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2026 Repress

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.

The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).

Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

Chet Baker stands alone among modern Jazzmen in having achieved major success both as a player and as a singer. On three numbers featured here; Do It The Hard Way, Dancing On The Ceiling and It Could Happen To You, Chet introduces his own version of Scat-singing following in the tradition of Louis Armstrong. The numbers selected for this LP are standards of the sort that lend themselves particularly well to what might as well be called the "swinging romantic" approach. Most of them manage to fall into that rare and attractive category of songs that everybody knows and loves but have not, as yet, been done to death by over-frequent performance.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Paying homage to our dance music roots in Funk, with a remarkable curation of XL Middleton’s favourite artists of the moment.

"Whether you're on or off the dance floor, it's always on the one. Keep it funkin" - XL Middleton

One of the most prolific and celebrated blues-rock artists in the UK,
Danny Bryant is to release a brand-new album - 'Rise' - on 29 September through Jazzhaus Records

His 13th album, it is Danny at his dynamic best - his distinctive guitar once again complementing his gravel tone vocal that exudes with the raw emotion this new body of work intended.'Rise' follows the release of his critically acclaimed 2021 album 'Rage To Survive' which Blues Matters! Magazine described as"... everything I part with money for and this will be played and played" and Classic Rock Magazine noted Danny's true blues- rock credentials by describing it as"... new songs with blues- rock provenance." Written by Danny (except for the Bob Dylan cover 'I Want You') and co- produced with Ian Dowling and mastered by Gwyn Mathias, 'Rise', like all twelve albums previous, further deepens Danny's authority as one of the leaders in British blues- rock proving his genuine authenticity.

The album opens with title track 'Rise' - 2 mins 52 of pure blues-rock with Danny's playing evolving throughout to then fade and almost blend into 'Animal In Me' which raises the tempo with its more classic blues rhythmic pattern allowing his vocal to stretch and shine before track three - 'Louise' - slows the album back down with a more solemn acoustic feel that brings anguish out in the track.

Track four - 'Hard Way To Go' - goes back to the more riff- heavy- guitar playing Danny is known for before beautifully contrasting with the toned down acoustic playing of 'Scarlett Street'. 'Into The Slipstream' moves the album into a positive optimistic direction beautifully encapsulated by a gospel vocal accompaniment that supports and builds the track throughout before once again contrasting yet blending brilliantly with track seven 'Julienne' that is more piano focused, relying on Danny's vocal to bring the emotion while still running gospel vocal through the track.

The final three tracks of the album are almost an encapsulation of the whole album. 'Silver and Gold' has a more traditional, stripped back blues feel, whilst Bob Dylan cover 'I Want You' follows a simple acoustic chord pattern and once again Danny's vocal carries the tracks passion throughout with light and shade demonstrating his vocal power before going into the final track 'Drown Jam' that as the title suggests, is Danny playing with pure feel. The album's final trio of
tracks is testament to why Danny is one of Britain's great blues-rock artists.

Celebrating his 70th year in show business, Pat Boone, legendary singer, actor, songwriter, and author is reconnecting with his Nashville roots with a milestone country music project, Country Jubilee

Included in the 25 tracks are 5 Pat Boone Top 100 Country recordings, Boone's recordings of classic hits by Country legends, plus a new recording of the classic duet and Billboard #1 'You and I' (with featured guest artist Crystal Gayle), and Pat's new song, 'Grits' (with featured guest artists Ray Stevens, The Gatlin Brothers, Lorrie Morgan, Deborah Allen and Dean Miller), tailor-made for the line dancing crowd.

The Commemorative Edition 2CD format includes a 56- page booklet with 'The Story Behind the Song' (compiled by hit Country songwriter Frank Myers), 'I Remember Red' (influence of father-in-law and Country music pioneer and Grand Ole Opry co- founder Red Foley), lyrics, and archival and behind- the- scenes photographs.

If the name of this collection of traxxx offends you, move on — there’s no hope for you here. If, on the other hand, Toribio’s salacious fun-pun cracked your cool exterior, here’s an introduction to a set of bangers that helps exemplify New York’s increasingly exuberant dancefloor, and what producer/DJ Cesar Toribio brings to it. His is a ribald, rhythmic take on dance music, neither for the weak of musical character (purists need not apply) nor for the weak of ass (-shaking). In fact, the proof is right there, in Toribio’s label’s and monthly party’s name: Bring Dat Ass. This command is not optional, but *the* key ingredient for a good time.

The five songs Toribio has created for “Tongue In Cheeks,” BDA’s first release, comprise a horny melting pot of tribal house and Linn-drum plug-ins, minimalist synth textures and basslines, hi-hats reminiscent of electro and freestyle classics, some of which are infused with New York’s Latin club history and futures. The lead-off track, “No Pare,” is based on the producer’s 808-driven reinvention of the call-and-response hook from Proyecto Uno’s 1993 merengue-house smash “El Tiburón,” marking the first time the group has ever cleared a sample of this Nuyodominican classic. We predict that “No Pare” will be a Fall 2023 monster.

Guest vocal appearances by The Illustrious Blacks and Maluca, cornerstones of different dance-floor scenes in a city currently hitting peak-energy levels, show the breadth of Toribio’s regard for community: There is a lot of crossover to how the punky Dominicana MC from Washington Heights chooses to slang-tastically “Werk It Out,” and how the Neo-Afro-Futuristic-Psychedelic-Surrealistic-Hippys Monstah Black and Manchildblack infuse a dollop of booty into “Work Dat Shit.” And the two different metallic beats point at seemingly separate parts of Toribio’s musical heritage uniting. There’s no formula, but if there was, it would be: Make it sexy. Make it (consensually) grindy. Make it funny to the point of ridiculous but so funky that the laughter becomes more fuel to the joyous momentum propelling the movement. Then make it home — or try to.

Cesar Toribio’s home is, originally Tampa — and the DR, where he’d spend summers with family. He was a drum-corps prodigy who went to Berklee to become a jazz drummer and be like Gil Evans. He idolized Miles’ orchestral arranger’s work as much as Dilla’s beats, but then discovered house music, so it was a wrap. The 2021 band album Toribio made under the name Conclave — which included his sister Sharin and musicians from such great projects as Standing On the Corner, No Regular Play and Irreversible Entanglements — unearthed the work of a singer-songwriter-arranger-producer of immeasurably nuanced, soulful jazz-house music. But when Toribio started DJing more and more, he decided to listen to the devil on his shoulder who told him to Bring Dat Ass. As Cesar damn-well knows, it’s the devil who has the better jokes and holds the better parties, so his ears perked up. “Tongue in Cheeks” is the music Toribio says he made to play at these parties, because he can’t find it anywhere else. It’s hard to disagree.

TPG long term friend and homeboy Ben Oyefeso pulls out a trio of double-jointed cuts for the club and not, the German producer's debut EP ‘Lagerfeuer’ packs that left-of-centre house punch that’s come to define the label throughout the previous ten releases and certainly more than just that. Cutting his lane at the junction of oddball party music and deconstructionist boogie, Oyefeso’s maiden sortie floats like a butterfly and stings like a bee. A weird, buzzing slab of body-jacking electronics that doesn’t play by the book.

An off-road bouncer of a track, the opening number ‘Matt’ has us nodding our heads to a high-in-vitamin mix of jacking house programming and erratic acid patterns gone astray. Knee deep in 303-marinated puddles of psychedelic squelch, Oyefeso keeps swinging the pendulum between a proper syncopated 4x4 motif’d framework and frantic digressions into an abstract-leaning headspace.

A2 ‘Kool’ opts for a further sliced-and-diced rhythmic line of action, generously infused with twisted Rephlexian phrases and sustained waves of micro-house clicking. Topping off that strange journey, the title-track ‘Lagerfeuer’ merges polyrhythmic intricacies with a forward-moving, earwormy kind of linear groove, all laced with a spooky baseline that stretches out into a purgatory of frankly eerie dissonances. Enough with the words, just jump on board Ben Oyefeso’s ghost train for a seriously tortuous, nonconformist ride across dance music’s jagged ridges and most secret crevasses.

Five years in the game marks a very special milestone for In-Reach Records, a label born from a love of drum & bass music and a passion to share that love with like-minded individuals. What better way to celebrate that milestone than a compilation of the sounds and souls that have fuelled the labels journey so far. The artists behind all nine of IRR’s past releases have combined, along with some important members of the In-Reach family, to create this exquisitely emotive VA album.

Heading up the release is a very serious piece of wax dropping in September 2023. The 12” vinyl exclusive album sampler comprises two tracks that have been causing waves in the scene for some time. Kicking off with Kid Drama’s remix of ‘Another Place’, we have an expert re-work of an already awesome track from Sam Binary and Deviant. The hissing bass joins the drum break half way through the intro while the vocal sample repeats its mantra. As expected, a gear change hits on the drop with the entry of sub bass stabs, which take on an increasingly melodic form as they evolve throughout the track.


The legendary Madcap takes on remix duties for the B-side with his take on Greekboy’s & AKA's ‘The Jungle’, which first aired on LTJ Bukem’s Radio 1 Guest Mix in 2021. The stepping drum break enters from the outset, building atmosphere alongside the pads and vocal cries in preparation for the extremely weighty running baseline.

The third installment of our four-part 12" series features our favorite artists from around the world.

Melbourne's Pugilist opens the gates with 'Flip Trix.' It's a dub-drenched, broken techno hybrid with earth-shattering low-end throughout. This lengthy 130bpm track, with foggy breaks and frosty pads, smartly concludes on a 4x4 beat to ensure a smooth exit. 'Flip Trix' is certainly a future percy for all.

Next, we have Bristol-based Henry Greenleaf, a music producer who provides jaw-dropping moments throughout his work. 'Stopper Knot' starts off with a murky low growl and soon evolves into a fully-fledged UK techno beast with ups, downs, twists, and turns. It's like the soundtrack to all of existence captured in 4 minutes and 37 seconds. An absolute tune.

Closing out the release, we have a very special track from Ebb, a resident of New Zealand's South Island. This tune comes with a Product Safety Warning. *We strongly advise never listening to this tune in small groups or while sitting down. 'GTAM' is a weaponized, peak-time, world-ending, acidic bass mutant designed for use only between 2 am and 4 am*. In true Ebb style, heavy and precise production.

Enjoy responsibly.

Mr Bongo is thrilled to announce a special RSD Black Friday edition of 'Speak Your Peace,’ a stunningly beautiful album by the legendary Terry Callier. This remarkable record not only showcases Terry Callier's immense talent, but also features production by Bluey (Incognito) and Marc Mac (4 Hero). It includes the single, ‘Brother to Brother’, a song co-written and performed with British musical icon, Paul Weller. This stellar cast of producers and collaborators infuses the album with modern sensibilities while maintaining the integrity of Terry Callier's unique sound.

'Speak Your Peace' is a testament to Terry Callier's enduring legacy as a singer-songwriter and guitarist. Known for his ability to blend genres seamlessly, here he takes listeners on a transcendent journey through soul, jazz, folk, and blues. His captivating voice and exceptional guitar playing create a musical landscape that is both timeless and profound. This collection of songs tackles a range of themes, from love and introspection to social justice and the human experience. Terry Callier's poignant lyrics and soul-stirring melodies intertwine, creating a multi-dimensional work of art. It rates with his incredible Cadet work in its vision, articulation, and execution.

Mr Bongo Records is honoured to present 'Speak Your Peace’ and to celebrate the legacy of Terry Callier and his impact on the musical landscape.

UK drummer and sound artist Cameron Graham dances between EDM, joyous calypso colour, cellular Glassian minimalism, and hyperrealist AI on debut album Becoming a Beach Angel, evoking a SNES world of blissful vibrancy.

Creating his dizzying, dayglo MIDI explorations with drumkit triggers, UK musician Cameron Graham conjures a multitude of soundworlds from dense compositional structures. The music of debut album Becoming a Beach Angel touches on neon, videogame digitisation, the finessed, mechanical precision of IDM, even the rhythmic intensity of gamelan, whilst retaining a thrilling and wholly singular energy. The record is an electrifying experience, full of colour.

Becoming a Beach Angel flips and trips through headspinning, hyperspeed effervescence, like an entire rave condensed into a moment. Instantly joyful, its textures - formed in wavetable synthesis triggered by live-performed percussion pads - thread and bob through hyperreal abstract space, millisecond snippets of organ chords and steel pans zooming like stars in a galaxy rocketed past at

lightspeed. “It’s about grabbing and holding a close person going through depression or self-doubt, taking them out the door,” Cameron explains. “Dance music for that moment you need only to find a way to move forward.”

McKowski is pleased to confirm details of his debut solo album: ‘Notes From The Boneyard’, a new release that arrives courtesy of the Deltasonic label.

In anticipation of the record, the Irish songwriter and multi-instrumentalist has unveiled the single “Return of Pygmy Pony”.

“Return of Pygmy Pony” is one of 10 cinematic tracks, alongside previous single “Lake”, that comprise upcoming album ‘Notes From The Boneyard’. Envisioning a fictional world known as ‘The Boneyard’, McKowski’s debut will promise a purely instrumental album of atmospheric folk and otherworldly soundscapes to capture your imagination and seep into your soul.

Utilising a unique blend of acoustic guitars, strings, analog synths, and electronic toys, Mckowski creates a haunting and evocative journey across its transient 35 minutes. Gifted with the talents of some old allies, ‘Notes From The Boneyard’ sees guest musicianship from the likes of Steve Wickham (viola), Howe Gelb (guitar), Laura Mcafadden (cello), Dave Murphy (pedal steel), with St Francis Hotel also adding further elements of atmosphere and production.

With one foot rooted in a dark woodland and the other foot stepping into unknown territory, the end result is a must-listen for fans of soundtracks, the surreal, or simply those searching for the unexpected. Like the wooden beauty of Angelo Badalementi’s ‘Straight Story’ mixed with the dark synth undertones such as Carpenter-esque Moog; it’s the ideal companion for those pensive days and long nocturnal hours.

Skarra Mucci is a Jamaican Reggae and Dancehall artist born in Kingston. Known as the "Dancehall President", his career counts 7 solo albums, including the essential "Return of the Raggamuffin" (2012) and countless classics and cult collaborations, such as the hit "My Sound" from the album "Greater Than Great" (2014) which exceeds 15 million cumulative Spotify and YouTube streams and the critically acclaimed album "Dancehall President" (2016) with its tour of more than 100 dates around the world, from Mexico to China.

5 years after the release of "Skarra Mucci & The One Love Family" (2018), this essential figure of Jamaican music, with his versatile flow and recognizable voice, announces a new studio album with multiple influences "Perfect Timing", which is scheduled for release on September 29, 2023.

The album opens with a hybrid roots-tinged hip hop riddim. Brass and percussion resonate throughout the track as Skarra Mucci gives way to a mesmerizing voice sample that gives the track “Here I Come” all its depth.

An introduction that sets the tone for an album tinged with a mix of genres by Skarra Mucci and his team of top producers brought together by Undisputed Records. "Perfect Timing" is indeed an ode to Reggae of all eras, full of nods to the Sound System culture, from its beginnings to the present day. From the choice of the featurings to that of the producers, nothing is left to chance to offer us a journey through the highlights of this rich culture which has never ceased to evolve, without any period being left behind.

For his 1st single, it is with a major player in the current Reggae scene that Skarra Mucci has chosen to announce the release of his 8th solo album by inviting the Martiniquais Yaniss Odua on the title "Roots Rock Reggae".

Accustomed to albums teeming with successful collaborations, "Perfect Timing" is obviously no exception to the rule. We find in particular on the title "Street Dance" the essential French producers of L'Entourloop, with whom he released the very successful EP "Golden Nuggets" (2019, 6 titles, 17M cumulative streams Spotify and YouTube) to drop once again a banger between Hip-Hop and Dancehall in line with their huge 2013 hit “Dreader Than Dread” (38M combined Spotify and YouTube streams).

Jamaican legend Johnny Osbourne also takes part in the celebration for a version of his classic of the digital era "What A La La", with Skarra Mucci on the Stalag riddim replayed for the occasion by the beatmaker specialist in the matter: Manudigital.

Skarra Mucci continues his exploration of various styles and influences with the very groovy "Dancehall", produced by the musicians of Dub Akom, in which he lets us perceive all his class and his swing. We also find the massive “Who Fool Them”, a UK stepper track produced by Evidence Music, but also the future Dancehall classic “Rappa Pam Pam”, or the huge “Misty Babylon” in a much more Roots register.

The album "Perfect Timing" ends with the eponymous title, on a riddim and Lovers Rock melodies carried by a joyful piano and a groovy bass. A finale in the form of a declaration of love for Reggae, this music which gave him so much and to which he gave everything.

See you on September 29, 2023 to discover "Perfect Timing", Skarra Mucci's new album.

The influential Detroit pianist’s sole 1970s album. Remastered and lacquered by Bernie Grundman. Now-Again presents the denitive Tribe Records reissues. Deep, Spiritual Jazz of the highest order. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Jazz Hands is Bob James' third outing for evosound, following in the
wake of 2018's Espresso and 2022's Feel Like Makin' LIVE
Produced by the pianist with his manager Sonny Abelardo, the ten- track album
was mostly recorded during the months of the Covid pandemic and featured
James in a number of different musical settings. It also features a stellar cameo
from the ex- Gnarls Barkley singer CeeLo Green on the sensuous title track and
includes production input from the legendary hip- hop turntablist DJ Jazzy Jeff,
who rose to fame as half of the hit-making '80s/'90s rap duo, DJ Jazzy Jeff & the
Fresh Prince, early samplers of James' music. Blending cool jazz tropes with
funky dance floor grooves, blues- tinged ballads, cinematic mood pieces, and
sensuous slow jams, Jazz Hands is the Missouri pianist's most eclectic album of
his long career. Simultaneously classic and contemporary, it's Bob James at his
majestic, ground-breaking, and timeless best.
The album will be available on 180g Solid Blue vinyl, black vinyl LP, SACD- Hybrid
Stereo and MQA-CD on the 15th September 2023.

Jazz Hands is Bob James' third outing for evosound, following in the
wake of 2018's Espresso and 2022's Feel Like Makin' LIVE
Produced by the pianist with his manager Sonny Abelardo, the ten- track album
was mostly recorded during the months of the Covid pandemic and featured
James in a number of different musical settings. It also features a stellar cameo
from the ex- Gnarls Barkley singer CeeLo Green on the sensuous title track and
includes production input from the legendary hip- hop turntablist DJ Jazzy Jeff,
who rose to fame as half of the hit-making '80s/'90s rap duo, DJ Jazzy Jeff & the
Fresh Prince, early samplers of James' music. Blending cool jazz tropes with
funky dance floor grooves, blues- tinged ballads, cinematic mood pieces, and
sensuous slow jams, Jazz Hands is the Missouri pianist's most eclectic album of
his long career. Simultaneously classic and contemporary, it's Bob James at his
majestic, ground-breaking, and timeless best.
The album will be available on 180g Solid Blue vinyl, black vinyl LP, SACD- Hybrid
Stereo and MQA-CD on the 15th September 2023.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDING INSERT
- 25TH ANNIVERSARY EDITION
- FIRST PRESSING OF 1.500 INDIVIDUALLY NUMBERED COPIES ON FLAMING (ORANGE & YELLOW MIXED)
COLOURED VINYL

They've never been praised for the great albums they produced, but Adorable released one of the stronger albums during the year 1993. Stuck in the moment between the end of the shoegaze hysteria and the Britpop era their debut album Against Perfection appeared. The heavy instrumentation and impressive voice of lead singer Pete Fijalkowski can definitely be linked to the perfection they're searching for in their music. The bittersweet Sunshine Smile' shows their crossover between shoegaze and Britpop, while the secret choruses from the guitar hooks creates the thrill of the unknown on Glorious'. The pre-Adorable tune Homeboy' is a track that follows the quiet-loud music line and it got some distortion and big bass sounds.


Adorable released only two studio albums before disbanding as a music group. It was an impressive 5-year period in which they combined the dreamy world of the shoegaze with the pop, but never got the recognition they deserved.

Against Perfection is available as a first pressing of 1.500 individually numbered copies on flaming vinyl.

Back in Black is the third album by American Hip-Hop group Whodini. The album was certified Gold in the US and spawned three singles; "Funky Beat", "One Love" and "Growing Up". All singles charted in Billboard's Hot R&B/Hip-Hop Songs. Like the group's previous work, Back In Black is produced by Larry Smith, who also co-produced with Russell Simmons on Run-DMC.

Back In Black is available as a limited edition of 1000 individually numbered copies on smokey coloured vinyl.

Soul Dynamite is back to celebrate the 10th release with Berlin's finest duo Marc Hype & Jim Dunloop.

On side A you will find their seminal classic, a stunning cover version of Babe Ruth’s B-Boy essential „The Mexican“, which was dubbed by UK’s Jazzman Gerald as ”THE“ version to have, soundtrack of international "Battle Of The Year" 2006, the year when it was originally released, now for the first time on a 45!

On side B you can enjoy "Oh Really?" which was available only on their debut album "Stamp Out Reality". Marc and Jim teamed up with NYC‘s own Mr. Complex over rare syncopated drum breaks, tweaking a late 90s feel.

Shakey Graves, the brainchild of musician, actor, and artist Alejandro
Rose-Garcia, returns with his 4th studio album 'Movie of The Week,'
featuring the bona fide streaming hit "Ready or Not (feat Sierra Ferrell),"
which has garnered over 15M streams

Critically acclaimed pianist/composer Aaron Diehl's penchant for the past
influencing the future has come full circle with his fully realised suite of
Mary Lou Williams' Zodiac Suite - the first fully-fledged professional
recording of this incredible music
Solely paying tribute to Mary Lou Williams was not the goal, as Diehl's mission is
to give honour and praise to one of the greatest composers of the 20th century
and the forgotten rich history of Black Classical Music.
Joined by the orchestral collective The Knights and special guests Evan
Christopher (clarinet), Nicole Glover (tenor sax), Brandon Lee (trumpet), and
Mikaela Bennett (soprano), Diehl breathes vibrant new life into a masterwork that
the composer herself was never able to fully realize during her lifetime.
Aaron Diehl approaches the piano with a delicately nuanced expressivity and an
exquisitely attuned touch that have garnered him acclaim at the highest levels.
From his collaborations with such jazz innovators as Wynton Marsalis, Cécile
McLorin Salvant and Benny Golson, to his exploratory work in the classical realm
with Philip Glass or the New York Philharmonic, to his own current- crossing
recordings as a leader, Diehl is singularly committed to a journey of musical
discovery regardless of genre or context

More spooky tales of Vampires and Devils from the leader of
underground pioneers HALF Japanese - Jad Fair - and new songwriting
partner, the cassette culture savant Samuel Locke Ward
Hold onto your wigs as you step off the path into the cemetery mist for a monster
filled adventure into the unknown!

Bay Area technical death metal entity FABRICANT leverages any musical
tool for their riff and song fabrication
Speed, stillness, technicality, simplicity, consonance, dissonance... are all at play
for the express purpose of telling the stories of humanity's hubris, madness, and
frailty. FABRICANT glimpsed into this black vortex, extracted the raw materials of
inspiration, and refined the chaos into the ten fully actualized, death metal songs
on their debut album "Drudge to the Thicket".
This album was FABRICANT's obsession: a forbidden riddle to solve. From its
beginnings stretching as far back as their 2010 demo and to its ultimate end, this
album inhabited the deepest recesses of their minds as an omnipresent
consumer of thought. With the arrival of this debut, FABRICANT frees themselves
of this thicket. The battle was hard-won, but the next ones inexorably begin. From
new obsessions to delirium to the mundane, consciousness marches onwards,
screaming out at all of existence for answers, only to feebly fall on deaf ears.
Descend into the chaos with FABRICANT.
FABRICANT's debut album "Drudge To The Thicket" is unlike anything you'll hear
in the technical death metal genre all year, truly a unique and singular album of its
own kind. One that has been in the works for over a decade.
FABRICANT features members of celebrated technical death/ black metal outfit
Mefitis.
For fans of Necrophagist, early Pestilence, early Atheist, Defeated Sanity, and
Gorguts

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer.

Ladies and Gentlemen, meet Jogo Duro, a collaboration between Ilhan
Ersahin and some outstanding Sao Paulo musicians Guizado, Ze Nigro,
Samuel Fraga, Chicao & Tony Gordin who also happen to be great friends
These are players who will be familiar to those following the careers of Ceu, Otto,
Curumin, Tulipa Ruiz and the late, great Gal Costa. This record is the result of the
amount of time Ilhan has spent in Sao Paulo over the last decade due to putting
on the Nublu Jazz Fest there every year. With all the contacts, connections and
friendships formed over the course of making an annual music festival happen,
musical cross-pollination (usually simply referred to as "jams") was inevitable but
this time it was decided to do it in a studio with tape rolling rather than on stage,
which is certainly a more productive approach than merely talking about it over
beers at a local bar!
Everything happened fairly spontaneously over three days in the studio,
everybody brought songs, ideas and creative energy and before you know it an
album was born, which will be released in November after three singles come out
over the spring and summer.

Here's a brand-new record of straight-ahead hairy, lairy surf, punk, garage, rock n roll party music from Sir Bald/Hipbone Slim and pals! Fun all the way!!! But beware these guys just ESCAPED FROM THE ZOO!!!! Well, it certainly sounds like it! Los Hairies are led by Hipbone Slim aka Sir Bald Diddley (more info below). In Los Hairies he is joined Galicia's foremost coffee liquor and pork fuelled rock n roll rhythm section, Jorge and Martin, the infamous Lorre brothers, of Wavy Gravies, Bo Dereks, Limboos and All Night Workers infamy! Fourteen dancing party hits to rattle your braincells and blow away the proverbial cobwebs! Everyone, a hairy dance hit! From the beach party 'Twist In The Sand' through to the 'Rock n Roll' death finale, you are invited to 'Shake Your Bacon', do the 'Diddley Conga' and 'Shake It Off' with the delectable but somewhat elusive 'Ramona'. Get down with the 'Little Green Man' and his rock n roll band! Go 'Bananas with Tarzan, duel with the 'Ratfink' and the 'Hairy Surfer! Los Hairies currently remain on the run from police, animal welfare services and a growing number of angry bar owners. Beware! They are dangerous! European tour planned for Oct/Nov 2023. Recorded on tape at Bronca Studio, Porto, Portugal by Nuno Riviera (T.T. Syndicate) More Hipbone Slim aka Sir Bald Diddley info: Hipbone Slim aka Sir Bald has released over 40 albums with his various bands including Hipbone Slim and the Kneetremblers, Sir Bald Diddley, The Snags and Nine Ton Peanut Smugglers. He has worked and recorded with members of Milkshakes, 5678s, Mummies, Phantom Surfers, Big Boss Man, Holly Golightly, Ike Turner’s Kings of Rhythm and Supergrass! Shared a stage/played shows with Dick Dale, Skatalites, Toots and the Maytals, Desmond Dekker, Edwin Starr, The Trashmen, PJ Harvey, US Bonds and Richard 'Louie Louie' Berry. Championed by the likes of John Peel, Mark Lamar, Mark Radcliffe and many others he has played a number of BBC radio sessions

For fans of Triumph, Rik Emmett, and Classic Rock! Rik Emmett is best known as the guitarist/vocalist for the legendary Canadian hard rock band Triumph. Between its 16 albums and DVDs, they have received 18 gold and nine platinum awards in Canada and the United States. They were nominated for multiple Juno Awards, including the 'Group of the Year Award' in 1979, 1985, 1986, and 1987. It was inducted into the Canadian Music Industry Hall of Fame in 2007, into the Canadian Music Hall of Fame in 2008, and into Canada's Walk of Fame in 2019. Their classic Allied Forces sold over a million copies in the US, while attaining the highest chart positions any Triumph album would attain; No. 23 in the US and No. 13 in Canada. It included the songs "Fight the Good Fight" and "Magic Power". "Magic Power" reached #8 on the Billboard Mainstream Top Rock Tracks chart and #51 on the Hot 100, while "Fight the Good Fight" went to #18 on the Top Rock Tracks chart. Emmett is now releasing worldwide Then Again…, as he states, “There seems little point in simply trying to repeat history, so we came at it from a different place: the place where Dave Dunlop and I deal with these songs now, on smaller nightclub & intimate listening room stages. Honouring the endurance of these songs, but giving them a fresh, stripped-down and 21st century D.I.Y. perspective” Enjoy reimagined versions of classics like, “Lay It On the Line”, “Magic Power”, and “Fight The Good Fight”.

It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.

Emperor's Return is the second release by the Swiss extreme metal band Celtic Frost. It was released in 1985 as an extended play and was their first record featuring American drummer Reid Cruickshank (a.k.a. "Reed St. Mark"). The band's bleak publicity photographs from this period had an influence on the fashion and style of the developing black metal genre. This EP has been out of print and available on its own since 1985.

It almost seems churlish to regard Celtic Frost as one of the great extreme metal bands, because they were so much more than that. It’s better to hail them as among the finest extreme and experimental bands of the 1980s. Refusing ever to do what was expected or demanded, the band constantly changed musical direction, always brought in surprising influences, and kept people guessing as to where they might venture next. Their catalogue of albums is formidable and unmatched. Each is not only unique, but part of an entire tapestry that only now can be appreciated for being a remarkable part of music history. Despite, or maybe because of, constant turmoil on so many fronts, Celtic Frost achieved an artistic level few others would even have dared to dream of aspiring towards. They climbed high because they were never afraid to fall. Which is why the band are now rightly regarded as icons, and iconoclasts.

Emperor's Return is the second release by the Swiss extreme metal band Celtic Frost. It was released in 1985 as an extended play and was their first record featuring American drummer Reid Cruickshank (a.k.a. "Reed St. Mark"). The band's bleak publicity photographs from this period had an influence on the fashion and style of the developing black metal genre. This EP has been out of print and available on its own since 1985.

Jay Tripwire has popped up a lot recently, which is always going to be good news for fans of those freaky late-night tech sounds that he is so well known and loved for. He kicks off Serenity's fifth release here alongside Jehr on 'Magic Man', a deep cut underlapping drum funk and lots of whirring machine sounds.

Parisian space techno talent Cyberduck then takes care of both tunes on the flip - firstly 'Arzach', a deep and dynamic cut that hurriedly scans a vast cosmic world with silvery drums and lush melodies. Then 'Cerclon' gets a little more edgy, with dark and nagging baselines moving up through the mix as the crisp, well-swung tech drums power along.

The EP also includes a remix of the popular single ‘SAMO’, which
spent four weeks on the BBC 6 Music playlist, accompanied by an
animated lyric video paying homage to the graffiti tag it was named
after by Al Diaz and American artist and wunderkind, Jean-Michel
Basquiat. The final track on the EP is a remix of ‘Waiting on a Train’,
presenting a new and special version of the original song, with the
presence of featuring artists Ellen Beth Abdi and Chunky remaining
strong.

Formed in 1978 with a core line-up of Jez Kerr, Martin Moscrop and
Donald Johnson, A Certain Ratio emerged from the hallowed grounds
of the late 1970s punk scene, and from that day on they’ve moved
forwards with gleeful disregard for the boundaries of style and genre,
their eye fixed firmly on constant progression.

Carole King is the most successful female songwriter of the 20th century, having written or co-written 118 pop hits on the Billboard Hot 100 between 1955 and 1999. Carole King has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting.

Love Makes The World was officially released in 2001 and features a variety of well-known musicians, including Babyface, Steven Tyler, Céline Dion, Wynton Marsalis and k.d. lang. The album was produced by Humberto Gatica (Céline Dion, Michael Jackson, Barbra Streisand), Babyface, and King herself. The tracklisting includes “You Can Do Anything” and “The Reason”.

Love Makes The World is available as a limited edition of 1500 individually numbered copies on translucent pink coloured vinyl and includes a 4-page booklet.

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

Hailing from Wellington, Aotearoa, the land of the long white cloud, Scent is a newcomer to the scene but long time GC of Modern Hypnosis. His first sighting featured a track 'Devils Dread' on Indigo Movement's 5-year digital compilation December 2017.

Heaving at 140 beats per minute, 'Trax' creates a certain energy similar to early jungle riddims. Chopped percussion, giant synth stabs, weighty driving kicks with underlining sub bass and the odd flute build the track to a halt before commencing it's minimal technoesq break down.

'Just a Dream' a rooted scentimental dub which takes you deep into a place amongst your rem sleep with sparse whaling strings and swinging percs.
Scent debut solo release. One to watch.

2023 Repress

Since Jesper Munk's debut album in 2013 the German singer-songwriter has made a name for himself as multi-instrumentalist , "in the paths of Jack White and Dan Auerbach," as the Rolling Stone Magazine puts it, playing music that ranges from Blues and Soul to heartfelt Pop and indulging Jazz, all this with a very unique, post-Punk
edge. His new album Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk.

Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from Blues to Rock'n Roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky.
The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." All Songs face realness and live from these volatile moments that reveal vulnerability and musical generosity. The outcome of this analogue experiment is a very personal album, both inspiring and consoling.
Taped Heart Sounds courageously opens with Donnie & Joe Emerson's Baby; a song so iconic that it actually cannot be enhanced. However, Munk's interpretation stands out and has a presence that gives the song a life of its own - made for walking. Smoke Gets in Your Eyes, All the World Is Green, I'd Rather Go Blind, Head in the Clouds - what follows is a journey through Blues and Soul that is so vital and "now" that End of the Line may be the final track but certainly not the end of the story.
The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album.
Taped Heart Sounds is Jesper Munk's 4th album, following acclaimed debut album For in My Way it Lies (2013), CLAIM (2016), and Favourite Stranger (2018). Released via Billbrook Records, Hamburg-based Distributor Wordandsound's new label, the album is available for pre-order now - for purchase on vinyl and CD. The first single 'Baby' is going to be released on November 19, 2021.

A frequent collaborator of THE BANSHEES OF INISHERIN writer/director Martin McDonagh’s, Academy Award®-nominated composer Carter Burwell previously worked on three of his films, starting with In Bruges. He also worked on Seven Psychopaths, as well as his Oscar-nominated score for Three Billboards Outside Ebbing, Missouri, their last collaboration.

For THE BANSHEES OF INISHERIN, McDonagh already had, for one section of the film, a piece in mind that’s performed by a Balinese gamelan ensemble – mostly metallic instruments. Taking that inspiration, Burwell weaved gamelin instruments alongside the score’s three main instruments: the celeste – a keyboard that plays bell sounds, the harp, and the flute to create the film’s highly-acclaimed score.

“The score to Banshees is, like its slow simmering conflict, delicate and nuanced and heartbreaking all at once,” said Mondo Creative Director Mo Shafeek..” It takes small steps backwards and forwards like crashing waves on a lonely island, strings and woodwinds dancing with one another, in a waltz. The whole score plays like a dance between two overlapping voices - occasionally harmonizing, but never connecting. Occasionally beautiful, but always a bit melancholy.”

Celebrated composer, performer, saxophonist, soloist, band leader, educator, activist, and mixed-media artist Matana Roberts returns with a new installment of their acclaimed Coin Coin series. For over a decade, Coin Coin has been the central artistic project for Roberts, a remarkable exploration of American ancestry and the nature of memory through "sound quilting": modern composition that draws on a wide range of musical sources and traditions, along with research-driven historical and genealogical narratives that yield prose and poetry both spoken and sung, field recordings, and graphic scores. The Quietus declares "when the 12-album cycle is complete, it will be regarded as a singular masterpiece of 21st century sonic and narrative art" and Pitchfork calls it "one of the most provocative ongoing bodies of work by any American musician." Coin Coin Chapter Five: In the garden... is the first new recorded audio chapter since 2019 and centers upon reproductive rights, summoning the story of a family ancestor who died in early adulthood, from a cause kept obfuscated and hushed, shrouded in disinformation and shame. Roberts reimagines diaristic and oral narratives, delivered in strident streams of spoken word that punctuate the hour-long work, with recurring musical themes frequently accompanied by the declarative refrain "my name is your name / our name is their name / we are named / we remember / they forget." As Roberts writes in the accompanying liner notes essay: I find it absolutely disgusting that the same trauma my grand ancestor, whose story we are telling in this chapter, is closely mirroring the experiences of some poor soul today as I write this... Our aforementioned grand, who perished at a young age, leaving her growing children motherless, did not have to die. The negative consequences of her death have reverberated down through generations in my family line, in the same way that a similar resounding might happen for someone else's ancestral line generations from today. While often jazz-adjacent, and with Matana's inimitable saxophone and indomitable voice at the core, Roberts situates Coin Coin outside the Jazz genre and within heterodox pathways of post-modern composition, electroacoustic music, sound collage, experimental voice, and sound art. In the garden... undeniably continues to express and expand upon the project's magnificent iconoclasm, nonetheless being the most jazz-inflected chapter since Coin Coin Chapter Two: Mississippi Moonchile(2013). Recorded in Brooklyn with a stellar acoustic ensemble that includes Stuart Bogie, Gitanjali Jain, Darius Jones, Matt Lavelle, Mike Pride, Ryan Sawyer, Corey Smythe, and Mazz Swift, abetted by some sparkling pieces featuring modular synthesis courtesy of album producer Kyp Malone (Bent Arcana, TV On The Radio), In the garden... traverses a vivid stylistic array of thematic overtures, excursions and set pieces, ranging from spacious textural invocations to gorgeously tempered horn-led compositions to driving free jazz and exhilarating through composed bursts of cacophony. With storytelling spoken-word lead vocals by Roberts channeled recurringly throughout, alongside various other deployments of layered and group voices, the album is alternately a meditation and fever dream of narrative potency. This is some of the most intense and intensive music Roberts has composed and captured to date, richly conceived and deeply felt, restless yet focused, unflinchingly substantive and unique. Coin Coin Chapter Five: In the garden... channels epigenetic trauma and tragedy with teeming complexity and fierce beauty _ a eulogy, testimony, and celebration, melding music and language in a stunning polychromatic flow of vernaculars and poetics. A powerful work of subjective commemoration and historical-cultural communion that speaks indelibly to the present moment.



2x10” in 350 gsm widespine jacket w/interior colour flood + 300 gsm printed inners + 20”x 10” fold-out insert + DL card