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Blend Mishkin & Soul Sugar - Theory of Mind
Cultural Collaboration Sparks New Sound:
Athens and Paris Unite for Soulful Jazz-Reggae Fusion Album.

A collaboration between two creative musical minds, Blend Mishkin from Athens meets Parisian Soul Sugar to co-create a genre-bending album titled “Theory of Mind”
This album features nine compositions which uniquely fuse vibes of jazz, soul, reggae, afro-beat and even some 70’s b-movie soundtrack all brought to life through the warm tones of vintage keyboard instruments such as the Hammond Organ, Clavinet and Fender Rhodes electric piano, played by virtuoso keyboardist Soul Sugar aka Guillaume Metenier paired with flawless orchestration, arrangements and production by Blend Mishkin.

Soul Sugar, a disciple of jazz master Dr. Lonnie Smith on the Hammond organ, known for his
intricate reggae-jazz masterful improvisation, brings a distinctive mellowness and complexity to the album. His use of the Hammond organ, Clavinet and Fender Rhodes electric piano adds a layer of depth and authenticity that transports listeners back to the golden age of soul and reggae. Blend Mishkin, a versatile artist, who has mixed and moved across reggae, dub, soul, as well as world music, introduces elements of funk and reggae rhythms to the mix. His production techniques, combined with the rich, analog sound of the vintage instruments, creates a sonic landscape that is both timeless and inspired.

Guest vocalists are featured in four out of nine tracks. Greek-French funk powerhouse Georges Perin delivers a heavy soul tune called “I Miss Those Days” , Fae Simon from London lays a velvety vocal on an old school steppers groove, Thaliah from Athens brings her smokey jazz flavour with “Moonlit Letter” and Jeffrey Diop from Senegal adds the perfect chant in “Big Boss in a Small Town”.

The recording sessions, split between Athens and Paris, were as much about cultural exchange as they were about musical experimentation. The result is a collection of tracks that resonate with the energy of live performance, while also echoing the rich musical background of both artists.
"We wanted to create something that felt organic and real," says Guillaume. "Using these incredible vintage instruments allowed us to tap into a sound that feels both timeless and brand new."
Blend adds, "This album is about mixing our roots, our sounds, and our experiences. It's a celebrationof music that transcends borders and eras."

“Theory of Mind” it's a cross-cultural journey. The project emerges from the vibrant, sun-soaked melodies of Athens with the sophisticated, urban grooves of Paris, resulting in a sound that is both nostalgic and refreshingly modern.

HotWax are a band set on experiencing life at its most intense. In the past two years, the Hastings-via-Brighton trio – comprising Tallulah Sim-Savage (vocals/guitar), Lola Sam (bass) and Alfie Sayers (drums) – have toured the world over, clocking up over 150 dates, including shows with Royal Blood and Frank Carter, and major festival appearances at Reading & Leeds and All Points East. Out of all this comes debut album Hot Shock (due March 7 via Marathon Artists), a record of adrenaline-jolted anthems about abandoning fear and leaping boldly towards the future.

HotWax worked with an all-female production team at the prestigious RAK studios, Catherine Marks (Boygenius, Wolf Alice) and Steph Marziano (Hayley Williams, Let’s Eat Grandma), as well as additional recording with Stella Mozgawa of Warpaint in Joshua Tree, California.

These songs were made to be played to a crowd, loud and with abandon. But there’s also a beating pulse of vulnerability underscoring the album. It’s an honest, moving sentiment sure to propel HotWax towards becoming the UK’s next big crossover rock act – and beyond.

"Britain’s most thrilling and fiercely confident new rockers” - NME “they’re a total inspiration – wicked songwriting, stunning stage presence, and a sheer, raw, couldn’t-give-a-flying attitude that punches you to the gut.” - Clash

Repressed LP on Neon Orange Vinyl, includes download card. It feels like someone left the light on in the studio and it all just ran itself, there had been a funky human input earlier in the day but, by a Darwinian machine-led kind of osmosis, the tracks recorded spent the wee small hours self-reducing and simplifying themselves. Marinated in music. “I believe more in the scissors than I do in the pencil,” said Truman Capote. ”Simplicity is the ultimate sophistication,” opined Leonardo da Vinci much earlier in proceedings. Yes, it’s the space around the object, what you leave out that makes what you leave in so important. ESG know this. Sure they can play the game but it’s the swagger of the groove and the minimal topping – like an anti-cup cake – that makes this unique New York sisterhood so appealing on ‘Keep On Moving’. Sampled on TV ads, lauded by critics and swooned over on the dancefloor, ESG’s post-punk took out the grunge and polished the basics. Cut them open and “less is more” is written all the way through. ‘Keep On Moving’ was released over ten years ago to much praise (Q said it was “even better” than 2002’s much loved ‘Step Off’). ESG had been sparring partners for PiL and early hip hop and four years after the ‘Off’, they were onto something new – rhythm as core, reflective storylines about relationship management, sensuality and insanity gather around the bass fix but they’re much blurrier than the incessant beats. Inadvertently they unmask techno and glitch and leave out any kind of superfluous fluff. It’s hard and temple throbbing. Turn it up. And keep moving. “If there's one tune which sums up ESG's enduring lust for life, it's the beautifully-judged Black Flag/early techno crossover of the closing 'Gimme A Blast'.” The Guardian 5/5 // “This album's every percussive aspect has been honed to impart the maximum amount of pleasure.” The Observer // “Despite their influence on younger bands (you can hear LCD Soundsystem's knobbly grooves on ‘Insane’), ESG still sound like nothing else.” The Guardian

First LP in the ‘Signature Series’, a small new series in the Metaphon catalog, documenting previously unreleased archive works of less known composers. Metaphon presents their ‘signature’ in the most personal and elementary way.

Raoul De Smet (1936), mainly known for his numerous instrumental and chamber music works, started composing in the early 1960’s. Between 1974 and 1989 he also recorded several electro-acoustic compositions at the IPEM in Ghent, one of the more approachable crossroads for experimental music creation at the time. His work carries different moods and contrasts, a sort of expressive eclecticism where straight forward evolution often prevails over far-fetched intemperance. However, his work is far from obvious. The four distinctive tracks on this album portray a fresh and unpretentious enthusiasm of a composer discovering new electronic tools.

Das zweite gefühlvolle Dark Pop Album des legendären Schlagzeugers Dave Lombardo und der Singer-Songwriterin Paula Lombardo.

Die Beziehung von Dave und Paula Lombardo ist wie geschaffen für eine romantische Komödie. Man stelle sich vor: Der Mann, der die Messlatte für Heavy-Metal-Schlagzeuger höher gelegt hat, hat ein Rendezvous mit einer schönen Frau, deren musikalischer Hintergrund darin besteht, dass sie in Las Vegas als Backgroundsängerin für bekannte Bands gearbeitet hat und in Nashville als Singer/Songwriterin Fuß fassen wollte. Zum Glück für die Welt hat sich ihr musikalischer Bund in Venamoris manifestiert, deren Ipecac-Debüt To Cross Or To Burn (erscheint am 28. Februar) weit davon entfernt ist, vorgefasste Meinungen zu zerstören, während es fesselnde neue Möglichkeiten aufbaut.

Natürlich sind die Qualitäten des unermüdlichen Dave Lombardo als Weltklasse-Schlagzeuger bekannt. Aber während er die Blaupause entwarf, die das Thrash-Metal-Schlagzeugspiel definieren sollte, hat er seine Finesse auch auf Solo-Schlagzeug (Rites Of Percussion von 2023, ebenfalls auf Ipecac), Hip-Hop und klassische Musik angewandt, und er hat grenzüberschreitende Aufnahmen und Auftritte mit jedem gemacht, von John Zorns Ensembles bis zu den Punk-Ikonen Misfits und Mr. Bungle. To Cross... ist ein weiterer Meilenstein in seiner bewegten Karriere, in der er seine klanglichen Fähigkeiten um Gitarre, Bass und bemerkenswerte Produktionstechniken erweitert hat. „Das einzige, was mit den vielen Schlagzeugen, die wir zu Hause haben, mithalten kann, sind die vielen Gitarren, die Dave hat“, sagt Paula lachend. „Also spielt er auf diesem Album ziemlich viel Gitarre.“

Paula ist eine wahrhaft dynamische musikalische Kraft mit beeindruckenden stimmlichen Fähigkeiten, Geschick am Klavier und am Synthesizer und einem ausgeprägten Gespür für verführerische Texte, Melodien und Arrangements. Mit 18 war sie Backgroundsängerin in der Enklave des Entertainers Wayne Newton in Las Vegas, wo sie lernte, mit dem Druck umzugehen, wenn man mehrere Auftritte an einem Abend hat und jeden Tag Perfektion verlangt wird. Sie verließ Vegas und ging nach Nashville, um ihre Musikkarriere fortzusetzen, aber, wie sie selbst sagt, „es war einfach nicht das Richtige“.

Der Name Venamoris leitet sich vom lateinischen vena amoris („Liebesader“, die angeblich vom linken Ringfinger zum Herzen verläuft) ab. Die erste öffentliche Aufnahme von Venamoris war „The Gift“, ein Weihnachtslied, das die Lombardos auf Bandcamp veröffentlichten. Kurz darauf erschien ihr Debütalbum "Drown In Emotion", das sich durch Paulas Singer-Songwriter-Vibe auszeichnet, als wäre es 1975 zwischen den Deep Cuts von Carole Kings "Tapestry" und "Heart's Dog And Butterfly" aus dem FM-Radio gezupft worden.

Unter den Special Guests auf dem Album::
Kontrabass - Trevor Dunn von Mr. Bungle (Stay with Me)
Bass - Ra Diaz von Korn (Stain of Pain)
Gitarre - Alex Skolnick von Testament (Stain of Pain, Burnt Paper)
Gitarre - Gary Holt von Slayer (Animal Magnetism)

Mike Montgomery’s lifelong fascination with music began as a solitary endeavor. After secretly mining his dad’s record collection of golden 60s and 70s icons and tumbling headlong into 80s skateboard culture and its thrilling soundtrack, Mike learned guitar and started amassing songs on his Tascam Porta-Studio, chronicling hushed bedroom melodies with each new chord he discovered. Soon, he founded thistle, a wonderfully self-sufficient power trio that served as a rich opportunity to tinker with every stage of the music-making process. Through four LPs and two EPs between 1992-2013 and countless thistle shows criss-crossing North America, Mike discovered how to book a tour, repair equipment, run live sound, manage a label, build a studio, and foster a community of collaborators.

Inspired by R.Ring’s looseness and a growing confidence in spartan songwriting, Montgomery’s latest project - under the Nervous Verbs moniker - further peels back the layers of production and fussiness that might accompany access to a fully appointed studio. Instead of ensconcing himself in Candyland with limitless options, Montgomery treated his latest batch of songs as field recordings, often using phone memos to document melodies and entire performances at their inception, where and whenever they might materialize. He realized “there was something about the idea of noticing I had captured something of myself that I couldn’t recreate on subsequent attempts.” As he collected these home sketches, he shared them with friends (including Kelley Deal, Lori Goldston, Devin Ocampo, Joe Suer, Kate Wakefield, Rick McCarty, Adam Nurre, Matt Hart, Dan Dorff Jr., and Alexis Marsh) who responded with supportive contributions, fostering the initial sparks. “All of the extra tracks people sent me that I dressed the songs up with showed me that these were sturdy enough to hold those layers.”

To mark Black History Month and celebrate the 60th anniversary of Martin Luther King’s Nobel Peace Prize, a special edition picture-disc vinyl will be released. This unique, limited-edition record pays tribute to the historic March for Civil Rights with meticulously restored recordings, including the iconic “I Have a Dream” speech and inspiring music. More than just a musical piece, this vinyl serves as a time capsule—a bridge between generations to carry forward the universal message of justice and equality.

Whipped up in the dust of Rene & Rene's Tejano tornado "Angelito," the Dynamic label was just one among San Antonio record and real estate mogul Abe Epstein's enterprises. Dynamic's flagship outfit, the Commands, marched "No Time For You" up to the middle of the charts in 1966 with performance chops honed jet-sharp by the demanding Air Force Base circuit. That takeoff paved a runway for 20 more soulful Dynamic singles over an impressive 30-month campaign. Epstein's open-door policy brought a diverse cross-section of Texas talent into convergence within his General McMullan Drive studio, as whites, blacks, and Latinos alike suited up for service in whichever new group the call of duty called for. Epstein's Alamo City melting pot is ladled out here in 21 (28 on the 2LP) of Dynamic's most intriguing dishes by the Tonettes, Little Jr. Jesse & the Tear Drops, Don & the Doves, Willie Cooper & the Webs, Bobby Blackmon & His Soul Express, and Doc & Sal. Lone Star pic sleeves, full-color dancehall photography, and rich ephemera plant a new flag for soul in soil that's seen its share of hoisted banners.

Few sounds transcend time and space quite like the driving pulse of Afrobeat, and few artists, for that matter, have defined their own domains quite as profoundly as Tony Allen—the very beat of Afrobeat itself. In 2011, Allen recorded one of his inimitable rhythmic dialogues as part of the Afrobeat Makers Series for the Parisian imprint Comet Records. Charged with the same fervour for uninhibited expression that defined his trailblazing career, Tony Allen’s drumming, free from convention and charting its own course, emanates a cadenced stream of consciousness that speaks its own truth.

If Allen’s language was his beat, then on this record, La BOA—La Bogotá Orquesta Afrobeat—becomes his latest and most fitting interlocutor. What began as a tribute—a song named after Allen—now feels like the prelude to a deeper dialogue in a meeting that seems more like fate than mere happenstance.

Led by producer Daniel Michel, the ever-evolving band has spent over ten years embodying the fluid, transformative spirit of Afrobeat, imprinting it with their distinctly Colombian sensibilities. From Casa Mambo in Bogotá, Michel’s Mambo Negro Records has become a cornerstone of Colombia’s underground scene championing Afro-Colombian and independent music throughout that time.

Across this LP, Allen’s recordings lay down the canvas upon which La BOA paints its own vision of Afrobeat—raw and expansive, locking step with his drum tracks while building around the unmistakable blueprint of their Colombian rhythms: exuding Caribbean beat, rolling with Pacific groove, and, above all, shaped by the rarefied air of the Andean melting pot that is Bogotá. What ensues is an enduring conversation that crosses eras, borders, even life and death—a celebration of the passing of the baton and the boundless nature of Afrobeat as a genre that refuses to settle. Where the beat of Lagos meets the brass of Bogotá, so too La BOA meets Tony Allen.

Das Album "Mother’s Monster" der Hard-Rocker Crossplane setzt neue Maßstäbe in Sachen roher Energie und kompromisslosem Sound. Waldemar Sorychta, der bereits für legendäre Bands wie Lacuna Coil und Tiamat tätig war, hat als Produzent zum einzigartigen Klang des Albums beigetragen und brachte seine musikalische Expertise und kreative Vision ein, um den Sound von Crossplane auf ein neues Level zu heben.

Anna and +1 Records are proud to announce the release of her sophomore album, Someone Should Stop Her, set for February 21, 2025. Following Shoemaker’s 2023 Hey Anna, a breakup, and a cross-country move, Someone Should Stop Her marks the start of a transformative new chapter. Known for her alt-leaning production, intoxicating pop melodies, and unflinching lyricism, Anna’s music vividly captures the turbulence, charm, and self-reflection of young adulthood. This album truly chronicles her journey of personal evolution. This upcoming release embraces a stripped-back production, offering listeners the intimacy of a late-night conversation with a big sister, where vulnerability takes center stage.

The Young Mothers return with their third album, Better If You Let It, blending a genre-defying mix of jazz, hip-hop, punk, experimental rock, and electronic music. Formed by Norwegian bassist Ingebrigt Håker Flaten in Austin, Texas, the band’s sound is shaped by the diverse musical backgrounds of its members, hailing from both the U.S. and Norway. With influences spanning from Texas’ vibrant hip-hop and punk scenes to Norway’s experimental jazz traditions, the band creates a powerful fusion that feels cinematic and unpredictable.

The lineup includes Jawwaad Taylor (trumpet, rhymes, electronics) and Jason Jackson (tenor and baritone sax) from Houston, Stefan Gonzalez (vibraphone, drums, percussion, voice) from Dallas, Frank Rosaly (drums, electronics) from Chicago and Amsterdam, and Håker Flaten (bass) from Norway.

This global roster brings together a dynamic, cross-cultural sound, with Better If You Let It showcasing their most cohesive and wide-ranging material yet. Recorded in Oslo and set for release on Sonic Transmission Records, the album is a bold statement, proving The Young Mothers’ ability to push musical boundaries across genres and geographies.

Ein verspieltes Album mit klangschönen Träumereien, komponiert für Mandoline und Akkordeon, poetisch und unbändig zugleich. Es ist das erste Mal, dass der stets kreative Komponist speziell für die Mandoline geschrieben hat. Auf dem Album ist auch Vincent Beer-Demander zu hören, dessen Mandoline zu einem Orchester multipliziert wird, um eine einzigartige Klangpalette zu schaffen, die sorgfältig mit dem Akkordeon von Grégory Daltin kombiniert wird.

Mike Patton, der mit Vannier an dem 2019 erschienenen Album 'Corpse Flower' gearbeitet hat, sagt über die Veröffentlichung seines neuen Albums auf Ipecac: „Jean Claude ist ein guter Freund, Mentor und ein wunderbar talentierter und exzellenter Komponist. Eine Legende. Es ist eine große Ehre, mit ihm gearbeitet zu haben. Seine Texte und Arrangements haben eine Vielzahl von Künstlern beeinflusst, und ich kann mich zu den Glücklichen zählen, die seinen Weg gekreuzt haben. Er hat schon bahnbrechende Sachen geschrieben, bevor ich überhaupt geboren wurde. Er hat mich tief beeinflusst und ich bin ihm für immer dankbar und voller Ehrfurcht“.

Jean Claude Vannier, der von der Presse als „the rare bird“ bezeichnet wird, hat in den letzten 60 Jahren unter anderem mit Serge Gainsbourg und Jane Birkin sowie mit Künstlern wie Beck und Sean Lennon zusammengearbeitet. Er hat an unzähligen Soundtracks mitgewirkt, sechs Soloalben veröffentlicht und ist eine Ikone der französischen Popkultur, die für den Eurovision Song Contest komponiert, Videos gedreht, Gemälde ausgestellt, Radiosendungen moderiert und Kurzgeschichten veröffentlicht hat.

Red w. Black Smoke Vinyl

After 25 years, eight albums, and countless gigs, BLEEDING THROUGH persist as a tried-and-true outlier in heavy music and culture. The Southern California stalwarts wield an enigmatic and unmistakable signature sound born at the cross roads of no-holds-barred hardcore, cutthroat thrash, and cinematic black metal.
Mastering a drastic push-and-pull, they have always occupied their own elevated realm in the extreme space, exhibiting a rare ability to not only incite a moshpit, but also invite complete immersion. It’s why they’ve endured changing tides and trends and stood strong as a force of nature with consistent critical acclaim and packed shows. However, the six-piece - Brandan Schieppati vocals, Derek Youngsma [drums], John Arnold [guitar], Ryan Wombacher [bass], Marta Peterson [keys, vocals] and Brandon Richter [guitar] - assuredly perfect this vision in 2025 on their aptly titled ninth full-length offering, NINE.

2023 was a whirlwind year for Oracle Sisters. The trio—Julia Johansen, Chris Willatt, and Lewis Lazar—followed the release of their debut album Hydranism with a globe-spanning tour that captivated fans and critics alike. From the highways between Knoxville and Nashville to sold-out clubs in rain-soaked Seattle, and festival stages across the UK, they logged countless hours on the road. Their journey was a tapestry of exhaustion and exhilaration, falling apart, brawls and disputes, love and acceptance. By the year’s end, just two days before Christmas, they found themselves in Tokyo, reflecting on the fleeting nature of time and the fragments of inspiration gathered along the way. It was there the seeds for their next album, Divinations, began to sprout. Composing as a true trio for the first time, Oracle Sisters pieced together sketches formed during stolen moments on tour. These fragments coalesced into Divinations, an album shaped by the band’s nomadic existence. The recording sessions spanned cozy Parisian studios, a barn in northern France, and the storied Valentine Studios in Los Angeles. Their creative process embraced experimentation—swapping primary instruments, playing with toy drum machines, and crafting melodies on quirky tools like the OP-1 and a baby Casio keyboard. This spirit of discovery lent the album a sense of spontaneity and wonder. At its core, Divinations channels mysticism and timeless storytelling. The band’s songwriting draws on diverse influences, from the surrealist poetry of Baudelaire and Rimbaud to the introspective philosophies of Carl Jung. Musically, echoes of Talking Heads, Air, and Leonard Cohen resonate throughout the album and tracks like “Riverside” delve into existential questions— “How far are you going? Is it more than money can buy?” Elsewhere on the album “Marseille,” born in the city that gave the song its name, kicks off as a trance with lyrics that play between the sincere and desperate self-help affirmations, we give ourselves while trying to find a bridge between our individual lives and a universal feeling. Lead-single “Alouette” is Oracle Sisters at their most direct; propelled by a driving bassline and exuberant strings, the track summons the sound of 80’s, 90’s, and early 2000’s rock n roll as they sing about “getting out of dodge, finding a pirate ship and sailing home.” Inspired by the book Caliban and the Witch, “Blue Left Hand” is a lyrical tapestry weaving together history, philosophy, and cultural critique. The lyrics, “It’s in the harbor of every page / It’s in the corner of the playwright’s stage / And every player and every fake / And every witch that we burned at the stake,” reflect on the forces that shaped the capitalist society we know today. Across Divinations’ 11 tracks it’s not only geographic boundaries that were crossed but also the boundaries of time and circumstance. While their work may not consciously reflect specific worldly events, they seek to embrace the universal and offer a space for healing. “Good music would make sense to a farmer in 17th century France as it would to a pastry chef in Slovenia in the 21st century,” shares Lazar. “It’s not written for any temporal powers that be. It’s about expressing our common humanity and taking it from there.” This intuitive approach fuels Oracle Sisters creative process - whether composing in a frozen French farmhouse or performing live with an ever-expanding lineup of collaborators, the band remains committed to exploring the unknown. Through Divinations, they hope to leave listeners feeling transcendent, levitating on waves of intuition and discovery.

Heavyweight Black Vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.


Colored Vinyl Details:
Heavyweight "A side - B side solid purple + transparent blue" vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.

Peronnel:
Mustafa Abdul Rahman - Tenor Saxophone, Percussion, Producer
Ahmed Abdullah - Trumpet
Malachi Thompson - Drums
Gregory Bufford - Bass
Richard Radu Williams - Piano
Rafik Abdur Rahim
Tony Smith - Guitar
Larry Banks - Synthesizer
Khalil Abdullah - Congas
Babafumi Akunyon - Percussions
Odell Grier Backing Vocals – Fred Harley, Hilda "Asia" Richbow , Linda Hall

Notes:
In the course of our deep research, we sometimes discover a hidden thread that unites musicians, songwriters, artists, and poets linked by music. Mustafa's 'Polygamy' is no exception. Apart from the music - the main reason we decided to work on this first ever re-press, a jewel at the crossroads between jazz funk, spiritual jazz and proto rap - are the many other things that make Mustafa an intriguing and fascinating character. For starters, he was a childhood friend of the Ayler brothers with whom he played in different formations. He also played with other beloved figures such as Noah Howard and Charles Tyler, on a still unreleased album recorded for Amiri Baraka's Jihad label, and worked with The Legendary Master Brotherhood and Steve Reid. This and much more will be revealed in a detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session.

South-London, British-Bengali musician Tara Lily shares her debut album 'Speak In The Dark'. The LP is about "speaking your truth" and combines alternative R&B, jazz, electronica and traditional Indian sounds into a unique fusion. The record, produced by Dom Valentino, features American jazz trumpeter Theo Croker, UK rapper Surya Sen, and Archy Marshall (aka King Krule) on guitar.

Growing up in Peckham as part of a British Bengali family has given Tara Lily a unique perspective on music and global culture. She has spent her life absorbing a multitude of sounds and genres from her surroundings, ranging from electronica to jazz and RnB to traditional Bengali folk music. From training at the Trinity Laban Conservatoire of Music (where she studied jazz piano and voice) to learning Indian classical music and being the first act signed to Motown Records UK. Tara is a musical anomaly.

Debut album from South-London, British-Bengali musician and rising star Tara Lily, featuring American trumpeter Theo Croker & UK rapper Surya Sen
LP produced by Dom Valentino with additional contributions from Bad Sounds, Jaz Lee, Archy Marshall, Chiranjeeb Chakraborty, Akash Parekar, Mei Kerby, Ian Stratford
European Tour supporting JP Cooper (1st week of October, 2024)
UK Tour w/ Juabi - Manchester, Barbican (London) - Sept 2024
Artwork by Jay Vaz (Dreaming Vinyl)
"No Way Out" video shot in association with The North Face in the Himalayas, Nepal. Directed by Siddanth Ghosh
Press support - The Guardian, Evening Standard - "One to watch", Wonderland, ID, Notion, Clash
Radio support - 'Double Time' was track of the week on BBC Radio 1, other spots plays - BBC 6Music, Jazz FM (playlisting), BBC Asian Network, NTS
Recipient of the FAC x Amazon Music - Step Up Fund
Tours - UK, India (Echos Of Earth / Vh1 Supersonic festival / Jazz
Weekender), Nepal, Bangkok, Hong Kong, EU
Festivals - Glastonbury (3 sets - BBC introducing - Televised / Leftfield B2B Billy Bragg / PRS), We Out Here, Shambala, Daytimer Dialled In, Wilderness, Cross The Tracks
Career highlights - SHAKTI JAZZ NTS show, joined King Krule on stage at Apollo Theatre and supported RAYE at the Royal Albert Hall, Jazz Cafe w/ Mahalia, playing live on TV on BBC2 (The Kia Oval)

As Jess Sylvester finished his Hardly Art debut as Marinero in the fall of 2020, he realized it was time for a change. Sylvester grew up in Marin County, on the doorstep of San Francisco. It was a nurturing community for a high-school punk with a pompadour and, later, for a sober songwriter with a proclivity for moody psychedelia. But he wanted to be challenged and inspired by a new setting and scenario around strangers who prompted him to approach his music in unexpected ways. So in September 2020, as the world continued to reel in lockdown, Sylvester headed several hours south to Los Angeles, a city that, despite the relative proximity, the film buff knew largely from classic and cult films situated there. When he arrived, he kept digging into that cinematic past-Robert Altman's The Long Goodbye, with John Williams' classic theme, or classic 90s movies about East LA, many featuring Edward James Olmos. They shaped his understanding of his new town just as it began to open. This is one pillar of the multivalent and endlessly lush La La La, Marinero's new album about sobriety, identity, and fantasy that is playfully named both for the city that helped shape it and the sophisticated pop it contains. Sylvester wrote about characters outside of himself, whether considering the heroine reckoning with her own version of keeping clean or the screenwriters whose work was deemed communist simply as a political convenience. He linked those songs with motivational anthems about self-acceptance and playful numbers about flirting through food, shaping a 12-song set rich with humor, empathy, and encouragement. Sure, La La La is a continuation of the slippery genre play Sylvester started with 2021's Hella Love, 2019's Trópico de Cáncer, or even before that. But it also feels like a fresh beginning for Marinero, as Sylvester realizes how boundless this project can be. He began to think about the music of his childhood, how his mother is from San Francisco with Mexican roots, and how he'd heard so much salsa growing up as an impetuous teenager. So he wrote "Taquero," a red-hot salsa tune that uses tacos and their trappings as a source of endless metaphors for come-ons. And then there was the Ray Barreto or Santana-inspired "Pocha Pachanga," with organ gliding and percussion pulsing beneath his yearning vocals, warped as if by desert winds. In Los Angeles, he found a wealth of players who spoke this music like language itself (including Chicano Batman's Eduardo Arenas), all ready to play with and push these familiar forms. Sylvester has also been sober for 21 years, since a cross-country sojourn to attend college in Boston ended in a chemical haze. Today, he sees friends facing the same decisions he made two decades ago, and he brings bits of that experience to bear in songs that feel like self-help anthems. Recorded with a musical hero (and labelmate) of his, Chris Cohen, "Sea Changes" feels like sunshine breaking through dark clouds, as Sylvester acknowledges the newfound confidence and clarity in a friend who has stepped away from destructive habits. In the past, Sylvester has been intractably linked to his identity as a Mexican-American, born to parents from Mexico and Irish- American descent who settled in San Francisco. That can be limiting, of course, tying him to notions of sound and style that aren't always correct. On La La La, he simultaneously steps into and out of those preconceptions, singing tracks above salsa in joyous Spanish or pondering the dynamics of the Hollywood Ten and blacklists above mysterious lap steel and teasing trumpet. His identity, then, should now be clear: He is a Californian, making music shaped by the diversity of encounters and experiences that are a central part of that state's fabric. Never before has he presented himself so fully and unabashedly on tape as with La La La, an album Sylvester built with new inspirations to deliver new charms.

This compilation is more than a selection of songs from Willy Nfor’s solo career in Nigeria—it’s the story of a man’s determination to live his dreams. Known as Willy Ngeh Nfor, he was a founding member of the Mighty Flames. One morning, Willy and his bandmates packed their instruments, grabbed a few clothes, and headed from Cameroon to Nigeria. Crossing the border on foot, they made their way to Onitsha.

“We left Cameroon with no contacts in Nigeria—it was an adventure. We’d heard about the FESTAC Arts Festival and felt we had to be part of it. Our first band in Nigeria was Pentagon Funk Band, sponsored by the 5th Brigade in Port Harcourt. Later, we moved to Onitsha and signed with Right Time Stores, recording Sweet Love (RTLPS 011) as The Mighty Flames. The sessions were at Decca Studios in Lagos, with a 16-track analog system. It was intense—no room for mistakes. We rehearsed endlessly before recording each take.” (Vincent Ekedi, Drummer, Mighty Flames)

Willy’s journey was shaped by his resilience and talent. Losing his mother early and facing family struggles, music became his escape. Inspired by funk and jazz-rock greats like Bootsy Collins, Jaco Pastorius, and Stanley Clarke, he honed his skills on bass and composition, playing with local bands alongside musicians like Vincent Ekedi. Together, they refined their grooves, dreaming of brighter futures.

After his time in Nigeria, Willy moved to Paris, becoming a session bassist for legends such as Manu Dibango, Mory Kanté, Tony Allen, Akendengue, Ray Lema, Jean-Luc Ponty, and Kanté Manfila. Touring extensively, he lived the “Star Life” (Star Life, Cornerstone Records, Feel So Fine, 1981), playing funk grooves with giants in grand venues, fulfilling his dream of the spotlight.

Berlin’s Moses Yoofee Trio have confirmed details of their first new material since their 2023 mini-album, Ocean. ‘WHIP.wav’ will be released digitally on October 18, 2024, and represents the first taster for their debut full-length, MYT, set to be released by Nils Frahm’s LEITER on February 7, 2025. The German group recorded much of the album over ten days in April 2024 at Glaswald Studios, in the countryside outside Stuttgart, before returning to Berlin to polish the results and record two further tracks at LEITER’s Funkhaus studio. Available on vinyl and via all digital platforms, the album was produced by the trio with long-time collaborator and mixing engineer oh.no.ty. ‘WHIP.wav’, the original version of which was previously shared to social media to great response, is a perfect showcase for the band’s unique brand of sophisticated jazz, its laidback summer grooves lit up by Moses’ fluid piano lines, while drummer Noah Fürbringer’s deft rhythms lock in with Roman Klobe-Barangă‘s understated bassline. At just 100 seconds long, it’s also as succinct and straightforward as MYT’s title – and indeed many of its tracks – which reveals a lot about the Moses Yoofee Trio. The new album’s tracks display a remarkable determination to distil their work to its essence, allowing their prodigious talents and graceful versatility to flourish in uncluttered surroundings. Their goals, they state concisely, are “emotions, moments and bangers”, and careful attention was paid to arrangements to ensure nothing superfluous made the cut. Before coming together as a band, all three members were already deeply involved in the music scene, touring, recording, and producing for a wide range of artists and bands. They connected in 2020 when Moses met Roman at Berlin’s Jazz Institute, and it was the latter who suggested they jam with his friend Noah, who was living in southern Germany at the time but frequently visited Berlin. Amid the extended lockdowns of the Covid-19 pandemic, the trio embraced the chance to fully immerse themselves in the creative process. Since then, Moses Yoofee Trio have cultivated an extraordinary reputation for their shows, and this year they won the German Jazz Prize’s prestigious Live Act of The Year award. Recent highlights include a 2,500-capacity Elbjazz Festival booking beside Hamburg’s harbour, a riotous appearance at London’s Jazz Festival, and an intimate gig before 200 people at the German capital’s now redundant Tempelhof Airport on the rooftop of an air traffic control tower. Despite their own work as a trio, all three musicians remain busy elsewhere, with Moses, like Roman, often working with chart-topping Berlin-based Peter Fox, a frontman for reggae/dancehall/hip hop crossover act SEEED, and accompanying him on his extensive solo tours. Noah, meanwhile, plays with another renowned artist, German-American rapper Casper, as well as Sweden’s acclaimed Petter Eldh and German comedian / actor / musician Teddy Teclebrhan.

Who are they?

Craig Clouse (Shit And Shine, Todd)
King Coffey (Butthole Surfers)
Nate Cross (Marriage, Water Damage)


Limited edition 300 only white vinyl LP housed in full colour outer sleeve with hype sticker, and polylined inner bag. Non-Returnable.

In the Spring of 2024, Texas trio USA/Mexico crossed the pond for only the second time, playing just three shows in three days, taking in Geneva, Paris and London. This album is the result.

A brutal, dirge fest recorded live in Paris.

No song titles, just slabs of hellish noise.

Co release with US label 12XU who will be handling the release over in North America (different pressing plant/different colour vinyl)

DJ Support: Carlita, Dar Disku, Disco Arabesquo & Moving Still

Melbourne-based producer Rami Imam unveils Safara, the latest release on his own label, Ponda Records, which he founded in 2020 as a platform for his cross-cultural sound explorations. Drawing from the rich traditions of the Middle East, North Africa, and the Mediterranean, Safara is a six-track odyssey of energetic and euphoric house and disco house, deeply rooted in both nostalgia and innovation. Safara is the culmination of Imam's immersion into the golden eras of global music, channelling the soulful rhythms and melodies of Afro-Funk, West African Highlife, Arab Disco, Bollywood, Afro-Cuban Jazz, Libyan Reggae, and Algerian Rai. By blending these timeless influences with a modern, dancefloor-oriented focus, Imam creates a sound that is both steeped in history and refreshingly new.

With a sonic palette that includes iconic synths such as the Juno 106, Super 6, SH 101, Moog Model D, and the 303, Imam weaves the analog warmth of these instruments into lush, modern productions. Piano and strings—his favourite classical instruments—add an organic layer of emotional depth, connecting the pulse of the dancefloor with the timeless elegance of traditional composition.

Safara is more than a collection of tracks; it is a journey across continents and eras, where the pulse of the past meets the driving force of the present. Recorded in Melbourne but influenced by sounds from around the world, Safara invites listeners to traverse vast musical landscapes—from the hypnotic grooves of North African rhythms to the sun-drenched melodies of Mediterranean shores—culminating in a transportive experience that lingers long after the final beat fades.

By balancing the ancient with the futuristic, Imam has crafted a record that feels both comfortingly familiar and daringly innovative. Safara is a testament to the endless possibilities of blending cultures, genres, and eras into something that is not just heard but felt—music for the soul as much as for the dancefloor.

Instrumentals JID019 captures the musical alchemy produced at the Linear Labs Studio by producers Adrian Younge and Ali Shaheed Muhammad. These instrumental recordings encapsulate the spirit of the Jazz Is Dead concert and recording series, celebrating the African-American art form known as jazz through improvisation, musical collaboration and authentic cross-generational and cross-cultural communication.

The genius that is Tony Allen departed this mortal world in April of 2020, but not without leaving an unmatched legacy that crossed oceans and borders, bridging cultures and forging a sound that changed music. As the drummer for Fela Kuti's revolutionary Africa 70, Allen's polyrhythmic drumming defined Afrobeat. His contributions as an artist and cultural ambassador left an indelible impact on every genre of popular music, from Techno to Jan to Rock and Hip-Hop. Tony Allen's music stands as an ongoing testament to the interconnected musical relationships and dialogues across the African diaspora, and their lasting influence on how we listen. For Jazz Is Dead producer Adrian Youngs, it is no small honor to share new music recorded with the drummer revolutionary Tony Allen.

Welcome into the world of scarse music for the ultimate connoisseurs, fine taste beatmakers and holy grails collectors.
You made a step close to The Edge.
From cult Italian soundtrack and 80's iconic anime, English and French library music, to tunes that made Hip Hop iconic anthem, Medline picked 10 compositions to cover, among his favorite crate diggers treasures.

With a 30 years Dj's culture, he unite on vinyl a collection of underground classics.
When other musicians sample, as former beatmaker, he found his fulfillment by playing the entire tracks, as homage to these composers.

In 2018 Solstice has set the corner stone of this unique artwork at the cross road of Jazz, Funk, Soul and Hip Hop worldwide culture.
With The Edge, the out of boundaries producer, placed the level even more higher.
The whole work is incredible, for a man alone, without music theory knowledge but playing flutes, horns, keyboard, guitar and many more instruments... creating in his little home studio the sound of a 70's orchestra.

Challenging and epic:
Epic for covers like A Day In The Life, Beatles cover by Les Demerle, took by Buck Wild for O.C. Time's Up and of course the eponym David Axelrod's The Edge on David McCallum album.

Challenging, for library anthem like Hot Dog, Ghetto or Keep Quiet by Jacky Giordano, sharp and definitely audacious.
Despite the variety of the ten themes, the man's touch is present each time, into the texture, sound taste and balance. Like a chef bringing up to date magical recipes.

The archetypal type of records My Bags loves to release, "The Edge" is built as a crate digger paradise, a timeless record linking past and present into a highly concentrate of divine grooves.

Damian Lazarus uncovers ‘SPIRITS VII’, the seventh chapter of Crosstown Rebels’ visionary annual compilation series. The eight-track package sees the Crosstown Rebels founder curate another stellar lineup of emerging and established talent for the latest instalment of the ongoing highly acclaimed series.

Since its debut in 2017, Damian Lazarus’ SPIRITS series has become a definitive platform for rising stars and established talent pushing cutting-edge sounds, consistently setting the tone for the year ahead. With the release of ‘SPIRITS VII’ this February, Crosstown Rebels continues its tradition of curating groundbreaking talent, delivering an impressive collection of tracks from both new and returning names. Building on the momentum of previous volumes, the eight-tracker offers an expertly crafted selection of deep grooves, hypnotic rhythms, and forward-thinking productions - providing a glimpse into the future of house and techno while staying true to the genre’s roots.

Opening the release, US-based duo Lisbona Sisters present ‘OK GURL’, a trippy and warping track with their original vocals that sets an otherworldly tone. Next, Netherlands-based SHARE follows releases on Mobilee and Abracadabra with ‘Oh Please…’, an acid-led cut with hooky vocals from Def Eff that leave a lasting impression. Next, Bonafique, part of the Maccabi House family, infuse ‘Desperadio’ with signature Middle Eastern influences and organic, rhythmic drums, while Dino Lenny delivers ‘I Have Sampled Father’, a playful yet off-kilter cut loaded with a kaleidoscope of diverse elements balanced by captivating grooves.

The journey continues with Upercent’s ‘Where Are You’, a dynamic composition characterised by soaring synths, sharp drums, and heavy bass licks. Collaborating on ‘Le Tourbillon’, Timo Maas & Inámo craft a hypnotic blend of grooves and sweeping melodies, perfect for late-hour moments. Recorded in his Ibiza studio, John Monkman energises the collection with ‘Colours’, a track brimming with intricate synth work, standout vocals, and dynamic sound design, before Enamour closes with ‘Jackpot’, a dreamy and hazy masterpiece featuring colourful sonics and enchanting soundscapes.

With its distinct ability to uncover hidden gems and elevate them to global recognition, Crosstown Rebels remains a leading force, and this latest edition of SPIRITS proves precisely why it remains at the forefront of the global electronic scene as one of its most vital imprints.

A continuation of the sonics the group established with their self-titled album, ††† (Crosses) are back with their debut EP on Warner records.

Combining Chino Moreno's (Deftones) vocals, lyrics and vocal textures with Shaun Lopez's (Far) production and sound design this 6 track collection features the single ‘Vivien’ and follows on from their singles ‘Initiation/Protection’ that dropped earlier in the year.

Black Eyed Sons - A New Rock 'n' Roll Collective - Members of The Quireboys and Down n' Outz are joined by an amazing collection of fellow musicians for a joyous collaboration of mutual admiration and musical celebration. Enjoy the debut album 'Cowboys In Pinstriped Suits" released via Off Yer Rocka recordings 31st January 2025. Since the band announced they were working on their highly anticipated new album, "The Band Rolls On", what was already becoming a chance for a musical rebirth metamorphosized into something far bigger and more ambitious. The final cuts feature distinguished collaborations from a multitude of Rock Royalty.

The band, their management and close friends within the industry all agreed that this should be treated as a stand-alone new project, a Rock 'n' Roll Collective going under the name "Black Eyed Sons", a nod to a previous album from their extensive back catalogue. The revised album title, "Cowboys in Pinstriped Suits” is named after one of the eleven tracks and features none other than Def Leppard’s Joe Elliott alongside Alice Cooper guitarist Ryan Roxie and bass grooves from Chip Z’Nuff. Guy Griffin commented "It's been nice to take a break and focus on the writing. Working with our own band as well as so many friends within the industry has done nothing but inspire us to write and create this exciting new project. We've done the hard work getting the tracks laid down, we're now looking forward to going back out on the road as Black Eyed Sons and delivering something entirely new from five musicians who've been playing together for over twenty years. Relationships break down sometimes, that’s Rock 'n' Roll, everyone does their thing, but we want to make sure there's no confusion as to what this is. Whilst we're proud of our musical history, that was then, this is now. It's onwards and upwards, so let the music do the talking. Joe Elliott added, "Having worked with these guys since 2009 in the greatest “other” band I could ever hope to work with, The Down ’n’ Outz, it just felt totally natural for me to reciprocate the love these guys have shown me by contributing to what is essentially a new beginning for them. So welcome to the mad world of Rock ’n’ Roll, you Black Eyed Sons." - Joe Elliott (Cowboys in Pinstriped Suits). Other collaborators had this to say: “This song feels so real and natural. Like a hug from an old friend. I’m proud to be a part of it.” - Charlie Starr (Autumn Reigns) - ‘’My friendship with the Quireboys started a long time ago and each time our paths have crossed, the bond has grown stronger. Therefore, I would lie if I didn’t say that in the back of my mind there always was a wish to do something together. So, I am more than thrilled when I was invited to sing on the Black Eyed Sons new album and that they also gave me a song where I could be who I am’’ ⁃ Mike Tramp (Your True Colours) - “I go back 30 years with these guys. A band that I’ve always loved and respected. To be asked to be part of this project was a great thrill, and proud moment as a guitarist.” - Scotti Hill (Dig Me out of this Hole) - “I’ve known Griff since the beginning of our respective careers…we are both from the old school baby, and Griff has always been the embodiment of rock n’ roll - genuine, classy, trashy, and an attitude that exemplifies what it is to be a rock n’ roll troubadour“ ⁃ Ryan Roxie (Cowboys in Pinstriped Suits/Can't Put Your Arms Around A Memory) - “Since you graced us with your presence on the Wolves’ debut album, it’s only fair we should be a part of your debut as Black Eyed Sons. All the best!” - Kyf Brewer / Company Of Wolves (Foolin’ Yourself) - “Not only was it a pleasure to play guitar & sing on this record but it was also an honour to have Griff & the band record one of our songs! - Steve Conte / Company Of Wolves/Michael Monroe/NY Dolls (Foolin’ Yourself) - Band: Guy Griffin (lead vocals/guitar); Paul Guerin (guitar); Keith Weir (keyboards); Nick Mailing (bass); Pip Mailing (drums)

Repress!

There are few names as instantly recognisable, revered and respected in the world of dance music than Jamie Jones. This three-track vinyl release celebrates his 2022 anthem ‘My Paradise’, which quickly became one of the summer’s must-know tracks, as the Hot Creations label boss explored disco influences while his signature high-energy bassline and groove gave the heater boundless dancefloor appeal. What followed were remixes from respected exponents of contemporary electronic music that helped ‘My Paradise’ continue its clubland ascent. Brazilian superstar Vintage Culture gave the record a distinctly tougher feel, as a chugging bassline, rolling synths and melodic piano breakdowns worked together to captivate a dancefloor. Crosstown Rebels, Day Zero and Get Lost founder Damian Lazarus created an otherworldly mix that plays on the joyous disco feel of the original, while distorted synth lines and playful glitches offer a new edge to the club weapon.

Slow Pulp celebrates five years of their breakout debut album Moveys with a deluxe reissue. Available for the first time on gatefold vinyl, the double LP release includes live versions of beloved singles like "Falling Apart" and "Idaho," as well as two reimagined versions of Moveys-era tracks. Full of blistering energy and emotional catharsis, Moveys is a testament to hard-fought personal growth. Since its 2020 release, the band has appeared on late night TV, performed at Lollapalooza, and toured with The Pixies, Alvvays, The Postal Service, and Death Cab For Cutie. Slow Pulp's remarkable full-length debut Moveys is a testament to hard-fought personal growth. In the process of making this record, the Chicago-based indie rock band powered through health challenges, personal upheaval, and a pandemic, all while learning how to be better songwriters and friends. Their made-up word "moveys" is multi-faceted for Slow Pulp. It is an invitation to dance. It is a wink at the cross-country nature of the album's songwriting process, while the bandmates were literally on the move touring, sheltering in place, and going through major life changes. But, mostly, it's an inside joke. Listening to these warm, dynamic and welcoming songs, it's easy to feel like you're a part of it too.

Slow Pulp celebrates five years of their breakout debut album Moveys with a deluxe reissue. Available for the first time on gatefold vinyl, the double LP release includes live versions of beloved singles like "Falling Apart" and "Idaho," as well as two reimagined versions of Moveys-era tracks. Full of blistering energy and emotional catharsis, Moveys is a testament to hard-fought personal growth. Since its 2020 release, the band has appeared on late night TV, performed at Lollapalooza, and toured with The Pixies, Alvvays, The Postal Service, and Death Cab For Cutie. Slow Pulp's remarkable full-length debut Moveys is a testament to hard-fought personal growth. In the process of making this record, the Chicago-based indie rock band powered through health challenges, personal upheaval, and a pandemic, all while learning how to be better songwriters and friends. Their made-up word "moveys" is multi-faceted for Slow Pulp. It is an invitation to dance. It is a wink at the cross-country nature of the album's songwriting process, while the bandmates were literally on the move touring, sheltering in place, and going through major life changes. But, mostly, it's an inside joke. Listening to these warm, dynamic and welcoming songs, it's easy to feel like you're a part of it too.

Slow Pulp celebrates five years of their breakout debut album Moveys with a deluxe reissue. Available for the first time on gatefold vinyl, the double LP release includes live versions of beloved singles like "Falling Apart" and "Idaho," as well as two reimagined versions of Moveys-era tracks. Full of blistering energy and emotional catharsis, Moveys is a testament to hard-fought personal growth. Since its 2020 release, the band has appeared on late night TV, performed at Lollapalooza, and toured with The Pixies, Alvvays, The Postal Service, and Death Cab For Cutie. Slow Pulp's remarkable full-length debut Moveys is a testament to hard-fought personal growth. In the process of making this record, the Chicago-based indie rock band powered through health challenges, personal upheaval, and a pandemic, all while learning how to be better songwriters and friends. Their made-up word "moveys" is multi-faceted for Slow Pulp. It is an invitation to dance. It is a wink at the cross-country nature of the album's songwriting process, while the bandmates were literally on the move touring, sheltering in place, and going through major life changes. But, mostly, it's an inside joke. Listening to these warm, dynamic and welcoming songs, it's easy to feel like you're a part of it too.

Purple-Black-Smoke Vinyl, limitiert auf 200 Exemplare. Texas Toast Chainsaw Massacre ist eine explosive Band des Crossover-Thrash-Metals aus der pulsierenden Musikszene von Chicago, Illinois. Seit ihrer Gründung im Jahr 2011 haben sie sich schnell einen Namen gemacht, dank ihrer mitreißenden Auftritte und humorvollen Texte, die das Publikum begeistern. Die Band besteht aus den erfahrenen Mitgliedern Josh "Macho Frost" Kandich am Gesang und Jordan Miller an der Leadgitarre, ergänzt durch den talentierten Bassisten Viaj D Crum und den dynamischen Schlagzeuger Tony Strissel. Ihr unabhängiger Status ermöglicht es ihnen, kreativ zu bleiben und Musik zu kreieren, die unverfälscht und originell ist.

The only album released on the Verve Label by prolific Brazilan singer Marcos Valle, Samba '68 has him recording his Brazilian hits in English in order to capitalize on the then-huge Getz-Gilberto-Jobim-Mendes-Astrud market.

Marcos' rapid and stunning artistic growth is apparent on this Bossa Nova classic. Fans of Sérgio Mendes and Astrud Gilberto (both of whom recorded tons of Valle's tunes) will enjoy it immensely, for Samba '68, with brilliant arrangements by Eumir Deodato, is definitely one of the ultimate "loungy" records. The albumreceived a 4 1/2 star rating on AllMusic，with reviewer John Bush stating that "Samba '68 is a vibrant set of Brazilian pop, indebted to bossa nova and samba but undeniably Americanized for a domestic audience. The result is a joyous album throughout. One of the best Brazilian crossovers of the 1960s."

Purple-Black-Smoke Vinyl, limitiert auf 200 Exemplare. Texas Toast Chainsaw Massacre ist eine explosive Band des Crossover-Thrash-Metals aus der pulsierenden Musikszene von Chicago, Illinois. Seit ihrer Gründung im Jahr 2011 haben sie sich schnell einen Namen gemacht, dank ihrer mitreißenden Auftritte und humorvollen Texte, die das Publikum begeistern. Die Band besteht aus den erfahrenen Mitgliedern Josh "Macho Frost" Kandich am Gesang und Jordan Miller an der Leadgitarre, ergänzt durch den talentierten Bassisten Viaj D Crum und den dynamischen Schlagzeuger Tony Strissel. Ihr unabhängiger Status ermöglicht es ihnen, kreativ zu bleiben und Musik zu kreieren, die unverfälscht und originell ist.

Crossroads production team continue the collaboration with the rising italian soul singer "Cler" here performing two classics from different eras:
On side A we find a fresh new version of "Don't Lose The Magic", a soulful-dance classic written by Shawn Christopher, here covered with a more uptempo r&b mood. On the back side the young singer shows her vocal skills on the super classic "Georgy Porgy", which here finds a super warm nu-soul groove.

Soolmaan is a sextet led by Belgian oud player and composer Tristan Driessens, accompanied by Nathan Daems, Christos Barbas, Annemie Osborne, Andrea Piccioni, and Levent Yildirim. Together, they create sound tableaus that float freely between the Bosphorus and India, with flute, sax, ney, cello, piano and tamburello igniting an imaginary folklore infected by jazz. Releasing their second album ‘Kashgul’ on the 24th of January with Zephyrus Records. (Vinyl / CD)

Driessens began his career immersed in the classical music of the Ottoman court, founding the Lâmekân Ensemble in 2011. After training under oud virtuoso Necati Çelik in Istanbul, he returned to Belgium in 2016 to form Soolmaan, an ensemble that reflects his multi-faceted identity. Rooted in Eastern modal traditions, Soolmaan’s music bridges jazz, folk, and classical influences, creating a unique and contemporary sound.

Their 2017 debut album, ‘Letters to Handenberg’, was described as "oriental chamber jazz," with Istanbul serving as a common thread. With Kashgul, their latest release, Soolmaan explores Ottoman makam, Indian raga and Anatolian halk muzigi, blending these traditions with a contemporary modal language. Created during Driessens' artist residency at the Concertgebouw of Bruges, the album features original compositions alongside reimagined works by Ravi Shankar, Amjad Ali Khan, and Art Pepper.
With improvisation as a connecting factor, Soolmaan’s music invites listeners into rich, boundary-crossing soundscapes where tradition and innovation meet. Kashgul exemplifies the ensemble’s ability to craft an immersive musical experience that resonates deeply with diverse audiences.

Upcoming concerts

December 8, 2024
Begijnhofkerk, Sint Truiden, BE

December 12, 2024
De Bijloke, Ghent, BE

December 14, 2024
De Bijloke, Ghent, BE

The Butcher Sisters sind eine deutsche Crossover-Band, die für ihre einzigartige Mischung aus Metal, Hip-Hop und elektronischen Elementen bekannt ist. Gegründet in Köln, haben sie sich schnell einen Namen in der deutschen Musikszene gemacht, indem sie harte Gitarrenriffs, aƽressive Rap-Parts und eingängige Beats kombinieren. Ihre energiegeladenen Live-Shows und provokanten Texte ziehen eine stetig wachsende Fangemeinde an.
Die Band hebt sich durch ihren kreativen Stil und ihre rebellische Attitüde von der Masse ab und genießt mittlerweile Kultstatus in der Crossover-Szene.

The Butcher Sisters sind eine deutsche Crossover-Band, die für ihre einzigartige Mischung aus Metal, Hip-Hop und elektronischen Elementen bekannt ist. Gegründet in Köln, haben sie sich schnell einen Namen in der deutschen Musikszene gemacht, indem sie harte Gitarrenriffs, aƽressive Rap-Parts und eingängige Beats kombinieren. Ihre energiegeladenen Live-Shows und provokanten Texte ziehen eine stetig wachsende Fangemeinde an.
Die Band hebt sich durch ihren kreativen Stil und ihre rebellische Attitüde von der Masse ab und genießt mittlerweile Kultstatus in der Crossover-Szene.

The intrepid composer and field recordist Jacob Kirkegaard is no stranger to perilous and hostile regions of the world. His 4 Rooms invoked the radioactive decay through the amplification of architectural resonance in Chernobyl, Ukraine; and he has ventured to the arctic environments of Greenland on a number of occasions to document that barren, icy territory. His recurrent use of shadow and mystery through his work both as metaphor and as extended sonic technique reflects the complex, existential conditions that cross-contaminate what we consider civilization and what we consider wilderness. Waste disposal, firearms, the decomposition of dead bodies, the eerie stillness of morgues. These have also been the source material in Kirkegaard's formidable work.

With Snowblind, Kirkegaard turns to history, and a poetic, failed attempt for a team of Swedish explorers to reach the North Pole by balloon in the late 19th Century. Perhaps driven by blind adventurism, perhaps consumed by his own delusions, S.A. Andrée launched this ill-fated flight in July 1897, registering only two days in the air before crashing into the ice and ultimately failing to navigate the frigid waters and ice floes. Yet documentation of their expedition - photographic, scientific, and diaristic - survived, to be discovered some thirty years after their deaths.

"I wanted to created a cold and hostile album, where there is no escape, no warmth and no happy ending," as Kirkegaard explains about Snowblind. "Yet, I wanted to leave out any immediate drama. It is the creeping shock, the icy feeling from realizing what has been lost and that there's no escape."

Yes, Snowblind is a very bleak album, but one that eschews the isolationist, long-form drone of conceptually similar works by Thomas Köner, Lustmord, Werkbund, and Lull with interconnected constellations of cryptic tone, thrumming reverberation, arctic bluster, and a plethora of harrowing sonic proclamations.

Over 19 tracks, Wayfaring Strangers: Cosmic American Music mines gold from dollar bin country-rock detritus to reconstruct events as seen from the genre's wild west - Americana's vast private press substructure. As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. "He hated country-rock," Parsons collaborator Emmylou Harris would later reflect. "He thought that bands like the Eagles were pretty much missing the point." Parsons had been orbiting the idea of Cosmic American Music for some time. In 1968 he'd parted ways with the Byrds and was looking to take air with a new project. "It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar" he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became "the dominant American rock style of the 1970s," as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West-America's one-off private press label substructure.

“My introduction to “noise” came from a record shop in Lake Worth, Florida ran by a musician named Kenny 5. Kenny had left Detroit sometime in the mid nineties and had begun selling used records and CD’s from the downtown strip of this tiny southern Florida city in a humble shop sandwiched between a deli and a dog grooming business. Kenny previously was on labels like Amphetamine Reptile and timeSTEREO, and the records and videotapes that would be on repeat at his shop were a vast sonic expanse that spoke to the eclecticism of his experience as a touring musician participating and adjacent to American noise culture through the early to late 90’s. In 1998, I was eleven years old and I would order a pizza with him and watch VHS tapes of Japanese noise and deathmatch bootlegs, as well as any other sonic and subcultural rarities that far outstripped my age to comprehend (notably the RRR “Journey Into Pain” compilation and various Vanilla Tapes videos). This widecast net of information formed an introduction to a reality that did not fall deaf on me, but it took many years later for me to reorient the specific freedoms of what this dense and cathartic sound culture had imparted on my life and would continue onward to.

What does this have to do with this selection of choice recordings from the Secret Boyfriend catalog for the enmossed label? For the uninitiated, Secret Boyfriend is the long running moniker of Ryan Martin, North Carolina musician and label proprietor of the Hot Releases imprint. For over a decade from this writing I have watched Secret Boyfriend, and Hot Releases by extension as a curatorial and archival effort, embodying the multiplanal capacity that noise loosely functions from as an umbrella ideology and formalist avenue for sound creation. For anecdotal purposes, from (before) 2006 until roughly 2023 the East Coast of the United States showcased a vibrant network of eclectic regional festivals that saw wide swaths of artists addressing and negotiating the notion of what qualified “noise” from a conceptual and ideological perspective. Some festivals honed in on particularities in aesthetics and tropes, and others had a kind of “catch-all” implementation that allowed for a salvation of the sort of alienated and singular artistry that was amassing throughout these territories. While clear guidelines had been set from regional predecessors as to how noise with a capital “N” should maneuver, Secret Boyfriend is emblematic in the spirit of fluidity that was either implicitly coupled to the notion of the genre, or grew to evolve towards or devolve from.

Within Secret Boyfriend performances, I have seen and admired a mirroring from a ravenous appreciator of this culture at large back towards itself. Typical of a Secret Boyfriend set is an interchangeable narrative arc wherein blistering feedback laden scrap metal improvisations are forayed into naive ambient or “pop” songs, or skipping CDs, or mixer feedback play, or delayed Roland 707 drum workouts all at once and in a unique hegemony. Secret Boyfriend's stylistic mastery of each endeavor is at once an homage to a history of loving listening and enacting, while a brave step into the realm of actualizing the unique fluidity of his own practice. In performance and the action of network engagement, Secret Boyfriend operates a survey of that which he sought to hear and that which he cultivates around his work. His operations are mirrors, and the project (alongside his other peers) is a reflection on the ethos of his time.

Conversely his recording practice narrows in on these moments and allows for a different kind of intimacy or alienation for the non live listener. This record of selected “pop songs” (let's call them that) is particularly poignant at a time when the culture Martin mirrors is at a strange crossroads with itself. The aforementioned festival networks necessarily change and shift. The onlookers become the artists, the artists find new horizons, and the spaces for these cycles fade into locales of a distant memory. It seems, from my perspective, that audiences currently yearn for a more bottlenecked experience, searching for some ontologically vetted manifestation of an idea, of a sound and less for an experience that functions in opposition to our collective banalities. This makes sense in the face of general global catastrophism that plagues us. We need certainty of what something is somewhere, don’t we? Noise as an idea has expanded and contracted to so many iterations of itself it is hard to tell what it even is, and it is particularly difficult to identify in the absence of solid network activations a moment to reflect on its own complexities and nuances. In the face of so much change, I argue that the language of noise culture at large has on one hand become increasingly didactic and predictable, and laughably inclusive and non linear on the other. Probably has always been this way, but now we are in the midst of a moment of extreme access and indexicality, which somehow cauterizes expansion and naivety and chance.

This record highlights the Secret Boyfriend that obscures didacticism by highlighting output that opens up for more challenging catharsis and emotive signal processing. It provides an entry to the materialism of a cultural field full of ecstatic complexity and beautiful inconsistency. In these muted moments Secret Boyfriend has given us over his career we have an argument for evolving languages that further challenge our notions of what is supposed to happen and how it is supposed to be presented. In his more song oriented expansiveness, we can punctuate the ability to think in new modalities. Listening to these recordings reminds me of the polarity of sitting in the record store as a kid and understanding that His Name Is Alive is on 4AD and (gasp!) timeSTEREO. This trite early impression that nothing is really as different as our imaginations might want them to be, and that we can do whatever we want mostly within the creative realms we work through is an important filter to look through Secret Boyfriend as a project and a vessel. If we can achieve abandon and vulnerability through our artistic endeavors, then we have a sound model for, maybe, new potentialities. If that’s too much projection, or just complete liberal bullshit, I am fine with that. Secret Boyfriend's oeuvre at best offers us moments of reprieve to ponder these complexities, or at least a moment to zone out on a drive through North Carolina Highway 54.

You have one pocket of life that you must do whatever you want to inside of. Secret Boyfriend does it affectionately, in a variety of forms, and always with deep sentimentality. These recordings are a wonderful set of songs to begin further investigation from. Thank you Ryan for allowing as many avenues as possible to continue a broad cultural exchange and conversation that intersect and refract while being the kind of artist that is brave enough to not phone in the effort.”

- Nick Klein , May 2024

BACK IN PRINT ON BLACK VINYL

“To understand the significance of the word ‘featuring’ on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used.
“The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution’s continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold.
“It wasn’t until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they’d recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors.
“We’re lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.”
—John Corbett (excerpt from the liner notes)

INTEGRAL RECORDS—SEVENTEEN YEARS OF FORWARD THINKING D&B

London, August 2024 ––Integral Records, a leading independent record label synonymous with forward
thinking Drum & Bass music is announcing ‘Seventeen’ ––a new Various Artists LP in celebration of 17 years.

Fast approaching their second decade in the business of DNB, Integral Records has left an indelible mark on the underground scene, consistently delivering quality releases that continually push the boundaries of drum and bass music.

Since its inception in 2007, the label has been at the forefront of innovation within the underground scene globally, and is renowned for continually discovering, nurturing and developing exceptional talent; breaking a number of new artists through its 17-year journey.

Consistently delivering high-quality music with crossover radio appeal and with a consistent release schedule maintaining quality over quantity and dedicated to keeping the vinyl community alive.

Founded by the visionary Artificial Intelligence back in 2007 and with Emma G at the helm over the past decade, the label has remained dedicated to its core values of musical integrity, cutting edge sound

With a back catalogue of who’s who in the soulful world of the spectrum; the archive includes the likes of
Calibre, DRS, Alix Perez and Lenzman; more recently, Dawn Wall, Mohican Sun, Satl and currently the new
wave of D&B’s rising stars––Thread, TZ and Tatora to name a few.

Seventeen – the LP will showcase 8 tracks carefully curated from the label's impressive camp
of talent, capturing the essence of the Integral Records sound––featuring legendary artists and rising stars alike. Track features will include (in alphabetical order) Artificial Intelligence, Lenzman, Phil Tangent, Redeyes, Satl, Steo, Tatora, Thread, and Zero T and more.

From soulful liquid future classics to heavier-hitting tech rollers and everything in between, this compilation encapsulates the diverse and ever-evolving nature of Drum & Bass that will always remain dear and will certainly never die.

Kath Bloom is an American legend of folk, country, blues and avant-garde music. She has been making records since the late 70s, and has had her music featured in the movie Before Sunrise by Richard Linklater (starring Ethan Hawke and Julie Delpy), but from 1984 up until Finally released no new material of her own, bar a few self-distributed cassettes and CD-Rs.Born in Connecticut, Kath met avant-garde guitarist Loren Mazzacane Connors in 1976, teaming up with him for a series of now highly sought-after albums of traditional blues, folk, and Bloom originals. Four of these albums have been reissued as double disc CDs by Chapter Music. Finally compiles Kath Bloom's heartbreaking, lovelorn and remarkably beautiful songs recorded since the early 90s. They reveal a mother-of-three songwriter as accomplished and affecting as any of her more acclaimed colleagues such as Lucinda Williams, Gillian Welch or Hazel Dickens.

New York psych-pop band Crumb return with AMAMA, their most carefree and open-hearted album to date. A soundscape full of playful and patchwork experimentation _ glitchy pitch-shifted vocals, cell phone recordings, nautical blips, sax mouthpiece solos, blasted drum samples, and piano strings dampened with Silly Putty _ AMAMA continues to deepen the band's hypnotic sound in a cohesive line back through 2021's Ice Melt, 2019's Jinx, and breakout EPs Locket and Crumb. Without a doubt, AMAMA is Crumb _ singer and multi-instrumentalist Lila Ramani, keyboardist and saxophonist Bri Aronow, bassist Jesse Brotter, and drummer Jonathan Gilad _ at their most animated.AMAMA exists at the crossroads of psychedelia, pop, jazz, and rock, and cements Crumb as a band uniquely their own. Released independently on Crumb Records and produced alongside Johnscott Sanford and Jonathan Rado in Los Angeles, AMAMA is an incandescent statement about searching for solid ground, connection, and clarity in a life of nomadic upheaval.

Fang Island's debut record, long out of print and back in stock as daisy pink splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Fang Island shared bills with uber-buzzy bands like Yeasayer and Chairlift at Cake Shop and Santos Party House, crucibles for Brooklyn hype at the turn of the aughts; but their most impactful co-sign came from Andrew WK. At least until Fang Island earned an unexpected Best New Music review at Pitchfork; in the style of the time, the group - now including drummer Marc St. Sauver and guitarist Nick Sadler - were thrust from playing "literally empty shows" at hot dog stands in Ohio to becoming the toast of SXSW and starting their North American tour with psych-rock idols the Flaming Lips in an Atlantic City casino. They would later play sprawling amphitheaters with Stone Temple Pilots, and in perhaps the best demonstration of their ability to wield pop smarts to guitar pyrotechnics, both Matt & Kim and Coheed & Cambria.

Originally scheduled for release way back in March 1996, "The Raw Factor" by North Carolina native Omniscence is one of the last of the unreleased mid-90's albums to see the light of day. Despite being awarded The Source's coveted "Hip Hop Quotable" and dropping two well-received singles ("Amazin" and "Touch Y'all"), record label politics meant the full-length "The Raw Factor" album was never released and fans were left wondering what might have been.

28 years later, "The Raw Factor" is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90's Hip Hop.

Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was "The Raw Factor" album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums.

Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.
















p Touch Y'all (Remix) feat. Sadat X
















p Touch Y'all (Remix) feat. Sadat X
















[p] Touch Y'all (Remix) [feat. Sadat X]

Well-versed in vintage vernaculars, Oakland-based producer/musician Mike Walti is about to return with his sophomore offering under the Organi moniker – as new album “Babylonia” follows 2020’s “Parlez-vous Français?,” a landmark in vibe acquisition ever since.

Wyldwood Studios is a portal. It’s a secret gateway to analog spheres. Cross the threshold and you’ll feel the difference: you can pick any ol’ time, any place, any tongue or vibe, in fact. Hit the dancefloor in 1967, feel that plushy loveseat in the early 70s. It’s a welcoming place where better, saner vibes are still within reach. Fueled, at least in part, by those long-classic 12”s on the walls – just imagine the sepia-tinted countenance of Melody Nelson alongside actual Birkin sans wig, right next to Shadow’s immortal crate diggers, forever blurred –, and channeled through ancient time travel devices such as the MCI 416B only to arrive on classic 2-inch tape (MM1000 aka Ol’ Bessy), it’s a haven for all things organic, for all things imbued with that warm élan. Built and run by Oakland’s own Mike Walti, countless artists from many different genres have felt that flair, creating sonic spheres and moving back and forth along the malleable axis that is space-time. Capturing magic.

Emerging from this unique portal back in 2020, Walti’s aka Organi’s first studio album was a stunning answer to its titular question – “Parlez-vous Français?” It was a soothing, somewhat psychedelic trip so magnétique and alluring that it immediately brought back those bits of Franglais you never knew you remembered. Whereas the debut LP indeed felt like a spontané voyage to the French Riviera ca. 1968, its follow-up “Babylonia” is so much more than linguistic confusion and ancient Akkadian Rhythms. Using that hidden portal near Alameda’s finest port to access all kinds of remote regions and sonic spheres, it’s super tight and feels, well, decent, even though, just like the ol’ Babylon, it’s full of surprising tongues and dreams, schemes and melodies.

“Where do we go from here?,” someone asks in opening “Organii-“ – all majestically cinematic boom bap, buoyant bass, sick strings. A fittingly massive opener that feels like cracking open a cold one after long weeks at work (that ecstatic “ahhhh”), it perfectly sets the tone for another half hour of pure time traveling, globe-spanning bliss. Whereas that certain prédilection pour all things French makes “La Rockette” so tempting and tantalizing (think MalMalNonBien), the sophomore album’s Berlin-based guest singer Nana Lacrima soon takes us elsewhere: title track “Babylonia” spins ever so softly, like a magic lantern, with images of dreamier Stones Throw funksters or Savath y Savalas looming over the steady flow of an arrangement that washes you clean like an ancient, unpolluted River Euphrates or Brazil’s actual Amazon. A sexy Portuguese-flavored anthem, occasional guest singer Alix Koliha also enters the scene to add yet another layer of French chic to this Brazilian landscape. Next, we’re back at the Riviera, but the “Italiano” version of it, splendido sunsets and bell towers in the distance, the ragazze laughing and shaking it up, perhaps even some Portofino Gin so you can really feel that “me ne batto il belin,” as your fingers align form some half-serious “ma che vuoi?”

Tim Maia-penned “Padre Cicero” (1970) deals with the stunning transformation of the titular hero – “De reverendo a lutador,” and what a soaring, sensual hook –, and Organi’s take on Elephant Memory’s “Old Man Willow” (now an “Old Man Waltz”) perfectly underlines what Walti’s Wyldwood endeavor is all about: Easy-Going Experimental Dream Pop, fueled by Gainsbourg, Broadcast, Stereolab, etc.

Later on, even though something seems to be tres complique in “Remembering Anna,” it all sounds carefree like a spontaneous Friday afternoon with a bottle of fine wine. Right before the outro, key album guest Yea-Ming Chen (of Yea-Ming & The Rumors) returns to the mic, adding her dark and dusky trademark timbre to melancholy anthem “Pictures Of Your Face”. Reminiscent of Nico and Trish (rip & rip), it’s a track that’s both dark and strangely propelling, hypnotic and hip-shaking.

A third generation Bay Area native, Mike Walti aka Organi has been running Wyldwood Studios in Oakland CA for some 15+ years (recording artists like Tommy Guerrero, Spelling, Why?, Latyrx, Del, Dan The Automator, and Big Freedia, to name but a few). A multi-instrumentalist who’s obviously in love with the 60s/70s, he loves to work with analog equipment (“We just love us some analog!” “Just listen to those relays purr…”). Recorded and mixed by Mike Walti at Wyldwood, “Babylonia” will be released on vinyl/digital by Alien Transistor.

2024 Repress
In early 2023, Tresor Records will reissue the sole output from Shifted Phases entitled The Cosmic Memoirs Of The Late
Great Rupert J. Rosinthrope. Initially released in 2002, soon after James Stinson passed away, this LP plays a mysterious and
compelling role in the Drexciya journey. While other records of Drexciya and related projects have received numerous reprints
and editions, The Cosmic Memoirs... has remained out of print since its release. This rarity leaves it more open to
interpretation with its place in the Drexciyan storm series, as it became increasingly hard to find and underexplored.
Track titles Solar Wind, White Dwarf, and Lonely Journey of the Comet Bopp reveal a focus on cosmic realms, suggesting a link
with the Drexciya LP Grava 4 that moves from the underwater to the galactic. As it launches with mechanical blows on a
precise orbit, each repetition entrenches the gravitational pull in the galaxy of Shifted Phases. In many places, it sounds like
the readout of frequencies harvested from outer space, pockmarked with packet loss from the millions of kilometres distance
travelled.
The music is hard to contain, intuitively restless in motion through its unfolding universe and achingly resonant. It shapeshifts
across aectedly melodic sequences such as in Lonely Journey..., to the sparse, hard-hitting timbres found in Alien Vessel
Distress Call and the mangled reverse vocals in The Freak Show, somewhat reminiscent of another Drexciya side-project, Glass
Domain. The mythology of Drexciya is evident in how keenly James Stinson and Gerald Donald created their imaginary worlds.
In Crossing Of The Sun-Ra Nebula, there is an undisputable reference to another Afro-futurist who delved deep into a galaxy of
their own making.
This reissue does not merely close the loop on Tresor's reissue series of the Drexciya catalogue but brings Shifted Phases to
fresh ears more than other records. Accompanied by newly commissioned artwork from Matthew Angelo Harrison, the 3xLP
vinyl reissue also features the tracks Crossing Of The Sun-Ra Nebula and Alien Vessel Distress Call, which were previously only
on the original CD release.

Acclaimed pianist Renee Rosnes fell in love with the music of Brazil as a teenager, from the moment that she first heard the iconic Bossa Nova singer Elis Regina. With "Crossing Paths," her brilliant new album for Smoke Sessions Records, Rosnes brings to stunning reality a dream held for decades: to explore the intersection between Brazil's scintillating sounds with her own visionary approach to modern jazz. Due out on December 6, 2024, "Crossing Paths" reimagines compositions from master composers like Antonio Carlos Jobim, Milton Nascimento, Caetano Veloso, and others. The album brings together a remarkable band - saxophonist Chris Potter, trombonist Steve Davis, bassist John Patitucci, and drummer Adam Cruz - with contemporary Brazilian voices (percussionist Rogério Boccato and vocalist Maucha Adnet) and special guest appearances by legendary vocalist/composers Edu Lobo and Joyce Moreno.

Pittsburgh’s feral punks Snarling Dogs return to bite the hand that feeds them with their debut self-titled LP Snarling Dogs.

This unhinged offering kicks out 11 revved-up, slobbering 77-esque punk tracks that will have wasted, spikey punks diving into the pit never to return. Songs like “Nothing Left” are charged and chock full of hits sounding like a demented mix of Raw Power era Stooges with the speed and aggression of The Damned or The Dead Boys. The record expands from there with songs like “Hour at a Time”- a locked in dirgy, psychedelic stroll through crime ridden city streets. From there songs like “Enemy” rip through the void with manic energy- fast, raw and visceral almost stepping into early hardcore territory.

While the record has these intense dynamic shifts, Snarling Dogs glue it all together with their cohesive live rock n roll energy.

Snarling Dogs is the perfect escape from the mundanity of life. Chug that 40 oz on your lunch break, smoke that entire pack of cigs, and take a piss on your boss’s car.

There are two dogs in you. Now it's time to set the Snarling Dog free.

JETHRO TULL sind musikalische Riesen mit einem einzigartigen Sound - oder besser gesagt Sounds, die im Kanon der Rockmusik unvergleichbar geblieben sind. Die 1967 in Blackpool, Lancashire, von dem Schotten Ian Anderson gegründete Band hat im Laufe ihrer jahrzehntelangen Karriere immer wieder stilistische Veränderungen und Imagewechsel durch- und überlebt. Vor allem die charakteristische Stimme ihres Frontmanns und die Einbeziehung der Querflöte als wesentliches Instrument haben JETHRO TULL dennoch mit einem unverkennbaren klanglichen Fingerabdruck versehen.
"Aqualung Redux" präsentiert neue Versionen aller elf Titel des 1971 erschienenen Bestseller-Albums, von dem JETHRO TULL mittlerweile weltweit mehr als 7 Millionen Exemplare verkaufen konnten. Mit "Aqualung" feierten die Briten ihren Durchbruch als Rockband sowohl in Radio und TV als auch auf weltweiten Tourneen. "Aqualung" handelt in erster Linie vom Glauben und von Religion, beschäftigt sich aber auch mit anderen Themen wie der Obdachlosigkeit. Laut Ian Anderson handelt es sich bei "Aqualung" keineswegs um ein Konzeptalbum, für das es dennoch oft gehalten wird. Während die Band wie auf früheren Werken nach wie vor auf Blues, Hard Rock und der Psychedelia setzte, fügte sie auf "Aqualung " vermehrt akustische Folk-Momente hinzu. Bei der Singleauskopplung 'Locomotive Breath' handelt es sich um den vermutlich bekanntesten und am meisten gecoverten JETHRO TULL Song.
Zusammen mit "Aqualung Redux" präsentieren wir auch das Begleitalbum "Best of Jethro Tull Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der britischen Rocklegende enthält.
Die Magnetic Eye Redux- Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMMY HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black" und den SOUNDGARDEN-Klassiker "Superunknown" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt.
Angeschnallt und zugestiegen bei Magnetic Eyes achter Expedition ins Redux-Abenteuer, mit dem wir den einzigartigen britischen Rock-Erneuern JETHRO TULL die gebührende Ehre erweisen!

JETHRO TULL sind musikalische Riesen mit einem einzigartigen Sound - oder besser gesagt Sounds, die im Kanon der Rockmusik unvergleichbar geblieben sind. Die 1967 in Blackpool, Lancashire, von dem Schotten Ian Anderson gegründete Band hat im Laufe ihrer jahrzehntelangen Karriere immer wieder stilistische Veränderungen und Imagewechsel durch- und überlebt. Vor allem die charakteristische Stimme ihres Frontmanns und die Einbeziehung der Querflöte als wesentliches Instrument haben JETHRO TULL dennoch mit einem unverkennbaren klanglichen Fingerabdruck versehen.
"Aqualung Redux" präsentiert neue Versionen aller elf Titel des 1971 erschienenen Bestseller-Albums, von dem JETHRO TULL mittlerweile weltweit mehr als 7 Millionen Exemplare verkaufen konnten. Mit "Aqualung" feierten die Briten ihren Durchbruch als Rockband sowohl in Radio und TV als auch auf weltweiten Tourneen. "Aqualung" handelt in erster Linie vom Glauben und von Religion, beschäftigt sich aber auch mit anderen Themen wie der Obdachlosigkeit. Laut Ian Anderson handelt es sich bei "Aqualung" keineswegs um ein Konzeptalbum, für das es dennoch oft gehalten wird. Während die Band wie auf früheren Werken nach wie vor auf Blues, Hard Rock und der Psychedelia setzte, fügte sie auf "Aqualung " vermehrt akustische Folk-Momente hinzu. Bei der Singleauskopplung 'Locomotive Breath' handelt es sich um den vermutlich bekanntesten und am meisten gecoverten JETHRO TULL Song.
Zusammen mit "Aqualung Redux" präsentieren wir auch das Begleitalbum "Best of Jethro Tull Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der britischen Rocklegende enthält.
Die Magnetic Eye Redux- Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMMY HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black" und den SOUNDGARDEN-Klassiker "Superunknown" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt.
Angeschnallt und zugestiegen bei Magnetic Eyes achter Expedition ins Redux-Abenteuer, mit dem wir den einzigartigen britischen Rock-Erneuern JETHRO TULL die gebührende Ehre erweisen!

Ultimo Tango (Milan) & Glossy Mistakes (Madrid) are thrilled to announce the release of "Tribal Organic: Deep Dive into European Percussions 79-90", a compilation of otherworldly percussion-driven tracks, digging deep into this unknown realm of a past era.


Compiled by Luca Fiore and Glossy Mario, the album takes listeners on a rhythmic journey through the diverse sounds of Europe from 1979 to 1990. This collaboration between two like-minded labels highlights forgotten recordings from across Europe, including works by artists from France, Spain, Germany, Italy, Austria, the Netherlands...
Opening with the ethereal “Rainforest” by British female duo Ova, this collection weaves together nine tracks from artists who were deeply influenced by global percussion traditions. With hints of jazz, new age, gamelan, and West African rhythms, these tracks feature instruments like congas, tablas, and shekeres, and reflect a shared fascination with the organic beat of the drum.
From the industrial-meets-African grooves of Jean-Michel Bertrand’s “Engines”, to the hypnotic accordion and tribal chants of Cuco Pérez’s “Calabó Bambú”, the compilation offers a cross-cultural listening experience that is both meditative and invigorating. Despite creating these works in isolation during the last years of the Cold War, each artist was inspired by a borderless world of sound. The compilation pays homage to these nomadic musicians who respected the traditions they drew from, while contributing their own experimental takes on percussion-led music.
In Tribal Organic, Glossy Mario and Luca Fiore have unearthed a treasure trove of rhythm-driven tracks that blur the lines between nations, genres, and cultures. This compilation offers more than just music; it’s a listening experience that is both spiritual and grounded—bold, exploratory, and deeply rooted in the beat of the Earth

Habibi Funk is excited to announce the release of Samh Almea'ad, a new 7" record by Libyan artist Cheb Bakr, hitting the shelves on December 6, 2024. Recorded in the early 2000s, Bakr’s music fuses the pulse of Libyan pop with R&B and hip-hop influences, bringing the energy of Benghazi to the dance floors of New York in the early 2000s. Cheb Bakr’s sound is a unique blend of styles that captures the essence of two worlds and includes production and vocals by Ahmed Ben Ali.

Our journey with Cheb Bakr’s music began when Yousef Alhoush, whose father Najib Alhoush led The Free Music from Libya, generously lent us boxes of cassettes to digitize. With the help of a journalist traveling from Tripoli to Cairo, we brought the tapes and a high-quality deck to Egypt. For three days in a hotel room on Zamalek island in Cairo, we sifted through nearly 100 tapes, finally landing on several from Cheb Bakr that dated back to the late 1990s and early 2000s. His albums stood out for their fresh, genre-defying sound—Bakr’s vocals flowed effortlessly over R&B and hip-hop beats with touches of jungle and drum and bass percussion, creating a fusion that crossed cultural and musical boundaries.

Returning to Berlin, we took a deeper dive into the digitized tapes, identifying bands, singers, and producers that excited us. In the process, we noticed familiar rap verses on a few of Bakr’s tracks—verses by none other than Ahmed Ben Ali, who was about to release an album with Habibi Funk. When we asked Ahmed about his connection with Bakr, he explained that they’d collaborated closely at Jamaica Studios in Benghazi, with Ahmed even producing some of Bakr’s songs.

Despite having lost touch for years, Ahmed helped us reconnect with Cheb Bakr through mutual friends. Their reunion took place in Bakr’s living room, where we joined them on a video call to discuss Bakr’s career and his influences. He explained how he sought to reinterpret eastern Libyan folk sounds for a new generation, blending them with contemporary genres.

This 45 marks the beginning of our work with Cheb Bakr, offering a glimpse into his unique musical style, with a full album to follow at a later date. The release includes two standout tracks that showcase Bakr’s dynamic range. Side A features “Samh Almea'ad,” a reinterpretation of a 2003 New York classic with Bakr’s signature spin. Since our first listen in that Cairo hotel room, it’s been played at every Habibi Funk set without exception. Side B, produced by Ahmed Ben Ali, features “Rjana Lamta,” a track that hints at American influences alongside a nod to Ahmed’s “Dameek Majeb.” Bakr’s artistry ties these contrasting elements into an original, dancefloor-ready track that remains as captivating today as it was two decades ago. As always, this 7" release comes with a booklet detailing some of the Cheb Bakr story. Samh Almea'ad will be out on vinyl December 6th.

Licensing info: These songs were licensed from Cheb Bakr. We pay the licensing partner 50% of the profits of this release. Only project related costs are deductible from the gross income, research and travel costs come out of our own share. Publishing was not included in our agreement (We feel it’s important to be transparent about these deals, therefore we will include these infos in all future releases).

Brussels based pianist Giovanni Di Domenicowas born in Rome in 1977. Majoring in 'jazz piano' at music school - he further built on an encyclopaedic technique; rhythm, harmony and tone are informed by non-western traditions yet equally sensitive to Debussy's "Préludes", Luciano Berio's "Sequenzas", to the 'ambi-ideation' heard in Borah Bergman's Soul Note recordings, Cecil Taylor's polissemic density, Paul Bley's bruised transparency and of course, the most radical manifestations stemming from the underworld of pop music, invariably tied together by his own original praxis.
A distinction - one would call it generational - he shares with many of the musicians he has crossed paths with recently, of which we could enumerate Nate Wooley, Chris Corsano, ArveHenriksen, Jim O'Rourke, Alexandra Grimal, Tetuzi Akiyama, João Lobo or Toshimaru Nakamura.
At the request of W.E.R.F. Records, Giovanni created an entirely new repertoire, teaming up with saxophonist Alexandra Grimal and drummer Eric Thielemans. This collaboration resulted in Echolalia, a suite consisting of three parts: Aoede, Melete, and Mneme. The music is captivating, adventurous, and above all, fascinating.

Transparent green vinyl, limited to 300 copies. Comprised of individuals deeply rooted in the underground music scene, False Reality are a London-based hardcore band that formed in 2023. Renowned for their thrash infused, hardcore crossover sound and fiercely energetic performances they draw influences from bands such as Trapped Under Ice, Broken Teeth and Backtrack as well as early era Sepultura and even Deftones. Having recorded the debut EP 'Path of Self Destruct' with producer Steve Sears Jr (Gallows, TRC, Prowler, Conjurer), False Reality set out to prove why they stand apart, delivering a release that is in equal parts blistering as it is poetically cathartic. Lyrically delving into the complexities of life, exploring themes of betrayal, societal values, and tragedy. The first single released, 'Opposites React', is a groove-driven empowering track that features vocals from Jem of Aussie hardcore band SPEED, which has received support from Daniel P Carter and Alyx Holcombe on BBC Radio 1. Having initially been released digitally in April 2024, this is the first vinyl pressing of the EP, coming via Hassle Records. Limited to just 300 copies, this vinyl release marks a significant milestone for the band, as their reputation grows rapidly within the scene.

World Seven is a record label brought to you by the Paris & London based Africa Seven crew . We have joined forces with a collective of label heads, music freaks & crusty crate diggers to expand our musical quest - to search the world for sounds, vibes & scenes which cross musical genres and geographical borders. It's all about the music brothers and sisters.

Michel Sardaby was born in Fort de France, Martinique in the French West Indies in 1935. As a child he was surrounded by music in his dad's brasserie. He became a child prodigy on the piano and went on to study art at the Boulle School in Paris before deciding to concentrate on a career as a jazz pianist. Throughout the 60's, he played piano with blues musicians like Sonny Boy Williamson and T-Bone Walker, at the same time beginning to release more jazz-focused solo albums.

The record was recorded in New York in 1975 and the personnel on record is formidable. Billy Hart (McCoy Tyner alumni) is on drums, Richard Davis on bass and Leopold Flemming on Percussion. Michel himself is on keys and delivers a Rhodes master class.

The album itself has been remastered specially for vinyl and pressed (at the request of Michel himself) on heavy weight vinyl.

"Heartfelt was released in 2002; the 7th studio album by the jazz quartet Fourplay. They created a crossover between contemporary jazz, R&B and pop with this album and started reaching a broader audience, partly due to the success of the tracks ""Galaxia"" and ""That's The Time"". Fourplay abandoned their individual processes and decided to record this album by free jamming in the studio. The strongest cuts on Heartfelt are those written by one member or two in combination; on these, from the Pat Metheny-inflected title track to Nathan East's velvety vocal showcase ""Let's Make Love,"" the quartet's taste and fundamentally conservative aesthetic shine most brightly.

Heartfelt is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on gold coloured vinyl and includes 4-page booklet.

The last couple of years have seen a renaissance for West Coast singer-songwriters. LA-based youngsters such as Drugdealer and Sylvie have attracted considerable attention releasing warm and mellow records tonally reminiscent of the early 70s. Most fans of this new/old sound are unaware of Bart Davenport's early explorations in the same sonic territory. His now 20-year-old "Game Preserve"album should gain an appreciative new audience with its first ever vinyl release.

In the year 2000, Bay Area troubadour Bart Davenport and several other musicians were recruited by a major tech corporation in Seattle to work on an algorithm-based music matching/search engine. It was what looked like the beginning of a promising career. After a year, however, the project was shelved. Bart and his colleagues were laid off with a healthy severance package... on the 12th of September, 2001. Not only had the musician's life changed, so had the world. Rather than blow the money on a holiday or new car, Bart knew he had to make a record. A proper album that meant something.

Back in Oakland, he entered Wally Sound Studios with former Kinetics bandmate Jon Erickson at the controls, and a swathe of talented local musicians. "With Game Preserve," Bart explains, "Jon and I really wanted to knock it out of the park. I wanted to utilize people from my old bands like Loved Ones drummer John Kent. I also invited my newer indie-pop friends from Call & Response, and a young Nedelle Torrisi. Harmony singing by The Moore Brothers was an essential ingredient on Game Preserve as well."

Both Erickson and Davenport fondly recall growing up in households where the music of The Carpenters, Joni Mitchell and The Eagles soundtracked their young lives. By the early 00s they were ready to reconnect with what is often referred to as the "Laurel Canyon" sound. "I'd buy used tapes at garage sales and play them in the car. "Ladies Of The Canyon" by Joni and Jackson Browne's first album were both in heavy rotation. Jon Erickson was getting deeper into the Steely-Mac-Doobie yacht-rock sound in earnest. A certain amount of childhood nostalgia led a lot of us back to that part of the 70s. I'd flirted with classic soft-rock on my first album, but that record was pretty scattered esthetically. I wanted my next one to be more focused. Jon and I made some ground rules: no electric guitars (except on 'Bar-Code Trees'). No synths. Most importantly, all the songs have an air-tight, super dead, close mic'd drum sound. Putting these sorts of limitations on the sessions will give your record a specific quality. In the case of "Game Preserve"it's mostly about tight drums, acoustic instruments and analog production. We used a 24-track, two-inch tape machine for tracking, then ran the mixes through an analog board straight to a 1/4 inch master tape."

While the album's sonic palette may be firmly planted in 1970, Davenport's songwriting covers a sizable landscape of moods and reflections. From the quasi-flamenco intro of 'Sweetest Game' to the somber Wurlitzer of 'Nowhere Left To Go', to the 12-string shimmer of 'Intertwine', "Game Preserve" tells a story of young love, lost innocence and redemption, crossing borders and oceans along the way.

Released in 2003 on family-run Oakland label Antenna Farm, the ultra-analog sounding "Game Preserve" was only made available on digital formats, including CD. Copies were later pressed by labels in Germany and Spain; the latter being one country the album actually did well in, establishing Bart Davenport with a small but loyal fanbase he still enjoys today. Two European tours as support for Kings of Convenience also helped gain a foothold on the continent. Back in the US, however, Davenport and his sophomore album remained quite obscure.

Limited promotion meant it did little, but for the music lovers that heard it, the album undoubtedly remains a classic of the era, deserving far more. Twenty years on, it now finally receives its vinyl debut. "I personally think it holds up well," says Bart of the album two decades later. "The idea was to make something that could be an homage to late 60s/early 70s West Coast pop but hopefully timeless as well. Years on, I hear it as just that. It was a colorful and brief period of my life that felt at times like it could last forever. I discovered the joy of working in a proper studio with a perfect cast of characters. I'm still very close with all these people and still play music with many of them."

Lisbon's Para?so is back with its 14th release 'Crossroads' by local legend-in-the-making Salbany and remixes from portuguese dance music pioneer Cisco Ferreira a.k.a. The Advent and Detroit's own AMX otherwise known as The AM. The record opens with 'My Life', a warm yet propulsive detroit-referencing techno cut with pad washes, shuffling hi hats, an introspective vocal sample, cascading organ solos and arpeggios to a blissful effect. A2 'Crossroads' brings us a raw, bouncy, jam-like rhythmic section with syncopated toms and snares offset by a piano stab motif and emotive strings. 'Next Morning' closes side A, a hypnotic, curveball roller featuring a warm, rolling bass, offbeat drum hits glued together by immersive pads and UR-esque strings. Side B opener 'Mito' delves into trippier territories with admirable skill - not losing an inch in dancefloor potential - fusing bleeps and bells, beautiful chord progressions and hyper groovy drum machine programming. Techno icon Cisco Ferreira steps in with his 'Lisbon Dub' remix, transforming 'Crossroads' into a sparser, delay-infused slow-burner held together by a dope bass line. AMX brings the lead synth of 'Mito' to a lower octave, mutating it into a swingy midwestern experimental cut that inspires urgency and life force. A restless mantra emerges via the digital bonus track, an alternate 'Elevated' remix of 'Crossroads' that superbly merges original detroitian leanings and industrial textures in a no-frills peaktime banger. This is one of those records that lovingly reminds us techno is about emotion, swing, energy. As in life, nothing here sits still: movement, physical and metaphysical, is the messenger of progress.

A Mountain of One return with their second single from eagerly awaited forthcoming album "Stars Planets Dust Me".

"Dealer" sees them push further into the Cosmos with a modern take on the electronic disco pulses of Kraftwerk and Giorgio Moroder mixed with organic sensibilities, Electric sitar and reverse guitar akin to the heady moments of The Beatles track "Tomorrow never knows". Criss crossing Balearic, psychedelia, disco and electronica.



”Dealer” shows the band, made up of musical soulmates Mo Morris and Zeben Jameson, have lost nothing in the past decade. Recorded over Skype during the coronavirus pandemic, with Mo now in Bali and Zeben in west London, a shimmering, modern classic, experimental but accessible, melodic and adventurous. As ever, it is utterly unique, made in a musical universe all of their own.

When A Mountain Of One first started performing, they quickly became one of the most- acclaimed bands out there, with the likes of i-D, Sunday Times Culture, Pitchfork, NME and more raving about them and their inspired and original approach.

Sold-out shows and awesome reviews followed with “Collected Works” and “Institute of Joy”, two phenomenal globally acclaimed albums that have stood the test of time,
This heady odyssey is mastered again by Global Electronic music icon "Ricardo Villalobos", and soon to also be remixed by Ricardo on a full album of his interpretations of the forthcoming album.
Their first single "Custards last stand" from the forthcoming album had radio support from NTS radio, Worldwide FM / BBC 6.



The forthcoming album “Stars Planets Dust Me” will be released March of 2022.

Cascading through kaleidoscopic stardust and forming in the outer reaches of the music universe, transcending time and distance, cosmonaut musicians Mo Morris & Zeben Jameson reconnect to write & record songs from opposite sides of their planet (Bali and London) written over the internet during the pandemic. Landing the much anticipated and eagerly awaited new A Mountain of One album "Stars planets dust me".

Welcome to the formative British psych electronic heroes A Mountain Of Ones 3rd studio album.

Mastered and reimagined and a full forthcoming album rework by electronic wizard, master selector & global superstar Ricardo Villalobos, featuring additional collaborations from 80s/90s Balearic legends "The Woodentops`s" front man "Rolo McGinty,”, Japan’s cult heroes ``Dip in the Pool" and "Unkle" and "Toy Drum`s" Pablo Clements.

UK Dub master "Dennis Bovell MBE" also makes an incredible appearance on the "Custards Last Stands" dub versions. Now available on a ltd Japanese 10". A beautiful artwork series generously loaded in by photography legend Dick Sweeney, and co-mixed by Dea Barandana in Indonesia. With its cosmic pop sound, soulful soaring, balearic sensibilities and feel good choruses it carries all the weight of a much needed revo- lution in psychedelic, conceptual ever popular music and sounds & feels like the infamous crossover album that promised to come from the heady days of the bands ascend last time round.

So here’s some back story, garnered from the hearsay, folk law, the myths and the legends, of 10 years ago, in case, like Mo & Zeb, if they'd remembered any of it, they probably weren’t there, after 2 much acclaimed albums and sellout shows vanishing in a cosmic cloud of dust the yin and yang brothers Mo Morris (ZSOU/Electric Stew) & Zeb Jameson (Oasis/Tricky/Pretenders) uncoupled and each em- barked on a pathfinder mission to equip themselves for their inevitable return... they just didn’t know it at the time... and as the global community ground to a halt 2 years ago they sought refuge from opposite sides of the planet in each other's company again.

The solace and rejuvenation it gave had them re-emerging as invigorated, inspired and wiser music creators, this has given rise to the evolution of their 3rd all important album‘s sound.

Zeb "our capacity as human beings is more phenomenal and limitless and way beyond the conventional thinking of society constructs but also in complete harmony with the intelligence and brilliance of advancing technologies".
Experiencing this energy together, as dedicated and devoted music pioneers, these great collaborative universal truths were revealed, imbed and steeped in their writing and recording experience as the music touched and resonated with all involved to create the fresh and fully formed A Mountain Of One 2.0.

CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !

CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !

First time 7” reissue of this mega-rare Bobby Marin produced Latin funk gem.

‘Together People (Pamoja Watu)’ sounds like a cross between James Brown’s ‘It’s A New Day’ and Manu Dibango’s ‘Soul Makossa’, while 'It's Your Thing' is a heavy Latin funk instrumental version of the Isley Brothers classic, featuring screaming Hammond organ. Both are DJ favorites and the original 45 fetches large sums, if you can find a copy.


DESCRIPTION
Generally, when discussing the first wave of Latin soul and boogaloo, it’s the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers?

One of the top old-school New York Latin music producers, Bobby Marin, was behind the scenes for some of the best independently produced boogaloo and salsa of the ‘60s and ‘70s. One of his best and most obscure productions was credited to Los Africanos, a studio project featuring Chico Mendoza and New Jersey-based band Ocho.

‘Together People (Pamoja Watu)’ sounds like a cross between James Brown’s ‘It’s A New Day’ and Manu Dibango’s ‘Soul Makossa’ and was originally released in 1974 on Tito Rodriguez’s label TR Records. On the B side, 'It's Your Thing' is a heavy Latin funk instrumental version of the Isley Brothers classic, featuring screaming Hammond organ.

Both are DJ favorites and the original 45 fetches large sums, if you can find a copy. First time 7” reissue.

After navigating the labyrinthine musical chambers of their 2023 modern exotica album 'Palace Of A Thousand Sounds', Reno. Nevada’s Whatitdo Archive Group has returned with their first-ever holiday offering—venturing into the darker side of Christmas folklore with their new ice-cold 45, 'Wild Man'. Drawing inspiration from a global archetypical myth of the same name, Whatitdo Archive Group examines the ancient story of the Wild Man—the hairy, half-human, half-beast that stalks the shadows of humanity’s shared primeval past. The myth of the Wild Man is a folktale that goes by many names: The Yeti of the Himalayas, the Bigfoot of North America, and, of course, Krampus of Eastern Europe—a yuletide beast with a reputation as a child-devouring "Anti-Claus" who now finds himself the subject of Whatitdo’s latest musical exploration.

‘Wild Man’ gives us a glimpse into the band’s newest sonic direction. With a heavy rhythm section carried by Alexander Korostinsky’s driving bass line, the sticky wah-guitar of Mark Sexton’s L-5, and the acrobatic lines of the Wurlitzer electric piano, “Wild Man” revels in the spiritual jazz flavors of Pharoah Sanders and grooves hard like the classic soul-jazz stylings of Ramsey Lewis. Much like the Krampus myth itself, 'Wild Man' is meant to weave an ominous spell over any Christmas cocktail party long after the kids have gone to bed. Hear the warning for yourself in the song’s haunting chant: "You better watch out for your life, when the Wild Man comes in the night".

But mythology isn’t abandoned on the B-side. The band takes the traditional English folk melody 'Greensleeves' and reimagines it through the musical lens of Ethio-jazz. Recorded live at the Archive Group Studios, the track exudes a dark, roomy atmosphere, drenched in unease and mystery courtesy of the wandering electric piano dancing above the hypnotic rhythm section and mesmeric groove of the distant Batá drums. This fresh reimagining taps into the ancient, cross-cultural lineage of the "Green Man" myth, a pagan symbol of rebirth and the power of the natural world, further blurring the lines between holiday cheer and the primal, elemental forces enshrined in our collective cultural memory.

After the band’s 'Palace Of A Thousand Sounds' was named 2023’s "Best Library Record" by PopMatters Magazine, their new 'Wild Man' 7” capitalizes on the same creative process that shaped their last record, while now exploring new conceptual territory. By drawing inspiration from archaic global folklore and again utilizing their peculiar recording techniques, W.A.G. has crafted a truly unique holiday offering that unearths the darker, more primal undercurrents of the Christmas tradition. The 'Wild Man' 7" is released as part of the Snowflakes Christmas Singles Club, pressed on snow-white bio-vinyl and limited to 300 copies.

Francoise Hardy's Vogue years have marked the history of French and international music. Even today, the five years between 1962-67 remain an exceptional moment in her career, the one when she exploded in the eyes of a generation that was born during or just after the Second World War, the generation that would be part of the May 1968 Paris protests. Hardy exploded not only in France alongside her fellow 'Yeyes', but also internationally where she became the symbol of French elegance, talent and charm: the United States, Japan, the United Kingdom, Germany, Italy, Spain... no one could resist Francoise, and she recorded most of her hits in English, Italian and German. 'Tous les garcons et les filles', 'Mon amie la rose', 'L'amitie', 'Le temps de l'amour', etc. are songs that have crossed generations and can be heard in recent movies (Wes Anderson loves Francoise Hardy and has included her songs several times in his films), international television series ('The Walking Dead', 'Industry', 'Week-end family') and advertising spots (Dior 2022 campaign). Available on x24 trk, double Black LP Vinyl & single CD formats. Marketing activity.

elbow return with their seventh studio album on 3rd February 2017. 'Little Fictions' was recorded in Scotland and Manchester and sees the band collaborate with the string players of The Hallé Orchestra, the Hallé Ancoats Community Choir, members of London Contemporary Voices and session drummer Alex Reeves. As with the previous three elbow albums it was produced by Craig Potter.
'Little Fictions' is emphatically a band album. Having written individually for its chart-topping predecessor, 'The Take Off and Landing of Everything', sessions this time were collective affairs, with all four members gathered initially in a house in Scotland before moving to Guy's attic in Prestwich and finalising recordings in the familiar setting of Blueprint studios, Salford.
'Little Fictions' is an upbeat album. All the band talk of the sessions being 'joyful', Mark summarises it as 'the sound of four people who love what they do and each other', of an album that came into being naturally and, at times even unconsciously. Lead single 'Magnificent (She Says)' was embraced for the joyous, thrilling piece of music it is, positive and outward looking. Mark never even considered his audible switch towards electric guitars, most notable on the psychedelic lushness of 'All Disco', until the very end of the process.
The departure of drummer Richard Jupp prior to commencing the writing and recording process in earnest saw early sessions characterised by new approaches to rhythm, with the band utilising percussive noises, sampling and loops to build tracks. The grooves that run through much of the album, from the go-go beats of 'Gentle Storm' through the jagged trip hop of 'Kindling' to the soulful 'Firebrand & Angel' represent both the band's widest musical palette and a newfound sense of experimentation borne from both necessity and desire. That desire fuelled the title track, an eight minute piece that is epic without at any point feeling excessive. As a shorthand for the album it is perfect, crossing musical genres and experimenting with sound in ways that demonstrate the confidence and enthusiasm of the band throughout the recording process.
'Little Fictions' is, therefore, more than just yet another brilliant elbow album. In many ways it marks the start of a new chapter for the band, characterised by a rediscovery of shared purpose in doing the thing that has always brought them together, the place that Mark describes as 'the creative space where we all meet'.

Mustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photosMustapha Skandrani, a luminary of Algerian music, possessed a unique musical sense, able to transcend the borders of musical cultures to create a distinctive fusion of Arabic-Andalusian and European styles.

"Istikhbars and Improvisations", recorded in 1965 in Paris, is a solo piano album presenting a trans-Mediterranean crossover based on traditional Algerian vocal pieces known as istikhbars. Playing these istikhbars (which have roots in the Islamic Arab-Andalusian culture which flourished in Spain) on the piano - that quintessentially European instrument - Skandrani was greeted with derision by some purists. His powerful musical vision, however, perceives the European element involved in Arabic-Andalusian musical culture, a world of exchange and co-existence.

Skandrani's modus operandi on this release is to present each istikhbar, modal in nature, then to play an improvisation based on it, and its attendant mode. This A/B alternation continues throughout. The pellucid clarity of Skandrani's playing on this album may remind the listener of a modal Goldberg Variations, Bach and Glenn Gould transplanted to Andalucia. Other ears will hear the Arabic/Maghreb elements more strongly. Skandrani's precise touch and clear, symmetrical rhythmic sense links both worlds, assuring us that the Mediterranean is not a barrier, but a unifier, and that the differences between the cultures are not so vast. This is an admirable achievement, resulting in beautiful music of a rare charm.

Mustapha Skandrani was born in Algiers in 1920, and died there in 2005. He mastered a number of instruments at an early age, and his musical prowess led him to work with the great singers and ensembles of his day, in live performances, recordings, and radio broadcasts. Later in his life, he devoted much energy to education.

Originally reissued by Em Records as a limited edition of 200 in 2012, now available once again, in offset printed sleeve, with insert of Japanese and English sleeve-notes and rare photos

"Alternative History: A Cracker Retrospective" is a dynamic journey through the sonic landscape of Cracker, one of alt-rock"s most enduring and beloved bands. This special compilation album offers fans a fresh perspective on Cracker"s rich musical catalogue, featuring alternative versions, re-recordings, and live takes from the band"s history. Spanning their entire career, this retrospective highlights the band"s evolution, revisiting classic songs with new energy, creative arrangements, and live recordings that capture their unfiltered spirit. Featuring 5 previously unreleased versions and 6 rare live recordings the album presents a mix of fan favourites and deeper cuts.




[b] Teen Angst (What The World Needs Now) [Redux Version]

Vinyl The project is the work of a collaborative team headed by Tommy Henriksen - veteran rock session bassist/guitarist, creative director for Alice Cooper and current member of Hollywood Vampires (Rock supergroup featuring Joe Perry, Alice Cooper and Johnny Depp). Henriksen worked alongside the legendary Diamond-certified producer Mutt Lange (AC/DC, Def Leppard, Bryan Adams, Shania Twain) who emerged from retirement to executive produce the project. Combining elements of David Bowie’s apocalyptic vision, The Who’s bombastic fury, and ZZ Top’s power blues, the dynamic album boasts features from Phil Collen of Def Leppard and Nikki Sixx of Motley Crue.

"Can machines sing? With his Synthetic album cycle, Rich Aucoin answers that question with a resounding, exuberant ""yes."" The four-part project sweeps listeners through a gallery tour of synthesis history, giving voice to a chorus of specimens from the past century of electronic sound. On Season 3, Aucoin deepens his dive into the variegated genealogy of dance music, charting a joyful course through the many flavors of rave euphoria.

From March 2020 through February 2024, Aucoin recorded Synthetic: Season 3 during a series of visits to the National Music Centre in Calgary and the Vintage Synthesizer Museum in Los Angeles. Among these collections, he found historic synthesizers ranging from the ubiquitous to the esoteric, each with its own voice just waiting to be jolted to life. During these sessions, Aucoin took the opportunity to air out some of synth history's most iconic instruments.

From the mass-produced to the bespoke, each synthesizer on Synthetic: Season 3 sends a transmission from its makers' own historical vision of the future. The instruments' tactile interfaces -- from fields of patch jacks to 50-year-old optical discs to rows and rows of voltage dials -- all lend embodied dimension to the practice of shaping sound from raw electricity. Each of them carries a story about what might have tumbled into being from the moment of their creation. In awakening these machines, Aucoin cross-pollinates a choir of futures into an ecstatic, reverential present."

7A Records is proud to present our deluxe reissue of Robert Gordon's Rock Billy Boogie album. It has been remastered and expanded with four bonus tracks, features extensive liner notes and is pressed on 180g Pink Vinyl. Robert Gordon entered New York City's Plaza Sound Studio in April 1977 to record his first album. Four months later, Elvis Presley was found dead in his Memphis mansion, Graceland, at the age of 42. The media was anxious to anoint a successor to the late King of Rock and Roll, and Gordon-twelve years Presley's junior-was high atop many lists. Gordon's vocal resemblance to Elvis Presley was hard to ignore, although the singer never crossed the line into impersonation. He retained his originality and an attitude honed in New York's vibrant punk scene. In late 1978, Gordon was signed to Presley's longtime home of RCA Records. He inaugurated his label tenure with the early 1979 release of his third and perhaps finest album, Rock Billy Boogie. The power-packed LP would become a cornerstone of the so-called rockabilly revival. Four additional recordings round out this deluxe, expanded edition of Rock Billy Boogie: Gordon's 1980 cover of John Beveridge and Peter Oakman's "A Picture of You," a # 1 U.K. hit for entertainer Joe Brown in 1962; and three tracks looking back to his seminal partnership with Link Wray from the Private Stock years: "Lonesome Train (On a Lonesome Track)," "Summertime Blues," and "Red Cadillac and a Black Moustache."

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

"Good Lovelies are proud to reissue their holiday classic EVERGREEN just in time for the upcoming holiday season. Originally released in 2019, this fifth anniversary limited edition of 500 has been pressed on beautiful peppermint green vinyl.

Caroline Brooks, Kerri Ough and Susan Passmore are a trio of songwriters, multi-instrumentalists, and gorgeous harmonizers known for their nostalgic sound during the holidays that crosses between folk-roots, old-time swing, soul and bluegrass. ""Evergreen"" includes three original songs that the band have added to the Christmas canon alongside their versions of songs like ""Little Saint Nick"", ""Christmas (Baby Please Come Home)"" and ""(Everybody’s Waiting For) The Man with the Bag"" to really get you in the mood for the season ahead.

The band’s annual Christmas tour hits the road again this December, bringing classic holiday songs, timeless winter selections, and original Good Lovelies material to the stage. A Good Lovelies holiday show is a guaranteed good time for the whole family.

“...while most festive albums are best experienced during the correct season, when it comes to the amazing talents of the Good Lovelies, the rule book can be tossed out.” - GREAT DARK WONDER -

“Some of the most gorgeous Christmas harmonies you’ll ever hear on an album jammed full of warmth and good cheer. Featuring a mix of fun favorites, lesser-heard gems and three truly fine originals, the trio strikes the perfect blend of smiles and sentiment...” - BOB MERSEREAU

Good Lovelies first came together in 2006 and have since recorded thirteen albums, including two Christmas collections. They have toured extensively across North America, Europe, the UK, and Australia, and have earned such accolades as a JUNO Award, a SOCAN #1 Single award, and four Canadian Folk Music Awards. Their latest album “We Will Never Be the Same” is in stores now."