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5th release on Factory Music Chicago comes from Traxman & Slick Rick Da Master! A great split ep with 3 tracks by each artist. Highly recommended!

Nearly a decade after the release of his breakthrough debut album 'Sunday', Swedish producer HNNY (aka Johan Cederberg) returns with the album Light Shines Through, released independently via HNNY's own imprint.

For his first album in almost a decade, HNNY has returned to the electronic soundscapes that inspired his earliest releases. It's made for the quiet, brain-tingling moments of solitude at home and contains a consistent thread throughout, not just in the ambient sounds used, but also more conceptually with what the songs evoke and what they are about: the album lands at a particularly pivotal moment of HNNY's life after the birth of his two daughters which have given him a new perspective on life.

HNNY's melodies are a gentle alternative to the more complicated corners of dance music. Debuting on Studio Barnhus in 2011, HNNY aka Johan Cederberg quickly became one of house music's most talked about artists with a signature sample driven style. He has won a Swedish Grammy in the electronic music category, toured the world globally and created a following both in and outside of the dance music community for his bittersweet strain of dance music.
Shortly after the release of his critically acclaimed debut album Sunday, the producer stopped touring solely focusing on production. Since then, HNNY has racked up hundreds of millions of streams, released a number of singles and EPs on the likes of Let's Play House, Puss and Omena and he is now finally ready to return to the LP format for the first time in nearly a decade with the album Light Shines Through.

Originally Produced By Chicago's Own Donald Dee Bee Burnside Back In 1980.

Now It All Come's Back Together In 2024 with a Remake from Grammy Award Producer/ DJ Maurice Joshua at the wheels, with a Disco Funk Vibe.

Remix from the mighty Moplen rounds out the package in fine style.

Already receiving strong support with plays by the likes of Deb Grant and Mary Anne Hobbs, Lara Jones' Divided EP is both playful and provocative, turning dance floor sounds into protest songs. Addressing subjects that affect us all – the highly polarised state of our politics as well as our conflicted inner and outer selves – Lara has created a sonic space that embraces this duality and gives voice to her own insecurities and anger at the state we find ourselves in, but also a desire for change, for a world that’s a little less divided. Composed, produced and mixed in her small London flat, Lara returns with her most dance floor-driven EP to date, with high energy pulsating electronics and jazz harmonies that weave into electronic grime and a web of arpeggiated synths, basses and glitchy beats. Divided sees Lara find her voice, bringing a punk angst with Jones’ lyrics and vocals, complimented by her signature electronics as she experiments with her voice more than ever. Listen to selected tracks here. EP comes with full sleeve notes by Mike Flynn editor of Jazzwise Magazine

Next up on Feral Child, sees not only a second ever release from New Zealand based VOR-STELLEN but a teaming up with one of label head dom’s favourite ever labels, the mighty Flying Nun. Despite some patchy European distribution the first VS release “Parallelograms”, was a constant player at FC HQ; 4 superb tracks of super laid back, kraut flavoured slow burners, (lead track “Voyager” especially, comes hugely recommended with its accompanying film clip), so when the band OK’d a second release for Feral Child, we were stoked. Vor-stellen is the experimental project of Brendan Moran, which blends fixated guitars and drums with ad-hoc electronic layers producing perforated waves of sustain which echoes off the fourth wall. Brendan has released work previously as part of avoid!avoid (their album “Particle and Wave” was released by Flying Nun in 2016) and The Subliminals, of which Flying Nun re-released -in 2021- a vinyl edition of their highly acclaimed album “United State”. With Vor-stellen he picks up where those other projects have left off as a foray into 'kraut' inspired compositions “which seek to transform pre-determined ideas of music into open-ended sound objects, untethered from any sense of conventional outcomes”. On this, second VS record, he teams up with his Subliminal buddies once again to continue on an exploration, “folding the weird and the eerie into a dark ecology of long-sound via indefatigable environments of modulation and improvisation, creating sonic counterpoints that hinge on a reanimation of musical gestures”. The record features two side long slow builders and are released in a beautiful Brendan Moran designed sleeve.

15 stunning group soul tracks (including 3 previously unreleased tracks never before issued in any format.

Sussex recordings licensed courtesy of 43 North Broadway LLC
York & Unreleased recordings licensed courtesy of Fred White and The Decisions
Sleeve Notes edited by Alan Kitchener (Soul Direction)
Sleeve & Label design by Jordan Wilson
Inner sleeve notes by Brian Poust
Mastering by Swift Mastering Ltd

Queen’s self-titled debut album will be remixed and released this October. This is the first time that a Queen album has been remixed. Retitled Queen I for this release, the front cover’s Queen logo, originally designed by Freddie Mercury, will be updated with the addition of the Roman numeral “I”. The original album was recorded in 1972 and was released in July 1973 on EMI Records in the UK and Elektra in the USA.

Featuring the singles “Keep Yourself Alive” and “Liar”, the album achieved Gold sales in the UK and USA, and has been a fan favourite ever since.

This Collector’s Edition sees the album presented in a whole new light, having been newly mixed from the original multi-track masters, and with the song “Mad The Swine” now reinstated into the album running order in its originally intended place.

The bonus discs that complete the 6CD+1LP set include: De Lane Lea Demos (also newly mixed from the original multi-track masters for the very first time); a CD comprised entirely of previously unreleased Queen I session out-take music and dialogue; a CD of instrumental and backing track versions of the album; a live CD featuring some of the best and most interesting live performances of songs from this album (some of which are previously unreleased); and finally, a disc comprised of Queen I tracks that were recorded for BBC Radio One (including DJ announcements).

Queen I – including “Mad The Swine” – is also presented on 180g black vinyl.

The Collector’s Edition is complemented by the addition of a 108-page 12” hardback book, which features a treasure trove of rare and previously unseen photography, hand-written lyrics, Freddie Mercury’s sketches, and more.

Presented in a rigid two-piece box with fold-out poster and four photo prints

For the Northern Soul collector few places rival Detroit as a source for quality, rare records. But Philadelphia comes pretty close and it is the city of brotherly love that produced America's number one independent record label... the mighty Cameo-Parkway. Here, for the first time, we present the very best that that iconic company has to offer.From the Wheel to Wigan, to the Weekender and beyond, the sound of Cameo-Parkway has packed the dance floors across the UK for over 50 years. From the opening bars of Dee Dee Sharp's driving cover of Mel Tormé's Comin' Home Baby' it's easy to see why the label is so highly prized by collectors and dancers alike and why this unique vinyl tribute will touch the hearts of the faithful! All of the classics are here: Chubby Checker, Christine Cooper, Bobby Paris, Yvonne Baker, Bunny Sigler, Jerry Jackson etc etc. The difficulty has been in deciding what to leave out, not what to include, maybe a second volume later in the year One thing is for certain, 1.2 million YouTube viewers just love Cameo-Parkway!

In celebration of the 21st Anniversary of this popular Christmas double album, Jeepster and War Child are releasing It’s A Cool Cool Christmas on vinyl for the first time. Originally released on November 20th 2000 as a CD only release, it will now be available on vinyl on November 19th 2021. This double album is released with colourful inners within a wide spine sleeve.

REPRESS

In celebration of the 21st Anniversary of this popular Christmas double album, Jeepster and War Child are releasing It’s A Cool Cool Christmas on vinyl for the first time. Originally released on November 20th 2000 as a CD only release, it will now be available on vinyl on November 19th 2021. This double album is released with colourful inners within a wide spine sleeve.

THE DYNAMICS • DRAG’N'FLY
by VINCENT HELLO.

Jamaica, 1960s. Ska artists, rock steady and reggae take back some soul songs of the United States, thus giving their versions that will in turn become future classics. The hits of the moment are also seasoned with Jamaican sauce, no matter where it comes from Original, pop, country, jazz... The rhythms of the island permanently transform the tracks of origin. In 2024, with their third album called Dragn'fly and decorated with a beautiful dragonfly (a "dragonfly" so in the language of King Tubby) the Dynamics honour Jamaican tradition and dynamite 10 versions of hits from yesterday and today. The Dragonfly spread his wings reggae, soul, funk to land in all headsets at the heart of good stereos and on spicy dancefloors. Because this dragonfly is a true superfly that speaks to the heart... and legs.

After two albums whose success led them to walk the globe of Glastonbury in Tokyo, honoured by the large elders (the first part of Lee Perry here, a regular dj support of Don Letts over there) the Dynamics are alive so their 'soul reggae vocal sound system” in front of audiences specializing in Jamaican or to those who are who were lucky enough to meet them by chance in Chemical Brothers... or Lady Gaga.

The Dynamics have forgotten the weight of ancestors to make their own recipe. They proclaim it, they are Sound System! The voices of Mounam, Steve Levi and Mr Day are in the front row, so making lovers, preachers, crooners and crooners to Turns of Duty, while Fab Master Flab all in one of the roots and futuristic echos. But if the mind is a sound system, the dynamics sounds also as a group through instruments live performances that plunge the tracks into a fervor unique. And then there are the hits, so, from all times and of all styles.
The low rider becomes toaster and leaves the road a American carried by these vocal harmonies Sky to take the exit Kingston. On the roadside, the joker delivers his lovers soft rock after a small detour to Muscle Shoal, The time to borrow a guitar from Duane Allman. In the south again, Mounam “Mrs Dynamics” meets the spirit of «Mr Dynamite» and tells him his radical, soul version. “ man’s world...” inna digital style! The spiritual anthem “you got to have freedom” by Master Pharoah Sanders becomes a universal skank, pop and dub who sends resounding high its universal message Dance! The dynamics are mutating the classic of ESG into a small, minimal pop bomb that is not without resemblance to the Neptunes of Mr Pharell Williams. On the edge of the track, Peter Gabriel sees his “Sledgehammer” groover as he does could imagine it and dissolve into sublime soul scrolls. Later, “After laughter...” soul classic celebrated and sampled Born into a rock steady air promised also to eternity. JJ Cale’s "cocaine," leaves its on the dancefloor for a reggae disco version, necessarily! And then, we must conclude. So it’s time to send an original title. It will be "Rubba Sub", to the aromas of sleng teng, which proves that far from the hits, the Dynamics deploys same layouts to deliver fresh and authentic sounds. And when the dub echoes evaporated, that the riddims have been silent, only remains an album majestic, in turn a future classic, full of unique Dynamics sound that mixes with instinct the echoes of yesterday to its own voices today.

Charlie Parker had a complicated relationship with his hometown of Kansas City, MO owing both to its history of racial segregation and to his strong ties to his family and friends there. This new set of rare recordings dating from 1941–1951 — most of them never having been heard before and some never even having been known to exist — chronicle Bird’s evolution from a blossoming soloist with the Jay McShann Band into a brilliant improviser who dominated the jazz landscape for decades to come. In addition to two unreleased 78s with the McShann band, this set offers two sets of private recordings (at the home of Bird’s friend Phil Baxter and at Vic Damon’s studio) made with local musicians and a very relaxed-sounding Parker who has the room to really stretch out and show us the shape of jazz that was to come in his wake.

Een Leven Lang Youp by Youp Van 't Hek, released 25 October 2024, includes the following tracks: "Burgerlijk gedrag", "Niet helemaal goed", "Staartje & Baardje", "Buurt Is Tegen" and more.

This version of Een Leven Lang Youp comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) LP-Booklet.

2024 Reissue

Touching Bass continue to prise open a distinct, exciting lane for themselves as a label home for forward-thinking, soulful music with the incredible debut project from London's Demae (aka Bubblerap and ? of Hawk House) entitled "Life Works Out...Usually" - "Life Works Out...Usually" is a soothing antidote to these turbulent times; a soulful coming-of-age story celebrating black joy, self-empowerment and life learnings centred around an integral two year period of growth and featuring appearances from Fatima (Eglo Records), Joe Armon-Jones, Ego Ella May and Nala Sinephro - all part of our close-knit, London-based musical community. Sonically, it draws a unique line between the grit of inner-city London soul, interstellar Flying Lotus electronic rushes and new-age Dilla-isms mixed with flecks of London's exciting jazz-influenced sounds. Production comes from rising producers like Eun (Ego Ella May, Denzel Himself), Jake Milliner (Slum Village, Yazmin Lacey, Lord Apex), 104.ROG (Liv.e, THEESatisfaction) and Wu-Lu (Ego Ella May). For those not yet accustomed, Demae's work stretches beyond her solo project. She has been a fundamental part of Fatima's touring band as a backing vocalist since the release of her much loved second album And Yet It's All Love. Prior to that, she was one-third of hip-hop adventurists, Hawk House, whose introspective, eclectic style was reshuffling the rule book for UK-based rap, quickly making them one of the UK's most exciting emerging sounds and earning fans from Mac Miller and Ghostpoet to Wretch 32 and Jill Scott.

Step right up, ⁢dear music aficionados! Welcome to the melodic adventure of Penny’s Big Breakaway, the long-awaited kinetic 3D-platformer developed by Evening Star and published by Private Division (Take-Two Interactive).

The composer team behind‌ Sonic Mania, led by Tee Lopes, present a new masterpiece, crafted ‌with love and finesse. This colorful soundtrack features various vibes, from funk to rock with even house and EDM accents. So sit ⁣back, and let the‍ groovy waves wash over you.

Katie Gavin's debut What A Relief taps into the unguarded self-possession and homespun pop sensibility of singers like Alanis Morissette, Fiona Apple and Ani DiFranco, and uses their tenacity as a north star for Gavin's own trek towards self-discovery. "This record spans a lot of my life - it's about having a really deep desire for connection, but also encountering all the obstacles that stood in my way to be able to achieve that, patterns of isolation or even boredom with the real work of love" they say. Written over the course of seven years, What A Relief comprises a set of songs that Gavin always loved but which "had something in them" that she and her bandmates felt didn't quite fit within the universe they were trying to cultivate with MUNA. Many of them were written on acoustic guitar, and are rooted in "a style of music that's very much in my blood, and natural for me," as typified by the Women & Songs CDs that Gavin loves, which compiled music by artists like Tracy Chapman, Tori Amos and Sarah McLachlan. That openness of spirit is the overwhelming character of What A Relief, an album that's refreshing in its willingness to accept people as they come, even as it remains in dogged pursuit of a life that's kinder, wiser and more loving. Gavin's explorations of desire and intimacy feel time-worn and necessary - songs that might teach a generation if not how to live, exactly, then at least how to look within oneself for guidance about how to move forward.

Katie Gavin's debut What A Relief taps into the unguarded self-possession and homespun pop sensibility of singers like Alanis Morissette, Fiona Apple and Ani DiFranco, and uses their tenacity as a north star for Gavin's own trek towards self-discovery. "This record spans a lot of my life - it's about having a really deep desire for connection, but also encountering all the obstacles that stood in my way to be able to achieve that, patterns of isolation or even boredom with the real work of love" they say. Written over the course of seven years, What A Relief comprises a set of songs that Gavin always loved but which "had something in them" that she and her bandmates felt didn't quite fit within the universe they were trying to cultivate with MUNA. Many of them were written on acoustic guitar, and are rooted in "a style of music that's very much in my blood, and natural for me," as typified by the Women & Songs CDs that Gavin loves, which compiled music by artists like Tracy Chapman, Tori Amos and Sarah McLachlan. That openness of spirit is the overwhelming character of What A Relief, an album that's refreshing in its willingness to accept people as they come, even as it remains in dogged pursuit of a life that's kinder, wiser and more loving. Gavin's explorations of desire and intimacy feel time-worn and necessary - songs that might teach a generation if not how to live, exactly, then at least how to look within oneself for guidance about how to move forward.

Bonus 7”
A. Rincón de Luna (2.55)*
B. Voices (2.34)*

Singer/Songwriter Juliet Lawson’s album, ‘Boo’, was released on the Sovereign label in the UK in 1972. The album was the confident debut of a young British artist and featured twelve of Lawson’s own compositions.

In the same wave of early 1970s English singer-songwriters such as Nick Drake, Vashti Bunyan, Christine McVie and despite being described at the time as ‘Britain’s answer to Joni Mitchell’ ‘Boo’ was to prove her only major label release with limited commercial success.
Over the next 50 years the album’s reputation has slowly grown and is today an expensive and collectible item. ‘Boo’ is presented here in its entirety.

The first pressing of the vinyl edition of the album also come with a bonus 7-inch single featuring two early demo tracks produced by ex-Yardbirds founder Paul Samwell-Smith, who also produced Carly Simon and Cat Stevens. Special Limited-Edition Album with bonus 7” Single + Download Code.

Includes interview with Juliet Lawson and exclusive photography.

The French group consolidates its soul, rock and Americana roots in a liberating and timeless second album.

In 2021, Lowland Brothers, the first self-titled album from the group led by Nico Duportal (vocals, guitars, lyrics), Hugo Deviers (percussion, guitar, lyrics) and Max Genouel (bass, keyboards) built an unprecedented transatlantic bridge between soul, rock and the woody sounds of Americana. " We have some

African-American, but our desire is to transport this baggage and take it elsewhere,” specifies the group from the West and North of France.

Elias Rønnenfelt is a musician and poet best known as the lead singer and lyricist of Iceage. Heavy Glory is his debut solo album. Out October 25th via Escho. Heavy Glory was recorded in Copenhagen in chapters and moments over the course of a year. Collaborators include Iceage's Dan Kjær Nielsen, Danish punk godfather Peter Peter, and singers Joanne Robertson (Elias and Joanne have collaborated before, on a number of recent Dean Blunt releases) and Fauzia. "I've done this so many times," Rønnenfelt explains, speaking of the process of crafting a long player, "but capturing and crystallising an album remains a singular ritual, just with different circumstances. We are capturing something that is hard to hold down." Heavy Glory is a record that examines all the things that lovers do, from the most desperate to the most pure. The lover haunts the record, reappearing and provoking Rønnenfelt, pulling him in and pushing him away. Songs like "Close" describe the line between jealousy and protectiveness. "Unarmed" is a song of surrender. "River of Madeleine" harnesses toughness in the name of preservation, staying up all night to protect his lover's dreams. "Stalker" is an epic third-person story song in the tradition of the murder ballad. The record closes with two covers. The first, Spacemen 3's "Sound of Confusion," is a mission statement of the life Rønnenfelt has found and inherited in music. "Here it comes," the song famously promises, and flares out into noise. It is a joyful noise, because this life, in all its grit, is the life he chose. The second, Townes Van Zandt's "No Place to Fall," is a sweet plea, Rønnenfelt's final invitation to join him on his journey. This journey - this story, this record - will repeat and continue. It never stops. Rønnenfelt's life as an artist results in a sound that wobbles and rocks but never loses its centre, both fragile and tough, and always moving forward. It is dreamy yet bombastic, held together by the passion of certainty. Co-produced by Rønnenfelt and Nis Bysted.

Spotlight Records is proud to announce the release of the original soundtrack for Bruce LaBruce’s new film, The Visitor. Composed by the acclaimed UK-based DJ and producer Hannah Holland, the soundtrack presents an eclectic mix of cerebral soundscapes and pulsating dance floor anthems, a defiantly bold score for a truly provocative narrative. The deluxe limited edition double vinyl package comes with a guerilla sticker sheet.

The Visitor sees the legendary filmmaker and photographer continue his decades-long creative journey with a transgressive reimagining of Pier Paolo Pasolini’s 1968 classic Teorema, set against the dystopian backdrop of a paranoid, xenophobic post-Brexit London. Washed ashore from the sea in a suitcase, a mysterious refugee disrupts the lives of a privileged white family, leading them through a series of explicit and transformative encounters. The film, which features performance artist Bishop Black amid a series of explicit, hardcore sex scenes, premiered at the 2024 Berlinale Film Festival.

With reverence and reference to Ennio Morricone’s iconic score for Teorema, Hannah Holland has crafted a soundtrack that both honors the original and brings a contemporary twist. The album features collaborations with a stellar lineup of artists from both the queer and electronic music underground, including Ghost Culture, Jonjo Jury, Josh Caffé, Joy Joseph, ROY INC, and Ziah Ziah.

6 years after their last album, fav favourite Kites, Submotion Orchestra make their long-awaited return with the remarkable Five Points EP. Recorded over a period of two months at band member Taz Modi's new studio in the Sussex countryside, it sees the band plough a path through electronica, jazz, soul and ambient in their own singular way. After a period of time spent looking back at their oeuvre, with the release of two Unplugged collections as well as classic debut album Finest Hour on vinyl for the first time, the refreshed, slightly older and wiser band set their sights firmly ahead, and the result is music that sounds like nothing they've done before.

Whilst featuring the uniquely fragile voice of Ruby Wood and the live instrumentation that has been their calling card in the electronic world for so long, the EP also delves into rhythms, soundscapes and effects that push their recognisable sound as far as it can go, and acts as the perfect taster for the forthcoming album that the band are currently recording.

Created as a seamless listening experience, the EP opens with the evocative and atmospheric 'Start Point', as dreamlike synths and brass mix with wordless harmonies straight from the heavens. 'Hope' continues the mood, warm analogue synth patterns combining with fragmented vocals on a persistent build-up to an emotional climax. Lead single 'Side One' cheekily nods to Submotion classic 'All Yours', before moving into newer territory, where Ruby Wood's vocals slowly become distorted and twisted, the perfect backdrop for this story about the loss of hope. Flowing joinlessly into its mirror image 'Side Two', we see the instrumental prowess of Submotion Orchestra which has so long been their defining characteristic in full flow. Finally, 'End Point' brings the EP to a moving and wistful climax, telling a tale of the wisdom that can only come after bitter experience.

Strange Power!, the fifth record from Durham, NC-based songwriter and poet Anne Malin Ringwalt, emerges from the darkest waters of the self into a world remade. Releasing in conjunction with her second book of poetry, What Floods (Inside the Castle, Oct. 2024), Strange Power! overflows with Ringwalt's teeming and sensuous personal symbolry: glowing lilacs and gentle queens, dolphins wild and girls who grew up brave _ T.S. Eliot sung by Cat Power, backed by Mount Eerie. She sings: "I rose up from water." Ringwalt writes and performs with the authority of a lifetime spent harnessing the alchemy of storytelling; her belief in the power of words to heal and transform is palpable in each achingly- delivered lyric. Made amidst profound inner and outer change, Strange Power! also sees Ringwalt taking up the role of self-producer for the first time, mirroring and supporting the record's Orphic quest by gathering contributions from a coterie of friends wielding an electric range of American instruments. Violins, vibraphones, drum machines, electric guitars dappled with spring reverb, wind-blown shells, and a host of other numinous sounds form an unfurling and shadowy world which was then carefully honed during the mixing process (shepherded by Michael Cormier-O'Leary and Lucas Knapp) _ settling the final record in an eerie meridian between spareness and verdancy. The result is a beguiling and darkly blooming realm: the sound of a personal cosmos being remade, piece by piece. Ringwalt is at the height of her spirit as both songwriter-poet and singer, her willowy voice by turns conjuring and keening as she reckons with her deep past and the stories told since. Opening track "The Pines" sets the stage for a record of truly life-long scope: "I was a child, now I hold her / I was asleep for many years." Some songs, like the gorgeous "North Carolina" and "The Saint," were written as early as 2013 but, Ringwalt says, "insisted upon being remembered" as the record took shape; in its final form, they serve as inciting moments of self-discovery before the journey to come. "The Visionary" recalls one of Ringwalt's earliest musical breakthroughs _ her re-rendering of an Emily Brontë poem into a song at age 15 _ and, she says, "`cites' the melody of that song in the context of this new one _ a holding of the past and present and every layer in between/beyond, in utter solitude _ a solitude that reflects certain aspects of abandon as a child and an adult..." This unusually lengthy time-scale lends Strange Power! a deeply moving sense of narrative fullness. Stretches of the record _ particularly the "Judgment Day" ? "River" ? "Lilac Bloom" trifecta that form the black heart of Side 1 _ may recall familiar wanderings of personal underworlds such as Mount Eerie's Lost Wisdom Pt. 2 or Neil Young's Ditch Trilogy. Yet this hollowed landscape is in turn exorcized by the a capella "I Know," in which Ringwalt sings "I won't be gutted by you / For giving and trying to heal / I won't be gutted, I am not a fool / I deserve a love that is new" before the song concludes with a piano passage that recalls hymnal music _ suggesting a faith in life itself to offer new beginnings. Side 2 features some of Ringwalt's most powerfully introspective writing to date, as the songwriter casts off myth after myth in her search for personal transformation. By the final song, "Stories," the energy that has been gathering all throughout the record breaks loose as Ringwalt reflects: "I wrote so many stories, not knowing what the end was." But at this stage in the journey, we know there is no such thing as an ending; if the healing process is never complete, the storyteller's strange power is what finally offers liberation.

Lonnie Smith (1942 – 2021), was an American jazz organist. He was part of several vocal ensembles in the 1950s, includ- ing the Teen Kings which included Grover Washington Jr. Art Kubera, the owner of a local music store, gave Smith his first organ, a Hammond B3. Smith’s affinity for R&B mixed with his own personal style as he became active in the local music scene. In 1965 he met guitarist George Benson. The two con- nected on a personal level and formed the George Benson Quartet, featuring Lonnie Smith, in 1966. After two albums under Benson’s leadership, Smith recorded his first solo al- bum ‘Finger Lickin’ Good (Soul Organ)’ with George Benson and Melvin Sparks on guitar, Ronnie Cuber on baritone sax, and Marion Booker on drums. This combination remained stable for the next five years. After recording several albums with Benson, Smith became a solo recording artist and sub- sequently recorded over 30 albums under his own name.
Numerous prominent jazz artists joined Smith on his albums
and in his live performances, including Lee Morgan, David “Fathead” Newman, King Curtis, Blue Mitchell, and Joe Lova- no. The album ‘Finger Lickin’ Good (Soul Organ)’ showcases Lonnie Smith’s virtuosity and his innovative approach on the organ, with tracks that feature intricate solos and groovy rhythms so typical of the soul jazz and jazz funk genres. Lon- nie Smith was named 9 times “the best organist of the year” by the Jazz Journalists Association.

This release comes as a limited edition of 750 copies on smoke coloured vinyl.

In 2007 an Italian film festival invites Mouse on Mars to score a film of their choice. The organizers claim to be able to clear the rights for any movie the band chooses. Werner Herzog’s fictional documentary Fata Morgana, which merges footage of several desert explorations by Herzog and his team into one continuous association, has long been a band’s favorite. The film comes with a soundtrack by Mozart, Leonard Cohen, Third Ear Band and field recordings. Andi Toma and Jan St. Werner are sent a DVD to Düsseldorf and start working. The idea is to score the film in real time so instrumentation has to be readily at hand: guitar, percussion, electronics, mouth harp, pedals, software, tapes, samplers. Once the arrangement for the three-part film is sorted Mouse on Mars bring their score to stage. Herzog Sessions is performed twice: first when the band still thought the rights had been cleared, and a second time at London’s Southbank Center knowing that Herzog would have never approved a new score.

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Mouse On Mars – London Queen Elizabeth Hall soundtracking Werner Herzog.
By Mike Diver, 24.04.2009

Filmed in 1971, Fata Morgana is perhaps not one of Herzog’s best-known works (think Grizzly Man, Rescue Dawn, et cetera…), but then Mouse on Mars have never been ones to embrace the mainstream, quietly letting their modern, experimental take on krautrock do the talking over the years, thus producing some quietly brilliant electronica that far outweighs their modest profile.

The film itself is not altogether dissimilar to the wonderful, Phillip Glass-scored Koyaanisqatsi, with sweeping landscape shots and no obvious plot or narrative, though Fata is concentrated purely in one place – in and around the Sahara Desert, switching from images of barren wasteland to desert tribes and dead, skeletal cattle.

The obvious thing to do when soundtracking such powerful imagery is to vie for dreamy electronic soundscapes which can be sustained for a long period, and whilst this ambient shoegaze approach was present and correct (also carefully constructed and highly effective), Mouse on Mars added a human element to the performance, incorporating a live dimension by using and looping guitars, harmonicas, processed vocals and even a live horn player (quite possibly a flugelhorn. Look it up if you don’t believe me) for the final section of the film.

Some of the most interesting points arose when the duo suddenly switched from solemn, ambient tones to glitchy, bouncing electro (reminiscent of their more upbeat work) whilst on the same film shot – causing the audience mood to flick from tripped-out bliss to attentive semi-wired, utterly subverting any idea of a narrative the film may have possessed. Clever stuff.

Ranging from sinister to surreal to humorous, all the moods portrayed in Fata Morgana were successfully matched by Mouse on Mars’ live rescore – no mean feat. The duo also went above and beyond the call of duty with their own soundtrack, adding a fascinating personal signature to an already unique film.

Sub Pop and Mudhoney celebrate the barnstorming self-titled debut album by Seattle punk/rock/fuzz/g****e legends Mudhoney, originally released in 1989, with a fresh colored-vinyl pressing. This classic album contains 12 tracks of roaring rock music, including the megahits "This Gift" and "Here Comes Sickness." Mudhoney frontman Mark Arm says "Turn up the tape hiss!!" This special 35th anniversary edition is limited to 1000 copies on Petrol coloured vinyl, YES PETROL, it looks mighty fine, and comes in a single-LP jacket with poster insert!

Queen’s self-titled debut album will be remixed and released this October. This is the first time that a Queen album has been remixed. Retitled Queen I for this release, the front cover’s Queen logo, originally designed by Freddie Mercury, will be updated with the addition of the Roman numeral “I”. The original album was recorded in 1972 and was released in July 1973 on EMI Records in the UK and Elektra in the USA.

Featuring the singles “Keep Yourself Alive” and “Liar”, the album achieved Gold sales in the UK and USA, and has been a fan favourite ever since.

This Collector’s Edition sees the album presented in a whole new light, having been newly mixed from the original multi-track masters, and with the song “Mad The Swine” now reinstated into the album running order in its originally intended place.

The bonus discs that complete the 6CD+1LP set include: De Lane Lea Demos (also newly mixed from the original multi-track masters for the very first time); a CD comprised entirely of previously unreleased Queen I session out-take music and dialogue; a CD of instrumental and backing track versions of the album; a live CD featuring some of the best and most interesting live performances of songs from this album (some of which are previously unreleased); and finally, a disc comprised of Queen I tracks that were recorded for BBC Radio One (including DJ announcements).

Queen I – including “Mad The Swine” – is also presented on 180g black vinyl.

The Collector’s Edition is complemented by the addition of a 108-page 12” hardback book, which features a treasure trove of rare and previously unseen photography, hand-written lyrics, Freddie Mercury’s sketches, and more.

Presented in a rigid two-piece box with fold-out poster and four photo prints

When the Beat Konducta and his trusty alter ego link up for the sequel, another southern California blunt cruise ensues. The Adventures Of Lord Quas consists of a slow ride through the deepest corners of the crate, leaving no genre unearthed until it claims space in the haze of one’s imagination. It’s business as unusual: Madlib funnels his most twisted impulses and comedic sensibilities into a sonic slacker flck complete with good dope, bottom-shelf liquor, and a penchant for gazing mouth agape into the great unknown. But he knows Lord Quas like a good needle on wax, and they casually strut through the loops, much ado about frontin’. (Not like fake shit ain’t a big deal, but it ain’t a big enough deal.) This record captures Madlib and his id at their most frantic, indulgent, and often confusing; they trade neatness for chaos, continuity for collage in a barrage of the finest sounds this side of the B-side. It’s hip-hop that takes every visible risk, often striking gold and proving how in control the Loop Digga truly is. Don’t hit it too hard, your other selves might pay you a visit.

"""Population Four"" is the fourth studio album by the British alternative rock band Cranes, released in 1997. This album marks a major change in the lineup. With bassist Cope leaving the band, Jim Shaw took on the role of lead guitar, Francombe transitioned to bass, and new member Manu Ros joined as the drummer. The album showcases a more traditional sound, as Cranes move away from stark and mysterious vocals toward acoustic guitars and standard drums, while maintaining their distinctive ethereal blend of dream pop and gothic rock. Alison Shaw's haunting vocals continue to take center stage, as the band embraces a more mature and refined sound. Tracks such as ""Brazil"" and ""Angel Bell"" demonstrate their ability to blend lush melodies with introspective lyrics. The single “Can’t Get Free” is a haunting and atmospheric track that encapsulates the band's unique ethereal style, cementing their status as a cult favorite. This re-release comes as a limited edition of 1000 individually numbered copies on silver & black marbled vinyl."

The Leeds jazz scene is the gift that keeps on giving. From the dub-leaning ambience of Submotion Orchestra through to the afro-jazz fusion of Nubiyan Twist and TC & The Groove Family, a multi-generational lineage has emerged. Adding yet another page to the eclectic story of jazz from the city, emerging punk-jazz upstarts Plantfood announce the imminent arrival of their debut album ‘Carnivores’ on Friday 4th October via Bridge The Gap.

Consisting of JJ Petrie (percussion), Ruben Maric (keyboards), Joe van der Meulen (tenor saxophone), Woolley (baritone saxophone), Finn Hamilton (drums) and Woody Hayden (bass), Plantfood began in the throes of lockdown, during which all the members lived together. The group spent day after day sharing their eclectic music tastes, ranging from the electronic punk of The Prodigy and art-rock of Black Country New Road, through to the jazz dance of Steam Down and The Comet Is Coming. Taking these influences, they crafted their own sound, but without live shows, their only audience was the plants in their rehearsal room:

“We called the band Plantfood because we were writing and rehearsing in one of our bedrooms which was full of house plants. The plants kind of became our only audience, so it was like the music was food for the plants.”

The band’s debut album ‘Carnivores’, plays on this theme, referring to the plants as carnivores for consuming the bands music, whilst also reflecting the apocalyptic palette of sounds and chaos found within the record. However, mirroring the dynamism of a Plantfood live show, the album is anything but one-dimensional. The group expertly balance moments of serenity and vulnerability with cataclysmic urgency, all brought together under the guidance of producer David Haynes (TC & The Groove Family, Nubiyan Twist). The group share:

“The album’s moments of vulnerability and hope are intended as the depiction of a return-to- earth theme (circle of life, growth and decay), reflecting that the cycle of nature is not simply destructive.”

The project’s lead single ‘Y.U.S.’ drew praise from tastemakers including Jamz Supernova on BBC Radio 6, with the track featuring the talents of UK-Palestinian MC Yung Yusuf, a serial collaborator who also appears on album closer ‘Monstera’. Both tracks channel Plantfood’s explosive live energy into a blend of afro-latin rhythms and broken grooves, with the distinctive blend of tenor and baritone saxophone weaving in and out of grime-leaning, poetic exchanges with Yusuf.

Elsewhere, the second single from the project ‘Birdgang Pt. II’ is a fresh take on the band’s contemporary jazz sound, blending jazz, Balkan folk and Moroccan rhythms with a punk edge. The album’s title track resets the balance, soothing the soul through a swirling approach to spiritual jazz that wouldn’t be amiss amongst the Gondwana Records catalogue.

After working within various collectives, rapper Davodka is celebrating his ten-year solo career with the album "Heritage." With a myriad of concerts in France and Europe, 6 solo albums, and features with the entire French independent rap scene (Demi Portion, Melan, Dooz Kawa, 3ème Œil, Swift Guad...), Davodka is known for his incisive words and the speed of his flow, making him one of the leading lyricists.

This new album is the heritage of the past ten years, where the artist takes a step back and captures the universe in which he has evolved, paying homage to it through music. The rapper's lyrics have never been more personal. He addresses rarely discussed topics in rap, such as his depression in the track "Arc en ciel," his relationship with his autistic child in "Enfant bulle," and his awareness of the difficulty in having completely selfless relationships as an artist in "On naît seul, on meurt seul."

"Heritage" attests to Davodka's undeniable place in conscious rap, notably with the track "Avec des mots," where he shares the mic with Sinik, an emblematic artist of the golden age of French rap. Although Sinik, a French artist with countless certifications, had announced the end of his career two years earlier, he makes an exception for Davodka and records a powerful track in homage to all those who come from the bottom.

Davodka, true to himself and his audience, primarily raps over boom bap and trap beats; however, he ventures into unknown territories, notably in "On naît seul, on meurt seul," where he adopts a ragga flow, and "Feuille froissée," with its auto-tuned chorus. He also takes the time to pay homage to the beginning of his career, when he was part of the MSD collective, by reprising a verse written at the time in the track "Les minots dorment – Remix."

Join him on October 25, 2024, to discover "Heritage," Davodka's 7th album. He will be touring throughout France, Switzerland, and Belgium, and in Paris at the Cabaret Sauvage on December 5, 2024, for the release party.

Die aus New York, New Jersey und Pennsylvania im Nordosten der USA stammenden Kings Never Die bewegen sich auf dem schmalen Grat zwischen positiven, aufbauenden Botschaften und todernsten Themen. Eine musikalische und textliche Mischung aus Hardcore, Punk, Metal mit Chat- oder Mitsinggesang. In den Worten der Band: "Wir lieben es, zusammen Musik zu machen, und das ist es, was dabei herauskommt". Die Band besteht aus den Mitgliedern Dylan Gadino (Gesang), Dan Nastasi (Gitarre/Gesang), Danny Schuler (Schlagzeug), Larry Nieroda (Gitarre) und Evan Ivkovich (Bass).

After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

Red vinyl, limited to 300 copies. After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

John Williams' Home Alone soundtrack is a heartwarming classic that perfectly complements the holiday season. Known for his work on Star Wars, E.T.and Harry Potter, Williams brings the same orchestral magic to this beloved Christmas film. The score includes memorable tracks like 'Somewhere in My Memory,' a recurring theme throughout the film, and 'Star of Bethlehem,' which captures the festive spirit with choral and orchestral elegance. The standout track, 'Setting the Trap,' diverges from Williams' usual orchestral sound, incorporating electronics and percussion to enhance Kevin's creative showdown with the burglars. Alongside traditional Christmas carols like 'O Holy Night' and 'Carol of the Bells,' the soundtrack blends nostalgia with whimsy. Though the album repeats familiar motifs, its charm makes it a refreshing alternative to typical holiday music. The Home Alone soundtrack is available in a limited edition red and gold vinyl 2xLP, making it an essential for any festive playlist. Whether it's playing while decorating the tree or enjoying Christmas cookies, this release brings the holiday spirit alive.

Andrew Choi doesn’t claim to have all of the answers when it comes to talking about work in America. But if anyone is uniquely well positioned to raise questions, it’s him. Over the course of two decades, the Midwest-born, New York-based singer-songwriter—who performs under the name St. Lenox—has been a musician, a clothing store employee, an underpaid graduate student and scholar, and a salaried corporate attorney. This tremendous amount of experience is channeled into Andrew’s latest album.

"Jabee is a rapper from Oklahoma City whose music, according to Chuck D. from Public Enemy, “has the potential to change the world.”

His debut Mello Music Group album, The Spirit Is Willing, But The Flesh Is Weak, is streetbound, light filled, eastside rap. The new album features production and guest verses from Conductor Williams, Apollo Brown, Marv Won, Quelle Chris, Evidence and more. The Emmy award winning emcee delves deep into the his most personal moments as well as giving insight into why he is the voice of the community he stands with.

Jabee has toured with Run the Jewels (Killer Mike and El-P) and Murs, and has been featured on Sway in the Morning, MTV, XXL, Complex, The Source and Vibe. He has also performed at Kevin Durant’s celebrity basketball game and Russell Westbrook’s celebrity comedy show. Jabee's new album is the start of his next chapter with Mello Music Group."

"“There are times in life when you’re so present, so fully immersed in the moment that you can catch a glimpse of another universe, of a realm beyond our own,” says Louisa Stancioff. “It might last for a second or an hour, it might come in the midst of bliss or sadness, you might be alone or with a lover, but when it happens, there’s nothing quite like it.”

When We Were Looking, Stancioff’s stunning Yep Roc debut, is full of those moments. Written and recorded through a period of deep heartbreak and uncertainty, the collection is the raw and unflinching work of a nomadic soul who spent stints living in Alaska, California, New York, and North Carolina before returning home to her native Maine, one that holds nothing back in its bittersweet reckonings with pain, healing, acceptance, and growth. Stancioff writes with a cinematic eye here, conjuring up richly detailed stagings for her emotionally-charged character studies, and the guitar-and-synth-focused arrangements are immersive and nuanced to match, thanks in part to the evocative sonic landscaping of producer/keyboardist Sam Kassirer (Josh Ritter, Craig Finn), who proves to be an ideal creative foil on the record. Add it all up and you’ve got a dreamy, nostalgic Polaroid of an album that blurs the lines between indie stoicism and folk sincerity, a lush, cathartic work that hints at everything from Phoebe Bridgers and Arlo Parks to Big Thief and Waxahatchee as it learns to find the beauty in grief and rebirth."