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Painting is a new Berlin-based band featuring former Soft Grid members Theresa Stroetges and Christian Hohenbild as well as saxophonist Sophia Trollmann. Drawing on a broad palette ranging from experimental rock, electronic avant-garde sounds, unconventional pop and jazz, their debut album "Painting Is Dead" is a veritable kaleidoscope of sounds that ties in with a virtual room installation by Paula Reissig and a hybrid live show.

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Eighties Collected features original hits like Wham! “Wake Me Up Before You Go-Go”, Duran Duran “Hungry Like A Wolf”, A-HA “The Sun Always Shines On TV”, The Cure “In Between Days”, Pat Benatar “Love Is A Batteflield”, Culture Club “The War Song”, Robert Palmer “Pride”, Frankie Goes To Hollywood “Relax”, Simple Minds “Sanctify Yourself”, ABC “When Smokey Sings”, The Human League “(Keep Feeling) Fascination”, UB40 “If It Happens Again” and many more.

Es gab vereinzelte Gerüchte, nun ist es offiziell: Am 29. April 2022 erscheint das neue Rammstein-Album »Zeit«!

Der achte Longplayer der Berliner Musiker folgt auf das unbetitelte Nummer-Eins-Werk, mit dem die Band 2019, nach der längsten Album-Pause ihrer bisherigen Karriere, auf Anhieb 14 Spitzenpositionen der
internationalen Charts erreichte. Zwei Jahre haben Till Lindemann (Gesang), Paul Landers (Gitarre), Richard Z. Kruspe (Gitarre), Flake
(Keyboard), Oliver Riedel (Bass) und Christoph Schneider (Schlagzeug) an den elf Songs des neuen Albums gearbeitet. Zur Seite stand ihnen erneut der Berliner Produzent Olsen Involtini. Aufgenommen wurde »Zeit« in den La-Fabrique-Studios in St. Rémy de Provence, Frankreich.

180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Quincy Jones Big Band Bossa Nova + 2 Bonus Tracks (Yellow Vinyl) “Almost every track here is a small classic that you’re bound to have heard somewhere, without realising what it was. “Manha de Carnaval”, Luiz Bonf‘s peerless melody, is another that surfaces constantly in movies and behind commercials. Likewise, Jobim’s “One Note Samba”, which varies the metre and changes the pace most effectively. Jones recognised that he had something that could change the metre and flavour of almost any piece. “On the Street Where You Live” loses its slightly plonking sentimentality and turns into a celebration of community. “A Taste of Honey” acquires a new and exotic quality.” Penguin Guide to Jazz “There are few albums more enchanting than this one, which finds the perfect balance, among other things, to make everything swing, and to make us dance better. And you’ll be amazed to hear the voices of Roland Kirk, Paul Gonsalves, Jim Hall and Clark Terry. Yes, all of them are here.” Jazz Magazine Personnel: featuring Clark Terry (trumpet) Phil Woods (alto sax), Paul Gonsalves (tenor sax), Rahsaan Roland Kirk (Stritch, alto sax), Lalo Schifrin (piano), Jim Hall (guitar), Chris White (bass), Rudy Collins (drums), Jos Paula, Carlos “Bala” G
mez, Jack Del R o (percussion), Quincy Jones (conductor). Recorded in New York, August 13 & September 4-12, 1962. *BONUS TRACKS: Quincy Jones and His Orchestra. Similar personnel as Big Band Bossa Nova, also including Rahsaan Roland Kirk (flute, tenor sax, Stritch). New York, June 15, 1962. Original session produced by Quincy Jones. Originally issued in 1962 on the Mercury single 72012


b a2 | Boogie Bossa Nova Aka Boogie Stop Shuffle

Brazilian artist Bruno Furlan is the next to make his mark on the famed Hot Creations imprint. The two-track release, The Speakers Pump Like This, is set to bring the heat and make serious waves on dancefloors this year.

Title track The Speakers Pump Like This transports you straight to the club, with its peak-time pace, sonic synth stabs and prominent vocal cuts. On the flip, Moving gets to work with a sharp kick-drum and infectious vocals, as subtle builds and drops move throughout the track, whilst retaining the solid, rolling groove.

Hailing from the diverse and electric city of Sao Paulo in Brazil, Bruno Furlan started his DJ career while still a teenager and quickly became a highlight in the Brazilian electronic music scene, capturing the attention of artists such as Claude VonStroke, Chris Lake, Solardo, Green Velvet and Amine Edge & Dance. Always driven by a great love for his art, Bruno has created his own unique way of approaching music production, resulting in a standout discography and performances throughout the world. In addition to his own record label Whistle Records, Bruno has released on labels such as Dirytbird, Relief, , Sony Music, SOLA, Nervous, and more.

Composer, producer, multi-instrumentalist and co-founder of Black
Rebel Motorcycle Club, Robert Levon Been, announces his forthcoming
album, ‘Original Songs From The Card Counter’.

Levon Been composed several original songs as well as a majority of the
score for writer and director Paul Schrader’s new film, ‘The Card
Counter’, starring Oscar Isaac, Tiffany Haddish, Tye Sheridan, Willem
Dafoe and executive produced by Martin Scorsese.

“Ironically this entire project began by working the last scene of the film
first,” says Levon Been. “Paul had reached out asking if I would write an
original song for a very intimate final scene he had been struggling with.
As tempting as the concept was, I must admit that kind of composing is
also my biggest fear - to write directly to picture with such precision that
it takes over the narrative in a substantial way, which I knew Paul never
shies away from. It also turned me into a nervous wreck because I know
just how easy it is to quickly ruin a movie with merely a single lyric at the
wrong time. Thankfully for ‘Mercy Of Man’, I had S.G. Goodman there in
NY singing with me to help experiment with how to create a fairly
unconventional duet of sorts that is intended to evoke the emotions of
the two characters in that final scene.”

‘The Card Counter’ marks the fifth collaboration between Schrader and
Scorsese, who previously worked together on ‘Taxi Driver’, ‘Raging Bull’,
‘The Last Temptation of Christ’ and ‘Bringing Out the Dead’.

Robert Levon Been is a producer, composer, singer songwriter and
founding member of the band, Black Rebel Motorcycle Club, with whom
he has released eight albums and toured the world with since 2001. With
a dedicated following across Europe, the US, Australia and Asia, their
record ‘Howl’ has ranked many top album lists.

In 2013, Black Rebel Motorcycle Club were featured in Dave Grohl’s
Grammy-winning documentary, ‘Sound City’. 2021 marks the 20th
anniversary of the release of Black Rebel Motorcycle Club’s self-titled
first album.

Robert is currently producing and writing for multiple projects, dividing
his time between Los Angeles and Vienna.

Gatefold LP, with initial copies featuring spot gloss on sleeve. (Once this
format has sold out, a standard gatefold sleeve edition - EPZTC001LPR
- will be made available.)

First Word Records is very pleased to present a brand new full-length album from Sarah Williams White! Emanating from the "hilly fields of Lewisham" in South London, Sarah Williams White is a singer songwriter, multi-

instrumentalist and producer. Her sound is a unique blend of psych-soul, folktronica and experimental synth-pop.

Sarah released her acclaimed debut album 'Of The New World' on First Word in 2015, which was written, produced and performed by Sarah from her home studio, with the assistance of drummer, engineer & husband, Timmy Rickard. Her projects have seen support from the likes of Lauren Laverne, Tom Ravenscroft, Nemone & Chris Hawkins (BBC 6 Music), Jamie Cullum (BBC Radio 2), FIP Radio, Clash & The Guardian, to name a few, and she's toured the UK with Dan Le Sac vs Scroobius Pip and Golden Rules (Lex). There have been additional collaborations with label-mate Quiet Dawn (on the 2021 compilation / EP 'A Family Affair') and with her brother, Paul White - a revered producer in his own right, with credits including Danny Brown and Sudan Archives.

Following a hiatus, Sarah now brings us her sophomore album, 'Unfathomable'. A project that offers up escapism from the mundane, enticing us to connect with our natural planet in this prevalent time, via the eyes of a new mother.

In her words, Sarah states that the album is "about escape. It's about deflating the ego by looking up to the endlessness of outer space, connecting with the greatness of mother nature, and loving how unfathomable the universe and life itself is".

11-tracks in all, including the recent singles 'Nebula', 'Green' and 'Monsters', this opus sees Sarah's buttery lathing of vocals merged with cutting beats and atypical pop sensibilities across the project, again entirely self-produced from home, defining her as one of the UK's most irresistible DIY psych-soul talents.

With a voice reminiscent of Peggy Lee, tapestried harmony akin to Hiatus Kaiyote, beats fit for Little Dragon, and experimental production evocative of Kate Bush, Sarah Williams White's signature genre-defying sound invites us into a world uniquely hers.

'Unfathomable' is released on vinyl and digital in late January 2022.

Cardinal Fuzz / Acid Test are proud to present to you the debut LP from Black Holes Are Cannibals – ‘Surfacer’.

Formed around the uber talent of Chris Jude Watson (founder of ‘Snakes Don’t Belong In Alaska’) who in BHAC found a band to take his vision to the outer most limits. BHAC are a collective with a varying line and each time they record all the music is improvised as they let their collective and innate abilities guide them, but what does bind them are the touchstones of Drone and Minimalism that runs through the music they create or just plain HEAVY. Call them Drone Metal or Psychedelic it matters not as the music created is an immersive, all consuming and thought-provoking transcendental listening experience that awaits those brave enough to take the ride with BHAC.

‘Surfacer’ was recorded at First Avenue Studios in Newcastle by the band using a TASCAM DR40 and is the embodiment of pent-up emotions gathered and endured during lockdown as they zap out every ounce of feeling and anguish into this recording.

‘Surfacer’ is not an album for the faint of heart with 2 long tracks of transcendence that will challenge and push you to lose yourself in the sonic experience of the timbre / vibrations of droning instruments and throat vocalisations as BHAC weave together mesmerizing waves of sonic texture.

‘Surfacer’ draws influence from bands like Neptunian Maximalism, Qujaku, Neurosis and the visual work of Andrei Tarkovsky, Kenneth Anger and Larisa Shepitko which influence the energy and darker sounds of the music while still taking influence from more traditional psychedelic sounds and experimental places like Taj Mahal Travellers, Suzuki Junzo, Pauline Oliveros, Vahvistusharha, and Tōru Takemitsu aurally and visual energies from occult works like Jodorowsky's 'Holy Mountain', Helena Blavatsky and Hilma Af Klint's Alterpieces 1-3.

As Terence McKenna might have said – BHAC are best experienced when listened to in complete solitude in a dark room while you are doing nothing else. To experience this album to the fullest, you must not have any distractions. Just sit down, relax, plug in, and let this album take you up into outer space.

‘Surfacer’ is pressed on Heavy Black Vinyl and presented in a 350gsm Outer Sleeve with artwork that perfectly matches the music drawn by James Watts (Inspiration coming to James from an article on beaked whales being "more surfacer than diver" before we had that jam and thats what inspired his drawing of an abstract beaked whale skull for the cover).

If it wasn't for the global lockdown, we might never have had the chance to hear one of this year's most intriguing and inventive albums. Lonely Guest was conceived and put together over the last 18 months by one of British music's true innovators: Tricky. Bu tas he's keen to make clear: this ain't noTricky album. Rather it's a thrilling meeting of musical mavericks, with the likes Idles' JoeTalbot pitting his unique approaches to songwriting against Tricky's otherworldly production. From an unsettling tale of isolation courtesy of Maxïmo Park's Paul Smith ('Christmas Trees') to the grunge stylings of Marta's 'Move Me', via the tense storytelling of London rapper Kway's 'On A Move', these diverse statements come together as a bold artistic statement of their own. The late artistic visionary and legend Lee "Scratch" Perry features vocals on 'Atmosphere' with Tricky and Marta. It is with great sadness that Tricky and the False Idols team acknowledge and honour Lee "Scratch"Perry's passing.

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





[d] 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





d 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

Mouth Congress – friends Paul Bellini and Scott Thompson of Kids In The Hall fame - wrote and recorded hundreds of songs in the ‘80s with - out ever putting out a proper release. Alongside various cohorts and conspirators, the band drew on their experiences as gay men to craft hilariously crude punk songs that run the gamut of strange characters and taboo subject matter. Their rag tag approach to songwriting blended various styles from noisy punk to lo-fi new wave and DIY disco, all with a very gay bent. Without trying, they were surprisingly cutting edge.

Mouth Congress did dozens of live shows through the mid-80s that gained a reputation for being theatrical, combining props, sets, multiple costume changes, unusual song choices, guest stars, and Scott’s stand-up comedy. In 1988, they recorded a 7-song demo tape. The tracks were recorded quickly, as the Kids in the Hall were about to go to New York City to develop their material. Then, caught up in the excitement of the Kids in the Hall being signed to television, Mouth Congress activities slowed to a crawl.

In 2011, Paul dug out an old VHS tape of one of the live shows. The sight of one of the Kids in the Hall covered in sweat, writhing on stage like Iggy Pop, was something he felt comedy fans might enjoy seeing. Naturally, Scott agreed and they uploaded everything - over 600 recordings - onto Bandcamp. One day in 2019, Mike Sniper of Captured Tracks stumbled upon the Bandcamp page, got in touch, and suggested assembling a compilation of the best recordings to be officially released for the very first time.
Waiting for Henry is a collection of 29 tracks over 2 LPs with a booklet of interviews and ephemera from one of the ‘80s
last queercore bands.

Who is Henry? We don’t really know, but we certainly hope he shows up soon.

Paul Gilbert have announced the release of a new seasonal offering titled 'TWAS. Gilbert’s 17th solo album features a dozen recordings, two of which are new, original compositions.

Gilbert shares, “Many will agree that in recent times, challenging events have been pouring down upon our heads like an Exploding Waterfall of Molasses. At least it sometimes feels like that to me. But while I was jamming Christmas songs with my friends, playing an assortment of red, green, and white Ibanez electric guitars, I felt like life was THE BEST. I hope that this music can put a smile on your face as well. Merry Christmas to all. And to all, a good night.”

The track listing features “Let It Snow! Let It Snow! Let It Snow!,” “Frosty The Snowman,” “Hark! The Herald Angels Sing,” “The Christmas Song,” “Rudolph the Red-Nosed Reindeer,” “I Saw Three Ships,” “Every Christmas Has Love” (original), “Three Stings For Christmas” (original), “Have Yourself a Merry Little Christmas,” “We Wish You a Merry Christmas,” “Silver Bells,” and “Winter Wonderland.” On the Japanese release of ‘Twas The Guitar Before Christmas, there will be a bonus track titled “Down the Chimney Blues” (original).

Gilbert offers, “Ten of the songs are classics. I was inspired by the Christmas recordings of Nat King Cole, Loretta Lynn, Stevie Wonder, Barbra Streisand, Johnny Mathis, Ella Fitzgerald, and The Ventures. And of course, inspiration came from my guitar heroes, Eddie Van Halen, Alex Lifeson, Johnny Winter, Robin Trower, Frank Marino, Pat Travers, Jimi Hendrix, and Jimmy Page, to name a few. I also wrote some of my own new Christmas songs. As I have been doing recently, I begin with lyrics and a melody. Then I let my guitar take over, as it sings better than I do.”

What or HOO do you get if you mix guitarist Neil Halstead, Farmer Dave of Beechwood Sparks with uncompromising folk angel- Jackie Oates, producer-songwriter and organic gardener with a penchant for wah-wah, Nick Holton? The answer is the widescreen, heartbreaking glory of HOO’s second album WE SHALL NEVER SPEAK. A more song filled leap forward from debut CENTIPEDE WISDOM’s post-rock electro adventures. Holton is a master builder of woozy dynamics, his songs unfurl with a mysterious, hooky logic all their own - this is cinematic and deeply emotive machine music. A glorious hybrid of electro, shoegaze, dubby ‘niceness’ and floating dream pop. The spooked, narcotic throb of opener GHOST IN YOU. The pounding, chewy Kraut/Space rock of CRANIUM. THE MIGHTY’s exquisite slow build towards Can-like lift-off. The snarly, groovy drive of centrepiece & single STILL DREAM. A brief flirt with musique concrète on the metronomic NO ONE CAN SEE THIS. The Halstead co-penned shoegazy, echoey swagger of WE SHALL NEVER SPEAK. The album’s poisoned chalice & peak song moment, POWDER MOON. The synthpop of YOU CHANGED THE WAY YOU SMILE. Closer SEA OF GLASS sounds like Leonard Cohen visiting Kraftwerk’s Klingklang studio. Let that sink in - the idea is perhaps the heart of this venture.The detail and texture is extraordinary. A glorious hybrid of an album that over eight songs builds into something unique. Epic and homegrown. Upbeat and melancholic. Questing and questioning. Haunted by loss but future-facing. It’s a genuine marvel. Holton’s HOO co-conspirators this time are Neil Halstead, Charlie Holton, Ian McCutcheon, Paul Blewett, Chris Monger and Lee Lavender. Guests include acclaimed folk singer Jackie Oates and West Coat Legend Farmer Dave Scher

What or HOO do you get if you mix guitarist Neil Halstead, Farmer Dave of Beechwood Sparks with uncompromising folk angel- Jackie Oates, producer-songwriter and organic gardener with a penchant for wah-wah, Nick Holton? The answer is the widescreen, heartbreaking glory of HOO’s second album WE SHALL NEVER SPEAK. A more song filled leap forward from debut CENTIPEDE WISDOM’s post-rock electro adventures. Holton is a master builder of woozy dynamics, his songs unfurl with a mysterious, hooky logic all their own - this is cinematic and deeply emotive machine music. A glorious hybrid of electro, shoegaze, dubby ‘niceness’ and floating dream pop. The spooked, narcotic throb of opener GHOST IN YOU. The pounding, chewy Kraut/Space rock of CRANIUM. THE MIGHTY’s exquisite slow build towards Can-like lift-off. The snarly, groovy drive of centrepiece & single STILL DREAM. A brief flirt with musique concrète on the metronomic NO ONE CAN SEE THIS. The Halstead co-penned shoegazy, echoey swagger of WE SHALL NEVER SPEAK. The album’s poisoned chalice & peak song moment, POWDER MOON. The synthpop of YOU CHANGED THE WAY YOU SMILE. Closer SEA OF GLASS sounds like Leonard Cohen visiting Kraftwerk’s Klingklang studio. Let that sink in - the idea is perhaps the heart of this venture.The detail and texture is extraordinary. A glorious hybrid of an album that over eight songs builds into something unique. Epic and homegrown. Upbeat and melancholic. Questing and questioning. Haunted by loss but future-facing. It’s a genuine marvel. Holton’s HOO co-conspirators this time are Neil Halstead, Charlie Holton, Ian McCutcheon, Paul Blewett, Chris Monger and Lee Lavender. Guests include acclaimed folk singer Jackie Oates and West Coat Legend Farmer Dave Scher

The Replacements’ 1981 Twin/Tone Records debut, Sorry Ma, Forgot To Take Out The Trash, heralded the Minneapolis-based band’s competing tendencies toward indelible genius and reckless abandon. With now classic songs including 'Takin' A Ride,' 'Shiftless When Idle,' 'Customer' and 'Johnny's Gonna Die,' the 'Mats' legendary founding line-up of lead singer/songwriter and guitarist Paul Westerberg, Chris Mars (drums) and brothers Bob and Tommy Stinson (lead guitar and bass, respectively) unleashed a shambling, dynamic sound. Loose, live, and brimming with energy, Sorry Ma… is a lesson in chaos.

The 40th anniversary of Sorry Ma, Forgot To Take Out The Trash is celebrated this fall with a 4CD/1LP set that offers a remarkable document of The Replacements’ formative years. Of the set’s 100 tracks, 67 have never been released before, including the first demos the band recorded in early 1980, as well as a professionally captured concert from January 1981. Along with a newly remastered version of the original album, it also uncovers many unreleased rough mixes, alternate takes, and demos from the band’s first 18 months together. The LP included in the set, titled Deliberate Noise, presents an alternate version of the original album using these previously unreleased tracks.

CD Tracklist:

1. TAKIN A RIDE
2. CARELESS
3. CUSTOMER
4. HANGIN DOWNTOWN
5. KICK YOUR DOOR DOWN
6. OTTO
7. I BOUGHT A HEADACHE
8. RATTLESNAKE
9. I HATE MUSIC
10. JOHNNY’S GONNA DIE
11. SHIFTLESS WHEN IDLE
12. MORE CIGARETTES
13. DON’T ASK WHY
14. SOMETHIN TO DÜ
15. I’M IN TROUBLE
16. LOVE YOU TILL FRIDAY
17. SHUTUP
18. RAISED IN THE CITY
19. IF ONLY YOU WERE LONELY
1. TRY ME (Demo)
2. SHE’S FIRM (Demo)
3. LOOKIN FOR YA (Demo)
4. RAISED IN THE CITY (Demo)
5. SHUTUP (Demo)
6. DON’T TURN ME DOWN (Demo)
7. SHAPE UP (Demo)
8. I HATE MUSIC (Studio Demo)
9. CARELESS (Studio Demo)
10. SHUTUP (Studio Demo)
11. OTTO (Studio Demo)
12. GET ON THE STICK (Studio Demo)
13. OH BABY (Studio Demo)
14. RAISED IN THE CITY (Studio Demo)
15. SHIFTLESS WHEN IDLE (Studio Demo)
16. MORE CIGARETTES (Studio Demo)
17. YOU AIN’T GOTTA DANCE (Studio Demo)
18. DON’T TURN ME DOWN (Studio Demo)
19. RATTLESNAKE (Basement Version)
20. TAKIN’ A RIDE (Basement Version)
21. LIE ABOUT YOUR AGE (Basement Version)
22. WE’LL GET DRUNK/CUSTOMER (Basement Version)
23. JOHNNY FAST (Basement Version)
24. MISTAKE (Basement Version)
25. BASEMENT JAM (Rehearsal)
1. CARELESS (Alternate Version)
2. TAKIN A RIDE (Alternate Version)
3. SHUTUP (Alternate Version)
4. OTTO (Alternate Mix)
5. RAISED IN THE CITY (Alternate Version)
6. RATTLESNAKE (Alternate Mix)
7. LOVE YOU TILL FRIDAY (Alternate Version)
8. CUSTOMER (Alternate Version)
9. SOMETHIN TO DÜ (Alternate Version)
10. JOHNNY’S GONNA DIE (Alternate Version)
11. I’M IN TROUBLE (Alternate Version)
12. I HATE MUSIC (Alternate Version)
13. WE’LL GET DRUNK
14. MORE CIGARETTES (Alternate Mix)
15. GET LOST (Instrumental)
16. HANGIN DOWNTOWN (Alternate Version)
17. SHUTUP (Alternate Version 2)
18. SOMETHIN TO DÜ (Alternate Version 2)
19. DON’T ASK WHY (Alternate Mix)
20. KICK YOUR DOOR DOWN (Alternate Mix)
21. LOVE YOU TILL FRIDAY (Alternate Mix)
22. JOHNNY’S GONNA DIE (Alternate Mix)
23. LIKE YOU (Outtake)
24. GET LOST (Outtake)
25. A TOE NEEDS A SHOE (Outtake)
26. YOU’RE PRETTY WHEN YOU’RE RUDE (Solo Home Demo)
27. IF ONLY YOU WERE LONELY (Working Version/Solo Home Demo)
28. BAD WORKER (Solo Home Demo)
29. YOU’RE GETTING MARRIED (Solo Home Demo)
1. CARELESS
2. TAKIN A RIDE
3. TROUBLE BOYS
4. HANGIN DOWNTOWN
5. LIKE YOU
6. OFF YOUR PANTS
7. GET LOST
8. EXCUSE ME
9. CUSTOMER
10. I WANNA BE LOVED
11. MISTAKE
12. MY TOWN
13. SHIFTLESS WHEN IDLE
14. OH BABY
15. I’M IN TROUBLE
16. JOHNNY’S GONNA DIE/ALL BY MYSELF
17. MORE CIGARETTES
18. OTTO
19. DON’T ASK WHY
20. SLOW DOWN
21. SOMETHIN TO DÜ
22. LOVE YOU TILL FRIDAY
23. RAISED IN THE CITY
24. RATTLESNAKE
25. ALL DAY AND ALL OF THE NIGHT
26. I HATE MUSIC
27. SHUTUP

An absolute stunner we’re glad to see in print again!!!

Black vinyl LP with two color jacket Pressings: 1976, 2012, 2015, 2018, 2021

It could be argued that this is one of the greatest rock n’ roll records of all time!

Straight from Zambia, we have My Ancestors, a tough rock and roll masterpiece like no other. Overdriven fuzz guitars, pop melodies and even a Black Sabbath- esque song. Must be heard to be believed.
Originally released in 1976, My Ancestors is an essential album from Zambia’s Zamrock scene. Brimming with lo-fi fuzzed-out guitar, the album travels the darker undercurrents of 70s rock and roll, warping and heightening the influences of Jimi, the Stones, the Beatles, Deep Purple, and James Brown. 27 year old Chrissy

“Zebby” Tembo provided drums and vocals while Paul Ngozi of the illustrious Ngozi Family was responsible for the aggressive guitar leads.

Barenaked Ladies return with their first new album in four years, ‘Detour de Force’. The 14-track effort is the result of both pre- and post-lockdown recording sessions. The band spent five weeks at vocalist/guitarists Ed Robertson’s cabin outside Toronto pre pandemic writing and recording in a makeshift studio. During pandemic lockdown, they decided they wanted to polish things up a bit. They returned to a Toronto studio when the lockdown lifted to rework the tracks resulting in ‘Detour de Force’. The Barenaked Ladies are Ed Robertson: Guitar, Vocals Jim Creeggan: Bass, Vocals Kevin Hearn: Keyboards, Guitar, Vocals Tyler Stewart: Drums, Vocals Over the course of their remarkable career, Barenaked Ladies have sold over 15 million albums, written multiple top 20 hits (including radio staples “One Week,” “Pinch Me,” “If I Had $1,000,000”), garnered 2 GRAMMY nominations, won 8 JUNO Awards, had Ben & Jerry’s name an ice cream after them (“If I Had 1,000,000 Flavours”), participated in the first-ever “space-to-earth musical collaboration” with astronaut Chris Hadfield, and garnered an international fan base whose members number in the millions. In 2018, the band were inducted into the Canadian Music Hall of Fame and Toronto Mayor John Tory declared October 1st “Barenaked Ladies Day.”

UMe will release an updated version of The Best Of Bond…James Bond, a 2CD and 3LP black vinyl compilation featuring celebrated theme songs from the longest-running film franchise. The new collection will include “No Time To Die” by Billie Eilish from No Time To Die, the 25th film in the series. Also now included will be Adele’s “Skyfall” from Skyfall, the highest-grossing Bond film to date, and Sam Smith’s Spectre theme, “Writing’s On the Wall,” – Oscar® winners for Best Song in 2013 and 2016, respectively. In addition to Billie Eilish, Adele and Sam Smith, included is the signature instrumental “James Bond Theme” by The John Barry Orchestra, which remains one of the most recognizable themes from film. The collection also includes Dame Shirley Bassey, Louis Armstrong, Nancy Sinatra, Paul McCartney and many other classics.

limpe fuchs' first solo record came about by accident. initially, christoph heemann invited the famous anima duo to do a studio record in his home-town aachen, but paul fuchs decided not to join in, so limpe went on her own - and the recording sessions taking place in late 1986 and early 1987 turned out to become "via", limpe's first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary anima (music) records, such as violin, saw blade, chimes, wood block and limpe's unmistakable unique vocals, "via" featured a korg-synthesizer, that drew limpe's attention in the studio and she decided to give it a try and recorded a lot of electronic music for "via" - and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances . fast forward to 2015: after not having met christoph heemann for many years, they got in contact again and performed selected dates (as macchia forest together with timo van luijk) when he proposed to limpe another korg-synthesizer recording. not having touched the instruments in decades limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. she also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) - huge self-built instruments of various size with an amazing sound rich of oscillating overtones. the both side-long recordings - one side korg, one side pendulum strings - featured on "solaia" are a visceral document of limpe fuchs' artistic versatility and musical sensibilities. it's fair to say: the spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son zoro babel), which is released in conjunction with a first-time re-release of "via" - both to celebrate her long-standing musical career (and her eightieth birthday). "via" and "solaia" are available now as two separate lp's. both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with limpe fuchs and christoph heemann to give an insight in their collaborative history and portray limpe's outstanding artistry.

limpe fuchs' first solo record came about by accident. initially, christoph heemann invited the famous anima duo to do a studio record in his home-town aachen, but paul fuchs decided not to join in, so limpe went on her own - and the recording sessions taking place in late 1986 and early 1987 turned out to become "via", limpe's first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary anima (music) records, such as violin, saw blade, chimes, wood block and limpe's unmistakable unique vocals, "via" featured a korg-synthesizer, that drew limpe's attention in the studio and she decided to give it a try and recorded a lot of electronic music for "via" - and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances . fast forward to 2015: after not having met christoph heemann for many years, they got in contact again and performed selected dates (as macchia forest together with timo van luijk) when he proposed to limpe another korg-synthesizer recording. not having touched the instruments in decades limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. she also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) - huge self-built instruments of various size with an amazing sound rich of oscillating overtones. the both side-long recordings - one side korg, one side pendulum strings - featured on "solaia" are a visceral document of limpe fuchs' artistic versatility and musical sensibilities. it's fair to say: the spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son zoro babel), which is released in conjunction with a first-time re-release of "via" - both to celebrate her long-standing musical career (and her eightieth birthday). "via" and "solaia" are available now as two separate lp's. both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with limpe fuchs and christoph heemann to give an insight in their collaborative history and portray limpe's outstanding artistry.

Vinyl repress of The Muppet Christmas Carol Soundtrack containing the original score by Miles Goodman and the songs by Paul Williams.

Midway through his long, earnest and often very, very
funny essay on the role playing game ‘Dungeons &
Dragons’ in the September 2006 issue of The Believer,
writer Paul La Farge proposes that ‘Dungeons & Dragons’
is not a game at all but rather a ritual. La Farge notes the
marked difference between game and ritual. Whereas a
game seeks to demonstrate how unequal or distinct
players / teams are from one another, rituals seek to do
the very opposite.
 And so, across the 25-year history of Jagjaguwar - an
independent record label curiously named using a
‘Dungeons & Dragons’ name generator - we find this idea
of ritual as a conjoining practice. We see it early on when
Jagjaguwar join forces with a midwestern label called
Secretly Canadian for a powerful fusion. We see it in
familial relationships and collaboration among Jagjaguwar
artists and the ways those artists’ most treasured
collaborators make their ways to the Jagjaguwar game
board.
 ‘Join The Ritual’, a piece of Jagjaguwar’s 25th Anniversary
celebrations, looks to pay homage to the labels and artists
that, whether they know it or not, invited Jagjaguwar to the
table, to this wild, dark magic ritual of music. We’re talking
about independent titans like Drag City, Too Pure, K
Records and Touch & Go. We’re talking about heroes like
R.E.M., Slint, Stereolab and Tracy Chapman. These songs
captured the imaginations of founders Darius Van Arman
and Chris Swanson - and ultimately, opened up worlds to
them.

If it wasn't for the global lockdown, we might never have had the chance to hear one of this year's most intriguing and inventive albums. Lonely Guest was conceived and put together over the last 18 months by one of British music's true innovators: Tricky. Bu tas he's keen to make clear: this ain't noTricky album. Rather it's a thrilling meeting of musical mavericks, with the likes Idles' JoeTalbot pitting his unique approaches to songwriting against Tricky's otherworldly production. From an unsettling tale of isolation courtesy of Maxïmo Park's Paul Smith ('Christmas Trees') to the grunge stylings of Marta's 'Move Me', via the tense storytelling of London rapper Kway's 'On A Move', these diverse statements come together as a bold artistic statement of their own. The late artistic visionary and legend Lee "Scratch" Perry features vocals on 'Atmosphere' with Tricky and Marta. It is with great sadness that Tricky and the False Idols team acknowledge and honour Lee "Scratch"Perry's passing.

The longstanding DJ comes through with a brand new album for the modern times, keeping the tradition alive through a stacked tracklist of heavy hitters. With an extension of the popular posse cut, “Rolling 25 Deep,” DJ Kay Slay ups the ante with an 18 minute anthem, “Rolling 50 Deep,” featuring the likes of Benny The Butcher, Bun B, Styles P, Ghostface Killah, Raekwon and more. He further adds to his track record of pairing together artists for hit records with cuts from Ghostface Killah & Busta Rhymes, Conway the Machine & Sheek Louch, and Juicy J & Jim Jones.

The fifth studio album from Welsh quintet Super Furry Animals was their most commercially successful to date. A musically eclectic record, incorporating pop, prog, punk, jungle, electronica, techno and death metal, the album was shortlisted for the Mercury Music Prize in 2001 and named as Mojo’s best album in the same year. Their major label debut album peaked at #3 on the UK album chart on release, supported by singles ‘(Running) Rings Around The World’, ‘It’s Not The End of the World’ and ‘Juxtapozed With You’. Paul McCartney and John Cale make cameo appearances on the album too.

This 20th anniversary reissued has been remastered from the original master tapes. The double-LP format is on heavyweight vinyl, while the 3CD set boasts 33 previously unreleased tracks including remixes, demos, other curios, as well as sleeve notes from Keith Cameron.







[f] B3

This is the first official re-release on vinyl under licensed courtesy of BMG Rights Management,UK, remastered from an original master copy out of the vaults of BMG, originally released in 1972 on Bronze Records.

Co-founder of Colosseum in 1968 with Jon Hiseman, he knew from his Jazz Club years as drummer for Georgie Fame, Dick ran through this group's hectic recording and touring schedule for over 3 years until November 1971, when it disbanded.

In his late 30s at that time, on top of his musical shape, he moved on to start recording on his first solo project, with material left over from Colosseum days (written by D. H.-S., Clem Clempson and Jon Hisemann) and new material jointly composed with well-known lyricist Pete Brown. He recruited the help of Colosseum mates, Hiseman, keyboardist Dave Greenslade and vocalist/bass player Mark Clarke, plus the brilliant ex-Elton John group Caleb Quaye (Hookfoot) on guitars and Rob Tait (ARC, Battered Ornaments) on drums; old pal G. Bond is featured providing remarkable moog work on 'Pirate's Dream', funky organ on 'Moses In The Bullrushourses' and sharing piano duties with Gordon Beck (G.B. Trio, Nucleus) on 'What The Morning Was After'; Paul Williams (Juicy Lucy) gets the lion share of vocal duties, and Chris Farlowe and Chris Spedding (Nucleus, Battered Ornaments) have respectively a sole vocal and a guitar spot on 'Pirate's Dream'.

The album track by track:
Side one starts with 'Future Song', the track that really rises above the other tracks here. The guitar, vocals (by Mark Carke) and sax are great on this one. Killer sax 2 minutes during an excellent instrumental interlude. H.-S. sounds slightly eastern-influenced on his outstanding sax lines. Such an uplifting track with it's repetitive riff and hard, driving sound! Next is 'Crabs', starting off in a mellow way with Greenslade's piano and reserved vocals as the sax joins in followed by guitar and drums as it builds. Irresistable! Great vocals by Paul Williams. One could easily imagine both tracks on a Colosseum album. 'Moses In The Bullrushourses' is uptempo, owing just as much to jazz, blues and hard rock. Great groove! Lots of organ here to send shivers down your spine and perfect guitar playing. 'What The Morning Was After' opens with some sax excursions as the drums help out. Acoustic guitar by Quaye and powerful vocals by Paul Williams take over as the piano joins in. Our second favourite tune on here after the opener. A folky song really until it picks up half-way through.

Side 2 opens with the 11 minutes 'Pirate's Dream', with Farlowe on vocals and Spedding's initial rock blues riff, but soon evolving to a complex multi parted composition in the best spirit of Valentyne Suite, driven by Hiseman multi faceted drumming. D. H.-S. twin saxes soar on a calmer mid section with Spedding doubling the licks and the bass grumbling relentlessly behind; it slowly gains speed with moog, sax and vocalizations duelling and answering each others with dazzling, demanding and inspired phrasings on top a thundering rhythm section; after the lyrics resume it evolves into a majestic, grandiose finale. A bluesy clean guitar lick opens 'Same Old Thing', a swinging, calm heavily modulated twisted blues, with a punchy rhythm section, a soulful Williams on vocal, Quaye delivering an inspired sparkling solo and D. H.-S.'s sensitive fat sax enhanced with some double tracking on the solo part. A great ending to a great album.

Album comes with the reproduction of original gatefold cover sleeve, additional cover-sized insert with band story, lyrics and photos. A highlight! Highly recommended!

Concentric Records presents Radiant, the third compilation of its introductory release trilogy. Featuring music by ASWA, HOLOVR, Max Loderbauer, Petre Inspirescu, Supply, The Waves, William Selman, the album evokes luminous, iridescent and ethereal sonic spaces - a journey that overcomes struggles, spinning upward towards the light.

The album opens with calm, bright and assertive tonalities, evoking mental spaces prone to exploration and wondering. Molecular textures and real-world sounds bring us closer to an intimate and physical sphere, a voice. Ultimately everything dissolves into a synthetic domain of acid-like washes, in a cinematic sense of departure.

MAX LODERBAUER has been an active engineer, producer, and musician across four decades. He first came to notice in the late ‘80s as a member of Fischerman’s Friend. Known then as Daimler Max, Loderbauer’s associates included Stephan Fischer and Tom Thiel, as well as producer Thomas Fehlmann. Once the group went dormant, Loderbauer and Thiel established Sun Electric; one of the leading sources of entrancing downtempo and ambient techno through the ‘90s. During the 2000s and 2010s, Loderbauer collaborated in numerous settings, including NSI with Tobias Freund, Chica & the Folder with Paula Schopf, and Moritz von Oswald Trio with Vladislav Delay and Moritz von Oswald. Loderbauer was partly responsible for some of the most progressive and experimental electronic music released during these years. In 2011, he and contemporary Ricardo Villalobos assembled Re: ECM, a project that involved radical transformations of ECM label recordings by the likes of Bennie Maupin, Christian Wallumrød, John Abercrombie, and Arvo Pärt. More recently he consolidated the collaboration with Ricardo Villalobos via the Vilod project, and with Samuel Rohrer and Claudio Puntin as Ambiq - both described as ‘a fertile patch of inspiration, shaking up the principles of minimal techno with the loose, expressive qualities of jazz’. The album opening track - ‘Harmonic’ - feels like a glowing dream. Composed of stunning electronics in a polychromatic, blinding and shimmering light; harmonious interwoven melodies calmly wind down invoking a serene mental state and grounding peace.

WILLIAM SELMAN was the very first artist ever approached by Concentric Records prior to the label’s birth, back in 2018, following his defining release ‘Musica Enterrada’. A musician and multimedia artist currently based in Portland, Oregon, his work employs analogue and digital synthesis techniques, live percussion and instrumentation, and his own rich field recordings to create compositions and sound art focused on the ideas of place and environment. Selman's recent works have been released on Mysteries of the Deep and Hausu Mountain.

PETRE INSPIRESCU is an extremely versatile composer. As co-founder of the legendary RPR Soundsystem together with Rhadoo and Raresh, he mostly produced club-ready, heavily textured takes on tech-house and minimal techno. In 2015 he released his first album on Mule Musiq, considered a significant departure from his previous work, scoring piano, strings and woodwind instruments for the first time, resulting in a set that sat somewhere between ambient and neo-classical. Since then, he continued to explore further sonic territories, adding in vintage synthesizers and occasional nods to dub techno, resulting in melodious sequences of musical movements that relate to the work of classical composers, American minimalists and ambient legends. ‘The Garden’ is a dreamy, intimate and nature inspired composition, recorded in his home studio in Ibiza sometime in the Summer.

DJ and producer SUPPLY (youngest so far on the label) was born and raised in Gießen, within sight of the skyscrapers of Frankfurt am Main, and has been living in Berlin since 2017. Musically socialised through hip hop, he found his connection to electronic music produced in Chicago and Detroit in the 90s by moving to FFM in 2013. For almost 6 years he has hosted his own events in his hometown. His productions connect the dots between hip hop, retro futuristic movie soundtracks and techno, he recently released on YAY Recordings. ‘Inhale / Exhale’ was created during a time of stress and mental tension, partly self-inflicted, partly result of my surroundings, as it turned out in retrospect. The track tries to capture a moment of taking a deep breath by releasing that tension for a moment. I came up with the first sketch one night around 4am, the final arrangement found its way onto a C60 Chromoxid Cassette - inhale - exhale.’ - Supply

THE WAVES is a post-punk and synthwave-inspired project led by Maayan Nidam, that places her vocals at its front and centre. As a musician obsessed with sound and the technology behind its creation, her workflow places a strong focus on the studio environment. Triggering chain reactions between guitar pedals, drum machines, modular synths and acoustic instruments, generating sounds in unpredictable ways. Drum machines keep a steady groove as to give support to an array of guitars and synthesisers, all topped with The Waves own, mostly unmasked, lyrics and voice. ‘Hold On’ was written by Maayan during the 2020 pandemic as she dived deeply in studio work in Berlin. Her lyrics are featured as part of the art print insert, and have became a central statement to the LP and its narrative - the power to hold on and break through.

Jimmy Billingham's HOLOVR project has racked up various releases on some of the most forward-thinking electronic music labels over the past few years, including Firecracker Recordings, Likemind, Further Records, Opal Tapes and his own Indole Records. Though best known for melodic, drifting acid techno and electronica, he's equally at home crafting textured ambient soundscapes. HOLOVR's deeply emotional synth passages and pads will take you on a journey into the outer. 'Melancholy of Time came out of a period exploring ways of producing and recording outside of the grid-based structures that I was previously working with. I wanted to strip it back to what I often find to be the emotional core of a piece of electronic music - ebbing and flowing synth pads - but to push and pull it a bit to create a slight disjointedness, unpredictability and shop-worn texture, as if it's coming apart and fraying, yet retaining a sonic clarity. I recorded it live using looped and layered synth phrases, underpinned by a layer of hiss and pin-prick textures. I find reflections on time and its passing to be a recurrent feature of my work, both in a more straightforward way of harking back to music of a certain period or pieces of equipment but also in a more abstract sense of creating a feeling where time doesn't matter - a deep feeling of now; that escape that you find in music and other ecstatic experiences. Though of course we’re always in - and running out of - time, and hence the melancholy.’ - Jimmy Billingham

Hailing from the German underground scene, ASWA aka Attila Fidan has an intricate, hypnotic style of electro, techno and ambient. Coming from visual arts and not primarily a trained musician, Attila produces under various and multiple monikers: ‘I never really start out knowing which moniker the track will be made under’. Since 2017 he runs a boutique Berlin label named ‘Tape Archive’. ‘Dust Palace’ is a synthetic piece that resonates with a cinematic vastness, closing the LP in an uplifting tone that evokes new departures and new beginnings.

"The definition of a hidden gem" - John Peel / "The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life." - Max Richter / "She might just be the coolest woman on the planet!" - Boy George "When I Hit You - You'll Feel It" is a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. The collection spans Winer's three-decade-long musical career: from her groundbreaking solo work in the early '90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave's Karl Bonnie, and others, the collection also spotlights Winer's diverse collaborations, unearths previously-unreleased recordings and was newly remastered by the GRAMMYr-nominated engineer John Baldwin. The album includes a new interview with Winer, captured by the compilation's co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, featuring photography by Mondino, and design by designer Christopher Shannon. Musician, poet, iconoclast, model, artist, enigma. Leslie Winer is many things. She grew up in Boston with a voracious appetite for music and the written word and embraced the city's lively jazz and folk scene in the '70s. Moving to New York for art school, she formed an unlikely friendship with writer and artist William S. Burroughs and lived on-and-off with Jean-Michel Basquiat. In London, where Winer began her musical ventures in earnest, she was a regular at Leigh Bowery's underground club Taboo, where she met many of her collaborators, including filmmaker John Maybury, Kevin Mooney (of Adam and the Ants), and Boy George. Winer's striking looks also attracted fashion designers and photographers. Throughout the early '80s, she was an in-demand model-appearing in campaigns for Valentino, Christian Dior, and Yohji Yamamoto, and serving as a muse for a young Jean-Paul Gaultier, who later dubbed Winer "the first androgynous model." She posed for Helmut Newton, Irving Penn, and Pierre et Gilles, and graced the covers of The Face, French and Italian editions of Vogue, and Mademoiselle. But music was Winer's true passion and, at the turn of the '90s, she would unknowingly help invent the massively popular genre known today as trip-hop. On her debut, Witch, Winer masterfully blended the uninhibited sampling of early hip-hop with dancehall basslines and programmed beats, while weaving mesmerizing - and coolly-detached - spoken-word vocals into her ambient tracks. It was unorthodox in the most delicious ways. While Witch was finished in 1990, it wouldn't be released for three years, due to the whims of Winer's label. By the time the album saw the light of day (released under the pseudonym "c"), trip-hop was gaining mainstream traction via acts like Portishead, Massive Attack, and Madonna. Although Winer eventually gained wider acknowledgment (prompting the NME to give her the dubious distinction of "The Grandmother of Trip-Hop"), Witch initially went sorely unnoticed. Winer continued to record, undeterred by the elusive nature of mainstream success in the modern music business. Her network of inspired collaborators continued to grow and expand, yet her influence remained largely a secret except to those in the know, such as Grace Jones and Sinead O'Connor, who would cover her songs. In the modern era, one is hard-pressed to find an artist who continues to push the creative envelope as much as Winer does. And yet, three decades after her revolutionary debut, her work remains just as startling and fresh.

Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).

The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”

As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:

“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”

As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.

Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.

When Glen Campbell walked onstage at the Troubadour on West Hollywood’s Sunset Strip on August, 19, 2008, he was even more iconic than the legendary venue that birthed The Byrds, Buffalo Springfield, Elton John, Jackson Browne, Linda Ronstadt and the Eagles. 'Performing a stunning mix of songs embedded in our DNA (“Rhinestone Cowboy,” “Galveston”) and unexpected jewels from Lou Reed (“Jesus”), Foo Fighters (“Times Like These”), Tom Petty (“Walls (Circus),” “Angel Dream”), Paul Westerberg (“Sadly Beautiful”) and Green Day (“Good Riddance (Time of Your Life)”), Campbell is in fine voice and demonstrates on more than one song his dexterity, tone and emotional transparency on guitar. With a band that includes four of his children, session and live veterans from Beck, Jellyfish, Jane’s Addiction, Murphy’s Law, D Generation and Danzig, it was a night of music that explored the commonalities of genres, country-tinged arrangements and how good live music feels. RADIO: BBC Radio 2 Play, Chris Country Premiere, Absolute Country, Downtown Country, Smooth Country PRESS: Country Music Publications TW: 19.7K, FB: 339K, IG: 12.5K Available as a standard CD jewelcase and 2-disc vinyl.

Disc 1 is pressed in blue vinyl, disc 2 in green.

Factory Benelux presents an expanded vinyl edition of Another Setting, the third studio album by cult Manchester ensemble The Durutti Column.

Another Setting was recorded in 1983 at Strawberry Studio, Stockport with production by Chris Nagle, a favourite engineer of Martin Hannett. The 11 track album contains several acknowledged Durutti classics, notably haunting instrumental Prayer (burnished with cor anglais by Maunagh Fleming) and The Beggar, probably the closest Vini Reilly has edged to rock music. Elsewhere, Smile in the Crowd would be covered by Depeche Mode mainman Martin Gore on his 1989 solo project Counterfeit.

This new vinyl remaster also includes non-album single I Get Along Without You Very Well, a bittersweet Hoagy Carmichael cover sung by Lindsay Reade, the former wife of Factory foreman Tony Wilson.

The second disc is a previously unreleased live show taped at the Pandora’s Box Festival in Rotterdam on 4 September 1983, featuring eight tracks performed by Vini Reilly and Bruce Mitchell. This second disc is pressed on clear vinyl.

The 2018 edition of Another Setting is packaged in a gatefold sleeve printed on white reverse board, restoring the original cover artwork by Mark Farrow with cover paintings by Jackie Williams.

Classic black LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum. FOR FANS OF Lustmord, Årabrot, Dead Can Dance, Hans Zimmer, Sunn O))), Fever Ray, Chelsea Wolfe, Boards of Canada, Heilung, Zola Jesus, Swans.

Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum.

Surfdog Records and Brian Setzer have announced that for the first time, Setzer’s classic 2003 album Nitro Burnin’ Funny Daddy will be issued on vinyl. It will be released on limited edition 180 gram, red transparent vinyl on 25th June 2021.
Only Brian Setzer could cut an album with more lyrical honesty and musical diversity than anything he's ever done and then title it Nitro Burnin' Funny Daddy. Not that the name is misleading; Nitro is in fact packed with explosive performances. There's more than enough volatile picking and singing to mark this as a highlight of a catalog already crowded with great albums he's delivered as leader of the history-making Stray Cats and on his own too.

But there's more: street-corner doo-wop, heartbreak balladry, a foot-stomp hoedown, several lyrics that will shock and stun longtime fans, and always, somewhere in the mix, the blues. Every track is distinctive, none sounds like any of the others, yet all of them are pure Setzer. And it's all compressed into a tight trio format -- Setzer and his big band colleagues, standup slap-bass powerhouse Johnny Hatton and rhythm dynamo Bernie Dresel on snare and cymbals -- whose sound evokes Les Paul, Junior Parker, and even Earl Scruggs as much as Louis Prima or Eddie Cochran.
Originally released in 2003, Nitro Burnin’ Funny Daddy was Brian Setzer’s eleventh solo album and when it was released he said it was the most personal record he had ever done. The album followed his big-band release Boogie Woogie Christmas from the previous year and saw him back to his rockabilly best, taking in doo-wop (“To Be Loved”), bluegrass (“When The Bells Don’t Chime”), rootsy-rock (“Don’t Trust A Woman (In A Black Cadillac)”) and going on a cinematic Wild-West romp (“Wild Wind”).

Transmeridian is the first album from Departure Lounge (ex-Bella Union) in 19 years. It features all four original members plus a guest appearance from legendary REM guitarist, Peter Buck, one of many long-standing admirers of a band that embodied a lost age of reflective, experimental pop music coming to the fore at the turn of the Millennium alongside The Beta Band, Tunng, Boards Of Canada and Gorky’s Zygotic Mynci.

The surprise new album, named after the defunct ‘golden age of aviation’ cargo airline for which singer/guitarist Tim Keegan’s dad was chief pilot, is released on Violette Records (formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett ) on digital and vinyl formats on Fri 26 March 2021.
Originally scooped up by Simon Raymonde’s Bella Union label (labelmates with John Grant’s Czars) following the self-funded release of their debut album Out Of Here (1999), Departure Lounge’s sophomore outing, Too Late To Die Young (2002) was equally acclaimed and was honoured as the first ever Album Of The Week on the emergent BBC 6 Music. The band toured extensively in the UK, Europe and the US, including outings with The Go-Betweens, Morcheeba, Paul Heaton and Robyn Hitchcock, peers whose stylistic contrasts reflect the eclectic nature of Departure Lounge themselves.

Calling a halt in late 2002, citing family and geographical reasons (drummer Lindsay lives in Nashville, where their second album Jetlag Dreams (2001) was recorded), the four members remained firm friends and occasional collaborators, before reuniting in late 2019 for shows at The Green Door Store, Brighton and The Lexington, London, ostensibly to support the digital reissues of their first three cult-classic albums. With no plans other than to make some new music, the next day they set off for Middle Farm Studios, Devon.
Tim Keegan (vocals/guitar), Chris Anderson (lead guitars/keyboards/bass), Lindsay Jamieson(drums/keyboards) and Jake Kyle (bass/guitar/drums) channelled their evident joy at being back together into a complete 13-track album, largely conceived and recorded in just one 24-hour session in the company of studio owner and co-producer, Peter Miles. Ranging from soulful Americana to piano and mellotron-fuelled melancholia via pastoral musings on the nature of post-youth and eerie Spaghetti Western-tinged instrumentals, the next leg on the Departure Lounge journey is a multi-mood expression of pure artistic freedom.
The ‘leak’ of instrumental track Al Aire Libre (remixed by Parisian groovemeister Kid Loco) in October 2020 gave little away as to what fans could expect from a new Departure Lounge record, the track going gracefully everywhere and nowhere on a whistled Latino breeze. First single proper, Mercury In Retrograde, covered in the twinkling lights of a music box Casio CZ101 melody, turned the clock back - this was an old live favourite that never got past the studio door. Unfinished business brought to a happy conclusion, the single returned Keegan’s honest and distinctive lyrical voice back to British music at just the time listeners needed it.
It was an emotional thread, rather than one musical style, which gave the first three Departure Lounge albums their coherence. The songs told the story of the band. Transmeridian has the same sense of deeply connected musical energy. The purring, campfire acoustica of Timber and So Long bear no obvious resemblance to the ethereal, end-of-the-evening, piano-led interlude Paging Marco Polo, whilst the quasi-glam stomp of Mr Friendly would normally have no business sharing space with the strange, spacey Gurnard Pines (named after an abandoned holiday camp on the Isle Of Wight). Yet the journey’s ebb and flow, accelerations and pauses make for compelling, grown-up listening. Australia, showcasing the chiming Rickenbacker 12-string of Athens, GA’s finest guitar slinger, leaves no doubt that Departure Lounge’s pop sensibilities also remain solidly intact.
These four friends from different musical backgrounds came together originally with the stated aim of ‘creating music to soothe the troubled soul’. Citing their love of (and placing on record their debt to) influences including Robert Wyatt, Nick Drake, Talk Talk, Lou Reed, Arvo Pärt and Cocteau Twins, the band’s diversity of taste is reflected in the music they create.
Transmeridian is only the second full-length LP released by Violette Records, formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett as a platform for Head’s work and developing into a respected independent label as well as multi-disciplinary event organiser, drawing in outsiders working in music, literature, art and design. The label continues to host live events whenever possible and recently initiated an ELP (halfway between and EP and an LP) vinyl series, putting out acclaimed releases by The Pistachio Kid and Studio Electrophonique.

Demon Records is proud to present the ultimate reissue of the Yardbirds’ 1966 album Yardbirds, (often known as ‘Roger
the Engineer’.) Recorded by the classic line up of Jeff Beck, Keith Relf, Jim McCarty, Chris Dreja and Paul Samwell-Smith,
the band began exploring new sonic territories, pushing their blues-rock sound into the realms of the avant-garde,
psychedelia and Indian music. Using original tapes, this super deluxe edition features new and definitive remastering by
Phil Kinrade at Alchemy Mastering at AIR, overseen by original album producer Paul Samwell-Smith.
"Remastering this album has been a joy. To hear the tracks sounding just as we heard them all those years ago while we were
recording them - energetic, edgy, and in your face - is an unexpected treat. In 1966, it was a rare and exciting opportunity to be
given a recording studio for 5 days and allowed to experiment. That excitement still shows." – Paul Samwell-Smith
“This is what rock ‘n’ roll beauty is - the true freedom of creative impulse.” – Thurston Moore
“The Yardbirds produced some of the most compelling musical art of the 20th century.” – Wayne Kramer

This new quartet recording by saxophone maestro Evan Parker is the first for many years to be released on vinyl. Parker, one of the great
post-Coltrane saxophonists, has played a monthly gig at the London club The Vortex, for a considerable time.
Evan called these events his ‘jazz’ gigs and it seemed that the trio’s performance came close to seeing Coltrane or Ayler playing at the 5 Spot or one of the legendary New York venues. When Cadillac asked Evan if he would record an album for the label, it was this aspect of his multifaceted talents they had in mind. The quartet you hear on this album (with Paul Lytton, John Edwards and Alexander Hawkins) came together for a gig at the Vortex in Evan’s regular slot on June 20th 2019, and what a fine gig it was!
Then the next day they relocated to the beautiful barn-like studio of Rimshot, deep in the Kent countryside to record the album. The location, close to Evan’s home, had other resonances, which journalist Chris Searle has described in his
sleevenote. The subsequent (and over long) process of mastering and producing the album coincided with the first Covid lockdown and the coincidence of Evan and Mike @ Cadillac both reading Defoe’s “Journal of the Plague Year”, which provided context and some track titles.
This put in mind of Stephen Fowler’s brilliant rubber stamp artwork, and he has created a visual representation that expresses many of the themes of the
album.

Les Disques du Crepuscule presents Subway, a collection of singles by cult NYC duo Thick Pigeon, originally released on Crepuscule, Factory and Factory Benelux between 1981 and 1991.
Comprised of vocalist Stanton Miranda and instrumentalist Carter Burwell, Thick Pigeon emerged from the downtown New York artrock scene which also spawned Glenn Branca, Bush Tetras, DNA, Arthur Russell and Sonic Youth. Like their chosen name, the duo were typically atypical: Miranda was previously a dancer with the Marthe Graham ballet company, and Carter a film animator and Harvard fine arts/architecture graduate. Very much a studio project, the ‘group’ hardly ever performed live.
Poised and subtle debut single Subway appeared on Crepuscule in January 1981, a connection forged by Miranda’s partner Michael Shamberg. Dog followed a year later, along with wry Christmas single Jingle Bell Rock, before the duo switched to Factory Records, recording debut album Too Crazy Cowboys in Manchester with Stephen Morris and Gillian Gilbert of New Order producing. Released simultaneously on Factory and Factory US in 1984, the album was billed as “a walk through the civilisation of you soul”.
Having now embarked on a career scoring movies (becoming the Coen brothers’ composer of choice), Carter was absent from the next TP project, 1986 dance single Wheels Over Indian Trails, although Morris and Gilbert remained on board as guest musicians. However Miranda and Carter would reunite for a second (and final) leftfield pop album, Miranda Dali, issued by Crepuscule in 1991.
As well as singles Subway, Dog, Jingle Bell Rock, Jess + Bart and Wheels Over Indian Trails, TWI 351 also includes b-sides (Sudan, Tracy + Pansy), album highlights (Crime, Riding) and a second festive track, Blue Christmas, previously issued only on cassette as part of a Factory Christmas card in 1986.
Alongside Stephen Morris and Gillian Gilbert, the stellar cast of guests include Fred Szymanski (of Ike Yard), Ikue Mori (DNA), remixer John Robie, and even artist and event designer Jean-Paul Goude on backing vocals.
Limited to just 500 copies, Subway (Singles) is newly remastered and pressed on transparent violet vinyl, reflecting the original 1981 sleeve artwork by legendary Crepuscule designer Benoit Hennebert. The album includes a free digital copy (MP3).

For Chris Tooker, the first decade of his artistic journey was immersed in bands while the second was engaged in wandering the realms of electronica in the form of creator, composer and engineer for DJ duo KMLN. Today, after many incarnations, Tooker returns to the source of himself while carrying both the treasures of his past and a vision for the future. Tooker has long been called to pursuing obsessive trails through the greater cosmos. On these journeys, he seeks particles with a hypnotic essence. Once found, he interprets this magic in his own special way, through the most universal language - music. His music tells stories of fascinating adventures through the dust, the palms, and the gritty streets of yonder. It is colorful, deep, and disco laced. It flaunts rare collected percussion (delivered live in his sets), various instruments and sometimes whispers a touch of voice. Now his solo-debut EP Nang’o drops on Acid Pauli and Nico Stojan’s label Ouie. For the lead track Nang’o, Tooker recruits the phenomenal talents of Kenya’s multi-instrumentalist Labdi. Labdi’s oruto (a western Kenyan fiddle instrument) and bewitching vocals provide the hooks for this subtle, shuffling track, presented here as both a full version and as an instrumental. Baladi features Shawna Hofmann both on co-production and vocal duties - this time a more driving, rolling groove develops with Shawna adding sultry, evocative vocals to the mix. Undone rounds off the physical release - another signature exercise in subtlety and restraint, as an infectious groove folds in bubbling synths, crisp percussion and dubby effects.