Suche:char

A soundtrack of Sudan's revolution and the first ever international release of the Beja sound, performed by Noori and his Dorpa Band, an unheard outfit from Port Sudan, a city on the Red Sea coast in eastern Sudan and the heart of Beja culture.

Beja Power! is a living archive of the finest, most heartfelt Beja songs—a six-track portal to another time and place, of melodies long forgotten and never before interpreted by an electric and brass-driven ensemble. Few older Beja recordings were produced. Even fewer, if any, remain.

Electric soul, blues, jazz, rock, surf, even hints of country, speak fluently to styles and chords that could be Tuareg, Ethiopian, Peruvian or Thai—all grounded by hypnotic Sudanese grooves, Naji's impeccable, airy tenor sax, and of course, Noori's tambo-guitar, a self-made unique hybrid of an electric guitar and an electric tambour, a four-string instrument found across East Africa.

A truly ancient community, Beja trace their ancestry back millennia. Some say they are among the living descendants of Ancient Egypt and the Kingdom of Kush. They are even depicted in the hieroglyphics. Beja melodies—nostalgic, hopeful and sweet, ambiguous and honest—are thousands of years old. Yet their sounds are also reminiscent of Dick Dale's 1963 "Misirlou" and jazz great Charlie Rouse's 1968 "Meci Bon Dieu". This album could be 6,000 years, 60 years, or 6 months old.

Along with his Dorpa Band, formed in 2006, Noori's instrumental Beja music forms the latest link in an unbroken chain of an inherited, arresting sound that is local as it is global, a gift of a storied past and the exchanges of the well-traveled Red Sea.

Ostinato Records is honored to bring the nearly forgotten Beja sound in all its nostalgia, sweetness, honesty, and power, recorded and mastered to maintain the warmth of Sudan's signature aesthetic, to your sound system.

Hassan Ideddir’s 1989 single “Atfalouna” sees an expanded repress courtesy of Dark Entries. Born to Berber parents in Morocco, Ideddir began making music at the age of 10 after being discovered singing in the stairwell by his school’s headmaster. Encouraged by his peers, he began playing concerts, and his status grew. In 1987, he played a string of sold-out concerts in Casablanca, Rabat, and Marrakesh, in support of a children’s charity. The success of these concerts secured him a record deal, and he went to Paris to record his debut single “Atfalouna” in 1988.

Released in 1989 on WEA, “Atfalouna” is a dense slab of multi-genre pop. An opening wash of digital synths and reverberant vocals quickly falls away to a cascade of orchestra hits and pulsing electronic drums; the monotone chant-rap of a female chorus collides with Ideddir’s soaring melismatic vocals, pleading against the injustice and hunger in the world. While Hip-Hop and New Beat borrowed tropes from Arabic music, “Atfalouna” inverts the gesture, resituating orchestra hits and sampling techniques within a Moroccan music framework. A shorter instrumental version follows, which preserves the female vocals. Also included are two tracks not on the original 12”. “Ibina” is a moody, downtempo instrumental that sounds like a cult Italo B-side. The record closes with “Ydouchababe”, an electro number driven by funky guitars, electronic claps, huge horn riff. Here, Ideddir sings of a youth festival honoring Hassan II, former king of Morocco.

All songs were remastered by George Horn. The sleeve is a replica of the original 12” cover art, featuring Ideddir set in a cheeky collage of clocks, columns, and camels. Also included is a postcard with a photo of Hassan, as well as lyrics in both Arabic and English. We will be donating 100% of proceeds from this release to Sphere who provide support to the young queer community across Ukraine and the Palestine Children's Relief Fund who help provide urgent humanitarian care for Gaza's children.

A.B. Crentsil is a heavyweight of Highlife music and the main vocalist of Sweet Talks, one of the most popular Ghanaian bands of the 1970’s. In 1992, musician Charles Amoah and producer Richie Osei Kuffour offered him the opportunity to explore a new popular sound: Bürger Highlife. Little did he know these studio sessions would give birth to the biggest song of his career.
Charles Amoah, who had released his Sweet Vibrations LP in 1984 to great acclaim, extensively toured in Europe with bands such as Black Earth and Saraba, was eager to bring a new sound to Crentsil, an artist he had admired for years. Throughout the 1980’s, Highlife had been changing pretty radically, following the same evolution as Congolese Soukous, Caribbean Zouk and most popular black music
genres of that era: Heavy use of drum machines, synths and digital technology was conveniently replacing big bands and expensive
analog studios and equipments. Mostly recorded, produced or mixed in Germany, this new breed of electric Highlife dubbed ‘Bürger Highlife’ could be defined as a fusion of Disco, Jazz, Funk and Pop with the popular Highlife beats, rhythms and lyrics.
According to A.B. Crentsil, the name was a reference to the ever present American cultural influence on Ghanaian musicians. Charles
Amoah has his own take: “I initially called this particular kind of Highlife ‘Ethno Pop’. Bürger is the German word for citizen, and that’s how Ghanaian musicians living and working in Germany were calling each other”.
The music for both “Obi Baa Wiase'' and “Sika Be Ba” was entirely composed and played by Charles Amoah, using minimal equipment: a
DX7 synth, a Korg M1, a Yamaha RX5 drum machine, and an Akai 1000 sampler. A.B. Crentsil provided the lyrics for both tunes on the spot. Obi Ba Wiase’s message is one of gratitude and faith: it says we should appreciate our life way more and follow the example of people who have a lot less but still praise God all day.
Charles remembers fondly Crentsil’s larger than life personality: "A.B. slept a lot, he really loved sleeping. His lack of punctuality was easily dismissed by his wonderful sense of humour and it wasn't uncommon to find musicians rolling with laughter on the studio floor."
Charles also remembers vividly the "Obi Baa Wiase" session: he could feel the magic in the air while working on the soon to be hit, and
knew something special was happening. A.B. asked for a break in the middle of the session, which Charles adamantly refused until the song was finished and the magic fully captured.
Success was not immediate, and Charles was first a little concerned by the lack of buzz following the immediate release of the Gyae Me
Life Ma Me album. But a few months down the line, the situation took a new turn. "Obi Baa Wiase" was making its way into radio playlists,
weddings and festive celebrations. It was covered by local bands, and soon most of Ghana and its European and American diasporas were hooked. It became A.B. Crentsil’s most requested song at live events for the following decades.
As producer Richie Moore wrote on the album back cover : "A perfect integration of two musical geniuses, the result of which are the
scintillating tracks of music on this record… so all you party fans go onto the floor and dance the body music"

Written and recorded during the pandemic, Aaron Watson's 'Unwanted Man' takes the listener on a full circle journey from isolation and despair to loving redemption. Aaron wrote or co-wrote all eleven songs on 'Unwanted Man,' showcasing both his trademark love songs in “When I See You” and “Nothing On You” as well as his popular classic uptempo romps with “Cheap Seats” and “Heck Of A Song”. 'Unwanted Man' is Aaron’s 14th studio album and his 18th album overall. Every album Aaron has released since 2010 has landed firmly in the Top 10 on the Billboard Country Album Chart with three debuting in the Top 5. For the past 20+ years, Watson has achieved success on his own terms, hand-building a lauded career through songwriting, relentless touring and nearly twenty self-released albums. His independent Texas spirit and strong work ethic are emblematic of the western lifestyle; virtues which have taken him from humble honky-tonks of Texas to multiple sold-out tours around the world. Rolling Stone calls him "Texas country's reigning indie underdog" and The Boot remarks that Aaron is "a pure expression of his traditional country ethos.” His 2015 album 'The Underdog' was the first independent album in the history of country music to top the Billboard Country Album Chart. Aaron Watson’s career is perhaps summed up best by Forbes, who says he’s "one of country music’s biggest DIY success stories." A self-made businessman, chart-topper, and road warrior whose authenticity has made him a country music staple, Aaron Watson is here to stay.

Tetra Hydro K is a laboratory in which two dub alchemists are experimenting with multiple sounds to mark their imprint on the French electro-dub scene. The duo of producers returns this year with a new album "Odyssée".

Coming respectively from the free party and trip-hop universe, they took their inspirations from French dub tenors such as High Tone, Improvisator Dub or Kaly Live Dub. Kanay creates a strong rhythm while Krilong brings his melodic genius with his saxophone. Electronic? Acoustic? Dub? Drum'n'Bass? Tetra Hydro K focuses on the combination of organic elements in an electronic universe. After 4 EPs since 2010, the band decided to evolve in 2016 with a first album "Labotomie". It was followed by 2 albums in 2017 and 2018 and season 1 of the amazing "Smoking Sessions" last year.

With this new album "Odyssée", THK rightly marks its stamp on the French dub landscape. They turned their passion in a life-size experimentation, a great diversification of the genres and musical influences that shines through various guests. The stellar dub of the French producer Panda Dub remixed by THK in "Labyrinthe" confronts with the Raggatek rhythm of the track "Nah Come Fi Test" for a top-notch collab alongside Sensi T. On "Black Ship" the duo signs a deep instrumental with a dark and dubby psychedelic vibe.

The rapper KT Gorique shows all her power on the track "L'impasse", displaying her powerful flow, no matter the rhythm. On this album, THK collaborates on two tracks with Tom Spirals. This MC from Glasgow lay down his voice in two different ways, first with a Hip-Hop vision, slightly Trap, in "Expedition 808" then with a Reggae flow on "Cut to the Chase". "Skanking Trip" adds a touch of Dub Stepper in this album with vocalist Loïc Paulin in full power over the heavy-weighted bass. Three instrumental tracks complete this album including the monstrous "Charcuterie Monin".

Tetra Hydro K is back on the road in 2022 to take us in their new odyssey !

Celebrating the 10th Anniversary of “Unorthodox Jukebox”, a limited Dark Red Vinyl edition will be released on the 17th June, with the pre-order going live on the 19th May. “Unorthodox Jukebox” is the second studio album by American singer and songwriter Bruno Mars. It debuted at #2 on the US Billboard 200, The record also reached #1 in Australia, Canada, Switzerland, and the U.K.. It became Mars's fastest-selling album in the latter country in 2012, the third best-selling album in Australia in 2013, and the fifth best-selling in the United States in 2013. The International Federation of the Phonographic Industry (IFPI) reported that Unorthodox Jukebox was globally the fourth best-selling album in 2013. “Unorthodox Jukebox” also won the Grammy Award for Best Pop Vocal Album at the 56th Grammy Awards.
Bruno Mars is a 21-time GRAMMY Award nominee and multi-GRAMMY winner. The celebrated singer, songwriter, producer, musician has sold over 171 million singles worldwide, making him one of the best-selling artists of all time. His most recent critically acclaimed and RIAA certified platinum album, “24K Magic,” made an impressive debut atop the Top Digital Albums and R&B/Hip-Hop Albums charts. Additionally, the album and its lead single, “24K Magic,” simultaneously hit No. 1 on the iTunes Overall Albums and Overall Songs charts week of release. The single has since climbed to No. 4 on the Billboard Hot 100 and has also officially been certified Platinum by the RIAA.

This HOT double-A side features the 70s Torch dancer 'HERE I GO AGAIN' - with it's crashing backbeat and fabulous 'call-to-the-floor' intro. The song was originally released in the USA by Atlantic Records in 1969, to little acclaim at the time, but later spiraled to No.11 in the UK pop charts in 1972 due to demand from the Northern Soul scene. 'TIGHTEN UP' was one of the first songs to be recorded by Archie Bell & The Drells, in Houston, Texas in 1967. The track had originally been developed by the T.S.U. Toronadoes and, coupled with Bell's unique spoken introduction, caught the imagination of the nation earning the band a gold disc and a No.1 R&B and Pop smash. It would become a UK Mod anthem and spawned future club hits care of Willie & The Mighty Magnificents 'Funky 8 Corners' and Frankie Crocker's floor packin' 'Ton Of Dynamite' (also available from Outta Sight, OSV106).

O’o share many of the musical characteristics of their ornithological namesake. The Kaua’i O’O produced the most exquisite birdsong before its extinction in Hawaii in the late 1980s. The beauty and character of its voice was delicate and mysterious, tuneful and surprising. You can experience it with just a cursory websearch, a haunting cri de coeur from the last century. If the poor O’O is consigned to history, then life is just beginning for this French duo, based in Spain, who’ve won plaudits and awards already in their short musical lifespan.

O’o are about to release their sublime debut album Touche. This is not an endling, it’s just the beginning: “I found the name on a website of weird English language words, and I loved the way the letters were arranged like a pair of glasses,” says O’o singer Victoria Suter. “Afterwards, I went onto YouTube and started listening to the last bird of its species, calling for a mate that would never come. I thought: ‘Oh my God, that’s so sad’. Then we talked about the name and we thought it could be a nice thing to honour it and keep it alive in some way.”

Suter met her musical partner Mathieu Daubigné at college in Agen, South West France, when the pair were studying music theory in their teens. Victoria moved to Barcelona in 2010; Mathieu followed six years later. Their debut EP, Spells, appeared in 2018 a beautifully crafted patchwork of vocals and samples that is redolent of the uncanny vocalese of Laurie Anderson. The bird makes an appearance at the beginning of the EP: “Sweet tooth beak. Soft melody peak / Oh O’o, go round and round in circles / Looking for a honeydrop, til you vanish, til you drop”.

That sense of profound longing for something lost is carried over to Touche, as well as the same heightened sensory awareness of the world around them. What has developed in spades is the creative process. O’o have blossomed organically, augmenting their pop sensibilities. Avant-garde techniques have been brought to heel as the pair create off-kilter pop music that warms the heart and nourishes the brain. The catalyst that enabled this bold pop transformation came with the song ‘Touche’ itself, a saucy chanson at the heart of the album. Suter’s wry narrative about a botanical femme fatale is inserted into a lithe and skittish song with reggaeton beats and an inviting, balmy atmosphere.

“The song is about a flower which attracts male insects, producing the very same smell as the female of the species,” explains Victoria. “The poor male is fooled by the sex-appeal of this botanical trap, and gets so excited that he exhausts himself and wastes all his other chances of ulterior mating and having any offspring. The flower entices the insect in in mermaid-like fashion, to come nearer and touch her. It’s the hot track!”

‘Touche’ reaches into hitherto unexplored areas of pop, while the rest of the album is accessible in the way that James Blake, Radiohead or Kate Bush are accessible, and it always challenges, in a way that pop isn’t supposed to. Suter writes playful, poignant, observational songs that tell stories as well as tell us something about ourselves. Songs like ‘Dorica Castra’ are built upon the voice as an instrument, centrifugal and layered from its core.

Complimentary to this method is Daubigné, who brings startling innovation with found sounds, samples and clever vocal manipulations—creating unique, otherworldly sonic flourishes. A guitar whirs like a musical spinning top on ‘Spin’, created in Ableton; an Ondes Martenot appears to make a guest appearance on the title track, though it’s the ingenuity of the Prophet 8 synthesiser. “I’ll often say to Mathieu, ‘what’s that?’” says Suter, He’ll reply, ‘that’s your voice’.”

O’o found their own voice when they won a competition held by the legendary festival organisers Primavera Sound. Victoria entered the band into a competition she saw on Instagram, sending off rough demos on the final day of entry, thinking little more about it other than the fact Mathieu might be annoyed. Soon they would have to build a live set from scratch and figure out how to present their music for the first time. At stake was seventy hours of recording time at Aclam studios, used by Rosalía and Kendrick Lamar, and for the winner a coveted spot at the festival. A pool of 350 acts were whittled down, and then O’o triumphed at a Battle of the Band style face off.

The O’O might be extinct, but O’o the band have learned how to fly. Just watch them go.

Dead Serious is the debut studio album of American hip hop duo Das EFX, originally released in 1992. Recording sessions for the album took place at Firehouse Studios in Brooklyn, New York and at Charlie Marotta's North Shore Soundworks studio in Long Island, New York.

Dead Serious caused an immediate sensation upon its release. The album was a certified hit, peaking at #16 on the US Billboard 200 chart and topping the R&B/Hip-Hop Albums chart for five weeks. Dead Serious went Platinum on the strength of the singles “Mic Checka” and the Top 40 pop hit “They Want EFX”.

HAVEN return with another killer EP from Berlin duo New Frames - Mathis Mootz (aka The Panacea) and David Frisch. There's no messing around in their second release on the imprint, with the A1 track 'Clownhouse Reality' designed pummelling bodies with it's driving 4-4 rhythms, spiky synths and perfect techno sound design. The A2 continues this formula with 'Variation Is A Feature Not A Flaw' - where the huge pounding drums and rolling break samples interplay with wailing sound effects and a lively side-chained mid-range synth in another dance-floor burner.

The tempos increase on the flip with the B1 track, 'Proton Isospace', leading the charge with its sinister melodic stabs, rolling drum patterns, and creeping washes of mid-bass guaranteed to get feet moving. The B2 ends the record with a massive Manni Dee remix of New Frames modern classic 'Scatter' released on the first Sardonic Tonality compilation back in 2019. The UK producer proves his mettle in this re-imagining with colossal drum work, a monster rap line, and a cheeky half-time build up to close out another hefty offering from the HAVEN camp.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

A repress offer using exactly the same stampers as our first run!

The masters were sourced from original reel to reel tape, we carefully remastered this classic release while retaining all the character of the original. Mastering is by Bob Macc @ Subvert Central Mastering. You can be assured the tracks sound fantastic but do not suffer from the Loudness Wars while still holding their own when mixed with modern productions.

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Released for the first time on vinyl, Queen’s compilation ‘The Platinum Collection’, featuring all three of their Greatest Hits albums, shows their unrivalled track record of chart-topping, award-winning, record-breaking rock and pop classics. June 17th will see the limited edition 6LP colour vinyl set released in a slipcase with brand new artwork. Each piece of vinyl will be a different colour and come in its own individually designed sleeve. The set also comes with an exclusive 24-page 12″ photo booklet. LIMITED EDITION

Indie-pop singer-songwriter, composer and producer Australia’s Ben Lee releases his 14th solo studio album “I’m Fun!”. The new album features guests Zooey Deschanel, Christian Lee Hutson, Money Mark, Megan Washington, Georgia Maq, Eric D Johnson.

On the album, Ben Lee says “This album, this moment in my career, is all about balancing some hard-earned wisdom from a 30-year long career with the vigor and energy of youth. That’s why it was as important to me to collab with artists like Jon Brion and Money Mark who I’ve both known for over 2 decades, as much as people like Shamir and Georgia Maq who are young and lit up with creative adrenaline. I like being a generational bridge between freaky artists. They are my tribe!”
Even before the launch of his solo career, Ben attracted attention in his teens as a member of the Sydney band Noise Addict. Following the band’s demise in the mid-90s, he began issuing a string of acclaimed solo albums while taking part in several side projects, including The Bens (Ben Folds, Ben Kweller, Ben Lee).

In his 30-year music career, Ben Lee has been gloriously prolific and unpredictable. The 4x ARIA award winning artist boasts an enviable catalogue including ‘Grandpa Would’ 1995, ‘Something To Remember Me By’ [1997], ‘Breathing Tornados’[1998], 2x ARIA Platinum album ‘Awake In New Sleep’[2005], ‘Ripe’ [2007], ‘The Rebirth of Venus’[2009], ‘Deeper Into Dream’ [2011] which have collectively spawned a multitude of chart hits, including “Cigarettes Will Kill You”, “Gamble Everything For Love”, “We're All in This Together” and “Catch My Disease”

Second Sub Pop album by acclaimed UK act TV Priest finds them building on the
post-punk of their early material and maturing into a powerhouse of tense, politically
caustic, and thoughtful rock music.
Without a brutal evaluation of their own becoming, TV Priest might have never made
their second album. Heralded as the next big thing in post-punk, they were
established as a bolshy, sharp-witted outfit, the kind that starts movements with their
political ire. There was of course truth in that, but it was a suit that quickly felt heavy
on its wearer’s shoulders, leaving little room for true vulnerability. “A lot of it did feel
like I was being really careful and a bit at arm's length,” says vocalist Charlie
Drinkwater. “I think maybe I was not fully aware of the role I was taking. I had to take
a step back and realize that what we were presenting was quite far away from the
opinion of myself that I had. Now, I just want to be honest.”
Having made music together since their teenage years, the London four-piece piqued
press attention in late 2019 with their first gig as a newly solidified group, a raucous
outing in the warehouse district of Hackney Wick. Debut single ‘House of York’
followed with a blistering critique of monarchist patriotism, and they were signed to
Sub Pop for their debut album. When ‘Uppers’ arrived in the height of a global
pandemic, it reaped praise from critics and fans alike for its “dystopian doublespeak,”
but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic
Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of
tea and marking time via government-sanctioned daily exercise. As such, the
personal and professional landmark of its release felt “both colossal and minuscule”
dampened by the inability to share it live. “It was a real gratification and really
cathartic, but on the other hand, it was really strange, and not great for my mental
health,” admits Drinkwater. “I wasn’t prepared, and I hadn’t necessarily expected it to
reach as many people as it did.”
As such, ‘My Other People’ maintains a strong sense of earth-rooted emotion, taking
advantage of the opportunity to physically connect. Using ‘Saintless’ (the closing
song from ‘Uppers’) as something of a starting point, Drinkwater set about crafting
lyrics that allowed him to articulate a deeper sense of personal truth, using music as
a vessel to communicate with his bandmates about his depleting mental health.
“Speaking very candidly, it was written at a time and a place where I was not, I would
say, particularly well,” he says. “There was a lot of things that had happened to
myself and my family that were quite troubling moments. Despite that I do think the
record has our most hopeful moments too; a lot of me trying to set myself reminders
for living, just everyday sentiments to try and get myself out of the space I was in.”
“It was a bit of a moment for all of us where we realised that we can make something
that, to us at least, feels truly beautiful,” agrees Bueth. “Brutality and frustration are
only a part of that puzzle, and despite a lot of us feeling quite disconnected at the
time, overwhelmingly beautiful things were also still happening.”
This tension between existential fear born from the constant uncertainties of life, and
an affirmative, cathartic urge to seize the moment, is central to ‘My Other People’, a
record that heals by providing space for recognition, a ground zero in which you’re
welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is
a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or
any audience pressure to commit solely to their original sound.

Focusing exclusively on 7"s, Ferry Lane Records launches its first release with the debut of Leona Jacewska AKA Charlie. Having garnered a following with her DJ and live performances, the record sees the Polish producer merging seamlessly Italo, synthpop and wave.

Limited to 200 copies, hand-stamped labels, download code include

Repress !