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Unavailable on all formats since the early 2000s, Alison Brown’s GRAMMY-nominated debut album SIMPLE PLEASURES was a leap forward for Scruggs-rooted banjo playing when it was first released in 1990. For the 2024 reissue, the original 8-track, 1” multitrack tapes were transferred at a resolution of 192kHz/36-bit, and remixed and mastered. The album was produced by David Grisman and includes guests included Alison Krauss (fiddle), David Grisman (mandolin), Mike Marshall (guitar, fiddle, mandolin), Matt Eakle (flute), Joe Craven (percussion) and Jim Kerwin (bass).

Deb Demure's powerful presence and hypnotic sound has firmly defined the identity of Drab Majesty. After releasing the debut album, Careless, Drab Majesty split time between touring and studios, piecing together the ideas for the follow-up album, "The Demonstration", an album depicting Deb Demure as only one part of Drab Majesty's overall being and storytelling saga.With "Induction", Drab Majesty sets up an ethereal backdrop for which the rest of the album follows. Tracks such as "Dot In The Sky" and "39 By Design" (a song pointing to the doomsday Heaven's Gate cult) use lush, shoegaze approach to portray the fragility of humanity's loss of self, looking only to the heavens for answers. "Cold Souls" flawlessly executes Drab Majesty's arpeggiated finger picking signature, complete with washes of hazy noise and atmospheric reverb. With the addition of Mona D. to Drab Majesty's mysterious portfolio, songs from The Demonstration perpetually create new meanings and depth with every listen. After Drab Majesty wraps up The Demonstration with "Behind The Wall", one is left wondering what kind of identity is truly their own Compact disc features two bonus tracks plus four exclusive remixes by Cold Cave, Drew McDowall, Silent Servant and Martial Canterel.

The Fall Of The House Of Usher by Newton Brothers, released 28 June 2024, includes the following tracks: "Burial", "Aftermath", "Opportunity", "Trowel" and more.

This version of The Fall Of The House Of Usher comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

The vinyl is pressed as a green disc. Another vinyl is pressed as a green disc.

Colombian Sensation Felipe Gordon Drops "Phasing the Shit" Ep on Phonogramme Records Colombian Dj and Producer Felipe Gordon Is Gearing Up to Shake Up the Electronic Music Scene Once Again With His Latest Ep, "Phasing the Shit," Slated for Release on Phonogramme Records This May. Featuring Four Electrifying Tracks, "Phasing the Shit" Is a Testament to Gordon's Unparalleled Talent and Musical Ingenuity. From the Infectious Grooves of "Who’s Gonna Be"to the Soul-Stirring Vibes of "Wait on You (Say Goodbye)", Each Track Promises to Take Listeners on a Sonic Journey Like No Other. "Keep Doing What You Love" Is a Rallying Cry for Self-Expression and Authenticity, While "Phasing the Shit" Serves as the Ep's Crowning Jewel, Enveloping Listeners in a Kaleidoscope of Sounds and Emotions. With His Latest Release, Felipe Gordon Solidifies His Status as One of Colombia's Most Exciting Musical Exports, Captivating Audiences With His Infectious Beats and Genre-Defying Style....

Early Feedbacks :

Laurent Garnier : lovely bluesy tracks ... Great EP for sure
Lea Lisa (Phonica Records / Folklor Club) : Phasing the shit, Dope !
Nightmares On Wax (Warp Records) : Whos gonna be is great ! Wait on you is dope ! Keep doing is tuff! Phasing the shit is dirty ! Love the e.p
DJ Bone (FURTHER) : Keep Doing What You love works for me.
Ame (Innervisions) : thanks
Kassian (Phonica White / Heist Recordings) : keep doing is so cool
Harri (Sub Club) : liking these, will play and support
Oliver $ (Classic Music Company / Play It Down) : lovley tracks!
Cesare vs Disorder (Serialism Records) : nice! will play, thank you
Satoshi Tomiie (Abstract Architecture) : Phasing The Shit is THE SHIT :)
Domenic Cappello (Subclub) : love phasing the shit ,class track
Marcel Dettmann : thx
Ugly Drums (Quintessentials) : Wait on you is a jam
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Title track sounding good!
Domenic Cappello (Subclub) : love phasing the shit ,class track

Thanks to the success of his productions and his remixes, all the works printed on vinyl made by Luca LTJ Xperience Trevisi have been snapped up among his fans and DJs from all over the world.

From his past catalog there was still a complete album released only in Compact Disc and in digital format in 2013: Ain't Nothing But A Groove, left behind not because it had anything less than the others but simply to alternate new releases with catalog ones.

Now it is finally being printed.

The album, strictly in the DJ Friendly version, double vinyl with only two tracks on each side, contains some of his Nu Disco Funk pearls such as: What I Feel, Linear Funk and Get Down. Luca LTJ Trevisi (LTJ Xperience) began his career as a DJ and producer in the 80s.

As resident DJ of two of the most famous Italian clubs, the Kinky in Bologna and the Cap Creus in Imola, he was one of the first Italian DJs to play House Music and to revive that particular selection of Black Music called Rare Groove mixed with Jazz and Latin-Bossa who gave birth to the Acid Jazz movement at the end of the 80s.

His first official release was in 1988 and was titled First Job, paired with Kekkotronics, and was also the first album from Irma Records. The song was included in many compilations and many DJ playlists around the world. In the following years, among his singles we find some song forms that anticipated the Breakbeat genre such as Do n't Stop The Sax and Funky Superfly. He produced Tameka Starr's single Going In Circles, also for Irma Records, which has become a classic of the Downtempo/R&B genre.

In the mid-90s he produced some Italian Acid Jazz groups such as Bossa Nostra and Live Tropical Fish and began to select Rare Grooves compilations that have become classics such as Groovy and Suono Libero. At the same time he also started playing outside Italy, in particular at the Blue Note and the Jazz Café in London, at the
Giant Step in New York and at the Montreaux Jazz Festival in Switzerland. In 1999 he released his first album under the pseudonym LTJ Xperience entitled Moon Beat which featured Ohm Guru in
the production and Taka Boom and Jackson Sloan as vocal guests. Two tracks from the album have become club classics:
the Brazilian House version of Sombre Guitar and the chill out Moon Beat. His second album in 2003 entitled When The Rain Begin To Fall features Joe Bataan in the reinterpretation of his most famous song Ordinary Guy which has become a Gilles Peterson classic.

After some singles including Organ Mind / I Love you (Larry Heard's favorite track) he dedicated himself to the world of the Nu Disco genre, releasing 5 albums in the genre to date. The latest Deepening of A Groove contains Bad Side with the American singer Anduze on vocals, which is one of his most popular hits, adored by Moodyman so much that he included it in the music of Playstation's Gran Theft Auto which sees him as the protagonist with his avatar.

"The Red Room Crystal-Ruby Splatter Vinyl". Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed-with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense. In as much as Netherworld is a work that exists on a lineage of progressive music and the visionary artists who've expanded their boundaries of exploration to form sound-worlds as big as their imagination, it's also a work of magical realism in the tradition of Pan's Labyrinth, The Company Of Wolves or the work of Gabriel Garcia Marquez and Haruki Murakami-in which the supernatural and otherworldly, lead to a shortcut to the essence of being human. In this World, Louise Patricia Crane is our Storyteller.

Repress! No one is raising the standard in the underground as high as Black Milk and Danny Brown. After their collaborative track "Black and Brown" from Black's LP Album of the Year became a fan favorite, the two decided to record an entire EP together, fittingly titled Black and Brown. While the aforementioned track appears on the EP, the remainder of Black And Brown sees Danny Brown exclusively handling mic duties, with Black Milk showcasing his masterful production.
Black Milk’s Album of the Year dropped in September 2010 to strong reviews and an impressive showing on the Billboard charts, and his stock has continued to rise ever since. Performing with a live band for over 80 shows on a worldwide tour in support of the album, he has established himself as one of rap’s best live performers. He also
became the first rap artist to record and release music with rock superstar Jack White, who co-produced and played on the much-publicized “Brain” 7-inch single on White’s label Third Man Records. Never straying from his hip hop roots, Black Milk also serves as a member of the group Random Axe (with Sean Price and Guilty
Simpson), and entirely produced their successful self-titled 2011 full-length release.
Danny Brown first gained wide recognition with the release of his album The Hybrid as a free download in March 2010. Since the release, he’s emerged as one of rap’s most distinct new voices. The shock value of his drug-fueled and sex-laden rhyming has been frequently compared to the early works of Eminem, and his ear for
progressive beats as well as his unique fashion sense has made him a favorite with critics. His latest project XXX was released as a free download in August 2011, and was instantly hailed as one of the top rap albums of the year by artists and fans alike, while receiving heavy coverage from media outlets like Pitchfork, MTV, and The Fader.

2024 Reissue

Baricentro is an Italian funk-rock band founded in 1976 by two brothers Francesco and Vanni Boccuzzi; after the release of two albums in mid seventies (Sconcerto and Trusciant) for the major record company EMI; they recorded in 1983 the single "Tittle Tattle" representing a clear innovation in sound from their past, without believing that would receive a positive response in the New York City underground music scene and soon becoming a Paradise Garage and Loft classic. Best Record Italy today came out with this special reissue-project as a Limited Edition Ep, remastered from the original master tapes and containing for the first time all the versions from 1983 and 84 including the unreleased dub that was previously available as an acetate cut only for deejay play.

“An impeccably tuned ear” - The Wire

“Armed with a synth and devastating song writing skills, her music is minimal, melancholic and timeless, somewhere between Roedelius, Ruth White and electronic realisations of Baroque music” - Roope Eronen

“The general gloom MIAUX spreads on her sandwiches is darker than Tatort and could replace any soundtrack of a Fassbinder movie” - Dennis Tyfus

MIAUX PRESENTS NEW LP ‘NEVER COMING BACK’ ON VIERNULVIER RECORDS
The Belgian Composer’s upcoming LP IS INSPIRED BY THE NEW FILM SCORE SHE wrote FOR 60S CULT FILM ‘CARNIVAL OF SOULS’

Introducing Jahnah Camille (pronounced Hannah), a young artist emerging from the DIY scene of Birmingham, Alabama. Camille's songs capture the rollercoaster of teenage angst, heartbreak and introspection over a well-made bed of driving guitars and catchy, compact melodies. A five-track EP infused with anxiety and grit, i tried to freeze light, but only remember a girl, is a shining introductory project smoothed over by Camille's sugar-sweet voice and cutting lyricism. Much of the EP's songs were written and recorded while Camille was still in high school, taking trips back and forth from Atlanta to record. In the time following, Camille dug into the local DIY scene, steadily gaining an impressive resume of opening slots as she cut her teeth supporting acts like Clairo, Soccer Mommy, Cryogeyser and Wednesday as they came through town. Now 19 years old, Camille delivers an excellent snapshot of those uncertain and wildly hopeful late teen years. i tried to freeze light captures Camille approaching heartbreak and self-perception from a variety of angles-each track playing slightly with genre and cadence and infused with influence from her musical heroes, like Liz Phair and Fiona Apple. The EP pulls at a range of alternative rock and pop threads, there's the 90s alternative rock opener "flesh" and the country-gaze-tinged "roadkill." Camille then softens on the swooning synth-layered ode to love lost, "elliot," before relaxing into a folksy, acoustic "paper doll."I wanna talk and not spill out carnival sounds" Camille confides on closer "carnival sounds"--a track that illuminates the singer's art-pop influences and knack for revealing tender and at times searing admissions through her lyricism. While misunderstandings color the emotional sentiment of the EP, Camille's artistry and expression come through clear as day on i tried to freeze light, presenting her as a promising young voice with real talent and a hunger for musical experimentation.

Compassion combines ethereal pop with ‘80s synth textures, and slacker-rock charm. It's got a bit of Matthew E. White, chilled out BC Camplight and Conor Oberst.

The inviting and perceptive songs on Rui Gabriel’s debut LP Compassion all tackle growing up. It’s about how the older you get, your priorities shift, friendships evolve, and responsibilities become inescapable. For Gabriel, the Indiana-based, Venezuela-born artist and co-founder of the acclaimed band Lawn, the changes in his own life inspired him to write a solo full-length that sounds like nothing the indie rock journeyman has done before. Across 10 vibrant tracks that combine ethereal pop with slacker-rock and piano-driven dance music, it’s a galvanizing showcase of personal growth and the grace you give yourself to push forward.

Work on Compassion started in 2018 when Gabriel was living in New Orleans. “I was living a pretty teenage life in many ways,” says Gabriel. “I worked at a pizza restaurant and would just go to shows or parties. I wasn’t doing anything other than music. I didn't have many responsibilities.” The songs he was working on at the time—tracks that didn’t fit Lawn but Gabriel still liked—initially went unfinished. But as Gabriel’s life changed, so did his songwriting and his desire to see his ideas through. “When I was writing lyrics, I was settling down with my partner and about to become a dad,” says Gabriel. “I was making choices about my life that contradicted the existence I had before. I had a different set of priorities.”

The songs on Compassion deal with youthful carelessness ("Dreamy Boys") and coming face-to-face with newfound responsibilities ("Change Your Mind"). It's consistently a biting, observant look at getting older thanks to Gabriel's unique perspective as a South American immigrant who's lived across the United States for the past 13 years. “When you are Hispanic, English isn't your first language, and you're in a music scene with a bunch of white people, you're going to stand out a little bit,” he says. On “Church of Nashville,” “Hey, Leonard Cohen is singing poems by the gentrified alley” he humorously aims at scene pretension and industry gatekeepers.

Compared to Gabriel’s work with Lawn, where he writes frenetic post-punk songs and yells, for Compassion he explores more straightforward pop sensibilities and showcases his singing voice. “I wanted to do a solo record to prove to myself that I could sing,” says Gabriel. Take the meditative, piano-based lead single “Target,” which is inspired by Dido and finds Gabriel gorgeously harmonizing with singer Kate Teague. He reaches similar infectiousness on the sunny rocker “Summertime Tiger,” which guests Stef Chura. Co-produced by Gabriel and Nicholas Corson (The Convenience, Video Age), Compassion is consistently warm, generous, colorful, and adventurous.

“Compassion is a record about change,” says Gabriel. “It's a coming-of-age record but for somebody who's coming of age into their thirties.”

Netherworld Double Gatefold Vinyl in 'Celestial Dust' transparent gold CD / DVD - 5.1 Surround mixed by Jakko M. Jakszyk: 'Storybook' Edition 'Ladies' Double A-Side 7" Single - Ladies Of The Road / Dirty (Black Vinyl) Netherworld A6 illustrated 'Little Stories' book All housed in a Black Textured Box with Gold Hot Foil Embossing Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed_with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense.

TexiCali, the new album from Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore, continues to bridge the distance between the two troubadours’ respective home bases of California (Alvin) and Texas (Gilmore). The geographic theme reflects Alvin’s repeated journeys to record in Central Texas with Gilmore and the Austin-based backing band that has toured with the duo for the past few years. As Alvin puts it in the liner notes, those road trips informed the music they made on TexiCali. The 11 songs on this double LP also connect their shared fondness for a broad range of American music forms. Gilmore is primarily known for left-of-center country music, while Alvin’s compass points largely toward old-school blues. But there’s a lot of ground to cover beyond those foundations, and both artists also are well-known for transcending genre limitations. So it’s not surprising that they’ve spiked TexiCali with cosmic folk narratives, deep R&B grooves and even swinging reggae rhythms.

Enjoy The Ride Records in conjunction with Morgan Creek Entertainment and Enjoy The Toons Records is proud to announce Ace Ventura: When Nature Calls. Composed and conducted by Robert Folk, the album is over 45 minutes of nostalgic adventure!

Housed in a 350gsm gatefold jacket featuring original artwork by Steven Wild, this release is a true companion piece to our Ace Ventura: Pet Detective release - not only are both chock full of easter eggs hidden past the locked grooves but there are also some hidden within the gatefold artwork!

Alternative were a Scottish anarcho-punk band of the early 80s that often drew comparison to Crass for their black attires, logos, firm political beliefs, as well as having their own open house, “The Pad”, where like-minded radicals would join and discuss ideas surrounding pacifism and anti-nuclear armament. The ‘In Nomine Patri’ EP is dark, furious, and articulate.

Penny continues; “Largely through their fierce commitment to ‘changing the world’, Alternative were often referred to as the Scottish Crass. Knowing that talking the talk could only be a half of it, Alternative resolutely walked the walk. Based in Dunfermline, they set up The Pad, an autonomy centre where, over tea and buns, revolutionary visions of peace and love could fester and grow. Theirs was a studied and often poetic form of anarchy which concentrated on people not power. Their interest was not in themselves, but in others. They knew all too well that the only way forward was to do it yourself, and that’s precisely what they did, a’plenty. After all these years, give ‘em your ears.”

UK/NL reeds player, composer and producer Finn Peters presents his new 10", Red, Green and Blue; The three track EP of Nu Jazz/Broken Beats is being released on the artist's own Mantella Records imprint and sees a return to solo recording (after a decade hiatus) for the award winning Jazz maverick, beloved of Gilles Peterson and fans of cosmic jazz.

Influences include Compass Point Records, Africa Bambaata, Yusef Lateef and Walter Gibbons. It is heavy sounding with MPC3000 and SP 12 drum breaks, heavy African and Brazilian percussion, ethereal flute choirs and analogue synths a plenty.

As the years go by, the ranks of Degiheugi's fans continue to swell: each time a new solid-gold disc is added to their already impressive discography, the result is a unique and impressive work in the French beatmaking landscape.

Endless smile, the sixth instalment, once again proves to be a great vintage, immediately limpid, but above all long in the mouth, charged with intense melodic persistence and loops that take the ear hostage.

And what a variety of aromas in the art of sampling: languorous strings, oriental flutes, bouncy brass, exotic percussion, intimate piano, samples of antediluvian blues or forgotten French chanson. This Grand Ouest varietal finds its perfect balance in a classic, timeless hip-hop spirit that runs like a red thread throughout the album.

When other beatmakers give in too quickly to the sirens of the dancefloor, Degiheugi always transports us back to his first hip-hop loves, for the pure pleasure of the “beautiful loop”. And he knows how to surround himself with the right people: his guests, whether faithful compatriots (Ghostown, Andrre, Astrid Van Peetersen) or newcomers (Ceschi, Josh Martinez), join in the party with high-flying featurings. The album title sounds like a prophecy: smile eternally as you listen to Degiheugi.

LIMITED EDITION LILAC COLOURED VINYL LP WITH DOWNLOAD CODE
It's a year later and everything has gone from bad to worse.

Machiavellian Art and Riot Season Records present "Population Control". A Sonic Examination of the Mechanisms of Control.

An intense exploration of societal and self-imposed controls, encapsulated in a dynamic contrast between Side A's visceral anger and the introspective ambiance of Side B. This duality mirrors the contrasting themes of external control versus internal reflection.

"Population Control" extends beyond its predecessor, "Indoctrination Sounds," in both musical depth and thematic scope. The album confronts a broad spectrum of modern-day addictions - not just to substances, but to technology, social media, and the relentless 24-hour news cycle. These themes manifest across tracks like "A Slow Death," "Population Control (1) + (2)," "Fear of the Outside World," and "Crisis," each exploring the resulting isolation, paranoia, fear, and hopelessness. "Seaside Holiday," a critique of environmental negligence, specifically highlighting the issue of untreated sewage being dumped into Britain's waterways by private companies.

Previous praise:

"Incredibly progressive, psychedelic but massively discordant, saxophone and static infused psych rock chaos" (Nineherz)

"Nasty noise rock with sax and freeform jam segments, but also—because you may have heard music which answers to that description before—a stamp of individuality." (Maximum Rock N Roll)

"Want a weird and dangerous album with a lot to say then Indoctrination Sounds is that album. " (Outlaws Of The Sun)

"Indoctrination Sounds is a total exercise in distorted, claustrophobic riffs, uneasy, anxious vibes, and industrial noise." (The Sleeping Shaman)

Machiavellian Art are: Amy Murphy, Benjamin Thomas, Joe Parkes, John Andrews,Sam Hunt

We have a subtly edit of “Soul Town” by The Motherhood, the psychedelic 1969 LP “I Feel So Free. Motherhood was the unlikely name of Klaus Doldinger's psychedelic fusion band, who eventually transmuted into the bands Passport (Klaus Doldinger, Lothar Meid & Udo Lindenberg) & Hallelujah (Paul Vincent & Keith Forsey). “Soul Town” appears as the B-side to the first single “Back In The Grass”, which fetches ~$275. It was produced by Siegfried E. Loch, & written/arranged by Paul Nero. Many will recognize it as the closing track on the Ocean’s 13 soundtrack. It’s a psychedelic, jazz-funk bomb that punches hard.



Pinball Number Count (Edit) by The Pointer Sisters b/w Soul Town (Edit) by The Motherhood | Galaxy Sound Company — GSC45-043, test pressing | You know the drill. It’s Galaxy Sound Co. It is cop-on-site. It is yet another GSC45 edit you need in your crates. & number 43 doesn’t disappoint. I have been wanting both of these jazz-funk nuggets on 7-inch for a minute now, so much love to the GSC crew!

Any of us who grew up on Sesame Street in the 1970s will know this A-side righ away. “The Pinball Number Count” (or Pinball Countdown) is a collective title referring to the 11 one-minute animated segments on the TV series Sesame Street that teach children to count to 12 by following the journey of a pinball through a fanciful pinball machine. These segments are notable for the colorful, imaginative animation as well as the funkysoundtrack with vocals by The Pointer Sisters. It was produced in 1976 by Imagination, Inc. in San Francisco, California for the Children's Television Workshop & debuted on Sesame Street during Season 8 .

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

Compiled by label founder Dom Ore Miles Away: One is a collection of tracks that spans continents, era and genres. Rooted in soul this compilation features recordings from legendary musical figures side-by-side with perhaps lesser-known soulful gems – all beautifully bought together in one cohesive long player. Setting the tone is Idris Muhammad's spiritual-jazz recording I'm A Believer before moving into the modern soul and funk selections Miles Away have built their reputation around. We have the crossover-soul rarity Yes It's You by Eugene Smiley, the remarkable foot-to-the-floor soulful dance cut She's So Good by Solid Gold Revue, enduring soul funk explosion No Communication by True Transfusion, the gospel-infused Fantasy Ride by Uneda Dennard & the full length extended version of Superstar by Ruth Waters. Many tracks appearing here for the first time since their original release. On the second disc the compilation begins to weave a slightly different direction compared to the...

In the history of Black American soul music many recording artists have been called “Legends” some deservedly and perhaps some not so deserving of this current over used accolade? I might be a tad biased here, perhaps? but in my book one James Howard McCelland a.k.a Jesse James has surely earned the right to be called a “Legend” this octogenarian performer has weathered many storms and shifts in musical trends and styles over the years but like the trouper that he is albeit in lower keys these days he still manages time and time again to come up with the goods! “Back On Top Again” is Jesse James latest production album, a project filled with recent and current recordings in a southern soul style that has likened in passing by several respected soul scribes to the Malaco Sound I’ll let the record buying public make their own minds up on that one, I’m sure veteran DJ Bob Jones won’t mind me using his quote below:

The album also features two of Jesse’s friend’s with Donnie McKisic providing the rapping and additional backing vocals on the upbeat “I Lost My Baby On Face Book” and Shirley Diamond who you may recall from Soul Junction’s recent 45 release “You Don’t Know Who You Sleeping With” (SJ1021) returning with another excellent Diamond & James duet “Another Love Lay Over” as a further foot note the featured song “I’d Be A Fool 2 Fool Around On You” is an excellent cover version of what was a previously unissued Harvey Scales song until Soul Junction released it as the flipside their thirteenth 45 single release way back in 2011.

Album Sleeve Notes:

At the dawn of the 1960’s a young aspiring soul singer from Richmond, California by the name of James H. McClelland was honing his performing skills in several local nightclubs. At one particular show the compere struggled to pronounce the young performer’s surname and to hide his embarrassment he hurriedly introduced him as ‘Jesse James’, which became Jesse’s Stage name to the present day.

Jesse’s big break came through his aunt who at that time just happened to be dating West Coast Blues and R&B Legend Jimmy McCracklin. The aunt suggested to McCracklin the he should take a listen to her talented nephew, suitably impressed McCracklin produced Jesse on a song he’d written “I Will Go” for the local Shirley label. The release is credited to Jesse James & The Royal Aces a bunch of local musicians that Jesse had grown up with which included Slyvester Stewart a.k.a Mr “Dance To The Music” himself Sly Stone” on guitar. “I Will Go” was quite a popular record locally and led to a further four Jesse James releases on Shirley culminating in Jesse’s most sought-after record the delightful “Are You Gonna Leave Me”in 1966. The following year Jesse recorded the minor hit “Believe In Me Baby” released by the local ‘Hit’ label before being picked up by 20th Century for national distribution. While signed to 20th Century Jesse recorded a self-titled album and three other 45 singles before leaving the label.

Following a solitary 45 release for the Uni Label in 1969 Jesse formed his own Production and Publishing company ‘South Richmond Music’ releasing 45’s on his own label logo’s Zea and Zay before returning to 20th Century for a second time during 1974, releasing two 45 singles of which the sublime “If You Want A Love Affair” reaching #92 in the Billboard R&B charts in 1975, a song that would later receive worldwide acclaimed and is now regarded as Jesse’s signature tune. Ron Carson had been the producer on the later 20th Century releases and it was he that placed one of Jesse’s songs “The Same Thing Happens” on the Happy Fox label’s blaxploitation album “Black Fist”.

Into the 1980’s Jesse leased some of his songs for release on the Atlanta Georgia, Midtown label, a solitary release on the Moonlite Hope Music label (a lead single for a proposed album that never materialised) followed before Jesse joined Max Kidd’s Washington based TTED label. The TTED imprint was to yield Jesse’s biggest hit record “I Can Do Bad By Myself” reaching #61 in the R&B Charts. Following TTED Jesse formed Gunsmoke records releasing “Love On The Side” in 1988, from there on Jesse has continued to regularly release numerous studio albums though the 90’s into the new millennium and on to the present day.

Now well into his seventh decade as a performer this most resilient and enduring performer, has never been one to let the grass grow under his feet. He still performs live shows and is actively writing, producing and recording fresh new material. Soul Junction have now gathered together some of Jesse’s most recent and new recordings to form this album project which is aptly titled “Back On Top Again” Ride on Jesse James!

Repress! Now-Again Records is completing the trilogy started with "Forge Your Own Chains" and followed by "Tickets for Doomsday" with "Pale Shades Of Grey" - another batch of rare, largely uncompiled - and sometimes barely heard - heavy psych-rock. Pounding drums, scathing fuzz guitar and morose, contemplative lyrics will bring you up on a downer. "Pale Shades Of Grey," as the title hints, is and perhaps the most contemplative of the series, heavy on ruminations of dark themes of love, death, pain and triumph, as performed by high school and college bands, Brasilian intellectuals, Nigerian rockers and even an Irish pub band from Michigan. A unique and compelling listen, and surely a worthy companion for these times.

With his new album, the wryly titled My Bad Side Wants a Good Time, Paul and company further expound upon the groove- laden approach that remains so essential to the Sooner State's revered traditions, some of the songs were recorded in the restored environs of Church Studio in Tulsa, the former home of Shelter Records once owned and operated by Leon Russell.

The recording efforts have clearly paid off, while also remaining true to the vision Paul had for the album early on. "I wanted make a record that encompassed the sounds coming out of that historic studio in it's glory days," he reflects. "Now, when I listen back, I find that it also echoes a vibe that was consistent with the diverse sounds once heard during the glory days of rock and roll radio. I can almost hear a deejay talking up each track while segueing between songs."

Dinah Washington had one of the most distinctive and versatile voices in music. Washington could sell an R&B stomp just as well as she could interpret a torch song, and she could hold her own in the company of Jazz trumpet genius Clifford Brown and Bebop drum pioneer Max Roach. Her records, made for Mercury Records and the company’s Jazz offshoot EmArcy Records in the US appeared in the UK through Oriole and then EMI. Notably, the 1959 album release of What a Diff'rence A Day Makes featured the classics Cry Me A River, Manhattan, A Sunday Kind Of Love, Time After Time and What a Diff'rence A Day Makes. During the same year she visited the UK performing at the Bath Jazz Festival and recording an appearance for Granada Television’s The Variety Show. Washington’s discs regularly featured on BBC radio, but despite this, her only UK chart single came in November 1962 when September in the Rain reached number 35 from the album of the same title. Also taken from September Rain and featured on this LP is the popular Jazz standard composed by McHugh and Gaskill I Can't Believe That You're In Love With Me...

The Men They Couldn’t Hang are a British folk punk group formed in 1984. The band were well known in the UK punk scene, sharing connections with David Bowie, The Pogues and Stiff Little Fingers. Silver Town is their fourth studio album, originally released in 1989. Several singles were released from the album, including “A Place in the Sun” and “Rain Steam & Speed”. “Rosettes” was meant to be released as a single as well, but it was cancelled after the Hillsbourough disaster, as the song discusses hooligan culture.

Silver Town is available as a very limited edition of only 500 individually
numbered copies on flaming coloured vinyl.

"The new avant-garde isn't about creating something that doesn't yet exist, it's about abandoning and confusing rigid genres. I want to open up, in order to both abolish and reconstruct the musical past." — Noémi Büchi

Noémi Büchi's album 'Does It Still Matter' completes a series of releases whose titles - 'Matière', 'Matter', and 'Does It Still Matter' - place the physicality of music in the center of attention. Büchi's specific sound structures and aesthetic choices question the state of materiality in a world that is becoming more and more fluid and intangible.

From 'Matière' to 'Matter', Büchi subtly transferred from a focus on substance to questioning the enigmatic core of

being, passing from a noun to a verb, and from a single word to an inquiry. 'Does It Still Matter' weighs in on the importance of questioning. Her pieces juxtapose multi-layered analog synthesizer textures, crystal clear sounds and almost brutalistic noises, while they unfold in compositional structures akin to pop songs. Driven by an orchestra of myriad parts, her music creates transcendent intonations that resonate deeply with the listeners' bodies. A daring blend of complexity and accessibility are molded into captivating sound sculptures that challenge and intrigue listeners alike.

Deviating from conventional time divisions, 'Does It Still Matter' immerses listeners in a discordant succession of elements, and guides them towards an eternal present that erases the past with each new revelation, while maintaining it through recurring themes that serve as intimate memories. Büchi's electronic maximalism questions our linear perception of time, offering a glimpse into a world where the past, present, and future converge into a singular moment. Her avant-garde approach rejects predictability, inviting listeners to immerse themselves fully in the present. Everything starts anew at any given instant. Each musical idea exists for one precise moment, rendering the future unpredictable.

'Does It Still Matter' unfolds against a backdrop of collective disaster and biocidal urgency, challenging the very essence of time. Büchi explains: "The world appears to have gone mad. It's all but impossible to reflect on the meaning of avant-garde in music, considering the future in this sepulchral kind of stability of the human condition." Her compositions resonate like an infernal machine, questioning the instantaneous dissipation of everything. Finally, echoes and fragments of sounds remain, haunting memories like ghostly companions.

'Does It Still Matter' is an immersive experience that invites listeners to contemplate the impermanence of our world and the enduring power of sound.

John Cale veröffentlicht sein neues Album POPtical Illusion am 14. Juni 2024 über Domino.

Trotz des verspielten Titels enthält Cales zweites Album innerhalb von etwas mehr als einem Jahr immer noch die gleichen Gefühle von heftiger, aber auch neugieriger Wut, die schon in Cales viel gelobtem Album MERCY von 2023 vorhanden waren, "eine tief atmosphärische Sammlung über den herannahenden Untergang und die lebensrettende Kraft von Kunst und Gemeinschaft" (Wall Street Journal). Er ist immer noch wütend, immer noch erzürnt über die mutwillige Zerstörung, die unkontrollierte Kapitalisten und reuelose Betrüger über die Wunder dieser Welt und die Güte der Menschen gebracht haben. Aber es handelt sich keineswegs um MERCY II oder um eine Sammlung von Ablegern, denn in seiner mehr als sechs Jahrzehnte währenden Karriere war Cale nie ein Freund von Wiederholungen. Seine avantgardistische Begeisterung wechselte mit stolzer Unruhe zwischen ekstatischer Klassik und ungebundenem Rock, klassischem Songhandwerk und elektronischer Neuinterpretation hin und her. Und so verzichtet er auf POPtical Illusion auf die illustre Besetzung, um sich größtenteils allein in die Labyrinthe von Synthesizern und Samples, Orgeln und Klavieren zu begeben, mit Worten, die für Cale eine Art wirbelnde Hoffnung darstellen, ein weises Beharren darauf, dass Veränderung noch möglich ist. Produziert von Cale und seiner langjährigen künstlerischen Partnerin Nita Scott in seinem Studio in Los Angeles, ist POPtical Illusion das Werk von jemandem, der versucht, sich der Zukunft zuzuwenden - genau wie Cale es immer getan hat.

John Cale veröffentlicht sein neues Album POPtical Illusion am 14. Juni 2024 über Domino.

Trotz des verspielten Titels enthält Cales zweites Album innerhalb von etwas mehr als einem Jahr immer noch die gleichen Gefühle von heftiger, aber auch neugieriger Wut, die schon in Cales viel gelobtem Album MERCY von 2023 vorhanden waren, "eine tief atmosphärische Sammlung über den herannahenden Untergang und die lebensrettende Kraft von Kunst und Gemeinschaft" (Wall Street Journal). Er ist immer noch wütend, immer noch erzürnt über die mutwillige Zerstörung, die unkontrollierte Kapitalisten und reuelose Betrüger über die Wunder dieser Welt und die Güte der Menschen gebracht haben. Aber es handelt sich keineswegs um MERCY II oder um eine Sammlung von Ablegern, denn in seiner mehr als sechs Jahrzehnte währenden Karriere war Cale nie ein Freund von Wiederholungen. Seine avantgardistische Begeisterung wechselte mit stolzer Unruhe zwischen ekstatischer Klassik und ungebundenem Rock, klassischem Songhandwerk und elektronischer Neuinterpretation hin und her. Und so verzichtet er auf POPtical Illusion auf die illustre Besetzung, um sich größtenteils allein in die Labyrinthe von Synthesizern und Samples, Orgeln und Klavieren zu begeben, mit Worten, die für Cale eine Art wirbelnde Hoffnung darstellen, ein weises Beharren darauf, dass Veränderung noch möglich ist. Produziert von Cale und seiner langjährigen künstlerischen Partnerin Nita Scott in seinem Studio in Los Angeles, ist POPtical Illusion das Werk von jemandem, der versucht, sich der Zukunft zuzuwenden - genau wie Cale es immer getan hat.

"In the wake of SQUID PISSER’s “Vaporize A Neighbor” EP and Comic Book Set and “Vaporize A Tadpole” Collection comes “Dreams of Puke”, the band’s second full length album. Weighing in at a meaty 12 songs and cut at a lean 45 revolutions per minute, “Dreams of Puke” refuses to let up or let down - emitting climax after scintillating climax - a bounteous bouquet of dayglow viscera and tumor-filled sonic snot.

“Dreams of Puke” is the face ripping, dolphin-loving, anthropomorphized mountain of nuclear sludge intravenously injected with methamphetamines that listeners have been clamoring for. Tommy Meehan's use of effects pedals and sonic textures create a dense soundscape of intestinal debris, mortared with a grout of pus, goo, gummy candy and pure, unadulterated insanity. Meanwhile, Seth Carolina's all out, rage-fueled and categorically pummeling approach to slamming the beats down lays out a visceral scene of absolute intensity - a great white shark attack on The Mall of America.

Tommy explains “The writing sessions for this album resulted in about 100 songs... Demos, seedlings, and scraps were strewn about everywhere. Then Seth and I assembled them into a viable and tangible fruition. I tracked all of the guitars, bass, and vocals myself at Los Angeles’ Castle Barf Studios. The drums we did at Sea Horse Sound downtown”.

“Dreams Of Puke” is an aural DMT trip that will leave brains boggled. Its atonal anthems of slime are a kaleidoscope of brilliant, bespeckled rage that, in the end, will scalp the world & mutate the throne.

Glass Mastered Compact Disc includes Mystery Matrix Message and comes packaged in a Six Panel Tri-Fold Jacket with corresponding Fold-Over Lyric Insert. LP and CD formats each sport unique, subliminally different cover art by painter Gregory Jacobsen of the band Lovely Little Girls. Parental Advisory: Explicit content"

"Lady Lake is the second studio album of the British progressive rock band Gnidrolog. The album was recorded in the London Morgan Studios in 1972 and released that same year. The songs in the album deal with a variety of concepts varying from pacifism in ""I Could Never Be a Soldier"", to pilgrimage in ""Ship"", and Tchaikovsky's Swan Lake in the title track, ""Lady Lake"". Gnidrolog was originally formed in 1969 and signed to RCA Records in 1971. Following on the heels of the album in spite of Harry's Toenail, Lady Lake featured a lineup of Colin Goldring, Stewart Goldring, Peter Mars Cowling, and Nigel Pegrum. The album saw Gnidrolog continue to develop their unique form of progressive rock, which had critics compare the band to cohorts such as Gentle Giant and Van Der Graaf Generator. Lady Lake is available as a limited edition of 500 numbered copies on translucent yellow coloured vinyl and includes an insert.

Everyone associates Liverpool with the Beat Boom – and that particular wave was led by groups, not solo artists. But Billy Fury is the shining exception. Born Ronald Wycherley on Merseyside in 1941, he was very much in tune with the American Rock’n’Roll that had turned the music world upside-down and, in the late Fifties, was a very credible response to ‘authentic’ American stars like Eddie Cochran, Buddy Holly, Ricky Nelson and Elvis. This LP illustrates the two sides of Fury – the dedicated rock’n’roller whose music stood up to comparison with the American pioneers, and the Pop-chart act his record label wanted him to be.

Budapest’s Alley Catss wants m Helux to serve as both a new station in their work and an homage to the new age-influenced and sample-heavy synthesis of previous albums (such as 2020’s "compassion & paralysis", 2016’s ℶ, or 2021’s "exophage"), and it already feels like a genre unto itself: Absurd Ambient. Inspired by the emptiness and silliness of theatrical sets left empty, devoid of action, still and incomplete, m Helux is an awkward place of bleak humour; poured over and yet frozen.

Produced by Máté Janky over the course of late 2023 through to early 2024, this is an unpredictable collage of hefty symbolic audio mysticism, 90s sampling, dub influences, fractured R&B vocals. It’s nonetheless interspersed with the knowing cheesiness of new agey bells and chimes, at times cut up to cartoonish levels, melding their most laughable and wonderful connotations.

Influenced by the likes of Klein, Alley Catss’ collaging and sampling techniques seek to sonify utopic scholastic visual concepts –poking a dose of fun at them along the way.

These seven tracks shimmer and shake, but never rumble. Alley Catss’ sui generis approach creates a beautiful parody of reference genres. Myriad tropes are desiccated and reworked into an exquisite corpse of blissed out sounds and voices. This is maddening music that’s monstrous and pretty, often all at once.

The mercurial talent that is SW. back in the building with a new album, and if it weren’t already apparent, OYSTER45 goes some way to assert his place in the pantheon of pioneering producers. In fact, nobody can question his position right at the vanguard of forward-facing dancefloor dynamics.

myDEFINITION part II catches the SUED co-founder as vital as ever. Keeping it on that dusty, low-key flex that has long been his trademark, it harnesses ingenuity to conjure some of the most intriguing gear you’re likely to hear from a limited studio setup. Gone are the hi-tek jazz and ambient flourishes of the near-mythical ‘Untiled’ album, opting, instead, for pure dancefloor headiness. Precision-tooled breakbeats, opulent IDM cybernetics, tuff bleep n’ bass and late nite electro across 10 distinct trax.

Side quests into more abstract realms are fleeting. Dappled melodies evoke warmth in hues of pink and orange but any ambient-dub ephemera quickly dissipates into the peripheries in favour of club-ready pressure. The spectre of mid-‘90s dance music looms large but the SW. blueprint, with its captivating free-form approach, spins those vintage tropes into a distinct sound unto itself. Masterful, cinematic and hallucinatory.

Often drawing comparisons with B12’s seminal brand of ambient techno, SW. will surely be a stylistic reference point in his own right for years to come. Such is the indelible influence he has cast on contemporary electronic music.