené" Quintero, former member of Los Dementes, Ray Pérez's group, and through this record he aims to retain the rhythmic strength and brass arrangements typical of salsa, but also explore other sounds based on powerful guitars. This reissue includes original artwork, liner notes and exclusive photos. 180g vinyl Grupo Pan was formed in 1970 in the popular Caracas neighborhood of Marín at the initiative of Carlos "Nené" Quintero together with his brother Jesús "Chú" Quintero. His experience as a professional musician as part of Los Dementes, Ray Pérez's group, would allow him to retain the rhythmic strength and brass arrangements typical of salsa, but also explore other sounds based on powerful guitars. The band would be completed with Alfredo Padilla (percussion), David Azuaje and Carlos Guerra (trombones), Henry Camba (trumpet) and Rubén "Micho" Correa (electric guitar), already with a solid reputation as a guitarist after years playing in rock bands. Nené Quintero would resume contact with his acquaintance Mario Tepedino, at that time artistic director of 2001 Juvenil, a Venezuelan tv show focused on the promotion of young musical values, who would offer them to appear on said program. Through the popularity provided by their frequent television appearances, they were offered the opportunity to record an album. In December 1970 their first and only LP would release, recorded at the Fidelis studios in Caracas and produced by Mario Tepedino. It was published by Souvenir, a label responsible for the release of many other essential Venezuelan rock albums, such as the highly sought-after records by The Love Depression or Ladies W.C. "Pan" successes in overcoming through its grooves the eternal rivalry between the followers of the hard rock sounds and those who, on the contrary, were devotees of salsa. All the songs on the album are written by "Nené" Quintero himself and remain as fundamental milestones in the history of Venezuelan rock. The album would contribute to the birth of a new paradigm of Latin rock, along the lines of what other artists such as Santana or El Chicano were doing from the United States in those same years. After this Souvenir release, the band would also record two singles on another label called Promus. Grupo Pan would remain active until 1973 when the band members would follow different paths. "Pan", their only LP, has become one of the essential and most sought-after Venezuelan albums, and we are pleased to now be able to present the first-time reissue, including liner notes and exclusive photos.

-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

Last album recorded by Colombian rock pioneers Los Speakers in 1968 after leaving behind its affinity with yéyé and go-go music. One of the most brilliantly whacked-out psych LPs to emerge from South America. Originally self-released on their own Producciones Kris label, this is an almost impossible to find cult record. Officially reissued for the first time. By 1968, Colombian rock had left behind its affinity with yéyé and go-go music. In Medellín, Discos Fuentes had terminated its contract with Los Yetis, whose farewell record "Olvídate" set a strong anti-establishment tone. While the fire of protest that had spread rapidly among students in Paris was dying out, young people in Bogotá voiced their discontent. Aware of the effervescent political climate across the world, Los Speakers wrote their last record between June and September of the convulsive year of 1968. In order to give shape to these new songs they needed a space where they could experiment freely with sound. The music historian and critic and sound engineer, Manuel Drezner, made a providential appearance and offered the innovative Ingeson studios to the trio under one condition: that his company's name was included in the title of the record. For four months, Rodrigo, Manuel and Roberto created a record that was completely different to anything on the Colombian rock scene at that time. Los Speakers used cutting-edge equipment to record and mix "El maravilloso mundo de Ingeson", It was the first time local musicians had access to a multichannel mixing desk where they could experiment with all kinds of bold sound effects. The silences between songs were replaced with brief intervals of sound including the noise of a train running over a passer-by, a bomb exploding_ Although it's often labelled a conceptual record, the four compositions that each of the band members contribute reveal different aesthetic personalities. From the strong influence of Renaissance and Baroque poetry and music to the virulent social critique and pacifist statements, suffused with religiosity and mysticism. Armed with the demo tape, Los Speakers presented the project to CBS, Philips, Sonolux and Bambuco. The labels' verdict was unanimous: not very commercial and very costly. The group reacted to this negative response by pooling their personal savings, inventing a fictious record label called Kris and released the record just as they had imagined it. This led to the creation of a graphic concept unheard of in Colombia: the record included a booklet containing photos, texts and illustrations. Although there was a big media roll out, which included TV appearances and features in newspapers and magazines, as predicted the album was a commercial failure_ "El maravilloso mundo de Ingesón" is one of the most brilliantly whacked-out psych LPs to emerge from South America.

Sublime unreleased soundtrack by Ron Geesin, to one of the most important and controversial films in British cinema history.
Standard black vinyl (750 Copies) with sleeve art taken from the 1971 film poster. Cool as fuck.
Side One is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well adjusted and at peace with his sexuality.

The music on Side Two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called “Viv” it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards’ rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was - and wearing his Rasta sweatbands of gold, green and red, was inspirational. The documentary was later re-titled ‘Viv Richards - King Of Cricket’ for the video market, and let’s face it, that’s a more commercial title. I’d strongly recommend trying to track it down to spend an hour or so in the company of Viv and Darcus. As I write this it’s still up on a popular online streaming site for free.

The last six cues of Side Two are from a 1970 BBC Omnibus film ‘Shapes In A Wilderness’. Directed by Tristram Powell this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron’s finely tuned accompaniment. On its original transmission John Schlesinger saw it and was heard to say “I must have that composer for my new film!”. And he got his way.

I could spend another paragraph analysing the music and stuff like that but you can listen and work all that out for yourself. But I will say that all the music just confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians) we have.

Andreas Toftemark is a young and talented Danish saxophonist and composer, who has spent the last 8 years of his life making a career for himself abroad; with 1 year in Sweden, 3 years in Amsterdam and 4 years in New York - where he was very inspired and influenced by the capital of jazz. Toftemark has studied with prominent names, such as Joel Frahm, Ben Wendel, Sam Yahel and Eric Alexander. He has performed around the world and he has played with many internationally acclaimed jazz musicians, like Peter Bernstein, Rodney Green, Ethan Iverson and Paul Sikivie. The six tracks on 'A New York Flight' are melodic and driven by the rhythmic open-mindedness that jazz is moving towards today. This is something that can be heard on both the two tracks that Andreas Toftemark has composed himself and on the four jazz standards which the quartet also play. It is swinging and at the same time open to the individual interpretations of both the listeners and of the musicians. The overall subject of the songs are love and passion, whether it's the love for New York - or perhaps the regained love for Denmark...? - or the love expressed on the track, which was the first single from the album, and which also has the most mysterious title of all of the tracks on the album, '2223', which is a row of numbers that seem to follow Toftemark in love and in friendships. Andreas Toftemark Quartet consists of some of the absolutely finest young musicians on the contemporary Danish jazz scene; Felix Moseholm on bass, Andreas Svendsen on drums, Calle Brickman on piano and, of course, Andreas Toftemark himself on sax. Each one of them is an overwhelming joy to listen to, and brought together in a band, they bring music to a both sincere and playful level.

Comprising two untitled side-long pieces, Do Not catches Gary Mundy of Ramleh in peak 'noise' mode with his solo endeavour, taking much from his place as one of the innovators of the so-called power electronics genre

Limited Blue Sky Colour Vinyl LP Pressing. This release is strictly for Indie Stores Only. First reissue of Love Battery’s 1992 Debut Sub Pop Album. Remastered by Jack Endino from the Original Masters. Includes Liner Notes with photos, lyrics and more. Jackpot Records is proud to announce the upcoming vinyl reissue of the classic 1992 Sub Pop album: LOVE BATTERY “Dayglo”. In the middle of the wonderful sludge that was coming out of Seattle in the late 80s/early 90’s, Love Battery pierced through with something different to offer. They were more psychedelic, more tuneful, and even more...dare we say...British sounding than what Sub Pop was releasing at the time. We were listening. The results are crystal clear on the record Jackpot Records is reissuing, ‘Dayglo’. And like many of the Sub Pop records of the day, this has not been available on vinyl in the U.S. Until now. On 'Dayglo', inventive and underrated guitar wizard Kevin Whitworth and vocalist/guitarist Ron Nine slash and burn through 10 songs that would give bands like Blur, Swervedriver, and yes, Nirvana, a run for their money. It doesn't hurt that the focused driven energy of drummer Jason Finn (soon to be of The Presidents Of The United States) and ex-U-Men bass monster Jim Tillman add more than their weight to the sonic mystery of these songs. From the melodic battle cry of opener 'Out Of Focus' with its slippery, infectious chorus, it's obvious that Love Battery had an incredible knack for hypnotic hooks, cryptic lyrics, and propulsive grooves, ones that record obsessives still drool over when the needle hits the turntable. The record is as mysterious as early R.E.M., with equal hints of 13th Floor Elevators and Screaming Trees sprinkled throughout.

Reviews: “4 ½ stars out of 5 - Dayglo is imbued with a highly energetic style and creative force”. All Music Guide // “Two years later, Oasis made the same record and were called geniuses” SPIN Magazine // Track listing: 1 Out Of Focus 2 Foot 3 Damaged 4 See Your Mind 5 Side (With You) 6 Cool School (Trane Of Thought) 7 Sometimes 8 Blonde 9 Dayglo 10 23 Modern Stories

Superdownhome's new record is called Blues Pyromaniacs - It was
recorded in New Orleans in January 2020 and produced by Anders
Osborne
"Then the virus stroke and we, consequently, had too much spare time… and idle
hands are the devil's tools, so we've constantly been working on the tracks for
almost two years. That's the reason why the record is going to be released in two
very different versions: the vinyl edition contains the original US recordings, the
cd/digital version contains four extra tracks. It has been mixed in Italy in a very
different way and the mastering has been made by Brian Lucey (The Black Keys/
Arctic Monkeys/Royal Blood). And, last but not least, there are two very special
guests: Mike Zito on two of the tracks and Bombino on another.

Originally released on April 17, 2012 by US-based label No Quarter,
Golden Embers is now being made available via Doug Paisley and
Outside Music
"Five new songs recorded in Toronto and intended to hold fans over until
September, when Doug Paisley will release the follow- up to 2010's critically
acclaimed Constant Companion. If you slept on that album, then we're sorry, but
use this affordably priced EP as an excuse to acquaint yourself with one of the
finest working songwriters, who Time Out NY called 'the purest voice to come
down the pike in ages.'"

George is Lord is a celebration of all things George Harrison - What began
as an exercise inlearning to play the drums, became a band - Anna
Pomerantz quit her job as Interior Designer to the stars and called upon
old friend Lindsay Glover, to teach her to play the drums
Lindsay, who has played in local LA favorites, Whiskey Biscuit and Future Pigeon,
began by teaching Anna the fundamentals and quickly it turned into learning
songs. "One of the first songs we learned was 'Something.' I've actually spent
most of my life hating the Beatles, but hearing them again for the first time
through the drums, made me fall completely in love, especially with George and
Ringo" recalls Anna. "I began teaching Lindsay the guitar and we started playing
together." The duo went on to learn a number of songs like, "Long, Long, Long," "All
Things Must Pass," and "Give me Love" when they realized they were ready to play
with other people. Lindsay asked friend Cody Porter of Pearl Harbor and Puro
Instinct to come play bass. "In our lessons, Lindsay had taught me how to sing
while playing the drums to keep my place in songs. I didn't think I was going to be
a singer in a band, it just happened." The missing ingredient was a lead guitar
player, and the trio invited Sam Blasucci of the popular LA folk duo Mapache if
he'd be willing to jam with us. He brought his magic and completed George Is
Lord. George is Lord recorded their first album of covers with producer Jason
Quever (Beach House, Cass McCombs). Dean Wareham (Luna, Galaxie 500)
appears as a guest. The ten song record includes a variety of George favorites
from the Beatles catalogue and throughout George's solo career.

Noah & The Whale were one of the leading protagonists of the small but
perfectly formed indie-folk scene of the early days of the 21st Century
Formed in Twickenham, the five-piece, led by vocalist and guitarist Charlie Fink,
originally boasted Laura Marling in their line- up, before she left to begin her
successful solo career.
Containing the Top 10 single L.I.F.E.G.O.E.S.O.N., Last Night On Earth was partially
recorded in LA with producer Jason Lader. On its release in 2011, Fink spoke of
capturing "that excitement of being young and being in the night," and being
influenced by Bruce Springsteen. That can be heard on Wild Thing, which blends
Springsteen and Lou Reed into something that is unmistakeably the group's own.
The Telegraph called it "Heartfelt, spirited, lyrical, moody and mostly magnificent
pop rock."
This re- issue faithfully recreates the original 2011 Mercury Records UK release
and is pressed onto high quality 180g vinyl. Also includes the original's bonus 7"
single featuring demo versions of Tonight's The Kind Of Night and Wild Thing.
...

Pocket Fantasy, the sophomore album from Mamalarky is an instantclassic sunny-day record, imaginative and introspective, an enveloping
listen of skyhigh hooks and keyboards that soar with joyful abandon
Its twelve kaleidoscopic tracks shapeshift aesthetically and thematically, through
ideas about death and impermanence; love and gratitude; nature and technology;
humor and hope. Heralded by Billboard, Nylon, The Fader and more, the new
album expands on the unique sound of their self- titled debut which Pitchfork
called "tenderly tangled indie rock". On Pocket Fantasy some of the band's purest
pop tendencies collide with more warped and weird strains of quirky psych. It's a
treasure trove of playful grooves and zigzag riffs, a phenomenal album from a
young group poised to carve their own place in the bins of your favorite record
store.

“There are no rules to art,” says a definitive Tommy Genesis. “There are no rules to creation, and there are so many exemptions to every rule. I feel so confident about this project that it could literally drop at any time.”

While this assertion accurately describes her own creations, and flexes to the undeniable strength of her upcoming album, Goldilocks X, it’s also an apt assessment of Tommy’s overall identity. Tommy is the exemption to the rule. She is the epitome of standing out by not fitting in. A DIY Superwoman delivered from the millennial heavens and justly labeled Genesis. An army knife of man artist, producing across a spectrum of modalities. Genesis’ inaugural offering, World Vision, arrived to mostly cult (and some critical) acclaim. mComplex acknowledged how “effortless” and “vicious” she came across on tracks like “Angelina”, and the self-produced, ABRA featuring, “Hair Like Water Wavy Like the Sea” showcased a raw, trance-like poetic prowess. As Tommy stated plain and simple, she was just trying to execute her vision. She shot into the music sphere claiming to make songs about “pussy and darkness”, and listeners were ready. It’s not so much that Genesis created the “fetish rap” moniker or genre, moreso she
acknowledged and diagnosed it. “At the time when I called it fetish rap, I didn’t take credit for it because I kind of liked that it was on some subtle shit,” she admits.