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Fourplay is a contemporary American smooth jazz quartet, who released their eighth studio album Journey in 2004. The line-up consisted of Bob James on keyboard, Harvey Mason on the drums, guitarist Larry Carlton and Nathan East on the bass. The vocals included in a few of the selections add a dimension of freshness to those selections reflecting earlier albums. While Carlton leads the Sting cover “Fields of Gold,” it is the opening riff, East‘s vocals on the bridge, and his signature bass runs at the end that make it attractive. The complete album is self-penned, except for the opening ""Fields of Gold"". For the very first time, Journey is being released on vinyl. The album is available as a 20th anniversary edition of 1000 individually numbered copies on smokey coloured vinyl.

These are four historic performances from the Fillmore East and West in 1970, at a time when Miles Davis was single-handedly bringing Jazz into the commercial Rock era. In their unedited form, all selections are previously unissued. The searing white heat of these concerts, originally issued in severely edited form, are now made whole. This set includes several bonus tracks like Wayne Shorter's “Paraphernalia” and “Footprints”, an early version of “Miles Runs The Voodoo Down” plus a rare encore performance of Bitches Brew’s “Spanish Key”.

The visionary Bill Graham had booked Miles on a bill with The Grateful Dead at the Fillmore West and with fellow Columbia artist Laura Nyro in June 1970. The latter recordings are the earliest documented live performances of Miles’s band when he hired two keyboardists--Chick Corea and Keith Jarrett, along with saxophonist Steve Grossman who had replaced Wayne Shorter. The rest of the rhythm section--keyboardist Corea, bassist Dave Holland, drummer Jack DeJohnette and percussionist Airto Moreira--were in the backbone of this band throughout this explosive period.

Curated by Carlos Santana, this set features fascinating firsthand accounts and profound insight into a seismic shift in American society, music, and culture. In a rare, in-depth interview, Miles--while listening to the concert playback--was “so excited about the music that he wanted every set, every note made available to the public...”

Im Zuge der Wiederveröffentlichung ausgesuchter Backkatalog-Titel von Vulcano bieten High Roller auch eine remasterte Version des jüngsten Bandalbums "Epilogue" an, das Mastermind Zhema Anfang 2024 in Eigenregie herausbrachte.

Der 13. Longplayer der Gruppe zeigt das Kernduo - Gitarrist/Hauptsongschreiber Zhema und Sänger Luiz Carlos Louzada arbeiten seit 1997 zusammen - in Bestform und unterstreicht ihre einzigartige Chemie.

Und wer den Titel "Epilogue" wörtlich nehmen will, irrt sich, denn Zhema arbeitet bereits an neuem Material, um den brasilianischen Old-School-Spirit am Leben zu halten!

Im Zuge der Wiederveröffentlichung ausgesuchter Backkatalog-Titel von Vulcano bieten High Roller auch eine remasterte Version des jüngsten Bandalbums "Epilogue" an, das Mastermind Zhema Anfang 2024 in Eigenregie herausbrachte.

Der 13. Longplayer der Gruppe zeigt das Kernduo - Gitarrist/Hauptsongschreiber Zhema und Sänger Luiz Carlos Louzada arbeiten seit 1997 zusammen - in Bestform und unterstreicht ihre einzigartige Chemie.

Und wer den Titel "Epilogue" wörtlich nehmen will, irrt sich, denn Zhema arbeitet bereits an neuem Material, um den brasilianischen Old-School-Spirit am Leben zu halten!

Miles At The Fillmore - The Bootleg Series Vol. 3 features four historic perfor- mances from the Fillmore East and West in 1970, at a time when Miles Davis was single-handedly bringing jazz into the commercial rock era.

The visionary Bill Graham had booked Miles on a bill with The Grateful Dead at the Fillmore West and with fellow Columbia artist Laura Nyro in June 1970. The latter recordings are the earliest documented live performances of Miles’s band when he hired the keyboardists Chick Corea and Keith Jarrett, along with saxophonist Steve Grossman who had replaced Wayne Shorter. The rest of the rhythm section - bassist Dave Holland, drummer Jack De- Johnette and percussionist Airto Moreira - were the backbone of his band throughout this explosive period.

Curated by Carlos Santana, this set features fascinating firsthand accounts and profound insight into a seismic shift in American society, music, and culture. In a rare, in-depth interview, Miles was “so excited about the music that he wanted every set, every note made available to the public...” The searing heat of these concerts, originally issued in severely edited form, are now made whole. This set includes several bonus tracks like Wayne Shorter’s “Paraphernalia” and “Footprints”, an early version of “Miles Runs The Voodoo Down” plus a rare encore performance of “Spanish Key” from the Bitches Brew album.

The Bootleg Series Vol. 3: Miles At The Fillmore is available as a deluxe 6-LP boxset, housed in a lift-off box. This 6LP-set includes printed inner sleeves and a 12-page booklet with extensive liner notes and rare photos.

bring you a 7 inch scratchsafe™ battle record.

A narrow head-gauged deep cut non skip 7" DJ battle tool at 83bpm.

Standard scratch samples with AI generated voices from well known celebrities!


Featuring - Alex Jones, Bart Simpson, Kermit the Frog, Stan Marsh, Angry Male, Adam Sandler, Alan Partridge, Cleveland Brown, Jerry Springer, Rick Sanchez, Snoop Dogg, Donald Trump, Tucker Carlson, Eric Cartman, Stewie Griffin, Greta Thumburg, Arnold Schwarzenegger, Joe Rogan, Limmy, Peter Griffin, Peter Kay & Simon Cowell
Includes an additional x2 Portablist Lounge vinyl marker stickers for easy application
Digital download not available.

Weighing in at 40gms.

Hört man den coolen Sound von LA LOM mit geschlossenen Augen, kann es sein, dass man sich in einer Welt irgendwo zwischen tropischer Hitze und schwarzweißem Hollywood-Krimi wiederfindet. Musik mit dem „Twang“ von Rockabilly, der Sinnlichkeit lateinamerikanischer Rhythmen und dem ungeschliffenen Sound moderner Independent Music, die schon prominente Fans wie Beck und Vampire Weekend gefunden hat.

Hinter LA LOM, Abkürzung für ”The Los Angeles League of Musicians”, verbergen sich die drei Musiker Zac Sokolow (Guitar), Jake Faulkner (Bass) und Nicholas Baker (Drums/Percussion). 2019 fanden sie sich zusammen um im historischen Roosevelt Hotel am Hollywood Boulevard zu spielen, inzwischen geben sie Konzerte vor Tausenden von Menschen, veröffentlichten erste digitale Singles ihrer Latin- und SoulInstrumentals und ziehen zahllose Fans auf ihre Social-Media-Profile. Ihr Albumdebüt bei Verve Records produzierte Elliot Bergman (Cage the Elephant, Major Lazer, Wild Belle)

The ever-present and unstoppable Welsh legend Sir Tom Jones continues to grow his deep-rooted legacy around the world. His recording of ‘It’s Not Unusual’ (released in 1965) has been covered by a number of incredible artists including Cher, Brenda Lee, Glen Campbell and more. The song first resurged in the 90s when it was synced on ‘The Fresh Prince Of Bel-Air’ bringing the world ‘The Carlton Dance’, and many times since Along Came Jones, the debut album from Tom Jones, contains the monumental hit ‘It’s Not Unusual’ alongside a beautiful renditions of ‘Autumn Leaves’ and Spanish Harlem. Presented on vinyl for the first time since it’s release, this will be a real collectors item for Tom Jones fans worldwide.

Still Wave was born from the deep outer space, in a future past of void
and broken feelings, to play violently post romantic, epically desperate
swansongs for lovers
Sing along. Hold your heart. And smile while you fall.
Line-up:
Daniele Carlo - Drums, Percussion
Luca Fois - Guitar, Keyboards, Backing Vocals
Tomas Aurizzi - Guitar, Keyboards
Manuel Palombi - Bass, Harsh Vocals
Valerio Granieri - Lead Vocals

Specially prepared liner notes by renowned music writer Brian Morton. Brazilian singer/ song writer Joao Gilberto was a legend of bossa nova. While Antonio Carlos Jobim set the standard for the creation of bossa nova in the mid-'50s (with songs like The Girl from Ipanema and Desafinado), it was Gilberto who brilliantly reimagined defined the genre.

In 1959 Gilberto presented his first LP, Chega de Saudade presented here. The title song turned into a massive hit, launching Gilberto's career and the bossa nova craze.

"In 1959, before I left my hometown, I heard Joao Gilberto. And hearing Joao Gilberto was a revolution in my mind; it was an enlightenment, really. I knew that something had to happen, something was already happening, and that Brazil could be freer and bigger and could make some kind of original contribution for world
civilization." - Caetano Veloso (Brazilian singer/composer)

2024 Repress

Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking.

This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we've come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it's daunting to learn that this record was in fact not a record at all... It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco's neck and neck contender to New York's Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla's versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog's marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

These concerts' are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and 'alternative' musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes ambient' and futuristic' utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental records' of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne's gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne's work, a vast vault of previously unpublished non-records', will already know how the creative politics in her art of being' simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last first' with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines.

You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani's initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these non-records' that evaded the limelight for almost half a century. You can't write history when you are too busy making it. With fresh ink in the bottomless well, let's start at the beginning. Again. You, are invited!

40th anniversary edition of this seminal work by the multi-talented musician and producer Carlos Perón. After the release of “Impersonator” and the score of the film “Die Schwarze Spinne”, “Nothing Is True; Everything Is Permitted” is his third album released in the beginning of 1984. While still being an active member of Yello, it was around the start of the recording of “You Gotta Say Yes To Another Excess” that Carlos met the American musician Chris Lunch in Hamburg. He invited Chris to Zurich and together played with projects such as Romantic Rubber, Heavymetallen and recorded some sessions that become the basis of “Nothing Is True; Everything Is Permitted”. After the release of “You Gotta Say Yes To Another Excess”, Carlos decided to leave Yello and focused to finish the recording and mixing of his new solo album.

“Nothing Is True; Everything Is Permitted” has gone down in music history as a dark soundtrack without a film, influenced many artists and helped to develop diverse genders of electronic experimental and dance music.

Limited edition of 300 copies including all original tracks and new artwork.

180g vinyl + Deluxe hard-cardboard sleeve + OBI + resealable outer sleeve

This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.



The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

Grande Coisa! (Big Deal!). You could hear it. It is the eternal irony of life. For a composer who has been making music since he was a teenager and only at the age of 38 does he make his work public, it can indeed be a big deal. Grande Coisa, is Dorea's first authorial album, and tells his stories, the ones he lived, others he heard about, but mainly the ones he created. With all the songs composed during the most isolated period in the pandemic, the work can be dense in many moments, difficult to digest, but there are sighs. And there are stories that intersect, like those of the boys who are one and also millions, and show the artist's vision of Brazil. The disappeared, forgotten, the sad and aimless still appear. And there is the warmth of the song for a loved one or even a family partnership, between mother and son. Grande Coisa has ten songs, all written by the artist himself, one of them with lyrics adapted from an excerpt from a book written by his mother. Its musical roots are rooted in rock, but with a blatantly Brazilian gaze and interpretation. It has musical production and minimalist paths chosen by Sebastian Notini, collaborative arrangements forged in the encounter of Dorea's guitar with Seba's percussive and melodic vein and Carla Suzart's bass, and a wood weave that ends the album with the timbres of Joana Queiroz (bass clarinet and clarinet) and Leandro Tigrão (flute) under the baton of maestro Per Ekdahl.

Repress!

Far Out Recordings Proudly Presents The 1975 Self-titled Debut Album From Brazilian Vocalist And Bossa Nova Luminary Emilio Santiago. Nicknamed 'the Nat King Cole Of Brazil', Santiago Was A Master Bossa Balladeer And A Top-class Crooner. But He Is Known Equally For His Brazilian Funk, Soul And Boogie Classics. One Of His Best Know Is Album Opener 'bananeira', A Party-starting Version Of The Song Originally Written By Joao Donato And Gilberto Gil. 'brother' Is A Smooth-grooving Killer With Great Horn Arrangements And A Huge Backing Choir, While 'la Mulata' Is A Soulful, Swinging Salsa Stepper.
Originally Released On The Cid Label, The Album Showcases The Full Range Of Emilio's Talents, While Paying Homage To Some Of Brazil's Greatest Composers, Including Jorge Ben, Marcos And Sergio Valle And Ivan Lins Among Others.
The Credits On The Album Are A 'who's Who' Of Brazil's Greats, With João Donato On Keys, Wilson Das Neves, Ivan 'mamão' Conti And Paulinho On Drums, Durval Ferreira, Carlos Roberto Rocha And Helio Delmiro On Guitar, Ariovaldo, Orlandivo, And Chacal On Percussion, Danilo Caymmi On Flute, A Brass Section Featuring Victor Assis Brasil, Edson Maciel And Jesse Sadoc, And Backing Vocals From Jaime And Nair, Lúcia Lins, Jurema And Marcio Lott.

Fractal Void is an avant-garde duo based in Düsseldorf, Germany. Their experimental music blends electronic and contemporary genres located somewhere in the field of musical tension between ambient, drone, halfstep and floor-affine IDM. During their live sets, Fractal Void create vertical reflections by processing sounds through software and interaction with real instruments in every unique musical performance like the Chinese contemporary calligraphic practice Dishu.

Their debut album Elemental Collection unveils a dense and lavishly layered transformation of artificial organic signals, sculpting an auditory world filled with emotive landscapes, overgrown polyrhythms and futuristic elements. Embedded within each track are field recordings serving as the heartbeat of the album. Through innovative and expansive deconstruction, Fractal Void create an energetic and sometimes contemplative experience.

The persons behind Fractal Void:
Back in 2008, their musical journey began with winning a Spectrasonics competition using field recordings of a locker door, that was implemented as a bass synth. Their collaboration was continued as producers of the eight-piece electronic jazz project „Mothers of Guru“.

Marcus Scheltinga is a composer, producer and multi-instrumentalist. Besides studying jazz trombone at the Conservatorium Hilversum and the Folkwanghochschule, he works as a musical director, lecturer and coach in 39 countries around the world. From ZDF sound design to live and studio performances with international greats, his own productions have included such as Grammy winner Larry Carlton and Peter Erskine. Mid-east and Indian inspired, Marcus is a true story teller as a musician and composer.

BORGBORG is a producer and DJ. She moves freely in different styles of electronic music with a focus on avant-garde driving techno, dark hypnotic vibes seamlessly blended with deconstructed beats, noise and timeless elements of IDM. She is a member of About Repetition, a group of artists dedicated to the research of repetition through artistic means, collaborating with a wide range of other collectives across Europe and co-founder of the techno event series „SCHLEIFEN“. 

On The Edge Of A Lost And Lonely World is the sophomore album from Humanist, the moniker of frequent Mark Lanegan collaborator Rob Marshall. The album features an array of guests including Depeche Mode’s Dave Gahan, Midlake’s Tim Smith, Isobel Campbell, and Ed Harcourt, amongst others.

Seit fast zwei Jahrzehnten streben American Aquarium nach der raren Form von Rock'n'Roll, die in jeder Hinsicht eine Offenbarung ist. "Für uns ist der
Punkt erreicht, an dem du eine Rockband hast, die dich dazu bringt, jedes Wort mitzuschreien, und erst, wenn du nachts um drei Uhr zu Bett gehst,
merkst du, dass diese Worte etwas Wahres über dein Leben aussagen", sagt Frontmann BJ Barham.
Auf ihrem neuen Album The Fear of Standing Still verkörpert die aus North Carolina stammende Band diese Dynamik mit größerer Intensität als je
zuvor, indem sie ihre düstere Art von Country-Rock mit Barhams bisher mutigstem und prägnantestem Songwriting verbindet.
The Fear of Standing Still ist die zweite Zusammenarbeit von American Aquarium mit dem Produzenten Shooter Jennings - einem dreifachen
Grammy-Gewinner, der auch für die Produktion des Albums Lamentations aus dem Jahr 2020 sowie für Alben von Brandi Carlile und Tanya Tucker
verantwortlich war.

The Cutter & The Clan was the breakthrough album from Scottish Celtic rock band Runrig. Their fifth full length and the first with what is considered the classic line-up of the band. This record marked their debut for Chrysalis and took them to another level internationally, going Silver in the process. This was the beginning of a run of hit albums and features the song, 'An Ubhal as Airde', which was heard in the popular Carlsberg advert. The Cutter & The Clan has been mastered by Peter Beckmann at Technology Works, from the original pre-production 1/2" master and overseen by band member Malcolm Jones. Once In A Lifetime, originally released in 1988 and reaching Gold status, is considered to be one of the best live albums of the era. It's inclusion here gives listeners an insight into the excitement surrounding their live performances during this period.

Two times UK Blues Award winner second album for APM Records released on CD. HSLB carries the narrative of a bluesman upto no good who when his world falls apart, admits what he’s done and atones. Produced by Phil Dearing (Eliza Carthy, Gretchen Peters, Lauran Cantrell). Features special guest Vaneese Thomas (daughter of Rufus and sister to Carla Thomas). Radio for HSLB : no.1 IBBA radio chart two months running , Top 50 iTunes Blues album chart (US) / no.3 Roots Music Report Blues Album (Global)/ no.1 Roots Music Report Blues song ‘Blind Leading The Blind’ (Global) / Top10 Living Blues radio chart (US) / Top 20 National College Radio (US), airplay on 50 stations (US) / airplay in Netherlands, Australia, Canada, Switzerland, Croatia, France, Italy, Germany, Israel Press for HSLB : Blues In Britain front cover, reviews Blues Matters, Blues in Britain, Rock & Reel, Living Blues (US), Blues Blast (US), Charlotte Blues Society (US), Blues Roadhouse (US), Big City R&B (US) Bluestown (NL) “Mississippi MacDonald riffs like a fabulous Albert King circa his Stax days”. • Mississippi MacDonald is playing: Love Fields Stage-Glastonbury, Linton Blues Festival, Dereham Blues Festival, Brightlingsea Festival, Over The Hill Festival, Mississippi MacDonald won Traditional Blues Artist of the Year 2024 and Acoustic Blues Artist of the Year 2024 at the UK Blues Awards in April. HSLB Nominated for UK Blues album of the year

2026 Repress

West London’s Slip ‘N Slide presents a special four-track package on wax for the first time, as Seth Troxler and Franck Roger deliver remixes of the 1997 Blaze favourite ‘Lovelee Dae’. An iconic artist who needs little introduction, Seth Troxler’s name is synonymous with American house and techno of the last two decades, with his formative years in Detroit shaping his sound before moving to the techno capital of the world Berlin. His ventures as a label boss, and with Night Tales, further cemented the talent as an underground hero - he now joins the likes of Carl Craig, Roman Flügel, and Isolée in giving ‘Lovelee Dae’ an expertly crafted remix, building from minimal grooves to a grand and immersive wash of sound. Also stepping up on remix duties is Parisian producer, crate digger and label boss of Real Tone Records, Franck Roger, who adds his signature beat focussed approach to the iconic track. This vinyl package also includes Blaze’s striking original, as well as one of the very first remixes from the late 90s, the 20:20 Vision remix of which used copies go for big money. This is an essential 12 inch EP for any true house fan.

Les Disques Bongo Joe are proud to be home of the new volume of DJ soFa's well known curation work Elsewhere series with Elsewhere CC! This ninth exploration of our beloved Bruxelles based cratedigger and producer (Mameen 3, Nyati Mayi & The astral Synth Transmitters, ...) is an ode to summer and groove!

The ninth edition in the Elsewhere series is a real digger’s paradise of tropical gems, from Trinidad to Brazil, Poland, Dominica, and beyond. The compilation is an eclecticmix of outernational, tropical-wave, Calypso, multi-rhythmic percussive beats, lo-fi disco jams, and other such styles that lie somewhere in that magical in-between zone. Compiled by Brussels-based DJ, tastemaker and producer soFa, Elsewhere Vol.9 CC is a perfect collection of Balearic, good-vibe, sunshine rarities, to soundtrack a cocktail session on a reclusive, tropical beach, featuring rare tunes and some of the artist’s own unique productions and collaborations.

Modern day selector, 7” detective, international cratedigger, and self-styled musical activist DJ soFa, aka. soFa Elsewhere, is renowned for his borderless approach to curation. Adapting his unconventional and radical approach to DJing to his acclaimed compilation series, soFa’s goal has always been to expand horizons, highlight scenes, and tell stories. And herein lies the beauty behind the latest edition in the Elsewhere series. Behind every great record, is an even bigger story, and Elsewhere CC, has plenty of them...

This isn't just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho - Dom Salvador - 'Som, Sangue, e Raça' from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown 'cover') in 'Hei! Você'. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself 'Rubens', drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.

The album 'Som, Sangue e raça' paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

2024 Restock

Lovely work from Marisa Monte – perhaps a bit sweeter than some of her earlier stuff, but pretty darn catchy, and with some excellent production by Arto Lindsay! The tracks have a mellow breezy feel, with a compressed production style that includes a lot of flanged-out guitar, subtle electronics, and warm acoustic touches. As with most of Marisa's albums, the record's filled with work by famous guest stars – like Joao Donato, Arnaldo Antunes, Marc Ribot, Carlinhos Brown, and others. Titles include "O Que Me Importa", "Nao E Facil", "Perdao Voce", "Abololo", "Gotas De Luar", and "Agua Tambem E Mar".

'Gemelo' is the new album from songwriter and pop auteur Angélica Garcia. Its title is a reference to the twin self – the idea of a second, more intuitive self within. It’s a vibrant, prismatic hybrid-pop record that soundtracks a journey through the different stages and forms of grief. Angélica explores its inherent loneliness, beauty, and tension, eventually finding liberation. 'Gemelo' also expertly deconstructs facets of universal themes like religion, spirit, heritage, womanhood, and ancestral veneration.

Born in East LA with Mexican and Salvadoran lineage, Angélica embodies the essence of contemporary America, a cultural landscape continually evolving through its fusion with rich Hispanic influences. In a reflection of modern America itself, 'Gemelo' also marks Garcia’s first album sung almost entirely in Spanish, inviting listeners to reconsider what they think an American record can be.

'Gemelo' was produced by Carlos Arévalo of LA-based rock band Chicano Batman, his first time working in such a role. Sequenced with extreme intent, the album progresses from a delicate, tender entry on Side A which serves almost like a meditation, to the visceral intensity of Side B, which immerses into the difficult, at times terrifying work of healing. With growth and exploration like wind behind her, Garcia arrives at her clearest and most fully realized vision of self on 'Gemelo.'

'Gemelo' is the anticipated follow-up to her 2020 breakthrough 'Cha Cha Palace,' which featured on several year-end lists and brought Angélica to NPR’s Tiny Desk.




[d] Ángel [eterna]

For The Elektric Band’s sophomore outing, Chick Corea - the venerated 27-time Grammy winner and National Endowment for the Arts Jazz Master - entered the studio with Dave Weckl on drums, John Patitucci on bass, and two new players who would solidify the band’s classic line up, guitarist Frank Gambale and saxophonist Eric Marienthal.

More heavily produced than its predecessor, Light Years contains several sequence-driven tracks, Corea’s attempt at reaching out to a wider audience with a brand of music that was tighter, funkier and eminently more communicative than he had recorded on 1986’s The Chick Corea Elektric Band.

The crisp, irrepressibly catchy title track is a prime example of Corea’s more commercial aspirations for the album, with Patitucci laying down a fat, funky groove with some hearty slap bass lines (a distinct flavor of the time), and Marienthal’s pungent alto sax strutting over the top. Not only did this groove-oriented track catch on with listeners, it also won a Grammy for Best R&B Instrumental Performance at the 31st Annual Grammy Awards.

Originally released on GRP Records in 1987, the album also contains the dreamy contemporary jazz offerings of “Second Sight” and “The Dragon,” the sequence-driven “Time Track”, “Flamingo,” featuring Carlos Rios on guitar and, the electrifying, techno tour de force, highly complex closer, “Kaleidoscope.

After remaining unavailable for years, here's the long-awaited vinyl reissue of the debut album (originally released in 1972) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions -all sung in English- betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their '70s version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any '70s rock collector. DESCRIPTION Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of "Etcétera", they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -appealing Beatles-style melodies- and two songs from Saúl and Manuel's archives. 'Children', by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. 'It's a Sin to Go Away' was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.

Der Nachfolger des 2020er Tohu Wa Bohu-Albums! Das neue Lord Buffalo-Album Holus Bolus hat seinen Namen von einer antiquierten Redewendung, die "alles auf einmal" bedeutet. Der graue Dunst, der den Hörer mit einem geschickten Nebeneinander von dröhnender Violine, Gitarren, Schlagzeug und Gesang in den Bann zieht, ist von den ersten Tönen an spürbar.Das Quartett watet zwar in denselben düsteren Gewässern wie seine dunklen, gefühlsbetonten Brüder David Eugene Edwards/Woven Hand, All Them Witches, Emma Ruth Rundle, Earth/Dylan Carlson, Chelsea Wolfe und Nick Cave, doch das kreative Zusammenspiel von Einflüssen aus dem Nahen Osten und westlichem Americana-Folk führt das Album in seine eigene, einhüllende, meditative Richtung.Auf einer schlaftrunkenen Reise durch die Ikonographie der High Plains ist Holus Bolus düster und doch hoffnungsvoll - eine Mischung, die inzwischen zu Lord Buffalos bewährter Gewohnheit geworden ist. Klappcover, LP ist ice & aqua blue galaxy marble effect Vinyl oder Digipack-CD!

Der Nachfolger des 2020er Tohu Wa Bohu-Albums! Das neue Lord Buffalo-Album Holus Bolus hat seinen Namen von einer antiquierten Redewendung, die "alles auf einmal" bedeutet. Der graue Dunst, der den Hörer mit einem geschickten Nebeneinander von dröhnender Violine, Gitarren, Schlagzeug und Gesang in den Bann zieht, ist von den ersten Tönen an spürbar.Das Quartett watet zwar in denselben düsteren Gewässern wie seine dunklen, gefühlsbetonten Brüder David Eugene Edwards/Woven Hand, All Them Witches, Emma Ruth Rundle, Earth/Dylan Carlson, Chelsea Wolfe und Nick Cave, doch das kreative Zusammenspiel von Einflüssen aus dem Nahen Osten und westlichem Americana-Folk führt das Album in seine eigene, einhüllende, meditative RichtungAuf einer schlaftrunkenen Reise durch die Ikonographie der High Plains ist Holus Bolus düster und doch hoffnungsvoll - eine Mischung, die inzwischen zu Lord Buffalos bewährter Gewohnheit geworden ist. Klappcover, diese limitierte Version ist emerald green and gold color merge Vinyl!

Enjoy The Toons Records in conjunction with Scholastic proudly present Goosebumps™ Original Television Soundtrack by Jack Lenz. Available as a 2xLP Deluxe Edition, Goosebumps™ Original Television Soundtrack features songs from the 90s television series, along with a handful of unreleased tracks, including the "Goosebumps Gotcha Rap" and unreleased alternate theme song, plus ten additional tracks not included on the previous vinyl release. The screen-printed D side features characters from the beloved series.

THE BEST OF FRIENDS wurde ursprünglich 1998
veröffentlicht und feiert JOHN LEE HOOKERs späte
Zusammenarbeit mit einem Who's-Who an geschätzten
Gästen, darunter Eric Clapton, Ry Cooder, Carlos
Santana, Van Morrison und Bonnie Raitt. Auch 25 Jahre
später ist es ein lebendiges Porträt von Hookers Vitalität
in dieser Zeit und dem unerschütterlichen Respekt der
Musiker, die er beeinflusste. Das hier erstmals auf
2LP-Vinyl veröffentlichte und auf CD wiederveröffentlichte
Album The Best of Friends ist der perfekte Einstieg für
Hooker-Fans, die sein Schaffen in den 1980er und 90er
Jahren erkunden wollen.

Entdecken Sie auf diesem schönen Vinyl eine besondere Auswahl von 14 Klassikern der Queens of Soul Music wieder. Mit Aretha Franklin - The Supremes mit Diana Ross - Nina Simone - The Shirelles...

Christopher Cross's debut album boasts nine legendary hits, solidifying its status as one of the most successful LPs of the classic rock era. This masterpiece is a treasure trove of chart-toppers, including the iconic "Sailing," a timeless number one that cemented Cross as a superstar and earned him all four general field awards in a single ceremony at the 1980 Grammy Awards, bringing home Record of the Year ("Sailing"), Album of the Year (Christopher Cross), Song of the Year ("Sailing") and Best New Artist at the 23rd Annual Grammy Awards. This feat was not replicated for 39 years, until Billie Eilish won all four awards at the 62nd Annual Grammy Awards in 2020. Other top hits like "Ride Like The Wind," featuring superstar Michael McDonald, further showcase the album's crossover appeal across all formats in 1979. The album features some of the most sought after musicians of the era including Don Henley, Larry Carlton, Eric Johnson, and more! Produced by legendary producer, Michael Omartian. Seeker Music is proud to present this iconic new pressing featuring limited edition lyric poster insert.

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement. credits







g 07: Selam (Dub) [feat. Etsegenet Mekonnen]

Featuring the rare 1975 album Truth & Rights – rated “the best deejay LP in a long time” by Carl Gayle in the magazine Black Music, April 1976 – Straight To The Heart includes many of I-Roy’s hits from that year plus 4 bonus dub tracks. This set includes some heavy I-Roy songs, filled with improvised humour, infectious rhythms and thoughtprovoking themes. This 15-tracker features the hit ‘Dread In The West’, a stunning combination of Lee Perry’s terrific rhythm track on ‘Three Blind Mice’ and Roy’s razor sharp social commentary. A companion release to Sunshine For I (CPC 1027)

BOBBY ROBINSON was more than a fixture in hisNew York community, he had been an essential part of its lifeblood for over 60 years. Had he just been the proprietor of the first record store (and reputedly the first black-owned business) on 125th Street, he would have been important enough, but he also had an ear for talent, recording landmark music across four decades, always at home with the music of his neighbourhood, be it doo-wop, R&B, soul or even rap.

He was an entrepreneur involved in over a dozen different labels, sometimes on his own, sometimes with a partner, often with his brother Danny, and he was behind records that became internationally famous by Gladys Knight, King Curtis, Elmore James, Lee Dorsey, Wilbert Harrison and Grandmaster Flash. He made many more that were simply good, and this compilation takes aim at the great work he did as a soul and R&B producer during the 1960s and early 70s. It’s an introduction that shows the quality that he created had depth beyond the headline names.

New electro release from the Detroit homie Dr. Di'jital, who's celebrating his PHD in mechanical engineering. The man throws the classic Direct Beat hit Automatic Activity in the rebound, but not before going back to the European hood and grabbing Carl Finlow & Will Webb to drop two awesome remixes. Guaranteed 2 get the dance floor hoppin!

7" reissue of Carlton Lewis' cover of The Whispers, originally left on Fashion Records in the 1980s.The flip side is a remix version by Japanese producer unit KH & The LASTTRAK.

Triple edition, packaged in thick PVC cover with a foldable double sided poster and download card.

Celebrating the 20 year anniversary of highly revered Jazz collective, Build An Ark from Los Angeles, California. Formed in 2003 and releasing albums between 2004 and 2010, the Carlos Niño co-ordinated project included contributions from luminaries such Phil Ranelin, Big Black, Miguel Atwood-Ferguson, Adam Rudolph, Derf Reklaw (R.I.P.), Dexter Story, Dwight Trible, Gaby Hernandez, Mia Doi Todd, Munyungo Jackson, Nate Morgan (R.I.P.) Waberi Jordan, Avotcja & many more.

This set was compiled by band leader Carlos Niño with recordings from 2001 to 2008 that have previously been released on Kindred Spirits.

Gilles Peterson says "It's a beauty!"

1982, Brussels: The former au pair for Rick Wakeman of Yes and two of her teenage friends are at the doorstep of Les Disques Du Crepuscule, ready to cut an album with Gilles Martin. Living on busking wages and next door to Tuxedomoon, their work results in a contemporary bossanova record that would provide a missing link between Antonio Carlos Jobim and Kraftwerk. Camino Del Sol was issued and promptly forgotten, with Isabelle Antena moving toward jazz in Asia and the others returning to France. Twenty years later, it was findable only as a VG+ LP with a sticker price of $4.99. Intrigued by the striking cover's sunlit patio furniture emptiness basking in the south of France, we scooped up Camino Del Sol and grouped the extant Antena recordings from that exceptional period by session. Numero Group's definitive 2LP reissue of the original five-song mini-LP adds the group's first 12" (a cover of Jobim's "Girl From Ipanema," naturally), the Seaside Weekend 12", compilation tracks, and two previously unissued cuts, recasting this short-lived combo's forward-thinking milemarker as a modern-day masterstroke. 2x150g LP in a 2-pocket gatefold tip-on jacket with 2 printed inner sleeves.

On the eve of Drop Nineteens' first live performances in 30 years, we are excited to announce the reissue of the band's 1992 shoegaze masterpiece, Delaware. "Reissue" is slightly misleading as Delaware has never actually been issued on vinyl in the United States. Delaware is the debut studio album by American band Drop Nineteens released on June 19, 1992. Despite the albums release over 30 years ago, and the band remaining inactive from 1993 onwards this album has remained a favorite of shoegaze fans for decades, and was listed as one of the 50 best shoegaze albums of all time by Pitchfork in 2016. This lasting love of the record has cemented the band as one of the most influential bands of the genre from their time. Over the last several years the album has found a new audience that has championed Delaware along side of the band's mostly UK 90's contemporaries. A new legion of Drop Nineteens fans have likely discovered their music through streaming services, rather than on 120 Minutes. Tracks like the towering "Kick The Tragedy" and pop songs "Winona" & "Delaware" sit next to more experimental moments like "Reberrymemberer." And while the album is certainly a wild ride, it all flows together as easily as singers' Greg Ackell and Paula Kelley's vocals. Now for the first time, this record will be available via a USA pressing on yellow colored vinyl. Remastered for vinyl by Carl Saff the album will be available on June 21st.

Continuing from the release of Northern Soul Classics, this excellent value 2LP compilation brings together 40 essential tracks from a generation of artists inspired by gospel and rhythm and blues. Immerse yourself in the sweet soulful voices of Aretha Franklin, Marvin Gaye, Stevie Wonder, Nina Simone, The Supremes, Ike and Tina Turner and many more!

Rare debut LP by the eccentric Peruvian singer Jean Paul "El Troglodita", known for his wild performances and extreme way of life. Enrique Roberto Tellería made his Peruvian television debut in 1965 under the stage name Jean Paul El Troglodita and wearing an imitation leopard skin suit. He would switch from melodic calm to shouting wildly or suddenly drop to the floor on his knees and smash the furniture like crazy. At the age of 19, DisPerú signed him to the label on the strength of these early performances. His first single included a freely translated version of 'Secret Agent Man' in Spanish. He began to work on the eleven cover versions that would feature on his first LP immediately, writing all his own lyrics and accompanied by the beat band Los Steivos. Despite the predominance of English beat music in Peru, the album only included three songs directly related to the British invasion: 'Bus Stop' by The Hollies, also played in raga rock style; 'Paint it Black' by The Rolling Stones; and 'The House of the Rising Sun', which follows the arrangement recorded by The Animals. So most songs come the American songbook. Apart from 'Tema de El Troglodita' (a versión of 'Secret Agent' by The Challengers), we find the bluesy 'Mustang Sally' (Sir Mack Rice). Two other US numbers, originally performed with orchestral accompaniment, were adapted to fit the rock band format: 'Poor Side of Town' (Johnny Rivers) and 'Take Me to the Moon' (Kaye Ballard). 'El verdadero amor' ('True Love'), an uncredited version is in a similar vein. The Spanish song 'Negro es negro' (Los Bravos) and the Brazilian track 'Que todo se vaya al infierno' (Roberto Carlos) also feature on the LP. El Troglodita's association with the so-called nueva ola, indicated on the back cover, needs clarification. In Peru, nueva ola was a mixed bag rather than a specific musical style and encompassed slow rock, twist, bossa nova and all the styles that the record industry produced to tame the wild rock 'n' roll impulses of teenagers in the early sixties. The Peruvian artists that performed these inoffensive Spanish adaptations of Paul Anka, Neil Sedaka or Frankie Avalon, were presented as successful models of youth culture. This was until 1964, when the Beatles with their mop-top haircuts hit the charts, vindicating rock 'n' roll and imposing the group format over the soloist model. Meanwhile the press continued to call any youth music recorded during the rest of the decade nueva ola. Jean Paul noted these distinctions early on and distanced himself from it in several statements. He saw his performance more in a style as a solo artist as following in the footsteps of e.g. Los Saicos. His 'hippie' lifestyle got him arrested by the new de facto military government in 1968, who accused him of promoting drug consumption and corrupting the Peruvian youth. The charges were soon dropped but his reputation was tarnished, and he ended up emigrating to Central America. The album includes Spanish sung versions of British beat songs and covers of the American songbook as well as various international hits.

Yaya Beys neues Album ‘Ten Fold' knüpft an den kraftvollen Doppelschlag ihres 2022er-Albums, „Remember Your North Star“, und der Folge-EP, „Exodus The North Star“, aus dem Jahr 2023 an und ist ein frei gesprochenes und fließendes Selbstporträt, das von unmittelbaren Reflexionen über die Vergangenheit, Gegenwart und Zukunft geprägt ist. „Ten Fold“ ist vollgepackt mit den Nuancen von Yaya Beys Identität und den verschiedenen Facetten ihrer kreativen Bemühungen. Es richtet den Fokus nach innen und meditiert über ihr inneres Wesen, während es gleichzeitig Raum für den Humor und den bissigen sozialen Kommentar schafft, der ein bestimmendes Merkmal ihrer Arbeit ist.
Die als Hadaiyah Bey geborene Yaya Bey begann bereits im Alter von neun Jahren mit dem Schreiben von Songs und trat mit ihrem 2020 erschienenen Album, „Madison Tapes“, als neue Stimme in der Avantgarde der R&B-Storyteller:innen in Erscheinung. Ihre 2022 erschienene LP, „Remember Your North Star“ und die darauf folgende EP, „Exodus The North Star“, wurden vom Spiegel, Stern, Zeit Online, Rolling Stone Deutschland, Jazzthetik, Missy Magazine, Plattentests u.v.m. und im Radio von u.a. Deutschlandfunk Kultur, BR 2, Cosmo, ByteFM, RBB Radioeins und FluxFM sehr positiv aufgenommen, sowie international u.a. von der New York Times, Pitchfork, Rolling Stone, The Guardian, NPR, GQ, Crack Magazine, The Times, Clash ebenfalls hochgelobt.
Kürzlich spielte sie an der Seite von Immanuel Wilkins die Hauptrolle in einer Werbekampagne für die aktuelle Zusammenarbeit von Converse mit der New Yorker Marke AwakeNY. Bevor die in Brooklyn geborene Künstlerin offiziell das Jahr 2023 abschloss, spielte sie eine ausverkaufte Show im New Yorker SOBs für Spotify Stages und krönte damit eine Reihe von Live-Auftritten auf Festivalbühnen rund um den Globus in diesem Jahr, darunter Glastonbury, Pitchfork Festival in Chicago, Roskilde Festival in Dänemark und viele mehr.

Great modern roots tune from Frankie Diamond of Still Cool, with rhythm by his long time collaborators Carl "Stereo" Fletcher and Pablove Black. The vocal saw very limited release on JA 45 back in the late 00's, the version side is now released for the first time ever.

First full length since 2020. Produced by Dan Luscombe (The Drones, Amyl and the Sniffers). Mixed by Josh Block (White Denim, Leon Bridges). Guest vocalist Carla Geneve. Within the first few seconds of the opening song on Australian troubadour Peter Bibby’s latest album, we get an unvarnished look at the man behind the music as he observes the late-night scene of a local watering hole with increasingly bleary eyes:“No one seems to want to talk to me / ‘cuz I’m the arsehole, probably.” Indeed, that lovable ambivalence is at the heart of Drama King, Bibby’s fourth studio album for Spinning Top Records. The project was produced by first-time collaborator Dan Luscombe (The Drones, Amyl and the Sniffers) and mixed by White Denim’s Josh Block a frequent collaborator with Leon Bridges. An artist who has been celebrated as inherently working-class and wholeheartedly independent, Bibby comes by this caution honestly, having cut his teeth in the rough-and-tumble underground rock scene centered around Perth’s Hyde Park Hotel in Western Australia. Bibby’s affable personality has gotten him plenty of mileage as a live act. He’s toured the U.S. with Pond and performed at the infamous open mic night at Pappy and Harriet’s in the California desert. He’s also taken the stage at international festivals such as Laneway, Falls, All Points East, South by Southwest and South Africa’s Rocking the Daisies while notching his fair share of rowdy headlining shows

Rising from the fiercely DIY Philadelphia underground, CARLY COSGROVE graft achingly vulnerable lyrics atop a bed of mathy rhythms, intricate guitar work and a penchant for indie-rock cool meets emo authenticity. Their debut album, 2022's See You In Chemistry, was the sound of figuring life out in real time, tracing personal growth through anxiety, depression, and self-actualization - heavy subjects for a band originally formed as a low-stress side-project stopgap in 2018.

The quest for the answers to life's big questions is once again front and center on the band's second album, THE CLEANEST OF HOUSES ARE EMPTY, as Naylor, bassist Helen Bars and drummer Tyler Kramer find themselves face to face with the chronic emotional struggles of life in the modern age.

From the stop-start polyrhythms of first single "You Old Dog" and garage-rock sheen of "Random Dancing" and "What Are You, A Cop," which sounds like Motion City Soundtrack filtering "Everlong" through their idiosyncratic rock tilt, The Cleanest Of Houses is the type of record Carly Cosgrove simply couldn't have made last time - not musically, and certainly not emotionally. They needed to live, through hard touring and harder life experiences.

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

The wide tapestry of sounds on ‘Inside Out’ reflects many of Richard's musical influences as a pianist. He has always strived to find his own voice when it comes to composition and improvisation, and this comes into focus with the music recorded here. The album features Richard's original compositions and two arrangements of tunes penned by the legendary Carla Bley. The album blends intricate melodies, evocative harmonies and energetic grooves alongside pieces where space becomes the sonic focus. When the band plays as a trio there is always a sense of exploration and freedom within the music and this feeling is what makes this band, and this record, a special one.

Unveiling an unheard scene: Glossy Mistakes presents "Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993"
Glossy Mistakes is proud to announce the upcoming release of "Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993," a groundbreaking double LP compilation that offers a unique glimpse into the vibrant landscape of Portuguese experimental music. Set to launch on June 10th, this monumental release showcases the evolution and innovation of the Portuguese music scene during a transformative decade marked by political upheaval and artistic experimentation.
Compiled by Glossy Mario and featuring liner notes by Rui Miguel Abreu, "Atlantic Mavericks" captures the essence of a generation of artists who dared to challenge conventions and push the boundaries of what was possible in music.
The compilation stands as a testament to the eclecticism of the Portuguese music scene during this period, featuring a diverse range of genres and styles. From ambient and new age to electro, rock, and synth-pop, "Atlantic Mavericks" offers something for every listener, inviting them to explore the rich tapestry of sounds that defined the era.
The 1980s in Portugal were a time of profound transformation, marked by the aftermath of a peaceful revolution and a burgeoning desire for artistic expression. As the country emerged from political turbulence, a new generation of musicians began to explore uncharted territories, paving the way for a wave of experimentation and innovation.
From the emergence of artists like Rui Veloso and bands like UHF, who ushered in a new era of Portuguese rock, to the founding of independent record labels like Fundação Atlântica and Ama Romanta, the 1980s saw a surge in creativity and a desire for independence within the music industry.
"Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993" offers a comprehensive overview of this dynamic period, featuring tracks that span the spectrum of experimental music. Each song tells a story of artistic evolution and creative risk-taking, reflecting the diverse influences and eclectic tastes of the Portuguese music scene during this transformative decade.
Spanning from 1982 to 1993, the compilation includes contributions from a wide range of artists, including SPQR, Croix Sainte, Linha Geral, Balladium, Ban, Santa Maria, Gasolina Em Teu Ventre!, Fé de Sábio, and Telectu, among others. With each track carefully curated to showcase the breadth and depth of Portuguese experimental music, "Atlantic Mavericks" promises to be a must-have for music enthusiasts and adventurous listeners alike.
"Atlantic Mavericks: a Decade of Experimental Music in Portugal 1982-1993" will be available on June 10th as a double LP release, offering listeners a chance to immerse themselves in the sonic landscapes of 1980s Portugal. Whether experienced on vinyl or through digital channels, this monumental compilation is sure to leave a lasting impression on all who encounter it.

Pirates Press Records is proud to present the new LP by 45 Adapters, entitled Unstoppable. The long-running New York City "Maximum Oi 'n B" combo are a band that lives by a few credos. "Dress Well, Drink Heavily." "Don't Trust Anyone Who Doesn't Dance." These values are on full display within the grooves of Unstoppable. Singer Pickabar & bassist Carlos are back with three new recruits to the band, and the group sounds revitalized, laying down the album in just two days at Noisy Little Critter studio with Mike Bardzik at the helm. Regarding the sentiments of the title track and lead single, Pickabar elaborates, "'Unstoppable' is about rock 'n roll and how much it shapes our lives. I've been hooked since I was a teenager and I still feel that same electric thrill listening to it, playing it, even talking about it_ There's something deeper that goes back to the root of what it means to be human. And I'm stoked to be even a tiny part of that." After fifteen years and numerous EPs, singles, splits, and collections, 45 Adapters are finally releasing their first proper LP. Longtime listeners and new fans alike are bound to agree that Unstoppable, at long last, is their definitive statement, and the record that fully captures their acclaimed live energy.

The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. Free Jazz, was also the name of the 1965 recording Tusques made along with and other Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz.

Wondering if free jazz wasn’t a bit of a dead end together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).French Popular Music, ndlt

Compiling extracts from concerts given between 1976 and 1978, L’Inter Communal demonstrate the “social function” which inhabited free jazz and popular music at the time calling upon Spanish singer Carlos Andreu along with Michel Marre, Jo Maka, Adolf Winkler and Jean Méreu. Andreu, claimed Tusques, was a griot “who created of new genre of popular song improvised with our music, based on events going on at the time”.

L’Inter Communal can start the festivities: on “Blues pour Miguel Enriquez”, it is first Thelonious Monk who is invoked in an homage to one of the leading figures of the Chilean revolution, and a victim of Pinochet. The circumstances may be serious, the music, though, is not. The musicians light a bonfire to bring together on the same frequency France and Spain, the Americas and Africa: “L’heure est à la lutte” (the time to fight is here ndlt), is the new song offered by the l’Intercommunal Free Dance Music Orchestra... As if proof were needed that their music is still more than timely!

Acid Mothers Temple & The Melting Paraiso U.F.O. oder einfach nur Acid Mothers Temple sind eine japanische Psychedelic-Rock-Band, deren Kern 1995 gegründet wurde. Die Band wird von dem Gitarristen Kawabata Makoto geleitet. Kawabata gründete Acid Mothers Temple ursprünglich mit der Absicht, ,extreme Trip-Musik" zu kreieren, indem er frühere Aufnahmen bearbeitete und überspielte, die von Progressive Rock, Karlheinz Stockhausen und Krautrock beeinflusst waren. Die erste Vinyl-Pressung von Paralyzed Genius Brain gab's zum RSD 2023 statt und war ein aisverkaufter Erfolg. Noch immer mit dem Original-Artwork von Carl Glover kommt nun die lang erwartete Neuauflage in transparentem lila Vinyl (500 Exemplare weltweit). Paralyzed Brain wurde ursprünglich für den Verkauf auf der Europatournee des Künstlers 'The Electric Dream Ecstasy Tour 2018' produziert und war in Italien nur auf CD erhältlich. Dieses sind die ersten Pressungen überhaupt auf Vinyl. Nicht so wild wie einige andere AMT-Alben, bietet es eine leicht alternative Sichtauf die einzigartigen und talentierten musikalischen Fähigkeiten dieses legendären japanischen Outfits. Als Doppel-LP bietet die Vinylversion zusätzlich einen Bonustrack.

DISCO011 by the amazing Carlos Benedetir - you know him from DISCO004 - has arrived!!

700 limited copies, hand numbered, vinyl only release!
Mastered by DJ Steaw

Since 2002, Rebeka Warrior, poet by night, producer by day, and Carla Pallone, composer, baroque violinist turned multi-instrumentalist, have formed Mansfield.TYA. If we knew until now the sensitive world of Mansfield.TYA: meaning of melody, melancholy and minimalism, today the group returns with a poetic ode New Wave. With Monument Ordinaire, Rebeka and Carla are making their fifth album: 45 minutes of life and death, of poetry carved out of rock, imagined as words by Master Dogen on simple and catchy melodies by Jacno. An album of happy melancholy, an escape to celebrate the furious love of life, like so many cries of the heart. Always guided by emotion and constant attention to words, Mansfield.TYA shares 12 songs that make us dance even when we cry.

GRAMMY, CMA and ACM Award-winning singer-songwriter Carly Pearce is back with her highly anticipated fourth studio album "hummingbird". The album includes Pearce's GRAMMY®-nominated single "we don't fight anymore" featuring Chris Stapleton, as well as the fan favorite "my place" and the infectious title track "hummingbird". The album is now available on CD and 2 piece vinyl

The drone-pop consternations of Ekin Fil emerge through vaporous tone and forlorn, distant song, as if plucked from a dream. These exist on their own accord, moving with their own internal logic of an emotion heaviness that belies any the passing observation of this as mere shoegazing ambience. Her songs, her compositions find themselves adjacent the fragmented etherealization of Elisabeth Fraser's voice from a forgotten scene of a particular David Lynch film, as a ASMR trigger for Proustian recollection. Something profound. Something hidden. Something desolately sad.

The Helen Scarsdale Agency has had the pleasure of witnessing Ekin's continued development, maturation, and growth as a composer, having released now seven of her magnificent, under-the-radar gems. Her slow burning, dejected ballads continue to draw from the deep well of sorrow, with varying frequencies and intensities of bitter light poking through. Loves lost. A world broken. All is not hopeless, but there is a considerable amount of shit to wade through.

Sleepwalkers embraces a familiar set of metaphors in her work, that of narcolepsy and the unsettled state of existence between sleep and being awake. But she stretches herself with a set of compositions that run parallel to the work of Tim Hecker as in the gravitation soft-noise of "Stone Cold" or to a slow motion serialism that punctuates the ambient crawl of her ambitious "Gone Gone." Recommended for fans of Grouper, Rafael Anton Irisarri, A.C. Marias, and Carla dal Forno.

Waterloo To Anywhere is the debut album from the short-lived, briefly adored Dirty Pretty Things - Originally released on Vertigo Records in May 2006, the album reached No 3 in the UK charts and spawned three Top 40 singles - This re-issue is pressed on high-quality 180g black vinyl. What do you do after being in the Libertines, one of the most notorious British bands of the early 21st Century? For Carl Bart, you form Dirty Pretty Things, something of an indie supergroup of their moment. Joining Bart was Libertines drummer Gary Powell, guitarist Anthony Rossomando, who'd stood in for Doherty, and former Cooper Temple Clause bassist, Didz Hammond. Leading Waterloo To Anywhere was the infectious UK Top 5 hit Bang Bang You're Dead, which set the tone for the fabulous collection of rock, punk and ska. Recorded in Los Angeles with producer Dave Sardy and then later in Glasgow with Tony Doogan, the album showed the strength of the group's writing. Away from the standard high-octane indie of Gin & Milk and You F*cking Love It, The Gentry Cove was particularly captivating, marrying Bart's fascinating wordplay with robust Clash reggae/sea shanty interludes. Two years later, it was all over; Bart and Powell rejoined the Libertines (and Rossomando later going on to win an Oscar for co-writing Shallow from the film A Star Is Born).

Vertigo is a 1958 American film noir psychological thriller film directed and produced by Alfred Hitchcock. Vertigo received mixed reviews upon initial release, but is now often cited as a classic Hitchcock film and one of the defining works of his career. On this LP you will find the music of the original soundtrack along with some bonus tracks culled from other Alfred Hitchcock films and even from the television series.

Dave Angel’s 'Revolt' EP on Rekids Special Projects is an emotionally steamy and intense offering with jolting drums and outspoken words. The title track, ‘Revolt’, brings subtle funk while the synths are imbued with plenty of Detroit-inspired soul designed to light up any dancefloor. Angel’s 'May I Have This Dance' shows a different side, with zippy lead synths amplifying the vibes as hunched, dubbed-out rhythms march down low and keep you locked into the groove.

Following up his 2023 ‘Glide’ EP on Radio Slave’s Rekids, Dave Angel now makes his debut on its RSPX sister label with the ‘Revolt’ EP. From remixes for the likes of Carl Cox, Orbital and Underworld to underground classics on labels like R&S, K7!, and his own Rotation Records, Dave Angel’s ever-evolving sound has made him a core part of the scene for over three decades. With ‘Revolt’, Dave once again shows his uncontested production skills with an infectious double A-side record oozing character.

The Prodigy Carlos Nilmmns Is Back on Skylax With Once Again a Splendid 12 Inch! His Style Is a Mixture of Refinement and the Most Beautiful Things That House Music Has Ever Produced, Moodymann, Theo Parrish in the Lead but Not Only That, We Must Also Add the Masters Lalo Schifrin, Donald Byrd and Even Henry Mancini. This Ep Starts With a Bang With the Sublime "Nes", Three Letters Which Alone Sum Up the Small Miracle of Bringing Together Both the Ghosts of Detroit and the Most Beautiful Cinematic Music Directly Inherited From the Glorious 70s. "Believe" Plows the Same Furrow With a More Mental Universe and to Conclude "Parisian Nights" (Jazz Version) Which We Swear Would Not Have Been Missing on an Impulse Album. Side B Opens With "Celebration" Which Sounds More Club Tool for Once With Obviously This Je Ne Sais Quoi That Is Far Superior to All Current House Productions. and This Ends With the Club Version of "Parisian Nights", a Real Volute of Sound. His Style Reminds Us Very Strangely and Quite Paradoxically of the Illustrious Terre Thaemlitz Aka Dj Sprinkles. Music for the Soul and the Body....

Honeymind is Ben Platt’s anticipated third album (and debut on Interscope & Polydor Records), named for the “honeylike” state of being in love (“like all the jagged thoughts and fears and anxieties in my brain are slowly smoothed out, until my mind is coated with warmth and sweetness,”). The album was Executive Produced by Dave Cobb (Chris Stapleton, Brandi Carlile), written with notable songwriters Hillary Lindsey, Natalie Hemby, and Alex Hope, and sees Ben exploring a more understated, folk leaning sound.

Born in Rio de Janeiro, Elizete Cardoso (1920-1990) was one of the best-known voices of Bossa Nova, enjoying considerable success and popularity in both Brazil and the entire Americas. In 1958, Vinicius de Moraes invited Cardoso to sing on an album featuring compositions he co- wrote with Antonio Carlos Jobim. The result, Cancao do Amor Demais, in its entirety - , one of her biggest selling albums and the earliest authentic Bossa Nova LP.

Complete version with 4 bonus tracks

Sugar Honey Iced Tea! is the highly anticipated debut album from musclecars, set for a May 2024 release on BBE Music. Having already established their presence in the club scene, from the joyous atmosphere of their Coloring Lessons parties to their residency at Nowadays in NYC, and with genre-bending performances worldwide, musclecars are eager to unveil this new world they've intentionally crafted. This forthcoming album comprises 13 tracks that sonically come together to offer a profound lens into the Afro-American experience. Themes range from joy, to loss, intimacy, helplessness, perseverance, and all the facets that lie in between. From the very first tune, musclecars set the tone with an exploration of afro-dystopia, carrying listeners through the entire album whilst creating imaginary futures born out of self-preservation and self-discovery. Through their practice of sonic storytelling, native New Yorkers Brandon Weems and Craig Handfield use this album to speak to the nuances of their daily lives and their environment. Join them on this musical journey as they delve into a collection that captures the essence of the black experience with authenticity, emotion, and rhythm. This album stands as one of their favorite bodies of work in recent memory, and they're so excited to share it with you.

Placenta is the fourth collection of broadly imaginative and highly collaborative Carlos Niño & Friends music released on International Anthem since 2021. But perhaps more notably for the zeitgeist of today, it is the first new music to be released by Carlos Niño & Friends following the November 2023 release of André 3000’s New Blue Sun – an album which Carlos produced alongside André, while co-writing, performing, and co-mixing every song. The announcement of Placenta also comes while Carlos is in the middle of tours with André to support New Blue Sun, where Carlos wields an immense presence as music director, bandleader, and percussionist, and performs alongside many of the same musicians that are present on his recent & Friends albums, including this new one.

Placenta is announced on the 1st solar return of Moss Niño, of whom Carlos and his partner Annelise are Earth parents. Their experience of pregnancy, labor and delivery were all profoundly impactful for Carlos. Becoming a father again (a whole 25 years after the birth of Azul Niño, who has become a regular artistic collaborator for Carlos) he felt total Inspiration for this set of recordings, and hence it is perhaps the most conceptually-grounded Carlos Niño & Friends album we've yet to present–fully connected to the spirit of family, birth, and "how we get here."

In Niño’s words, Placenta is “dedicated to Mothers, Children, Babies, Aunties, Doulas, Midwives, Birthworkers...,” and a short list of track titles includes: "Love to all Doulas!," "Some Rest for the Midwives," "Real Vital Organs," and "Generous Pelvis." The centerpiece of the album, the sprawling "Placenta, Nourishment, New Home, The Galaxy," is an unbelievably vivid immersion in the sonic architecture of Niño's memory-scape...like being present in his energy field...or being present in a birthing room, or maybe even being born yourself. And it just might be the most powerful, unique piece of music Niño has ever created.

Featured artists on Placenta, in order of their entry on the album, include: Nate Mercereau, Jamire Williams, Sam Gendel, Jamael Dean, Dexter Story, Brandon Eugene Owens, Maia, André 3000, Jesse Peterson, Ariel Kalma, Surya Botofasina, Annelise, Haize Hawke, Aaron Shaw, Devin Daniels, Tiffany de Leon, Michael Bolger, Michael Alvidrez, Moss, Iasos, Photay, Deantoni Parks, Adam Rudolph, Andres Renteria, and Cavana Lee.

This 7” single features two outstanding cumbias published on MAG in the 60s that have never been available on a 45 release before.

Dance floor oriented tropical music at its best!

MAG has been, since its foundation in 1953, a pivotal label in Peruvian music, allowing the development of the careers of both tropical artists and musicians of other genres such as rock, pop and jazz. At the head was Don Manuel Antonio Guerrero, its founder, and the name of the record company is nothing more than an acronym formed from its own name. (M.A.G.).

This 7” single features two outstanding cumbias published on MAG in the 60s that have never been available on a 45 release before.

Carlos Pickling was a legendary MAG artist who led the orchestra that accompanied Benny del Solar, Lita Branda and Melcochita in the tropicalized version of Spanish rumba, when the beats of Iberian rumba were still exotic in South America, and he also played countless cumbias, mambos and guarachas. The distinctive sound of his Hammond organ can be heard on this recording, ‘Cumbia Morena’, as it became his signature sound.

Los Demonios de Corocochay were one of the first Andean cumbia bands in Peru and sported an unique sound spiced up with the textures of a playful organ, as can be heard on this superb ‘Cumbia en Dominante’.

This new opus marks a major comeback for Samuel Sanders, who made a name for himself in the 2000s with his first productions alongside Max Walder on Ghoststyle, whose track "Cyclone" was covered by big names such as Ken Iishi, Marco Bailey, Frank Biazzi, Technasia, Marco Carola ... but also on the Invasion label with "Dependance" (N.E.W.S label) and among others on the Kevlar "Illusion" label, where this EP received great support from Dave Clarke, Carl Cox, Chris Liebing ... He also produced alongside Manu Kenton on the Kentek, Frenchtek and Fanatix labels. With N.O.B.A, he returned to production, choosing Vibes Addikt for his comeback.

The A-side "Do You Like ... 2024" is a remake of a track he and N.O.B.A created in 2008 on Reaktion, in a much more Hard Techno version with a spirit all its own.
Side B is dedicated to Samuel Sanders himself and presents his new productions:
B1 "Desolation" a hypnotic spirit with a touch of Acid on the cover for lovers of this spirit
The B2 "Don't Be Afraid" is close to Hard Techno with a more clubby style for fans of this style.

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

Yaya Beys neues Album ‘Ten Fold' knüpft an den kraftvollen Doppelschlag ihres 2022er-Albums, „Remember Your North Star“, und der Folge-EP, „Exodus The North Star“, aus dem Jahr 2023 an und ist ein frei gesprochenes und fließendes Selbstporträt, das von unmittelbaren Reflexionen über die Vergangenheit, Gegenwart und Zukunft geprägt ist. „Ten Fold“ ist vollgepackt mit den Nuancen von Yaya Beys Identität und den verschiedenen Facetten ihrer kreativen Bemühungen. Es richtet den Fokus nach innen und meditiert über ihr inneres Wesen, während es gleichzeitig Raum für den Humor und den bissigen sozialen Kommentar schafft, der ein bestimmendes Merkmal ihrer Arbeit ist.
Die als Hadaiyah Bey geborene Yaya Bey begann bereits im Alter von neun Jahren mit dem Schreiben von Songs und trat mit ihrem 2020 erschienenen Album, „Madison Tapes“, als neue Stimme in der Avantgarde der R&B-Storyteller:innen in Erscheinung. Ihre 2022 erschienene LP, „Remember Your North Star“ und die darauf folgende EP, „Exodus The North Star“, wurden vom Spiegel, Stern, Zeit Online, Rolling Stone Deutschland, Jazzthetik, Missy Magazine, Plattentests u.v.m. und im Radio von u.a. Deutschlandfunk Kultur, BR 2, Cosmo, ByteFM, RBB Radioeins und FluxFM sehr positiv aufgenommen, sowie international u.a. von der New York Times, Pitchfork, Rolling Stone, The Guardian, NPR, GQ, Crack Magazine, The Times, Clash ebenfalls hochgelobt.
Kürzlich spielte sie an der Seite von Immanuel Wilkins die Hauptrolle in einer Werbekampagne für die aktuelle Zusammenarbeit von Converse mit der New Yorker Marke AwakeNY. Bevor die in Brooklyn geborene Künstlerin offiziell das Jahr 2023 abschloss, spielte sie eine ausverkaufte Show im New Yorker SOBs für Spotify Stages und krönte damit eine Reihe von Live-Auftritten auf Festivalbühnen rund um den Globus in diesem Jahr, darunter Glastonbury, Pitchfork Festival in Chicago, Roskilde Festival in Dänemark und viele mehr.

Das fünfte Soloalbum der Sängerin erschien 1993 inkl. der Singles 'Big Scary Animal' und 'Lay Down Your Arms'. Viele der Songs wurden gemeinsam mit Charlotte Caffey von The Go-Go's geschrieben, und die Produktion übernahm Ralph Schuckett, der bereits mit Carole King, Todd Rundgren u.v.a. zusammengearbeitet hatte. Diese Neuauflage wurde von Barry Grint bei AIR Mastering fachmännisch von den Original-Stereobändern mit präzisem Half-Speed-Mastering gemastert. Hierbei handelt es sich um eine Vinyl-Schnitttechnik, die die Groove-Genauigkeit und die Transienten-Informationen verbessert, und ein unglaublich detailliertes Stereobild mit einem natürlichen Hochfrequenzgang erzeugt. Präsentiert in der Originalhülle, gepresst auf 180g schweres, schwarzes Vinyl, mit OBI-Strip und wattierter Innenhülle. Dazu alle Liedtexte und Credits auf einer 4-seitigen Beilage.

2024 Repress!

Imagine for a moment that Arthur Russel had learned to speak Brazilian and then moved to Italy to produce an Italo-Disco single back in 1984. There's a good chance it would sound like the Dub version of the B side on this record (Remixed by Bob One). A percussive foundation channeling Latin Freestyle beats sets the groundwork for the chill sunset vibed melody to pleasantly unfold intertwined with the alluring Brazilian lyrics. The recording engineering on this production is clearly at a higher standard (than the usual neighborhood italo disco studio from back in the day) with some of the techniques at play giving it a very balanced and sophisticated sound for its time. The meticulous remastering this re-issue underwent allow for a generous low end with crystal clear mid range – game changing on any well calibrated dance floor sound system.

South-Asian vocalist, multi-instrumentalist and composer Ganavya releases her new studio album “Like the sky I've been too quiet” on Shabaka Hutchings’ Native Rebel Recordings. The album features contributions from artists including Kofi Flexxx, Floating Points, Carlos Niño, Leafcutter John and Mercury-nominated bassist Tom Herbert.

Since graduating from Berklee College of Music, UCLA and Harvard, Ganavya has quickly become a much-in-demand artist on the US scene who consistently confounds expectations. Hailed as “among modern music's most compelling vocalists” (Wall Street Journal), “most enchanting” (NPR) and "extraordinary" (DownBeat), Ganavya has worked with an array of luminaries including the likes of Quincy Jones, Wayne Shorter and Esperanza Spalding and on new album "Like the sky I've been too quiet" she presents thirteen compelling tracks which showcase her ethereal voice and numinous energy.

Das elektronische Musik-Trio Keys N Krates legt mit IN:TENSION sein drittes Studioalbum vor, ein prägnantes Werk, auf dem die Band aus Toronto ihre lebenslangen Einflüsse und ihre vielseitigen
produktionsfähigkeiten zu einem leidenschaftlichen Projekt voller Talente verschmilzt. IN:TENSION enthält Tracks mit R&B-Superstar Ciara, der Sängerin Lion Babe sowie den aufstrebenden Sängern Taite Imogen, Dana Williams und dem verstorbenen, großartigen Sänger Aaron Carl.

Seit ihrer Gründung vor über einem Jahrzehnt haben Keys N Krates ihren eigenen Weg in der Musik gefunden, indem sie die Bereiche Hip-Hop,
Elektronik und mehr miteinander verschmolzen haben. Die Gruppe - bestehend aus dem Schlagzeuger Adam Tune, dem Keyboarder David Matisse
und dem Turntablist Greg Dawson - hat sich durch ihre Instrumentierung auf der Bühne und ihre energiegeladenen Sets einen ehrwürdigen Ruf als
einer der führenden Live-Elektronik-Acts unserer Zeit erarbeitet.

Razor-sharp production of the highest order from two of the masters of the early 80™s Rio de Janeiro boogie sound, Robson Jorge and Lincoln Olivetti. Both were highly acclaimed music producers of the time, starting around the mid-70™s. Over the course of his career Olivetti worked with artists including Rita Lee, Erasmo Carlos, Don Beto, Marcos Valle, Tim Maia, Gilberto Gil, Gal Costa, Sandra Sa, Painel de Controle and many more. The album takes in mid-tempo, AOR, boogie and even latin all way through the tempo™s to ultra-quick Prince style disco-funk workouts. Includes several standout tracks  ˜Aleluia™ and ™Ginga™ being our two favourites. Synths, horns, claps, drum machines, guitars, keys and vocal harmonies combine effortlessly.

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.