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Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

The Two Sides Of Mary Wells is the seventh studio album by soul singer Mary Wells, released in 1966. Wells' career had drastically changed from just six years before when the then-teenage Wells first recorded songs for Motown. This album mixed traditional pop with more earthier and uptown soul songs. Wells released a modest hit with the Motown-esque "Dear Lover", which hit the top ten of the R&B charts.

It also includes some great interpretations by Wells of classic tracks as: "Satisfaction", "In The Midnight Hour", "My World Is Empty Without You" and "The Boy From Ipanema" a.o.

The Two Sides Of Mary Wells is available as a limited edition of 750 individually numbered copies on translucent yellow coloured vinyl.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

Confidence is the NBR absolute party starter! Big big drums, live saxophone and organ, a crazy tempo and a hook we've been spotted shouting along to walking to work at 9am! Like Phill Most says “Occasionally / Its even amazing to me/ how ill I can be /when I MC”. Damn straight Phill Most! We've seen early acetates of this absolutely tear up the festival circuit last summer & consider this 45 the ultimate party 45 on the label!

Flip it over to hear the exclusive to this 45 If Ya Let 'Em (Remix). Phill Most Chill on a cautionary tale about grabbing hold of our own destiniy! This very unusual beat that emulates a band sound by progressing & switching from bar 1 to the end. Snafu & Bankrupt Euros' Craig Cloy go wild on bass, piano & cello arrangement over a tough, classic break using live instrumentation and some sample chops, trying to replicate the feel of a soul band with hip hop sensibilities. Grazzhoppa steals the show on both sides with his turntable wizardry once again blurring the lines between beat and scratches blending his scratches into the instrumentation!

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

Pleasure to Kill is the second studio album by German thrash metal band Kreator, released in March 1986 by Noise Records.

Pleasure to Kill is widely considered a landmark thrash metal classic, along with Master of Puppets by Metallica, Peace Sells... but Who's Buying? by Megadeth, Reign in Blood by Slayer, Eternal Devastation by Destruction and Darkness Descends by Dark Angel, all released in 1986.

The album played a considerable role in the development of many extreme metal subgenres, and death metal bands such as Cannibal Corpse cite the album as an influence.

Originally released in 1962, jazz multi-instrumentalist Yusef Lateef’s “Eastern Sounds” fuses hard bop with middle eastern music as he is joined by Barry Harris on piano alongside Ernie Farrow (double bass, rabaab) and Lex Humphries (drums). This new edition of the album is released as part of the Original Jazz Classics Series and is pressed on 180-gram vinyl at RTI with all-analogue mastering from the original tapes by Kevin Gray at Cohearent Audio and presented in a Tip-On Jacket. US Import.

'MULTI-PLATINUM artist Thomas Rhett has put out a collection celebrating his 20 No. One hits in 10 short years, titled 20 NUMBER ONES out now. Set to include all 20 No. One hits so far and, “Angels (Don’t Always Have Wings),” as a bonus track, it’s a project tracing the path behind one of Country’s most vibrant current stars. As the last 10 years have seen Thomas Rhett grow into a never-static artist at the top of his game, the vinyl celebrates Thomas Rhett’s role as one of the best all-time representations of what Country music stands for – a world-class songwriter, an elite entertainer and a guy who’s down-to-earth character shows up in everything he does. Through these 21 songs on two discs, he finally stops to acknowledge it all – to take the journey in, with the knowledge that he’s already surpassed his dreams 100 times over. Radio: BBC Radio 2, Absolute Radio Country, Smooth Country, CountryLine Radio ‘Angels (Don’t Always Have Wings)’ playlisted on Downtown Country, Absolute Radio Country and CountryLine Radio Press: Maverick, CMP, Entertainment Focus, online country specialist press Socials: IG: 4.7M, TW: 2.4M, FB 2.5M

Despite his popularity in Peru as a famous comedian, Melcochita devoted himself to music for many years and worked as in-house studio musician for the label Discos MAG, taking part in countless sessions. This album was recorded between 1967 and 1968, accompanied by the orchestras of Betico Salas, Joe di Roma, Nilo Espinoza, Carlos Muñoz and Tito Chicoma. The album comprises amazing guarachas, mainly international hits, and the hilarious bolero 'Cobardía' where Melcochita brings in his comedian talent. First time reissue! - Back in 1968, the year "Dejen bailar al loco" was released, Pablo was still known as Pacocha (the name of a popular brand of soap) and worked during the day as a session musician for the MAG label. At night, from eight to six in the morning, he used to play percussion in clubs. Then, at the weekends, he performed on the popular variety show La Peña Ferrando, which featured "Quality acting; very funny, simple sketches", impersonations and musical performancs. Most of the guarachas on the album are international hits, such as 'El limoncito' and 'Pa' gozá candela'. The track, 'Quiero casarme contigo' has Mexican origins, and it has been adapted to guaracha style by Betico Salas' orchestra. The humorous 'No es un gato' hails from Colombia, while 'Ahorita va a llové' and 'Carta de mamita' come from Cuba. 'Dejen bailar al loco' and 'Libre de pecado' are also from the Caribbean Island. 'Cobardía' and 'Dos almas' are classic boleros, which were already part of the repertoire of most singers back then and were also included on this album. The only way to perform them to the demanding audience at La Peña without being booed was to put a new spin on the songs, deconstruct them and reinvent the structure, as the Tito Chicoma and Joe di Roma orchestras did, and above all Melcochita, who sang them in a supernatural voice and a created Creole scat that must have wowed the audience, who would then burst into applause and laughter, going home happy after a great night out.

A very special autumnal presentation from FaltyDL & Studio Barnhus, in the form of a perfect little slab of 12'' vinyl, exhibiting the love for the classic house sound that burns within the hearts of the prolific New York producer as well as the Swedish dance music
powerhouse. In particular, “Our House Is Barnhus” honours and updates the deeper side of the French touch – think Pépé Bradock and early St. Germain – fully displaying the state-ofthe-art production skills and emotional depth always present in Drew Lustman's music.
Known for his shapeshifting sound, FaltyDL has been releasing explorative electronic music for over a decade, switching his sound up intuitively across 6 albums, remixes for The xx and Mount Kimbie, executive production credits for Mykki Blanco and a multitude of
singles and EPs, including two previous Studio Barnhus editions in 2021 and 2019.

Our House Is Barnhus (12'' vinyl + digital release) is out on Studio Barnhus on September 29, 2023.

Renaissance is an English progressive rock band, best known for their 1978 UK top 10 hit Northern Lights and progressive rock classics like Carpet of the Sun, Mother Russia, and Ashes Are Burning. They have developed a unique sound that combines female lead vocals with a fusion of classical, folk, rock, and jazz influences. Characteristic elements of the Renaissance sound include Annie Haslam's wide vocal range, prominent piano accompaniment, orchestral arrangements, and vocal harmonies.

Renaissance is an English progressive rock band, best known for their 1978 UK top 10 hit Northern Lights and progressive rock classics like Carpet of the Sun, Mother Russia, and Ashes Are Burning. They have developed a unique sound that combines female lead vocals with a fusion of classical, folk, rock, and jazz influences. Characteristic elements of the Renaissance sound include Annie Haslam's wide vocal range, prominent piano accompaniment, orchestral arrangements, and vocal harmonies.

Dreams are made and displaced on Mark Fell & Rian Treanor’s oneiric electro-acoustic inception 'Last Exit', borne from long days in the family garden, and assembled into a mesmerising masterpiece of minimalist modal rhythm and atmospheric exploration, into rapt smallsound detailing in breathtaking form. It’s a bit like listening to Virginia Astley’s ‘From Gardens Where We Feel Secure’, with washes of Autechre seeping into the mix from outside.

‘Last Exit…’ originally appeared in a different form as a cassette release for our Documenting Sound series in 2021, and was edited this year by Mark and Rian for this new expanded and altered edition, mastered by Rashad Becker. It renders a painterly,psychedelic, and diaristic depiction of sublime atmospheric tension, occasionally ruptured by their typical, asymmetric rhythm impulses in a form that rudely transcends their respective aesthetics. Across four parts, they kern, juxtapose and diffract synthesised percussion and field recordings into polymetric arrangements riddled with timbral nuance of a highly unpredictable nature.

While patently inflected with nods to Indonesian gamelan, Ugandan folk, Indian Carnatic classical, Morton Feldman-esque minimalism, free jazz improvisation and a sort of rhythmic cubism that speaks to their mutual, voracious listening habits and tastes, the results are arguably without direct compare. Attentive listeners will recognise, however, that ‘Last Exit’ effortlessly transcends their respective styles, achieving a new high watermark of imaginary future-hyperfolk expressed in a sort of personalised but highly relatable meta-musical language.

Seriously, they’re working beyond known conventions here; opening to a sublime frisson of Feldman-esque keys, birdsong and distant car engines, and closing to a combo of just-intoned drone and wafts of distant ballroom music. The 80 minutes in between feel like returning to a dream, with flashes of FM strings dabbed to sloshing rhythms and domestic detritus, tilting into a nervously tentative tension ruptured with abstract dance dynamism and angular free jazz ballistics.

The rejigged recordings also reflect the fidelity of memory recall, expressing an altered perspective on their time spent in the multigenerational family’s Rotherham garden during spring/summer 2020, replete with their mum/grandmother on piano and overheard singing and in convo, but now fraught with a more melancholic, distempered quality that makes for a genuinely unforgettable listening experience. A long-form isolationist fantasy, consider it crucial listening if yr into Robert Ashley's 'Automatic Writing', Graham Lambkin, Autechre or Nuno Canavarro.

new project from Remy Pablo (The Anomalys, Weird Omen, King Khan Unlimited, Escobar), with Triple Axelle (The Silly Walks) on drums, Weird Ben (Weird Omen) on guitars and Quentin Tarantula (72 records Bruxelles) on bass. "The album is a classic case of a punk-oriented Jack-of-all Trades-Master-of-None production effort laced with influences of psyche, post-punk, and industrial. "Harder We Fall" falls into such a description with Pablo's distorted, wailing vocals over crude, looping riffs reminiscent of the early Wax Trax! releases, screaming-loud psychedelic-guitar cues taking influence from the Kiss To The Brain LP by Helios Creed album, and hard-hitting multi-tempo drum work." (Matthew Hutchison, New Noise Magazine)

His jaw- dropping, natural sounding, and unschooled skill on acoustic guitar, matched with an authentic 'Belfast Blues' voice, drew comparisons to John Martyn and Rory Gallagher, with nods to Van Morrison and Foy Vance. In addition to being an acoustic guitar star, Dom is equally adept on electric guitar, showcasing his talents with his power trio.

Dom has won a handful of European and UK Blues Music Awards. His sophomore studio album, 'A Savage Life' received rave reviews with Rock and Blues Muse declaring, "Dom Martin is the next rising star in the global roots scene.

Jump aboard now before he passes you by." Blues in Britain declared that Dom was "A rare talent of such sheer genius," and Classic Rock effused, "The Belfast guitarist is a sprawling talent."

His latest effort,' Buried in the Hail 'was co- produced by Grammy nominated producers Chris O'Brien & Graham Murphy. The album takes the listener on a very personal journey. "Unhinged" is all anger and fury, sparks and smoke and flames, from screaming amps. Taking a positive turn is "Daylight I Will Find", a song about life's challenges and how through self- love, one can find the answers. The sole cover on the album is a broken down, heartbroken version of "Crazy".

Early on, his prodigious technique and wide-ranging style garnered comparisons with the great Oscar Peterson. But there has always been another side to Alexander's playing. Usually, jazz grabs the upper hand, but on occasion he digs deep into his Jamaican roots.

The 1974 We've Only Just Begun recording signals the beginning of Jamaican pianist Monty Alexander's fruitful relationship with MPS, lasting over a decade and encompassing some dozen albums. On many he partners with no one else than fellow Jamaican and one of the fathers of ska, guitarist Ernest Ranglin.

Among others, this Best Of includes tracks from Monty's MPS classics like RASS!, Here Comes The Sun, Montreux Alexander - The Monty Alexander Trio Live At Montreux, We've Only Just Begun, Monty Strikes Again, Cobilimbo, or the untitled Monty Alexander & Ernest Ranglin.

Featuring the UK No.1 single 'If I Was', The Gift collects together a series of vocal and instrumental tracks to weave together a classic 80's album.

This newly Remastered 2LP Expanded Edition includes a bonus disc featuring 12" Extended Remixes of the singles from the album.

Format: 2LP 5mm Wide Spine Sleeve, with OBI

Dirty Dollhouse is the multi-genre music of Philadelphia-based artist Chelsea Mitchell, a folk chanteuse with classical training and a retro-pop composer with a soft spot for country. After releasing her first lo-fi EP, Married in the Aviary, Mitchell received the Tri-State Indie Vocalist of the Year award and the lyrics to her song Nobody's Daughter were showcased in American Songwriter Magazine. Her follow-up EP, 25 Shades, saw a departure from traditional folk and embraced a Nashville vibe while 2017's full-length album Vinyl Child was a mixture of darkly contemplative pop songs and quiet, intimate confession. Drawing from many muses has produced a uniquely diverse catalogue, but it has also made it near-impossible to pin down who Mitchell sounds like. In sultry-toned moments you might hear Nicole Atkins, a soft bird-like peak could make you think of Kacey Musgraves, and a certain belt may summon Brandi Carlile. Though her vocals range from soft twang to unabashedly operatic, it would suffice to say that Mitchell's songs all fit under the same 'singer-songwriter' umbrella as her lyrics weave a diary page to life and her band expands on structural simplicity with subtle grace. As bassist Joshua Machiz, drummer Eric Lawry, and lead guitarist August John Lutz II are now full-time members, Dirty Dollhouse has found a new and exciting momentum, opening for rising stars like Nikki Lane and Amanda Shires and playing to a wider audience.