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The complete album + one bonus track - 180-gram virgin vinyl includes especially prepared essay by jazz writer Brian Morton.

Quinnisa Kinsella-Mulkerin recorded her first song at five years old with her parents, who comprise the adventurous Maine band, Big Blood. Ever since the age of five, she was writing songs, banging on chimes, strumming guitars, and clanging together whatever else she could find. Improvisation was natural, and she stuck to the approach. Quinn brings this innate sense of songwriting to The Wickies, a duo she formed with Aiden Arel a year ago at age 16, whose chill approach and fluid delivery belie true inventiveness in the underneath mechanics. Inspired by seventies folk icons like Stevie Nicks, Krautrock bands like Can, and modern indie-rockers like Alex G, The Wickies feel like an amalgamation of these decade-spanning sounds, but uniquely their own. Quinn’s voice croons like a seventies folk star, but it possesses a great and controlled tone. Her vocals feel like another instrument within the mix, building and growing each song to its fullest sound, leaving no detail within the mix unheard. Their use of echoing guitar lines recalls sixties psych, a springboard for their unique take. Quinn’s lush, free-flowing lyrics, created on the spot, complement Aiden's fleshed out backing instrumentation and over-dubbing. Quickly, the pair created more material than they ever needed, allowing them to mold their recordings into a self-titled debut album. Like a painter crafting the perfect exhibition of their finest work, Aiden and Quinn condensed their improvisations to all the best parts. Tracks like “Campfire Song” and “Skipping Pond,” exemplify the ethereal and lackadaisical atmosphere of their sound. “I keep finding these weird, obscure bands from the seventies that have one album and nothing else, which is awesome,” Quinn said, “I want my music to sound like somebody found it in a record store that no one has ever heard of and uploaded it to YouTube. I want it to sound a little strange.”

Sia’s original holiday album co-written and produced by Sia and Greg Kurstin, Silver certified in the UK and featuring the Platinum sensation “Snowman” (headed for 1 Billion streams on Spotify), Gold certified “Santa’s Coming For Us,” plus “Candy Cane Lane” and “Puppies Are Forever”.

The Blessed Madonna began with three magic words, scrawled in shoe polish on a broken - down box and hung on the wall at a small sweaty party: We Still Believe. “I think you have to give up completely to really understand what hope is. It was like 2011? I had spectacularly, monumentally failed. I left the label. I wasn’t DJing. I wasn’t putting out records. I was divorced and living on my Dad’s couch so naturally my friends and I decided to throw an illegal rave. We didn’t have any decorations, so I took a box and wrote, ‘We Still Believe’ on it. I needed to believe that something better was possible and that’s how it all started.” After years of $50 gigs, strung together by gas money and surfed couches, The Blessed Madonna cemented her reputation as a sublime technician behind the decks with a legacy of fluent and dynamic sets, spanning from disco to techno to house and back. One room sweatboxes, circus tents, theatres, massive festival stages and entire city blocks have all served as the canvas for her shows. After a jam packed 2023, from Glastonbury to Sonar to Boiler Room Bali, The Blessed Madonna has been filling the dance floor everywhere she goes and is now releasing her debut album.

On October 18th, Twisted Pine releases its joyous third LP, Love Your Mind. Dubbed “a band to watch” by NPR, the band’s first album in four years is the long-awaited follow-up to Right Now, which No Depression praised for its "sheer pop glory, funky all-day grooves, and spacecraft sonics.” The title represents the quartet landing after several years of touring, serious introspection, glorious bursts of creativity, and many after-hour festival jam sessions that had them pickin’ ‘til dawn. What started as a (semi-)traditional bluegrass band in the trenches of the storied Massachusetts Americana scene a decade ago has bloomed into an ensemble gleefully ready to race down any artistic detour. This is the sound of Twisted Pine now —experimental production, fearless songwriting featuring input from each member, finely-crafted collaborative arrangements, playing that is sometimes virtuosic, always visceral. The sound of a band that demands you Love Your Mind.

Exklusiver 10"-Release von Bakermats legendärem Hit "Baianá", einem lebendigen Mix aus House und Brazil-Sounds, der in Frankreich und Benelux mit Gold-, Platin- und Diamant-Auszeichungen überschüttet wurde. Die A-Seite enthält die Originalversion aus 2019, die B-Seite einen elektrisierenden Remix von Prince Kaybee, der diesem Klassiker frische Energie verleiht. Limitierte Auflage auf mint-grünem 10" Vinyl im farbigen Hochglanz-Cover.

"Waxwork Records is thrilled to present CARRIE Original Motion Picture Soundtrack by Pino Donaggio! Expanded and re-mastered for its 45th anniversary, this deluxe double LP album marks the very first time that the complete film music has been released on vinyl. Carrie is a 1976 Horror film adapted from author Stephen King's very first published novel of the same name. The movie stars Sissy Spacek and is directed by Brian De Palma (Scarface, Phantom Of The Paradise).

The score by legendary composer Pino Donaggio (The Howling, Tourist Trap) skillfully captures the pressure of forced innocence, the humor of teen drama, and the trauma of coming of age as a girl in 1970’s America. The album also features the tracks “Born To Have It All” and “I Never Thought Someone Like You Could Love Someone Like Me” by Katie Irving. CARRIE Original Motion Picture Soundtrack features the expanded film music re-mastered and pressed to orange smoke colored vinyl, with new artwork by Phantom City Creative, and old-style tip-on gatefold jackets with matte satin coating."

An incredible version of 7 Days Too Long on beautiful green vinyl, by New Zealand Soul Sensations Jamie and The Numbers. To make this even more special, the artwork has been inspired by Dexy’s Midnight Runner’s debut album “Searching for the Young Soul Rebels”, as well as the sleeve notes written by Kevin Archer. It also features the trombone skills of “Big” Jim Paterson!

“The original by Chuck Wood was released in the 60's. However, it was 1973 when I heard it for the first time whilst growing up in the Black Country. At the time, I was just 15 years old and having no siblings, I looked towards the older kids, who for me, were into the scene, especially Northern Soul. There were songs such as "Me & Baby Brother" by War, and the commercial "Skiing In The Snow" by The Invitations that grabbed my attention, plus I also liked the drummer Hamilton Bohannon.

The footwear of choice were Solatio shoes, which had leather soles that allowed shuffling on the dancefloor, as well as the great acts of acrobatics during the high points of these great tunes. Although girls attended these gatherings, it was unheard of to ask a girl to dance. It just wasn't the cool thing to do! All of this brings me to Dexys Midnight Runners. Mike Taylor, a friend of the band, suggested covering this song. Our sound was a little bit like Jamie & The Numbers, in what both bands set out to achieve with each of their respective sounds. This version has been inspired by Dexys - the intro, the breakdown, the guitar and organ driven vibe, all providing the perfect backdrop for the amazing talent of Jamie Musava. Her vocals are just brilliant and of course, Big Jimmy is there with them on trombone. Now for the caper...”

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

Rag’n’Bone Man is ready to accept joy into his life. Born Rory Charles Graham, the Sussex-born singer known for his gravelly blues vocals, took the world by storm with his debut album ‘Human’ in 2016. Now multi award-winning, the British vocalist is embracing newfound balance, returning to his creative foundations while building anew.

It’s the most vital chapter to date in one of British music’s defining stories. A truth-telling voice that has framed an era, Rag’n’Bone Man’s success speaks for itself: his debut album ‘Human’ went platinum four times over in the UK and multi-platinum in a further twenty-seven countries - becoming the fastest selling male debut album that decade. While his latest release ‘Life By Misadventure’ debuted at #1 and spent seven weeks in the Top 10, making it the fastest-selling album by a solo artist in 2021. With over nine-billion worldwide streams (and counting) over his entire catalogue, Rag’n’Bone Man is a voice that can be heard across the globe. Now he’s ready to eclipse this: assured, and built with love, his uplifting new album “What Do You Believe In?” finds the multi award-winning British artist (with three BRITs, two MTV Europe awards, and an Ivor Novello to his name) facing the future with passionate excitement.

‘What Do You Believe In?’ is anchored in the blossoming of confidence and the enduring support network he finds in family life. It’s taken time, but Rag’n’Bone Man is in a secure, loving place - and he wants to share that feeling. The period surrounding second album, 2021’s ‘Life By Misadventure’, was marked by self-doubt, with troubles weighing down on the singer’s shoulders – but then things changed - As a result, new album ‘What Do You Believe In?’ has a bold, yet radiant touch.

With the pairing of the poignant and ubiquitous themes and the sonic brightness of both 00s hip-hop and the youthful memories they prompt, the release of the albums title track ‘What Do You Believe In?’ sets the tone for the for the thrilling musical journey Rag’s is preparing to take fans on.

LA SACREE GROLE is a tale by the TAMERANTONG company, set to music by LUDWIG VON 88.

TAMERANTONG! is a theatre company based in Mantes-la-Jolie, Paris-Belleville and Saint-Denis that puts on shows with children and young people from these neighbourhoods.

LUDWIG VON 88, road companions of the great hours of alternative rock (Bérurier Noir, Parabellum...) is also the only rock band capable of rhyming in ‘ong’.

TAMERANTONG! had long been plundering their repertoire for their shows. In retaliation, the Ludwigs decided to compose the soundtrack to ‘La Sacrée Grôle’: a Gallic legend told and sung by twenty kids from Paris-Belleville.

In the heart of the land of the Arvernes, reigns a valiant free people. Their village lies on the edge of a dreadful forest where no one ever ventures. But the time has come for all the peoples of Gaul to enter the fearsome forest and set off in search of the Sacred Pole!

La Sacrée Grôle premiered at Paris-Belleville and was performed from 1996 to 1998 in Paris (Café de la Danse, Palace, Trianon, Café Éphémère / Les Halles), Mantes-la-Jolie, Briançon, Rouen (Festival Débarquement Jeunes) and Montreal/Quebec.

This record, released for the first time on vinyl by the Archives de la Zone Mondiale label, includes 7 previously unreleased songs by LUDWIG VON 88.

Norwegian pianist Eyolf Dale’s lateral approach to composition is given full range on his beautiful new album. Featuring his trio with the Norwegian Radio Orchestra, conducted by Edition Records artist Japanese maestro Miho Hazama, The Space Between Two Notes is a nuanced investigation of sound and space.

Eyolf Dale, the renowned Norwegian pianist and composer, releases his latest album, The Space Between Two Notes, his 7th album released under Edition Records. This new album elegantly reimagines selections from Dale's celebrated trio albums, Beingand The Wayfarers, with rich orchestral arrangements featuring the Norwegian Radio Orchestra, conducted by fellow Edition artist, Miho Hazama.

The Space Between Two Notes explores a mesmerising blend of jazz and classical music, harmoniously integrating the intimatedynamics of a trio with the grandeur of an orchestra.

The album is an exploration of musical intervals—the nuanced spaces between notes—which shape the auditory landscapes of Dale’s compositions. This approach sets it apart from traditional jazztropes, which often emphasize vertical structures, like chords and melodies. Dale, however, crafts his music horizontally, focusing on the relationships and distances between sounds.

Eyolf Dale’s approach to music is profoundly influenced by his rich musical upbringing and an early fascination with the varied textures of sound: from the intricate works of Pat Methany to the vibrant tones of Norwegian jazz. This diverse background informs his unique musical language, which is not confined by genre but instead resides in the intriguing liminal space between established musical traditions.

The album features not only Dale's pianistic finesse but also the empathetic interplay of his trio, including Audun Kleive on drums,whose sensitive accompaniment ensures the music's purity of expression. As Eyolf points out "One of the most challenging aspects, in my opinion, of blending classical and jazz elements lies in the delicate balance of the drummer's cymbals.” Together,they achieve a unity of sound that transcends the sum of its parts, further enriched by the poised bass playing of Per Zanussi andthe orchestral collaboration. This synergy allows the music to unfold naturally, each note and silence carefully articulated to communicate more than mere melody.

Limited Edition Orange Coloured Vinyl.

Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.

The A-Side of the record presents a stereo version of Mobarak’s 15-channel sound installation, Dafne Phono. The B-Side uses a recording of a portion of the translation process the libretto underwent in Namibia, live-processed by the artist.

The LP is published on the occasion of Nour Mobarak’s exhibition at The Museum of Modern Art, New York (October 26, 2024–January 12, 2025), with support from Sylvia Kouvali.

Artist Bio:
Nour Pamela Mobarak (Lebanese-American, b. 1985, Cairo, Egypt) lives and works between Los Angeles; Bainbridge Island; and Athens, Greece. Her works have been shown at Sylvia Kouvali (formerly Rodeo), London/Paris; Schinkel Pavillon, Berlin; MIT List Visual Arts Center, Cambridge, MA; Amant, Brooklyn; JOAN, Los Angeles; Kim? Contemporary Art Centre, Riga; Miguel Abreu Gallery, New York; Hakuna Matata, Los Angeles; and Cubitt Gallery, London. Exhibitions at the Museum of Modern Art, New York, and Castello di Tivoli Museo d’Arte Contemporanea, Turin, are forthcoming. She has performed at Western Front, Vancouver; 2220, the Hammer Museum, and LAXART, Los Angeles; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, San Diego; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe OTO’s TakuRoku (London), and Ultra Eczema (Antwerp), and she has had sessions on BBC Radio 3, NTS Radio, and Dublab Radio. Mobarak’s writing has been published in Triple Canopy, F.R. David, The Claudius App, and the Salzburg Review, and her first catalog, Sphere Studies and Subterranean Bounce was published by Recital (2021). She received a BA in English and Media Studies from Sussex University and did further studies at Université Paris-Sorbonne, Paris IV. She has held residencies at Denniston Hill, New York and the Institute of Contemporary Art, Los Angeles, and was the recipient of the 2023 FOCA fellowship award. Mobarak was a 2024 faculty at Bard College MFA program.

Dafne Phono Vocalists:
Apollo: Renato Grieco (Italian)
Cupid: Arnou Argun (Abkhaz)
Dafne: Agnes | xaye (!Xoon)
Ovid: Olivia O’Dwyer (Latin)
Venus: Don Eugenio Darias (Silbo Gomero)
Abkhaz Chorus: Liana Ebzhnou, Murman Guaramia, Fatima Kharzalia, and Gunda Osia
Chatino Chorus: Felix Daniel Peña Mendes, José Vasquez Canseco, Catalina Candelario Matias, and Claudia Garcia Baltazar
!Xoon Chorus: Franco Tsame, John Djujui Klosi Barase, and Charity Tsame
Clarinet: Steve Kado

“Dropsy? Now there’s a name I have not heard in a long time…” Well, that makes one of us, because composer Chris Schlarb’s soundtrack hasn’t left my rotation in the years since I first played developer Jay Tholen’s brilliant wordless adventure. I remember the exact moment I decided to reach out to Chris Schlarb about a vinyl release: I was playing the game with my then six year old daughter, scouring the street as Dropsy for clues, as the sultry jazz of Kierkegaard’s Neon Lights guided the tone in the background. My daughter took her hand off the mouse for a second and said, “This music…” she paused, finger to her chin, ”… is really good.” That was good enough for me. Originally released as a 1LP in 2015, the soundtrack has been long since out of print and quite difficult to get your hands on. Especially at a decent price. Believe me, I’ve tried. So I decided to rectify that, and maybe go the extra mile as well, because if there’s a soundtrack that deserves it, Dropsy certainly qualifies. – A deluxe 2LP release of the Dropsy soundtrack – Exclusive liner notes by Clint Basinger, host of the LGR (formerly Lazy Game Reviews) YouTube channel – Side A & B containing 28 tracks of the original soundtrack by Chris Schlarb – Side C containing 17 rare demo tracks from the Dropsy sessions – Side D containing the full Eternal Hug EP by game creator Jay Tholen (Hypnospace Outlaw, Slayers X: Terminal Aftermath: Vengeance of the Slayer), for the first time on vinyl – Cover design by Jay Tholen – 3D art design by Crisppyboat

“Dropsy? Now there’s a name I have not heard in a long time…” Well, that makes one of us, because composer Chris Schlarb’s soundtrack hasn’t left my rotation in the years since I first played developer Jay Tholen’s brilliant wordless adventure. I remember the exact moment I decided to reach out to Chris Schlarb about a vinyl release: I was playing the game with my then six year old daughter, scouring the street as Dropsy for clues, as the sultry jazz of Kierkegaard’s Neon Lights guided the tone in the background. My daughter took her hand off the mouse for a second and said, “This music…” she paused, finger to her chin, ”… is really good.” That was good enough for me. Originally released as a 1LP in 2015, the soundtrack has been long since out of print and quite difficult to get your hands on. Especially at a decent price. Believe me, I’ve tried. So I decided to rectify that, and maybe go the extra mile as well, because if there’s a soundtrack that deserves it, Dropsy certainly qualifies. – A deluxe 2LP release of the Dropsy soundtrack – Exclusive liner notes by Clint Basinger, host of the LGR (formerly Lazy Game Reviews) YouTube channel – Side A & B containing 28 tracks of the original soundtrack by Chris Schlarb – Side C containing 17 rare demo tracks from the Dropsy sessions – Side D containing the full Eternal Hug EP by game creator Jay Tholen (Hypnospace Outlaw, Slayers X: Terminal Aftermath: Vengeance of the Slayer), for the first time on vinyl – Cover design by Jay Tholen – 3D art design by Crisppyboat

. By his early 20s, Kurious was already an in-demand voice on the mic. His 1994 major label debut album, A Constipated Monkey, is a classic of its style, marked by heavy beats and nimble rhymes that are razor-sharp yet frequently hilarious. Despite being hailed as one of hip-hop's most compelling lyricists, he didn't release another solo IP for the rest of that decade, but he continued to be sought after. Rap fans the world over know him for his verse on "?," one of the standout songs from his longtime friend and collaborator MF DOOM's heralded Operation: Doomsday. As he prepares for the release of his new album, Majician-the nickname his peers blessed him with a generation ago-Kurious is well on his way to establishing the legacy he's long deserved. The LP, which was executive produced by MF DOOM before his passing, is a mesmerizing blend of technical wizardry and personal introspection. Take "Eye of Horus," where the pulsing drums convey an urgency that borders on panic; Kurious weaves a complex tapestry of history and insight, but does so while ducking through and under each pocket in the beat. Produced in its entirety by Mono En Stereo, Majician is filled with songs like "Eye of Horus," which dance on the line between confession and confrontation. "Separation Anxiety" is a personal bloodletting in the form of lyrical exercise; "Par For the Course," which features the elusive Mr. Fantastik, makes drum breaks from the early Reagan era sound totally revitalized. Through the radical amount of work Kurious put into the writing and recording of this material, he's removed all ambiguity from the question of whether he can stand as one of the premier MCs of his time.

Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages.

The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance,
Quixotism is constantly in motion, yet its transitions happen slowly and steadily, often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream.

At the time of its first release, Quixotism was clearly a summation of Ambarchi’s work in the years leading up to it. Now, listening back a decade later, it also seems like an arrow pointing to the future, suggesting paths that would be explored further in works to come: the pulsating guitar layers of Hubris, the album-length collaboration with Jim O’Rourke and U-zhaan on Hence, Shebang’s joyous layering and percussive drive. Now sounding better than ever in a new remaster by Joe Talia, the time is ripe to rediscover its quixotic charms.

In collaboration with Back Lot Music and Monkeypaw Productions, Waxwork Records is proud to present MONKEY MAN Original Motion Picture Soundtrack by Jed Kurzel. Monkey Man is a 2024 action-thriller film directed, co-written, and produced by Dev Patel in his directorial debut.

The film follows "Kid", an anonymous young man who ekes out a meager living in an underground fight club where, night after night, wearing a monkey mask, he is beaten bloody by more popular fighters for cash. After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city's sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him.

Jed Kurzel is an award winning Australian singer-songwriter-guitarist and film composer. His scoring credits include The Babadook, Alien: Covenant, Overlord, Assassin's Creed, and others.

Waxwork Records proudly presents MONKEY MAN Original Motion Picture Soundtrack as a deluxe double LP featuring Blood Red, Black, and Metallic Gold A-Side B-Side colored vinyl, new artwork by Sajan Rai, exclusive director and composer liner notes, heavyweight gatefold packaging, and an 11"x11 insert.

In partnership with Hollywood Records and Regency Enterprises, Waxwork Records is thrilled to present BARBARIAN Original Motion Picture Music by Anna Drubich. Barbarian is a 2022 American Horror film written and directed by Zach Cregger in his solo screen writing and directorial debut. The film stars Georgina Campbell, Bill Skarsgård, and Justin Long. The plot follows a woman finding out that the rental home she has reserved has been accidentally double-booked by a man, not knowing of a dark secret within the dwelling. Anna Drubich is an award-winning film composer from Moscow. Her diverse body of work includes live action features, animated features, television series, documentaries, and plays and concert halls across the world. Anna has score over 35 major film and TV projects including a co-score with Oscar-nominated composer Marco Beltrami on the Guillermo Del Toro adaptation of Scary Stories To Tell In The Dark, Netflix's hit feature Fear Street: 1994, the horror-comedy Werewolves Within, and more. Waxwork Records is proud to present BARBARIAN Original Motion Picture Music as a deluxe vinyl album featuring 180 gram "Mother's Milk & Blood" splatter colored vinyl, heavyweight gatefold jackets with matte satin coating and UV spot-gloss varnish, new artwork by Steven Reeves, and an 11"x11" art print insert!

Donald Byrd - Royal Flush
Mit dem Album “Off To The Races” hatte Trompeter Donald Byrd 1959 seinen Höhenflug bei Blue Note
begonnen. Noch mehr Fahrt nahm Byrd auf, als er im Jahr darauf einen jungen Pianisten namens Herbie
Hancock unter seine Fittiche nahm und in sein hervorragend besetztes Quintett holte. Auf dem exzellenten Hardbop-Album “Royal Flush” konnte der Trompeter mit diesem Quintett 1962 all seine Trümpfe
ausspielen.

Matt Filippini is an Italian guitar player, rock songwriter and producer. After working with some local bands, he started to take it seriously when in 2001 he started to play some gigs in Italy during a masterclass tour of the legendary drummer Ian Paice (Deep Purple founder and current member since 1968 but also with Paul McCartney, Gary Moore and Whitesnake). One year later, in 2003, after writing a bunch of rocking songs and recording a demo in his home studio, Matt gave a cd with the tracks to listen to Mr. Paice who liked the stuff and agreed to record the drum tracks for the songs. So after Ian Paice recorded three of the tracks, Matt asked Glenn Hughes (Deep Purple, Black Sabbath, ...) to record vocals for two of the songs. Those became Rose In Hell and Where Do You Hide The Blues You've Got, two of the most appreciated songs from the first Matt's studio album, MOONSTONE PROJECT Time To Take A stand, released April 2006 on Majestic Rock Records. The album features other rock and roll gods like Carmine Appice, Steve Walsh of Kansas, Eric Bloom of Blue Oyster Cult, Graham Bonnet of Rainbow and many more! The album, produced and written by Filippini himself, has been acclaimed by the music press with some great reviews and adored by thousands of classic rock fans from all over the World. In 2010 Matt toured Spain and Italy with Carmine Appice., in September 2010 Matt he played a festival in Sardinia along with Roger Glover (Deep Purple), Bobby Kimball and Steve Lukather of Toto and Vinny Appice (Black Sabbath and Ronnie Dio).In 2011, Through the next few years he played with Deep Purple, Doogie White (Rainbow and Malmsteen) and Neil Murray (Whitesnake and brian May Band), as well as several gigs with Hughes and Paice. He has certainly been active these last few years! the Moonstone Project title “New Life” the full album has been completely remixed and remastered by Fredrik Folkare, featuring on the album the Rock legends Glenn Hughes, Graham Bonnet, Eric Bloom, James Christian, Andrew Freeman, Ian Paice, Ken Hensley, Carmine Appice etc.

The Lost Record is the underground rock 'n’ roll exploitation sci-fi film of this time. Starring Pauline Jorry andf eaturing appearances and contributions from Henry Rollins, Emmett Kelly, Michelle Mae, Paul Zone, Howie Pyro, Kid Congo, Crush, Automatic Band and scores of other underground notables, The Lost Record—directed and produced by Ian F. Svenonius and Alexandra Cabral—is a film set in a murky indeterminate future / past world where one record, The #1 Record, holds sway over society. In this world The #1 Record is unavoidable and ubiquitous; pumped out nonstop on the airwaves, intercom, and television with its irresistible and infectious message of totalitarian consumer control. The status quo is challenged when a protagonist—played by Pauline Jorry—a worker on an art assembly line, stumbles on another record at a junk-shop which is neglected, lost, and unplayed. Called The Lost Record, it suggests another way to live; another set of values. Enchanted, she begins to play it for others, much to the consternation of the authorities. Can / will it challenge the #1 Record? And what will happen if it succeeds? Based conceptually on the Escape-ism song of the same name, the soundtrack features a beautiful original score by Alex Minoff (of Golden, Extra Golden and Weird War fame) plus music by Emmett Kelly, Escape-ism, The Make Up, plus sound blurbs from this singularly poignant, funny, and affecting film which has won citationsand & notices at Belgrade's Kinoskop festival, Indie Lisboa, and the Chicago Underground Film Festival among others.

For the next reissue in Mr Bongo’s Cuban Classics series, we look to Raúl Gómez’s entrancing 1977 Instrumental album. Presenting a unique blend of orchestral disco and jazz-funk, with Afro-Cuban flavours and soundtrack influences, it’s rich with drum breaks, energy and evolving compositions. A record that forever keeps you guessing, powered by an exemplary orchestra at the top of their game.

Cuban composer and singer Raúl Gómez is most known for featuring in the groups Mirtha Y Raul and Los Bucaneros alongside producing the Cuban classic Los Reyes 73 album, amongst a whole host of other incredible productions over the years. Released on Cuba’s state-owned label Areito, Instrumental sees Gómez not only as an instrumentalist and author, but also as a producer and arranger.

It's an album that deftly evades pigeonholing. Floating between instrumental mood music and library/soundtrack mastery, followed by explosions of cosmic-Latin funk, psych guitar workouts and compositions that reflect the orchestrated disco coming out of the US at the time, from greats such as Love Unlimited or MFSB. Lace that together with a healthy serving of Afro-Cuban magic to underpin the tracks and it’s a recipe for a record that captivates from start to finish.

Predominantly an instrumental album as the title suggests, the record showcases the Orquesta EGREM in full flow, soaring strings and vibrant horns at every turn. Highlights include 'Mi Samba Carnaval' with its breathtaking drum break, bubbling synths and sublime arrangements and the romantic film music impressions of ‘Tema De La Sierra', that have been a sampling source for many a producer. Elsewhere, ‘6 Son’ is a mind-melding psych guitar powerhouse, with 'Dacapo', written by Gilberto Peralta, offering up a slice of atmospheric and energetic Latin shuffle. One of only a handful of tracks where scat vocals compliment the orchestral tones, a Brazilian percussion theme marries with dancefloor sensibilities for a dose of feel-good, brilliance.

A wide-ranging, multi-dimensional release, Instrumental exhibits musicianship, composition and creativity at its finest and demonstrates another key example of the rich output of music that flowed from the island of Cuba post revolution.

It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.

Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.

Reflecting on Volume 7, it now feels like a record comprised of two themes. Firstly, we have gone quite heavy on the Brazilian selections. This saw us searching further afield and digging into other areas of the endlessly rich Brazilian musical tapestry. The reflection of a more folk / Afro-Brazilian sound than presented in previous volumes in the series, can be heard in the songs of As Sublimes, Romeu Fernandes and Conjunto de Percussão Dora Pinto. The second theme is a representation of the tracks that we have been playing in our club DJ sets and are aimed more at the dancefloor. Disco tracks such as 'Come Inside' by The Shades of Love and The Duncans' 'Too Damn Hot' have been firmly tested favourites in recent years.

We hope these songs, by the sensational artists on display, inspire you as much as they do us. Music is the gift that keeps giving and there is so much more to learn, find, and share.

The Well is the second album by the duo So Sner, composed of Susanna Gartmayer (bass clarinet) and Stefan Schneider (electronics). Recorded over nearly two years in various studios and spaces, the album reflects So Sner's extensive touring across Europe. The final mixing took place in Vienna at the studio of Martin Siewert, who served as both co-producer and mastering engineer. Known for his meticulous attention to sonic detail, Siewert brings his unique techniques and distinctive sound enhancements to the album, resulting in a work that is both stylistically cohesive and daringly uncompromising.

So Sner’s critically acclaimed debut album REIME (TAL26, 2021) was celebrated for its innovative fusion of bass clarinet and electronic sounds in unexpected and surprising ways. With The Well, the duo explores both fluid and dissonant sonic landscapes, embracing different structural and sonic challenges. The result is a quieter, more introspective set of compositions than many might have anticipated. The album is a statement of two confident collaborators crafting complex, spatial musical moments in their own distinct manner.

The music on The Well generates a multiplicity of effects that transcend conventional oppositions such as hand-played versus programmed, composition versus improvisation, or analog versus digital. The album suggests a re-articulation of these categories, allowing the ten tracks to gradually blend one musical idea into another, and one musician into another, in a circular and complementary fashion. The polymetric permutations and exploratory reed components create a soundscape where all elements coexist harmoniously, without compromising or diminishing each other’s presence.

With its sparse sound architecture, The Well invites listeners into a space of effective emptiness, offering room for the mind and body to explore—a sonic island where one can develop sensuality through patient movement.

For So Sner, live performance is a passion of the mind, and since they began working together in 2020, their music has taken them to many different places. The live experience has deeply influenced the recorded music on this album, with the interplay between live performance and studio work informing their creative process. The Well captures the genuine act of exploring new territories, serving as a storage place for the time and space shared by the duo, re-filtering their experiences of performing and traveling together.

The Well is a lucidly playful and ambitious album by two contemporary musicians who are continually learning to create and respond to the subtle and significant changes in their music, maintaining momentum throughout the entire work.

In addition to her work with So Sner, Susanna Gartmayer has recently collaborated with artists such as Joe McPhee and Maria Portugal, and remains a member of her long-running band, the Vegetable Orchestra. Stefan Schneider, founder of the label TAL, has recently performed with Garth Erasmus from Cape Town and fine art luminary Katharina Grosse.

The Intima led a chameleon-like existence from 1999 to 2004, confounding critics who struggled to describe their distinctive sound while sharing stages with everyone from The Rapture to The Mekons. Hailing from Olympia and Portland, the postpunk quartet utilized sharp rhythms, prescient lyrics, and a collaborative compositional approach to conjure forth a sound that manages to be explosive yet detailed, experimental yet propulsive and melodic. Featuring a classically-trained violinist, custom-tuned guitars that careen at odd angles, and an imaginative and powerful rhythm section, the band explored the intersection of art-punk and agitpop with a spirit and tenor uniquely their own. In 2017, the Polish website More Noise summed up their sound by saying that "the first association that comes to mind is The Ex and the Dutch avant punk scene of the 1980s, but fans of the bands Dirty Three, Godspeed You Black Emperor and Unwound may also be intrigued."The group toured the States extensively during the 4+ years that they were active, including one grueling six-week tour undertaken just after 9/11 and another one in 2003 during which the US began bombing Iraq. The group's live sets are remembered for their combination of unbridled intensity and tightly-coiled musicianship, as well as their chaos potential, whether that chaos was performing in the middle of an illegal street party or causing a PA to burst into flames immediately preceding a headlining set by Deerhoof. A memorable show in DC with Q And Not U was mentioned by Dischord group Black Eyes in their Speaking In Tongues booklet last year, with Hugh McElroy describing the Intima as "a really aggressively-beautiful and poetic punk band with a violin where a guitar normally would be...pushing genre barriers in a way that helped me see a vision of how we might want to do that ourselves."Peril and Panic was recorded in Olympia over eight months in 2002 and was released in 2003 on LP (Zum/Collective Jyrk) and CD (Slowdance). In 2022, in the midst of the pandemic, the group commissioned Jason Powers to remix the original tracks from the ground up, which turned into an 18-month endeavor that included some compositional edits, significant work to improve the sound of the drums, and the uncovering of unreleased songs. Today, a fully remixed and remastered Peril and Panic is finally being released into the wild sounding much closer to how it was originally meant to be heard. Sounding more relevant than ever, it seems increasingly clear that the ideas and feelings that informed both band and album are no longer so "radical" - if anything, they've become the zeitgeist of today, as a confluence of global crises points to a fraught future long predicted.

The Italian multidisciplinary collective CREA proudly presents "Crea Legacy 001" the debut release from its newly launched record label. This inaugural compilation is a powerful statement of intent, showcasing the diverse talents of CREA's resident artists from music to digital art. The record features four meticulously crafted tracks from no.name, Alarico, and Endrew, each contributing their unique sonic identity to this eclectic compilation, complemented by a 3D sculpture from 4C

Crea Legacy 001 kicks off with with Alarico's "Sleeping Dog" a percussive techno track that captures deep, primal energy perfect for peak dancefloor moments. No.name's "Tag" brings a sleek, minimalist vibe, driven by a bouncing bassline. On the flip side Endrew's "Rescue Of Airon" takes a more intricate approach, weaving in aquatic ambience with intricate sound design, while no.name's "District" rounds off the compilation with a playful and timeless hypnotic groove.

The artwork by 4C captures a personal representation of a hidden celestial body. The composition blends organic, fluid shapes with a cosmic essence, evoking the mysterious and dynamic nature of an unknown universe.

The 1980 space disco hit you probably never heard of. Now officially remastered including new stunning edits by Peaking Lights and Korkut Elbay. Picture sleeve with an outstanding painting by Antonia Freisburger.

'Inside' with loads of synths and some vocoder on top is a wild jam that is propelling more and more into a frenzy during its course.

Following the orginal is a dancefloor-edit by Korkut Elbay which puts the vocal part into focus. Korkut Elbay, part of the Cómeme camp and an integral part of Cologne's electronic music scene for over 20 years, crafted an edit in its purest form.

On the flipside Aaron Coyes of the California-based duo Peaking Lights stretches out the original and reaches higher grounds with his stomping rework. He gently adds some more keys and puts you into a trance with his soothing melodies. Now dance!

But what's the story behind this unearthed gem stone? In the late 1970s a marketing company owner faced an increasing competitve market and wanted to work indepently from the professional studios which were charging high rates for commercials back then. The solution was to build his own sound studio. So he set one up in the basement of his company in Saarbrücken, Germany. He hired a studio operator and a composer that got quite a reputation in the local scence back then and besides daily job routines 'Inside' was created.

San Francisco native Eric Luttrell announces his highly anticipated studio album ‘Life at Full Speed’, released on October 11 on Anjunadeep. First breaking into electronic music as part of the OWSLA-affiliated trio The M Machine, Eric embarked on his solo journey in 2016 with the acclaimed 'Need You' EP. This was followed by Anjunadeep favourites such as the 'Generate' EP and 'Intergalactic Plastic', championed by Annie Mac as the Hottest Record In The World. His musical progression continued with the launch of two studio albums, 'Intro Clouds' and 'Lucky Ones', as well as the captivating trilogy EP series 'Music For My Memories'. Luttrell's body of work has amassed over 100 million streams to date. Written over the past two years, ‘Life at Full Speed’ represents a new chapter for Eric. Becoming a father last year profoundly shifted his perspective on life and its purpose; and the album represents the ethos of embracing life to its fullest and seizing every moment. Featuring thirteen meticulously crafted tracks, "Life at Full Speed" embodies Luttrell's signature blend of indie-laced house music, characterised by uplifting melodies, intricately woven synths, and infectious grooves. A standout feature of the album is Eric’s integration of his own vocals on some of the tracks such as “When I First Met You” and “Go”. Additionally, Canadian artist Molly Moonwater joins forces with Eric on the single 'Something Right', enhancing its euphoric tone. Lead single ‘Make U Happy’ comprises a playful piano, signature Luttrell synths and a catchy top line culminating in an irresistible, feel-good summer anthem. This track sets the tone for the album, offering a glimpse into its uplifting vibe. Among the album's tracks are previously released singles ‘Sunshine’, ‘Space’, and ‘Sunrise Song’, which have collectively amassed over 3.5 million streams and received acclaim from BBC Radio 1 and SiriusXM Chill.

Philadelphian Jazz legend Benny Golson, an American bebop/ hard bop jazz tenor saxophonist, composer, and arranger, has had a long and storied career.

He has played with luminaries such as John Coltrane, Dizzy Gillespie and Art Blakey, to name just a few.

With his 1978 album “I’m Always Dancin’ To The Music,” Golson took a unique turn. Known primarily for his hard bop roots and classic compositions like “Whisper Not”

and “Killer Joe,” Golson steps into the realms of jazz-funk and disco with this release.

The title song is a stellar dance groove, holding heavyweight status among underground soul, funk, and jazz aficionados—a true ‘rare groove’ indeed.

Produced by George Butler, the instrumental hook of this title song has been sampled many times by artists such as Naughty by Nature, Logistics, Leona Lewis, and many others.

This is a real hidden gem and well worth seeking out!

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

The Commodore Master Takes offers an amazing overview of Billie Holiday’s legendary Commodore sessions. These sessions, recorded between 1939 and 1944,

are considered by many to be Holiday’s finest recordings. The album opens with the impressive “Strange Fruit”, which was considered too controversial for its time by

other labels and became part of these sessions. The album also includes classics such as “I’ll Be Seeing You” and “As Time Goes By”.

If you prefer things sweet and concise, here is all you need to know about Morphena and Narciss and their Lingua Erotica release on Running Back: a project of passion made while living across the globe thousands of miles apart from each other while falling in love, sensuality, tenderness, longing, authenticity.
Making waves on the festival and club circuit and meticulous productions like Forbidden Fruit or the Immer Remix for Running Back, Narciss found the perfect partnership with Morphena and their multitalented artistry between DJing, music making and vocal work.
Informed and inspired by a mutual enthusiasm for Italo blueprints, new romantic mannerisms, synth pop poetry and an uncanny knack for subtle and yearning dance floor euphoria (see Paradise and the club version of Per Aspera Ad Astra for further proof). it works like a mix tape or love letter to the listener or any of their adored ones. While the obvious club cuts Mi Amor and Fleeing Into You are sandwiched between the ambience of Per Aspera Ad Astra and Cocoon Cracking, one cannot help to be mesmerized by the coherence and monolithic magnetism of Lingua Erotica.
Captivating, catchy and confident. Here’s to many more.

2024 coloured (violet) vinyl repress for this year's Sonic Cathedral's 20th anniversary! Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year's If Not, When? EP. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. "The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs_ basically every cliché topic that you could think of," reveals frontman Ryan Smith. "But that doesn't mean they ever stop being relevant. It's a fucker growing up, but I'm lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I've ever met." And that band name, in case it needs explaining, is pronounced the same way as the album title. "I never thought I'd get to the stage where I would have to explain it so much," says Ryan. "We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We're all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title." He's right. The perfect title for the perfect debut album. "A modern day shoegaze classic" - NME "The general roller coaster of being twenty-somethings in post-Brexit England who find themselves awash with a shimmering soundscape that recalls Oshin-era DIIV, Deerhunter's Microcastle, or even The Cure at their most ambiently grandiose" - Under The Radar

Wyatt Flores, is an American country music singer-songwriter and musician. EMI are please to announced his debut album Welcome To The Plains will be released in UK on 18th October. Flores told fans that the record will be released on October 18th and was inspired by his native Oklahoma and ultimate search for happiness. From stories about his life, family and many places he’s been, it is highly-anticipated by fans and was produced by Beau Bedford (Orville Peck, Shane Smith & The Saints). They recorded the songs between Los Angeles and Asheville, North Carolina (a pretty stark contrast), and the songs feature writers like Old Crow Medicine Show’s Ketch Secor and Aaron Raitiere, as Wyatt details the struggle of leaving his hometown of Stillwater and dealing with the highs and lows of life on the road as an up-and-coming musician.

2024 Repress
The Aggrovators were one of Jamaica’s finest session bands, many of the tracks you know and love from the 70’s Reggae scene probably featured this group of musicians in some shape or form.
The band were put together by Bunny’Striker’Lee , one of Jamaica’s formidable producers, who with no studio of his own had to rely on buying studio time from the existing establishments, such as Randy’s Studio or Channel 1.
The updating of Studio 1 classic’s which in some cases were reworkings of American R&B tunes was common practice. The rhythms were much loved favourites and with the added incentive that the musicians knew the tracks inside out.
This set of dubs are straight from the master tapes of such sessions orchestrated by the man Bunny Lee himself, no one knew better…you can’t keep a good tune down never mind a great one..
So sit back and enjoy The Aggrovators in fine Studio 1 style….RESPECT

RUN-DMC DOWN WITH THE KING 30th ANNIVERSARY Pressed On Red, White and Black Double Colored Vinyl With Commemorative Numbered OBI Limited To 2000 Copies Thirty years ago on May 4, 1993, Run-DMC made one of the greatest comebacks in Hip-Hop history with the release of their 6th studio album Down With The King. To understand the significance of this feat we have to go back a few years. Coming off an amazing four-album run ending with the platinum album Tougher Than Leather, Run-DMC released their 5th studio album, Back From Hell, to lackluster sales. Did Run-DMC fall off? Did the emergence of gangsta rap push them off to the side? It was sad to see your Hip-Hop heroes take a fall. Then in 1991, a 12-inch remix came out for the single "Back From Hell" featuring Chuck D and Ice Cube and fans took notice. It would be two more years before anyone would hear from Run-DMC again. In March of 1993, a new single and video “Down With The King” debuted on Yo! MTV Raps featuring the new Hip-Hop Gods Pete Rock and CL Smooth paying homage to The Kings calling back verses from Sucker MCs over a dope signature Pete Rock beat. The video would be in constant rotation on Ralph McDaniels Video Music Box, YO!, BET’s Rap City and more. Fans watched it over and over to catch all the cameos, everyone from Eazy-E to the Native Tongues Family of De La Soul and A Tribe Called Quest. The anticipation was building, but would the album live up to the lead single that knocked it out of the park? On May 4, 1993, the album dropped on CD, Cassette, and Vinyl. Run-DMC enlisted The Bomb Squad from Public Enemy, Q-Tip, EPMD, Jermaine Dupri, Kay Gee of Naughty By Nature, and Pete Rock to produce the album with a special appearance by Tom Morello rocking out his guitar emulating DJ scratches he made famous with Rage Against The Machine. Their rhyming was as enthusiastic and powerful as they were on their debut album 10 years prior. Run-DMC, the self-proclaimed Kings of Rock and original Kings of Hip Hop were indeed back. The album debuted at #1 on the R&B/Hip-Hop charts and #7 on the Billboard 200 and would go Gold within two months. Get On Down is proud to present for the first time on vinyl since its original release, a 30 Year Anniversary pressing on double-colored vinyl with numbered OBI in a gatefold jacket.

5, the fifth installment of the mixtape series that propelled her to stardom - a journey that began over a decade ago with the release of the first Winter’s Diary. This follows the release of her 2023 masterpiece, Thanks 4 Nothing, which was executive produced by Hitmaka. Thanks 4 Nothing has garnered over 160 million streams, and received accolades from virtually every major publication, including receiving a 7.6 rating by Pitchfork and gracing the cover of Galore Magazine. She followed up with her Thanks 4 Everything North American tour where she delivered an unforgettable performance of hits from her previous albums as well as the new project. In addition to new music coming this year, Tink will also be joining Jhene Aiko on The Magic Hour arena tour, spanning 27 cities. While all of this success may be a surprise to some, Tink and her day ones know how hard she has been grinding for this moment and how deserved it is. An album over 6 years in the making, Winter’s Diary 5 is finally here, and it’s about to be a cold winter.

Brand new collection of Studio One killer tunes, focussing on the late 70s, 80s and beyond.
Since the early 1960s Clement ‘Sir Coxsone’ Dodd had established Studio One as the unparalleled leader in reggae music in the world. In the years that followed he established the careers of countless reggae legends – Bob Marley & The Wailers, Marcia Griffiths, The Skatalites, Horace Andy, Dennis Brown, Burning Spear and many more.
From its inception Studio One had been at the forefront of every major development in reggae music – ska, rocksteady, roots, DJ, dub and, starting in the second half of the 1970s, dancehall.
Having attained such great success, by the late 1970s Clement Dodd was free to enjoy Studio One’s now firmly established supremacy in reggae music. He released a series of stunning new albums at the end of the decade by Sugar Minott, Johnny Osbourne, Freddie McGregor and others that rode the wave of dancehall and set the path of Studio One’s output for the following 25 years.
During this period, long-established artists such as Alton Ellis, Jackie Mittoo and others returned to the label, recording some of their most creatively satisfying albums with new music that both celebrated the classic sound of Studio One while continuing to experiment, push boundaries and look forward to the future.
This release celebrates this sometimes overlooked golden era at Studio One in the 1970s,1980s and beyond.

Masterminded by the prolific collaborators The Fattoruso Brothers, Airto Moreira, and Hermeto Pascoal, Opa’s Goldenwings a latin-jazz-fusion extravaganza that weaves a sonic world that lives at the intersection of lush three-part vocal harmonies, tender flute solos, pulsating percussions, and robust synth textures. Reissued on vinyl for the first time in 50 years as part of Jazz Dispensary’s Top Shelf series, the album was cut from the original analog tapes by Kevin Gray, pressed on 180-gram vinyl at RTI, and packaged in a gatefold tip-on jacket.

Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.

The debut EP from Laura Jane Grace & The Mississippi Medicals entitled 'Give An Inch' releases on a Dial Back Sound exclusive variant of "Fun Dip" colored vinyl. This six song EP was recorded at Dial Back Sound in Water Valley, MS and lacquered for 140g vinyl at historic Sam Phillips Recording Service in Memphis, TN by Jeff Powell. Disc plays at 45rpm for maximum deep grooves. The Mississippi Medicals are Laura Jane Grace (Against Me!), Paris Campbell Grace, Matt Patton (Drive By Truckers) and Mikey Erg!

50 frequency and amplitude modulated sine waves describing a landscape / Trigram for Earth. Trigram for Earth, by Flora Yin Wong, is inspired by traditional eight-sided Pakua mirrors and the trigrams inscribed on each of their edges. The function of the mirrors is to show the nature of reality as being composed of mutually opposing forces and modulate them. Here, energies seem to be manipulated to guide and direct our listening, lost in a maze of sound, diffracted to the point of merging with the artist's own listening, through her memories, her obsessions, the fragments she carries within her. Flora Yin Wong invites us to embark on a multi-faceted investigation of sound, a journey through the meanders of liberated sonic forces, an auscultation of her own listening and a portal, at last, ajar to a fragmented and forever mysterious inner world.In his work '50 frequency and amplitude modulated sine waves describing a landscape,' Sébastien Roux applies his approach to algorithmic composition to the observation of the natural world, bringing the sound of the sea and the song of birds into the electronic domain, transmuting them into each other through a slow process of gradual modulation. Exploring the abstract space of pure sounds between two naturalistic tableaux, Sébastien Roux offers us a fascinating meditation on the world of synthesis, revealing, with an economy of means and great formal elegance, the magic of sonic simulacrum (deepl propose simulacra, mais là je suis pas assez calé_) and the strange beauty of the artificial, in a gesture that is ultimately as poetic as it is musical.

"Adult Swing" is the first full album as KCT (aka Karel Cuelenaere from Black Flower, John Ghost and Ping O.D and is immediately one that will put the trio firmly on the map.



Karel Cuelenaere, in the wake of Black Flower, John Ghost and Ping O.D. has gained numerous compliments from the international press. Louder Than War (UK) talks about his "incredible keyboard virtuosity" and OOR (NL) labels him as a "descendant of Keith Emerson". The Standaard (Belgium praises his "decisive contribution to the sound" of the aforementioned bands.
While Karel is now mainly perceived as a keyboardist within the prog-, rock- and hybrid jazz scene, with KCT - abbreviation of Karel Cuelenaere Trio - he resolutely opts for the grand piano. He is assisted by double bass and drums, respectively performed by Cyrille Obermüller and Gert-Jan Dreessen, both highly respected musicians in the Belgian jazz scene.
The trio is stylistically anchored in the Belgian jazz tradition, building on the work of Aka Moon, Octurn and Jozef Dumoulin, among others, and incorporates the atmosphere of 'saudade', a kind of melancholy that Karel got to know on a tour in Brazil and recognizes in the recordings of pianist Keith Jarrett during the 60s.

"Adult Swing" is the first full album as KCT and is immediately one that will put the trio firmly on the map.

"Redrawing pop music’s borders in the early 21st century, London trio Sugababes occupy an important
place in the history of British music. Formed in London in 1998, the group seamlessly combined
mainstream pop with cutting-edge R&B, soul and dance music – and they added to this intoxicating mix
on 2002’s Angels With Dirty Faces, an album which brought avant-garde electronic music to the masses.
This landmark second album from Sugababes includes the era-defining ‘Freak Like Me’, which, helmed
by underground producer Richard X, rode a sample of Tubeway Army’s ‘Are “Friends” Electric?’ all the
way to the top of the UK charts in the spring of 2002. Led by the guiding hand of the Xenomania
production team, ‘Round Round’ repeated the trick, paving the way for Angels With Dirty Faces to clean
up that summer, going triple-platinum and scoring Sugababes the 2003 BRIT Award for Best British
Dance Act.


"

Amsterdam's resident by choice, Torky Tork's Seed Tape Vol.1 is a reminiscences to his love for growing plants. Having created his own personal "music for plants" project, to keep flora and fauna entertained and triggering the blooming process.
Simultaneously to the album, Torky's own OK KUSH weed-strain will be introduced to the world. The lush & laid-back stimulating sounds and baselines are beneficial for the plants and the listeners cortex equally.
Torky's sound - even across various projects can be described with the broad spectrum of influences. The restless Berlin native has never stuck to one formula. His urge for ever new input is reflected by the constant change in the centre of his life - for some years now, he has been constantly traveling back and forth between his Berlin Bunker studio and Amsterdam, his home of choice. So the influence of weed has naturally been around him for a while, yet inspiring him to dive into the album TWO BE OK.
The illustrious line-up of musical guests on the album contains Germany’s most in-demand producers, the self-taught bedroom beatmaker FloFilz, Berlin’s bunker studio affiliate S. Fidelity, wine aficionado Dexter (also mastering engineer of the album), Wandl and more. This is the perfect soundtrack for watering your favourite plants while watching them grow.

'A Story Of Anger' (Stronger Edition ) ist eine erweiterte und verbesserte Version des im September letzten Jahres erschienenen Debütalbums 'A Story Of Anger' von SIERRA, das durch die Zusammenarbeit mit zwei der größten Namen der Szene, Carpenter Brut und Health, auffiel.
Gewalt und Melancholie, Sanftheit und Brutalität - SIERRA mischt verschiedene Stile und Stimmungen zu einer eigenen, unverwechselbaren Marke, inspiriert von Synthwave, EBM und Darkwave.
Die 2LP enthält das Originalalbum + Remixe von: Gunship, The Ocean, Matteo Tura, HORSKH, Toutant und 3 exklusive Lives.

For his brand-new project Blues Experience, Jake Shimabukuro joins forces with his friend, drumming legend and founding member of Fleetwood Mac, Mick Fleetwood, to create a fresh new take on the Blues. The result is something exhilarating and unique, as these two titans of their instruments reinterpret some of the greatest songs written by some of their favorite songwriters in a Blues setting. Since gaining prominence in the early 2000's, ukulele marvel Jake Shimabukuro has mesmerized audiences with his innovative and dynamic style, taking the instrument to dizzying new heights. Over a dozen solo albums, Shimabukuro has shown a knack for moving effortlessly between genres, sometimes in the same song. Shimabukuro has played the world's most venerable venues, from The Hollywood Bowl to Lincoln Center to the Sydney Opera House and collaborated with some of the world's greatest musicians, including Yo-Yo Ma, Bela Fleck, Jimmy Buffett, Jack Johnson, Ziggy Marley, Sonny Landreth, Billy Strings, Willie Nelson and Warren Haynes. In 2021 he was nominated by President Joe Biden to serve as a Member for the National Council on the Arts.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

When the world — and his previous band Star Tropics — crumbled in the early days of the pandemic, Chicago's Loren Vanderbilt began rebuilding himself through song. Daydreaming to the chime of IRS-era R.E.M., Felt, The Railway Children, New Order, and 90's staples like Ride, Pale Saints and Slowdive, he fell backwards in time through records as a means of escape. To break away from the present and embrace the nostalgia of musical eras gone by, Loren formed Humdrum — a band built around his favorite elements of dream-pop, indiepop, shoegaze, and new wave. On his debut album, "Every Heaven," Loren establishes himself as a talented songwriter and master of melody across 10 tracks brimming with jangly guitars and lovelorn vocals—all punctuated by the pulse of a driving beat. A deeper listen reveals a juxtaposition between the album's carefree melodies, and its sobering truths about the life, loss, and the questions of being a queer 30-something artist. With "Every Heaven" Humdrum has presented 10 songs that speak to life's dynamic moments. And they can't wait for you to hear them.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

The success of the 1962 Modern Sounds in Country And Western Music albums paved the way for Charles’ creative freedom as an artist. Throughout the rest of his career, he continued to show his deep affinity for country music. 1965’s Country and Western Meets Rhythm and Blues (aka Together Again) features Ray’s timeless version of the Buck Owens country standard “Together Again.” It also holds the distinction of being the first album Charles recorded in his own RPM International recording studio. While on 1996’s Crying Time album Ray delivers the definitive version of that Owens song and earned Ray the GRAMMY for Best Rhythm & Blues Solo Vocal Performance Male and recognition as Producer of Best Rhythm & Blues Recording by The National Academy of Recording Arts and Sciences. As if that weren’t enough, the album also boasts Charles #1 Billboard smash “Let’s Go Get Stoned.”

My Life, Americana trailblazer Iris DeMent’s sophomore album, cemented her legacy as one of the nation’s greatest living songwriters. Dedicated to her father, Patrick Shaw DeMent, who died in 1992, the album illustrates DeMent’s razorsharp songwriting on originals like “Sweet Is the Melody,” “No Time to Cry” and the title track. The songs “are jewels of universal longing” (Chicago Tribune) and “it is nearly impossible to exaggerate the beauty of these recordings.” (AllMusic). The album is being officially reissued for the first time for its 30th anniversary, pressed on maroon color vinyl and remastered by Mike Westbrook of MW Audio. The lacquer is cut by renowned mastering engineer Kevin Gray and is pressed at the state-of-the-art audiophile facilities at Citizen Vinyl in Asheville, North Carolina. This pressing is limited to 2,000 copies worldwide.

Dave Stewart & The Spiritual Cowboys is the self-titled debut album by the English rock and pop band released in 1990.

The band was formed by David A. Stewart who is known for being part of the British pop duo Eurythmics.

Dave Stewart & The Spiritual Cowboys is available as a limited edition of 1000 numbered copies on gold coloured vinyl and includes an insert with lyrics.

Let’s Get It On is the 7th album of reggae pioneer Ken Boothe . The album is produced by Lloyd Charmers and is originally released by Trojan Records in 1974.

The record includes the well-known Syl Johnson cover of “Is it Because I’m Black”, plus Marvin Gaye’s “Let’s Get it On’”.

Let’s Get It On is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

"This is the complete soundtrack album for Interstellar Sentinel, an action-packed bullet-hell shoot'em-up that takes you on a sci-fi fantasy journey through legions of monsters, demons, and cosmic mind-ripping entities. The game was created by a friend and colleague from the former Factor 5 USA studio and is an inspired love letter to some of the best side-scrolling games ever made, like Salamander/Life Force, Gradius, R-Type, Darius, Super Aleste, Einhander, Ikaruga, and more." - Chris Huelsbeck The soundtrack, featuring all new compositions, is heavily inspired by Chris' earlier works and successes, like Turrican, X-Out and Katakis and should be an aural feast for his fans.

The Flat Earth is the second studio album by English new wave and synth-pop musician Thomas Dolby, it was released on 10 February 1984 and peaked at No. 14 on the UK Albums Chart. The first single from the album was "Hyperactive!", which peaked at No. 17 in the UK Singles Chart. The album charted at No. 35 on the US Billboard Hot 100. The album has held up very well 40 years after its release; a crisp production, brilliant songwriting by Thomas Dolby and a fantastic ensemble of supporting players makes this record a classic in its own kind. The Flat Earth is available on black vinyl and contains an insert.

If a “sound” is unique, it can often expect a reasonable success. However, it takes a great deal more than just uniqueness to sustain this success. The Fleetwoods did this – and more. They became America’s top teenage vocal trio. Their sound was more than just different and identifiably their own. It was a perfect blend of young voices, just right for so many of the fine ballads they were singing. The Fleetwoods’ secret, if you can call it a secret, was sincerity. They simply gave each lyric they sang its truest and sincerest meaning. Over the years, many others have tried to imitate them, but none have come close to the overwhelming success they had. We hope you will enjoy this album of The Fleetwoods’ very best recordings.

Global superstar, Dean Lewis has today announced his hotly anticipated third studio album The Epilogue will be released Friday October 18 . Following unprecedented worldwide success, critical acclaim, and sold-out tours, Dean continues to write and perform with unmatched vulnerability, vibrancy, and vitality. As such, The Epilogue, represents both the culmination of an incredible journey thus far and a harbinger for where he may go next. In between a packed live schedule, Dean penned music for The Epilogue during sessions in a Hollywood Hills house and in Hawaii. Harnessing a renewed state of inspiration, the troubadour tapped into the spirit of his earliest material from a fresh perspective honed by six more years of experience. , the 12-track The Epilogue LP includes his previous singles ‘Trust Me Mate’ and ‘Memories’ as well as the recently released single ‘All I Ever Wanted’. The heartbreaking new single with lightly plucked acoustic guitar and soft strings accompanying Dean’s delicate delivery, was written and recorded in Los Angeles and co-produced by Dean and acclaimed duo Afterhrs (Maroon 5, Niall Horan, Liam Payne, Louis Tomlinson). Since its release a fortnight ago, the song has already been added to KIIS, Hit Network (Fox, B105, SAFM) and Nova Networks as well as streamed over 2.1 million times globally.

Kumar, former lead singer of GRAMMY-nominated roots reggae band Raging Fyah, meets Switzerland's The 18th Parallel on this album filled with classic Roots Radics-inspired riddims and positive roots lyrics and energy. Four years in the making, going back and forth from Kingston to Geneva, TALES OF REALITY is a tribute to the golden age of Jamaican roots music done in a modern way. Kumar has recently appeared on a number of releases, including as a guest on Jesse Royal's GRAMMY-nominated ROYAL and Winta James' Gratitude Riddim EP. The 18th Parallel, based in Switzerland, is the house band for Fruits Records and recently released music"with Max Romeo, Big Youth, Lee "Scratch" Perry, Derajah, Micah Shemaiah, and Joe Yorke. The album is mixed by Tippy I and JAH David of Zion I Kings. Kumar's and Fruits Records' story together goes back to the foundation of the label in 2015. " The 18th Parallel first invited Kumar to sing on 'Pass It On' (2016). At the same time, Kumar and his band Raging Fyah were exploding on the reggae scene. A couple years later, starting his solo career, Kumar was invited to sing on Najavibes' song 'This Dust' (2019), another offspring from the Fruits Records stable. In 2020, Kumar teamed up with The 18th Parallel on 'Message In The Radio.' After three singles, Fruits Records felt the need to push the collaboration further by producing a full showcase album pairing Kumar with The 18th Parallel.

The Moonwalkers is a unique immersive show about the Apollo and Artemis moon missions narrated by Tom Hanks. Anne Nikitin’s rousing soundscape to

this epic experience which offers a unique perspective on humankind’s past and future voyages to the moon, was performed by the Royal Philharmonic Orchestra

at the iconic Abbey Road Studios. The show opened at London’s Lightroom on 6th December 2023 and continued until 9th June 2024 before moving on to South Korea.



Anne Nikitin is an Emmy and two-time Ivor Novello nominated composer known for her versatility in creating bold and inventive sound worlds spanning a

range of genres across film and television. She was named Classic FM’s “Composer to Watch” and Film 4’s “composer who should be on your radar”.

Recent TV scores include the Netflix hit series ONE DAY, the Apple TV+ thriller HIJACK starring Idris Elba, and the Emmy-winning series THE DROPOUT (Hulu/Disney+) starring Amanda Seyfried.

“Pinhead Gunpowder started writing songs in 1990 and made our first 7-inch the following spring. Nearly every year since, we’ve met up to play. Some years we recorded—five albums and eleven EPs— and some years we played shows. “But since 2010, we’ve been playing just for ourselves, something bands forget to do. Rather than ‘writing for the new album’ or rehearsing to get ready for tour, we went back to the basement every year. We lived in the house we’d built, remembering how we’d made the music for each other in the first place.We played all over the world—well, at least Oakland, Singapore and New York—but only for each other. We worked on the reissues of our back catalog, too and found ourselves fonder of each other and more family-like than ever. “A new record and tour was only a matter of time, but between the members’ other bands projects, and families, that was hard to find. When we finally did, we were all surprised. We think it’s our best yet—our catchiest, most collaborative, and most poignant.” — Aaron Cometbus Pinhead Gunpowder is Billie Joe Armstrong, Aaron Cometbus, Jason White and Bill Schneider. Unt is fourteen brand new songs recorded in 2023 by Chris Dugan (Green Day, Weezer, Iggy Pop, Samiam, Swingin’ Utters etc) and mastered for all formats by Nick Townsend (Cheap Trick, Bad Religion, Iron Maiden etc) at Infrasonic Sound.

Fully Restored Vinyl Remaster & Restored Original CD Release Artwork For Vinyl With
Memorabilia Assemblage Full Colour Inner-Sleeve
“A pitch-perfect exercise in the type of literary pop music that I felt had gone amiss since
Factory stopped releasing records. “ Alan McGee (On 17 Stars – The Guardian 2009 )
After a short label hiatus, Caroline True Records are delighted to bring you a limited
vinyl edition of a classic Salford /Manchester album.
The Montgolfier Brothers, Mark Tranmer (GNAC) & Roger Quigley (At Swim Two Birds)
initially released “Seventeen Stars” on the Salford-based Vespertine label in 1999.
Much critical acclaim & appreciation from pop dynamo Alan McGee led to a 2000 re
release on his nascent post-Creation Poptones imprint.
“So we ended up pressing records as usual. Our first record was Seventeen Stars by the
Montgolfier Brothers, a baroque, cinematic classic that almost no-one has ever heard.” Alan
McGee (On Poptones in “Creation Stories: Riots, Raves & Running A Label” 2013 )
Since that moment, “Seventeen Stars” has gathered universal plaudits & affection,
along with occasional live performances from the group.
To mark the 20th anniversary of the original release, CTR have remastered this brilliant
work for vinyl. The sleeve expands the original Vespertine CD release artwork to LP
size. Beautiful, memorable, fragile ... An album that proves the longevity of great
songwriting, tunes and textures that stay with you.
“An exquisitely beautiful elegy to a lifetime of misspent opportunities.”. (Exclaim – USA 2000)
For lovers of Felt, The Durutti Column, Jacques Brel, The Blue Nile & François de Roubaix.
This is a vinyl only strictly limited-edition release with no repress.

Distangled brings you another gem of a re-issue. Barfly, a one-off by Wringler, is a little known and obscure Dutch release from the mid 90's and changes for quite some $ among those who know. Six cleverly produced house and techno tracks, raw and sometimes even with a hint of disco too. Including 3 previously unreleased tracks found on the original session tapes. Big tip!

Freestyle Records drop a killer UK soul/early street soul reissue LP from 1988, in the form of Rick Clarke's hard to come by 'Time Keeps Moving On' album.

Originally appearing on the Raven label in 1988, Time Keeps Moving On constituted Rick Clarke's first LP following his work in the earlier eighties as part of brit-funk groups Potion and Side On, and solo output including Love with a Stranger (released on The Specials' Ghost Town's producer John Collins' Local Records imprint) and a few singles for RCA. Largely co-written and co-produced with Peter Hinds (Take Three, Atmosfear, Light of the World) and a guest turn from Master T aka Toyin Agbetu - this is foundational street soul that appeared at a time when the likes of Loose Ends were starting to break through to the US, and Soul II Soul just emerging.

“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”

This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”

The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”

However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”

While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.” And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”

The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.

It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that. And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”

MORE PRESS ON ‘VANITIES’ (MELO131)

"Vanities artily refines an exhilarating brand of up-front electro-dance" MOJO ⅘

'Idiosyncratic yet euphoric electronic pop on triumphant second LP' 9/10 Uncut

''One of the most effective alternative pop albums of the year'' 4/5 Record Collector
'Dance music for the modern age' - The Times (4*)

After seven years, Japandroids have returned with Fate and Alcohol, their fourth and final full-length. Written in part while the Vancouver duo-guitarist-vocalist Brian King and drummer-vocalist David Prowse-were touring behind their 2017 ANTI- debut, Near to the Wild Heart of Life, the album is at once a return to form and a thrilling step forward, testament to the sort of chemistry that they"ve honed over the course of 18 years and hundreds of shows side-by-side. Their aim was simply to write songs that they"d enjoy playing live, without sacrificing any of the nuance or ambition that marked their previous effort. Nowhere on this record is that more deeply felt than lead single "Chicago," a song whose sheer momentum feels inevitable and true-from the inherent romance of its opening chords to the series of snare-led explosions that see it through. Like the rest of Fate and Alcohol, it was recorded in Vancouver with longtime collaborator Jesse Gander, who also engineered 2009"s Post-Nothing and 2012"s Celebration Rock. "The very first demo we have of "Chicago" was recorded in our jam space on February 4th, 2020," King says, "and if you listen to that, it just sounds like a rough version of what you hear on the record. But it"s all there. That, in some ways, is the most ideal circumstance for a band like us: just having something that really rips in your jam space, something that feels good, something that you"re excited about."

Gerry Mulligan mit der Night Lights Band auf Europatournee 1959. Das großartige Quartett besteht aus Gerry Mulligan am Baritonsaxophon und Klavier, Art Farmer an der Trompete, Bill Crow am Bass und Dave Bailey am Schlagzeug. Die Band war auf dem Höhepunkt ihres Könnens, und diese atemberaubenden Aufnahmen trugen entscheidend dazu bei, Mulligans Band als eine der angesagtesten Bands jener Zeit zu bestätigen.

In Zusammenarbeit mit dem Swedish National Radio Archive und dem Gerry Mulligan Estate ist es uns gelungen, die Original-Masterbänder im Tresor von Sveriges Radio ausfindig zu machen und sie Kevin Gray zur Verfügung zu stellen, der mit seiner gewohnten Magie beim Mastering und Editing diesen bisher unveröffentlichten Aufnahmen eine unglaubliche klangliche Bandbreite verliehen hat. Das neu gestaltete Cover wurde von Two To Tango entworfen, die regelmäßig mit New Land zusammenarbeiten, und bietet einen großartigen modernistischen Look.

Hergestellt bei Pallas und gedruckt auf 180g Vinyl im Reverse-Board-Sleeve, ist dies eine wichtige Ergänzung für jede Sammlung. Der Baritonsaxophonist Gerry Mulligan war eine wahre Ikone des Jazz und von den 1950er Jahren bis zu seinem Tod 1996 eine der herausragenden Persönlichkeiten der Westcoast-Szene. Mulligan, der vom Downbeat Magazine 42 Jahre in Folge zur Nummer eins auf seinem Instrument gewählt wurde, war einer der wichtigsten Musiker seiner Zeit und ein Aushängeschild, das den Sound des Jazz mitgeprägt hat. Gerry Mulligan spielte sowohl in der Miles Davis Formation der Birth Of The Cool-Ära als auch im pianolosen Quartett mit Chet Baker und war immer an vorderster Front, wenn es darum ging, was in Amerikas einzig wahrer Kunstform angesagt war und ist.

Over the past several years, The Voidz, led by Julian Casablancas, have been releasing various singles and performing unique residencies in different cities, all to critical acclaim. Now, they are returning with their highly anticipated third album, "Like All Before You."



This new release marks a shift back to album mode, showcasing The Voidz's unique sound that blends different styles into an immersive experience. The band will be promoting it in fall 2024 and 2025

NEW 2024 ALBUM, LP, 180G, HiGH QUALITY VINYL HAND MADE IN DENMARK IN AN ARTISANAL PROCESS (in a an Audiophile Quality approach where EVERY 75th COPY IS QUALITY CHECKED IN FULL).

For their 45th Band Anniversary the Iconic duo is still grooving and back with FOREVERGREEN
With Laid Back's 12 favourite songs of all time in a brand new recorded Laid Back cover version,
incl. "All You Need is Love", "House of The Rising Sun", "My Generation", "Gloria". "Whiter Shade Of Pale"
and so many more.
HQ Vinyl LP Handmade in Denmark in Artisanal Process


Formed in the 1979, the duo is still grooving at their studio in Vesterbro, Copenhagen.
Laid Back gained their first international major break through in the 80's with Sunshine Reggae and White Horse. The dualism and originality of the two songs has left a worldwide and everlasting reputation of their music. The 3rd evergreen from their hand was made in 1990 named Bakerman altogether with a music video by Lars Von Trier.
More recently, the two members have co-founded their own record company, Brother Music, which has released Laid Back Albums "Cosyland", the chill out album "Cosmic Vibes" and the recent two Studio Albums "Uptimistic Music" and "Road to Fame".

For their 45th Band Anniversary the Iconic duo is back with FOREVERGREEN! A stunning, simply Irresistable album meeting again the Band and (more than) 45 Year of music history. With Laid Back's favourite songs of all time in a Laid Back cover version!!


GENRE/S: Cover songs, reggae, Pop, chill out, classic, evergreens

High Roller Records, black vinyl, ltd 150, lyric sheet, A5 photo card, mastered for vinyl by Patrick W. Engel at Temple of Disharmony in May 2016

Pique is the sensational debut solo album from Dora Morelenbaum, one of the key talents spearheading Brazil’s new musical wave. A member of the Latin Grammy award-winning band, Bala Desejo, Dora showcases a new side to her solo productions on this special LP. Whereas Dora’s first solo EP, Vento de Beirada, was a leap of faith, Pique sees her soaring as one of Brazil’s standout stars, emboldened, emphatic but ever elegant. Building bridges between past and present, it’s a funkier, more groove-based affair, weaved together with those signature, slower, celestial tracks. Touching on disco, MPB, soul, R&B and jazz, the album is enriched with an indie pop aesthetic courtesy of fellow Brazilian star and co-producer, Ana Frango Elétrico.

With an ethereal, enveloping air few can match, Dora’s gift shines through both the serene and the spirited songs contained within. The blissful, sun-soaked ‘Não Vou Te Esquecer’ opens, before the funk-fuelled, feel-good ‘Venha Comigo’ and ‘Sim, Não.’ give a glimpse of the creativity bursting from the production partnership between Dora and Ana Frango Elétrico. Elsewhere, the album reclines into hazy lean-back realms via ‘A Melhor Saída’ and ‘Petricor’, virtuoso jazz funk in the form of ‘VW Blue’ and radiant MPB through the album’s title track ‘Pique’.

The drumming is tight, fresh and swung, the horns and strings deftly arranged, as funk-driven basslines and strutting guitars mesh with playful production touches that give an added vibrancy to the record. It is an album that exhibits every side of Dora and one she has been involved in from the ground up, from the songwriting, singing, arrangement and production to booking the studio time and sourcing the artwork designer, Maria Cau Levy.

An exchange of musical ideas powers every great scene and Rio’s contemporary landscape is no different - a family of interconnected musicians and friends that collaborate on each other’s productions. Pique is graced by a wealth of these leading Brazilian lights including her Bala Desejo bandmates Lucas Nunes, Julia Mestre and Zé Ibarra, as well as Guilherme Lirio, Alberto Continentino and Tom Veloso to name just a handful. This exchange crosses generations merging tradition with modernity. In a full circle moment, Dora’s parents Paula and Jaques Morelenbaum, who featured in countless recordings from Tom Jobim's Nova Banda and Ryuichi Sakamoto to Gal Costa and Gilberto Gil, join on the album through backing vocals and arrangement.

Pique sees Dora embrace a freedom through fresh forms, showcasing the depth and diversity of her creative artistry. An infinitely listenable release that nods to Brazilian greats like Gal Costa, Banda Black Rio and Lincoln Olivetti, fused with the indie pop edge of Ana’s production. The result is truly unique and sure to be a future Brazilian classic.

High Roller Records, Grey/ Red Mixed Vinyl, 425gsm heavy cardboard cover, 2 inserts, poster, A5 card

High Roller Records, Black Vinyl, 425gsm heavy cardboard cover, insert, poster

High Roller Records, Blue/ Orange Mixed Vinyl, 425gsm heavy cardboard cover, insert, poster

High Roller Records, Grey/ Red Mixed Vinyl, 425gsm heavy cardboard cover, 2 inserts, poster, A5 card

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

More classic sounding early 90's housegrooves by Böhm on the follow up for Land of Lost.

Gilles Peterson: "Fascinating… love this. Thoroughly recommended"
The Observer: "The focus is on great grooves and fine playing. A band to seek out."
The Guardian: "Delightfully quirky album of folk songs reimagined from Afrobeat to reggae"
The Times: "Minyo Crusaders sound like nothing else lurking on your Spotify playlist"
(PRESS FOR PREVIOUS ALBUM)

Minyo Crusaders return with theiir highly anticipated sophomore album TOUR OF JAPAN following on from their debut that has sold 4k on vinyl since release and their runaway single smash 'Cumbia Del Monte Fuji' that has almost hit 5million streams on Spotify.

Since the release of their debut in 2019 the band have toured Europe four times playing major European festivals such as Roskilde, Best Kept Secret, Green Man Festival, WOMAD, Fusion, Les Escales, Lowlands and many, many more, succesfully road-testing the songs from this album.

On this new album which has been mixed by Mario from Frente Cumbiero, Minyo have finessed their winning formula of adapting ancient Japanese folk somgs to global rhythms with influences this time from Ethiopia, boogaloo, salsa, West Africa and jazz. Says band-leader Katsumi: "The concept of this album is the sea with various expressions".

Gilles Peterson: "Fascinating… love this. Thoroughly recommended"
The Observer: "The focus is on great grooves and fine playing. A band to seek out."
The Guardian: "Delightfully quirky album of folk songs reimagined from Afrobeat to reggae"
The Times: "Minyo Crusaders sound like nothing else lurking on your Spotify playlist"
(PRESS FOR PREVIOUS ALBUM)

Minyo Crusaders return with theiir highly anticipated sophomore album TOUR OF JAPAN following on from their debut that has sold 4k on vinyl since release and their runaway single smash 'Cumbia Del Monte Fuji' that has almost hit 5million streams on Spotify.

Since the release of their debut in 2019 the band have toured Europe four times playing major European festivals such as Roskilde, Best Kept Secret, Green Man Festival, WOMAD, Fusion, Les Escales, Lowlands and many, many more, succesfully road-testing the songs from this album.

On this new album which has been mixed by Mario from Frente Cumbiero, Minyo have finessed their winning formula of adapting ancient Japanese folk somgs to global rhythms with influences this time from Ethiopia, boogaloo, salsa, West Africa and jazz. Says band-leader Katsumi: "The concept of this album is the sea with various expressions".

Pianist Aaron Parks returns to Blue Note—where he released his influential 2008 album Invisible Cinema—with Little Big III, the third studio album from his acclaimed band Little Big featuring guitarist Greg Tuohey, bassist David Ginyard Jr., and drummer Jongkuk Kim. Co-produced by Parks and Don Was, the collective’s concise, accessible writing and vibrant, empathetic playing elevate the band’s powerfully modern, post-genre concept for improvised music in the 21st century.

Fohn brings connection, displacement and new identities into the moment, on pastoral debut album Seanteach - informed by island life, marine folklore and musical tradition.

Connection to the land, the severing of earthly ties, explorations of environment, mythos and generational memory: under the moniker of Fohn, English violinist and producer Tom Connolly (Quade, AD93) takes to the fiddle on which he learned his craft as a child. Forging new bonds with his family’s island home off the coastal west of Ireland, their story is retold in Seanteach (Irish for ‘old house’), released on Odda Recordings.

“Seanteach explores the nature of my relationship with Ireland, and Connemara in particular, where my dad’s family is from,” explains Connolly, speaking on a long-form work that blends new compositions on traditional Irish fiddle with ambient electronics and evocative field recordings.

“It explores how the island of Maighinis became an almost mythological space for me, growing up in England - we would spend every summer there, but it felt equally present for me when we were back in the UK, a sort of mental solace that I found through music especially.”

Each track on the album is a reflection of aspects of that relationship to island life - where physical features intersect with mythology. Such as, ‘Boreen’, named after a colloquial term for rural byroads sometimes shared with otherworldly neighbours. ‘Aisling at Sea’ draws on the primal, unstoppable momentum of the water, while the folklore of ‘Immram’ reflects on generationally-kept tales of marine bravery and supernatural accomplishment.

“The compositions often sit at the fraying edges of memories I’ve inherited from my own experiences, that of family lore, or from stories that I have come across. I wanted the compositions to tread the space between documentation and fantasy that feels so reflective of my relationship with this place.”

Tying these worlds together is the presence and memory of Connolly’s ‘Mamó’ (Irish for grandmother), Bríd. Despite passing during Connolly’s childhood, this “larger-than-life character” shaped his imagination with anecdotes and stories, representing both a familiar figure, and the poignancies of potential and regret.

“Even at a young age I sensed a sadness emanating from her. Through a series of unfortunate and fortunate circumstances, she found herself leaving Ireland and settling in Boston like so many others. Under the impression she was an illegal immigrant in the US she didn’t return to Ireland for decades.”

‘Between the Shoreline and the Gorse’ channels her early childhood, born to a large Catholic family in the island’s ‘Seanteach’, and cast adrift from her old life - a severance of ties that Connolly attempts to make ethereal amends for, with the album named for her family home.

“It’s something that feels so visibly prominent in Connemara with its landscapes charcoaled with deserted ruins. It’s a feeling I also experience, despite never having lived in Ireland, which prompted me to want to explore the idea of longing for something/somewhere ‘un-experienced’, and to a certain extent, fictionalised.”