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Call Me By Your Name, the film by Luca Guadagnino, is a sensual and transcendent tale of first love, based on the acclaimed novel by André Aciman.

Summer of 1983, Northern Italy. An American Italian is enamored by an American student who comes to study and live with his family. Together they share an unforgettable summer full of music, food, and romance that will forever change them.

The film received widespread critical acclaim, particularly for Chalamet, Hammer and Stuhlbarg's performances, Guadagnino's direction, and the screenplay. Call Me By Your Name won a variety of awards, including an Academy Award, BAFTA, GLAAD and the 23rd Critics' Choice Award amongst others. Sufjan Stevens' song "Mystery of Love" was also nominated for the Academy Award for Best Original Song.

Luca Guadagnino wanted the film's music to be connected to Elio, a young pianist who likes to transcribe and adapt pieces to get close to Oliver. The music is used to reflect the time, the characters' family, level of education and "the kind of canon they would be a part of."

Guadagnino found himself resonating with Sufjan Stevens' lyricism through his work and initially asked Stevens to record an original song. Eventually, Stevens contributed three songs to the soundtrack: "Visions of Gideon", which was used at the end of the film, "Mystery of Love," which was featured in the film's first trailer, and a new rendition of "Futile Devices" with piano. Stevens penned the songs by using the script, the book, and the conversations with the director about the characters. It marks Sufjan Stevens' first soundtrack for a feature film.

Call Me By Your Name is available as a limited edition of 15.000 copies on "Velvet Purple" coloured vinyl. The 2LP is housed in a deluxe gatefold sleeve with rainbow laminate finish and includes printed innersleeves, an insert with movie stills, and a poster.

Jessica Brankka makes her debut on Crosstown Rebels with new single ‘Musk’, joined by Audiojack and OMRI. on remix duties. Emerging from Brazil’s ever-evolving house music hotbed to make appearances at major venues across the globe, including Hï Ibiza this summer, DJ and producer Jessica Brankka is fast becoming an artist to keep an eye on. Debuting on Frau Blau alongside Floyd Lavine and racking up support from leading names in Solomun, Joris Voorn, Blond:ish and more, her outings via RADIANT. have only continued to help build and craft her growing sound. Stepping up for her most significant release to date, she joins the Crosstown Rebels family to open September with her new single ‘Musk’ - with remixes coming courtesy of Gruuv head honchos Audiojack and Tel Aviv’s OMRI.

Hooky, provocative vocals take hold from the off on ‘Musk’, with Brankka building via slick drum programming, vibrant stabs and sweeping melodies for an intensely catchy production shaped for all hours of the night. First up on remix duties are Crosstown regulars Audiojack, with their take introducing an abundance of additional energy via skippy percussion, zipping bassline grooves and swirling, off-kilter sonics, before launching into heady breakbeat territories. To close, returning Rebellion signee and OMRI. introduces his acid-tinged remix into proceedings, with wandering synth lines carrying the track towards more cosmic spheres.

Gudu Records is proud to welcome Special Request - aka Paul Woolford - for his first release for the label, a collaboration with constantly innovating London MC Novelist.

Pairing Novelist’s unmistakable cadence and flow with classic grime square-waves and booty house-esque drums, ‘Sliver’ has been a highlight of both Special Request and label boss Peggy Gou’s recent sets, climaxing in a tempo change designed to turn the dancefloor inside out. As potent in intimate dark rooms as it is festival main stages, you’ll be hearing this one all Summer and beyond.

Carbon Music continues its conquest in a special single summoning some of drum & bass' greatest minds, as Goldie & Lenzman make illustrious debuts alongside label pillars Jubei & Submotive.

Two years after their first collab 'Component' (CM002), Submotive & Jubei reforge the foundations upon which Carbon Music was built, in two tracks written with two powerhouses sharing the same ethos.

Goldie reinstills his prowess, linking to form a holy pantheon on 'Game Of The Gods'. 10 years since Jubei released his album on Metalheadz, they collaborate again with a mutual accomplice in Submotive. Reinforcing the core principles, its a celebration of vigour and mysticism; brute force balanced with celestial pads - bringing shared beliefs full circle towards a new golden era.

Lenzman makes his intro on the flip, with a touch of nonchalent class on the effortlessly rolling 'Members Only'. Having all released with The North Quarter and Metalheadz, the trio share a close bond, developed over years of performing and travelling together. Its an innate understanding; a brotherhood; three elements that progress, intensify and naturally form, in a way that no others can.

DJ Support:

Goldie
Skeptical
Lenzman
Jubei
Bryan Gee
Halogenix

My Light, My World is a gorgeously slammin’ four track release by Brooklyn-based Ryan Clover on Eris Drew’s Ecstatic Editions imprint. We fell in love with Ryan’s music as we wore out the grooves on his killer 12 inch for ARTS. The tracks featured on My Light, My World are a perfect fit for Ecstatic Editions because, much like Eris’s sets, the tracks are beautiful musically and genuinely emotional, but they also seriously slap and translate powerfully on large sound systems. It is hard to find Big Room records with so much heart, so the label jumped to sign the tracks and prepare the project for release.

Clover’s arrangements on the EP unfold in truly magical and unexpected ways with buildups giving way to gorgeous musical passages. “We Love (We Feel)” is a heartfelt instrumental which sets the tone for the record, while the title tune “My Light, My World” declares boldly “ITS ON!” before heeding to woozy chords and a sax riff that sounds amazing in the mix. Flip the record over for “Here We F***ing Go!” which is a total boast track for deck players but doesn’t lose its sweetness in the process, and the powerfully fun closer “Let Me Tell U Sumthin’” which reminds sweaty dancefloors that “Love Is Special.” Ecstatic Editions hopes you’ll put your needle in the groove and dance hard to one of the season’s sweetest bangers.

The EP features original art by Karina A. Linares and mastering by Trutone legend Carl Rowatti.

When one of South Africa's most sought after trumpet players steps forward after a career alongside the very best in the International jazz scene, you know it's going to be a special record.

Dennis Mpale was one of South Africa's heavyweights. You'll find his name springing up on every important South African jazz record and billing since the 1960's. Chris McGregor's iconic Jazz/The African Sound LP, Abdullah Ibrahim's Dollar Brand, Barney Rachabane in the highly influential ensemble Roots, and early work in house bands appearing alongside Nick Moyake in The Soul jazz Men to name just a few. His trumpet playing had character, an extension of the body and amplifier of that great South African sound.

Leaving South Africa during Apartheid as a strong supporter and member of the ANC, Dennis made London his home, joining the newly established SA Jazz scene and standing in solidarity against the oppressions back in Africa.

Moving between London and South Africa during the 70's and 80's It wasn't till the early 1990's when Dennis finally settled again to make his biggest transition to solo artist, redefining his Jazz past and putting a heavy kwaito infused house slammer on the agenda. 1994s 'Paying My Bills' (a title maybe more appropriate now than it ever has been) is a mighty jazz kwaito house effort: From the heavy synth beat and gorgeous floating solo opener of 'Paying My Bills', to the highly infectious vocal phrasing on thumping house anthem 'Take My Time'. Paying My Bills takes the sensibilities of a jazz maestro and pairs it with one of South Africa's biggest producers Peter 'Hitman' Moticoe, creating the perfect recipe for a certified summer slammer.

Having previously only ever been released on CD, this is the first ever vinyl pressing of the album (hazy early test pressings lurk on a small number of lucky shelves). Vinyl mastering is handled by The Carvery's very own Frank Merritt here in London, with the resulting tracks generously split over 2 discs to fully appreciate the swampy heavy dub bass drolls for full dancefloor effect. It's loud and punchy and makes space for those glorious trumpet improvisations while keeping the synth refrains and heavy bass thumping.

Early plays include resident NTS DJ's and a feature on Palms Trax Radio 1 residency with surely more support to follow.

LOS ANGELES BASED PRODUCER MINION DEBUTS ON EVAR RECORDS WITH THE FOUR-TRACK EP 'NITE LYFE.' RELEASED ON AURA T-09 AND TRICKFINGER'S REVERED RECORD LABEL, 'NITE LYFE' MERGES HARDCORE, TECHNO AND GABBER WITH SOFT TEXTURES AND GOSSAMER SHEENS, EVOKING AN INTENSE, WAVEY TRIP. THIS ONE IS SUITED TO A CHURNING, POST-3 AM DANCEFLOOR, OR IN MINION'S OWN WORDS, "WARM SUMMER NIGHTS IN LOS ANGELES WAREHOUSES."

OPENER 'SAD B0I MASSIVE' BLENDS DISTORTED, GABBER-FLECKED DRUMS WITH CRUNCHY SNARES, WHILE A HAZY, DAFT PUNK-ESQUE SYNTHLINE CONJURES A DREAMY VIBE. THIS SIGNATURE MINION MOVE CONVEYS HIS KNACK FOR SERVING UP HARSH YET ROMANTIC ATMOSPHERES, PAIRING TWO OPPOSITE MOODS THAT MELT INTO ONE ANOTHER LIKE ACETONE AND WATER.

ON 'MAGNETAR', WE'RE CAUGHT UP IN THE THUNDERDOME CIRCA 1990, BUT JUST FOR A MOMENT. WHILE RUBBERY KICK DRUMS AND WHOOSHING HOOVER SOUNDS SHAPE THE TRACK, MINION COMBINES THESE OLD-SKOOL ELEMENTS WITH A MORE MODERN QUIRK, PRODUCING A TWINKLING MELODY THAT AROUSES EMOTION AND EUPHORIA.

THE PENULTIMATE TRACK 'GREY GOO' IS THE TOUGHEST OF THE FOURSOME. BUILT WITH OFF-KILTER, GRAINY KICKDRUMS AND CINEMATIC PADS THAT SLINK BETWEEN RUSTY BEATS, IT BRIDGES HARDCORE MOTIFS WITH DELICATE SHADES OF GREY, MINION-STYLE.

FINAL TRACK 'SATURDAY NIGHT IN A PARALLEL UNIVERSE' DISPLAYS MINION'S VERSATILITY AS A PRODUCER. DELVING INTO A POTENT PALETTE OF ELECTRO, BREAKBEAT, TECHNO AND 2-STEP, HE WELDS RAPID-FIRE CLAPS, FIZZING HI-HATS AND A HEARTFELT MELODY, WEAVING THROUGH BLEEPS AND A CHUNKY BASSLINE—A SIGNAL TO END A LONG TRIP, SOMEWHERE IN A PARALLEL UNIVERSE.

ALTHOUGH MINION PRODUCED THE TRACKS FOUR YEARS AGO, 'NITE LYFE' STANDS THE TEST OF TIME AND DOESN'T FOLLOW ANY ONE TREND OR GENRE. INSTEAD, IT'S AN ALCHEMY OF SONIC PATTERNS AND CONTRASTING COLOURS, NODDING TO MINION'S PUNK, HARDCORE AND EXPERIMENTAL INFLUENCES THAT CULTIVATED ODDBALL ELECTRONIC MUSIC IN THE 80S. THE AFTERGLOW OF THESE SOUNDS CULMINATES IN AN EP THAT RIPPLES WITH INTRIGUING HOOKS, CORROSIVE QUALITIES AND STRANGELY BLISSFUL MELODIES. IT REFLECTS THE EXPANSIVE ETHOS OF EVAR DOWN TO THE FINAL BAR.

RYUICHI SAKAMOTO'S LANDMARK 1981 ALBUM REISSUED FOR THE FIRST TIME IN DECADES OUTSIDE OF JAPAN. THE ALBUM WILL BE REISSUED IN ITS RARE JAPANESE EDITION TOGETHER WITH A 2-LP LIMITED EDITION FEATURING THE ALBUM PLUS A 2ND LP FEATURING ITS NEVER-RELEASED FULL INSTRUMENTAL MIX, ALL REMASTERED BY BERNIE GRUNDMAN.

Wewantsounds is proud to announce the reissue of Ryuichi Sakamoto's third solo album "Hidari Ude No Yume" (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Newly remastered from the original tapes by renowned engineer Bernie Grundman, this LP edition comes with original artwork featuring a striking cover shot by famous photographer Masayoshi Sukita (sourced from the original negative), OBI strip and 4-page insert with new introduction by journalist Anton Spice. The album will also be released as a 2-LP limited edition gatefold including the album's full instrumental mix.
Ryuichi Sakamoto's third album, "Hidari Ude No Yume" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after "B-2 Unit" in 1980 and his debut album "Thousand Knives Of" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist.
?In 1981, the musician decided to record an album rooted in Pop, following "B-2 Unit" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled "Hidari Ude No Yume," Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. These included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' "Remain In Light" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love').
?Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. From the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes.
?The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition.
Altogether this International version called "Left-Handed Dream" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of "Hidari Ude No Yume" remains largely unknown to international ears.
Wewantsounds is now delighted to release this original Japanese edition for the first time in decades as a single LP together with a 2-LP limited-edition set adding, as a bonus, its fascinating instrumental mix, discovered in the label's vaults a few years ago (Note that 'The Garden Of Poppies', 'Slat Dance' and 'Saru No Ie' are instrumentals but for the consistency of the album we kept them on the Instrumental Mix). "Hidari Ude No Yume" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.

Hammered Hulls' debut LP, Careening, may very well be the last record to be recorded and mixed at the famed Washington, D.C. area recording studio, Inner Ear. Engineered by studio owner Don Zientara and produced by Ian MacKaye, Careening was started right before the pandemic lockdown and completed in summer/fall of 2021.

A new band of long-time players, Hammered Hulls' music hews close to some of their early influences. Alec MacKaye is the voice, Mark Cisneros is the guitarist, Mary Timony takes a nimble and rarely-heard turn as bassist, and Chris Wilson commands the drums. Each of them bring their individual imprint to the total sound. This concussion of strength upon strength, unified by vulnerable songs, only barely contained, is the signature sound of Hammered Hulls.

R&B, funk and soul icons Kool & The Gang are returning with a new album release – People Just Wanna Have Fun is out July 14, 2023 on Astana Music Inc. With six decades of hits, the internationally celebrated group continues to tour the world and recently performed on Good Morning America. The band is led by founding members Robert “Kool” Bell (bassist) and George “Funky” Brown (keyboardist, drummer & producer of this album), whose book Too Hot: Kool & the Gang & Me will be released on July 11, 2023. Continuing to release music that makes the good times better and the bad times more bearable, this collection will be the band’s 34th studio album, featuring some of the last studio work by founding horn players, Kool’s brother Ronald “Khalis” Bell and Dennis “D.T.” Thomas, who passed in 2020 and 2021. Lead vocals on the album also include Sha Sha Jones, Shawn McQuiller, Lavell Evans, Dominique Karan, Rick Marcel and Walt Anderson, plus rappers Ami Miller & Ole’. Both Bell and Brown view People Just Wanna Have Fun as a summation of their long career, during which they sold 70 million albums worldwide with hit singles like “Celebration,” “Ladies Night,” “Get Down on It,” “Hollywood Swinging” & beyond. Since their start in 1964, the group has amassed two Grammy Awards, seven American Music Awards, a BET Soul Train Lifetime Achievement Award and star on the Hollywood Walk of Fame. Kool’s bass guitar is even featured in the Smithsonian Museum of African American History and Culture in Washington, DC. From Newark to Nairobi, Kool & the Gang have performed continuously longer than any R&B group in history and are the most sampled R&B band of all time, including by Madonna, Jay-Z, Beastie Boys, Janet Jackson, Cypress Hill and P. Diddy.

"If you can imagine a love child between MAC DEMARCO and SPAR-KLEHORSE, then this would be what you're left with." - SO YOUNG MAGA-ZINE
Raised in North Queensland, Australia, Jarrod Mahon is not one to shy away from bold new endeavors. Once parting ways with his previous record label in 2019, Mahon chose to go fully independent, relocating to Berlin in 2019 (where he still resides), despite having no contacts at all in the country. What’s more, having recorded/performed under the pseudonym Emerson Snowe for over a decade - during which time he home-recorded five albums and 13 EP’s, toured with the likes of King Krule or Ariel Pink, played showcases SXSW and the Great Escape, the works - Mahon took that brave, most uncommercial decision to release under his own name and start almost totally anew.
“There was never really a concept to that name Emerson Snowe other than having some kind of separation from who I was as a person,” Mahon explains, “using a moniker gave me that confidence to push myself further mentally and to give myself some kind of a freedom”. And through the process of creating what would become his debut album, Mahon saw that he had outgrown the need for this protective persona. ‘Everything Has A Life’ was meant to be the debut Snowe album”, he admits, “but after I finished mixing it with Syd Kemp, co-producer I realized that I had actually grown a lot and was much more comfort-able with who I am and what my personal beliefs are.”
The choice of ‘Everything Has A Life’ as the album title, pulled from beauteous opening track ‘All I Know’, neatly summarizes this new outlook: moving on from ‘self-pity’ of the past-self by becoming present for the loved ones around you, improving understanding of one’s own self, via the wider world at large.
That track marks the first written during a lockdown stint in LA where Mahon wrote and recorded every day for 2 months, produced nigh on 250 demos and birthed the bulk of the record. It also brought Mahon back to his all-time favorite, Sufjan Stevens’ Ilinois and its blend of widescreen orchestral landscapes and more candid, naked acoustic-leaning variations - an important influence for the album's stylistic contrasts. Another key inspiration for the record too brought Mahon back to his roots - those full-bloom strains of his Mum’s Beloved Neil Diamond, an annual Christmas irritant to Mahon as a child, yet an artist he’s come to respect in adulthood. “Whatever the reason, with age I came to love the big show band sounds,” he says, “the idea of a performer on stage with a mas-sive orchestra with strings was amazing to me.”
With the help of producer Syd Kemp (Ulrika Spacek, Vanishing Twin), such grand designs could be met. - “When we first met, he asked me if I would like real strings on it. I said of course.” Enter Magda Mclean on violin (Caroline/the Umlauts), and Gamaliel Rendle Traynor on Cello (Sweat, Fat White Family), whose strings helped lift the record to romantic new heights.
He continues: “I said to Syd that the only thing I wanted to achieve with this rec-ord was that I wanted it to make me cry at one point. And we got there eventual-ly.” The final culmination of all these strands, ’Everything Has A Life’ is indeed a treasure trove of emotive riches. Locking into that bittersweet, quintessentially ‘pop’ combination of triumphant rhythms and confessional, stream-of-consciousness lyrics plucked straight from the heart, Mahon faces up to years of substance abuse with a series of gorgeous, blushing melodies: “I was using, I was drinking, I was lying to my friends, I was messing up again, I was hiding from myself”, he joyously chants on ‘The Growing’.
A banquet fit for an indie king, Everything Has A Life is loaded with psych-pop lusciousness (‘All I Know’) and anthemic glam fuzz (‘Death Of The Ladies Man’, ‘Deadstar’, or ‘Sonny is my Best Friend’); recalling that foundational Sufjan Ste-vens influence too with shambling flecks of country (‘Charly (Romantic Heart)’). There’s also those lo-fi crepitations of ‘My Man’ and ‘I can’t’ harking back home-recorded demos that lie at the core of Mahon’s creative process.

Als Carly Simon bei Jac Holzmans Elektra Records unterschrieb, war dies der Beginn einer Beziehung, die auf Vertrauen und gegenseitiger Bewunderung beruhte.

Zur Feier ihrer Zusammenarbeit hat Jac eine Sammlung von Tracks aus Carlys ersten drei Elektra-Alben zusammengestellt, die seiner Meinung nach ihre Zusammenarbeit und den Bogen ihrer Partnerschaft am besten repräsentieren. Mit Erinnerungen von Jac und Carly, herausgegeben von Ted Olson, erforscht diese "Sammelalbum"-Sammlung die Art und Weise, wie ein junges Talent und ein erfolgreicher Labelboss zusammenwirkten, um einen Sound zu schaffen, der die Singer/Songwriter-Bewegung definierte, die mit dem Feminismus der frühen 1970er Jahre zusammenfiel.

DJ Python’s Worldwide Unlimited return with a trio of giddy-up garage screwballs by BFTT of the Mutualism cohort.

’THP’ hails BFTT’s transition from one party city, Leeds, to another, Manchester, in the post-lockdown euphoria when everyone was dusting off their dancing clogs. He hadn’t made club music during the pandemic, but got right back on it that summer, chiselling signature production details into a trio of restive swingers and buoyant steppers explicitly built for the party.

‘THP’ trains his energies into an itchy switch of Yorkshire garage-techno-donk aerated with feathered dub chords and percolated percussion. ‘Keeplies’ more loosely dances on the offbeat complete with unstable, grinding subs whisked into a dipping UKG lather like Pangaea meets early Aya, and ‘Seems’ picks up your trotters on a ruggedly warped speed garage tilt, all melting Moschino logos and acid-spiked fizz bound for peak times.

Japan has produced some exceptionally talented jazz drummers and among them is Tatsuya Nakamura, who joins the BBE Music J Jazz Masterclass Series with his album ‘Locus’ from 1984, a session covering several bases, from heavy percussive samba to meditative avant-ambient. This is the album’s first ever reissue, although a track from ‘Locus’, ‘¼ Samba’, was included on J Jazz vol. 3. Nakamura began his drumming career as a teenager, inspired after seeing the documentary film “Jazz on A Summer’s Day” and listening to his idols Art Blakey and Miles Davis. By his early twenties, Nakamura was working with such luminaries as free jazz guitarist Masayuki Takayanagi, pianist Masaru Imada and band leader & composer Mitsuaki Kanno. In the mid-70s, like several other Japanese jazz players, Nakamura decided to make the move to New York where he studied drumming with Roy Haynes, and performed with members of the AACM and players from the loft and free jazz scenes including Richard Davis, George Adams, John Hicks, and Pharaoh Sanders. Returning to Japan, Nakamura continued playing as leader of his Japanese band The Jazz Fellows and in 1979, he went into the studio as leader for the classic “Where Is The Quarter” session featuring Masaru Imada, Hideto Kanai and Kenji Mori. This session includes the original percussion heavy version of ‘¼ Samba’ and was followed by a period back in NYC during which he recorded the funky/free session ‘Rip Off’ in 1980. 1984 saw Nakamura working as leader of a heavy-duty fusion septet and in February of that year he led them in a performance at Audio Technica Hall. The album ‘Locus’ on Sea Horse Records is the label’s one and only release. On ‘Locus’, Nakamura is joined by a stellar line-up. On trumpet is Shinobu Fujimoto and he’s joined by seasoned bass player Hideto Kanai (1931 -2011) who began playing in the mid-1950s, appearing on King Recs All-Star Jazz Series before going on to be a regular fixture on the legendary Three Blind Mice (TBM) label, backing many of its leading artists. He even released his own album on TBM, ‘Ode to Birds’ in 1975. On guitar is Kazumasa Akiyama. Born in Tokyo in 1955, he taught himself guitar at 10 years old and was influenced initially by The Beatles and Ray Charles, and later Jimi Hendrix, Cream, Chicago Blues, and jazz. When he was a student, he got a chance to appear on Sadao Watanabe's radio program ‘My Dear Life’, which led him to join the Isao Suzuki Group and Mikio Masuda Group. Akiyama released his first leader album ‘Dig My Style’ in 1978 and is still an active musician. On keys is the incredible Jun Fukamachi (1946-2010). Born in Harajuku, Tokyo, Fukamachi started playing the piano at the age of three, showing an extraordinary talent, recognised as a child prodigy. He became a professional musician while still in school and released his first album ‘Portrait of a Young Man’ on Polydor in 1971.

The debut album from Winnipeg psychedelic jazz-funk collective Apollo Suns, 'Departures' (Do Right! Music), finds the band evolving across new styles and moods, encompassing the shifting tides of the pandemic years.

Produced by Juno award-winning producer Ben Kaplan (Bootsy Collins, Five Alarm Funk), Departures is a cinematic journey inspired as much by artists like Goblin, Lettuce, and Frank Zappa as film, TV and video game scores and soundtracks. The band combines classic compositional techniques with synths and electronics, showcasing genre-melding finesse. Introducing strings, acoustic guitar, grand piano, and lap steel into the mix, Apollo Suns explore the visceral and heavy, the elegant and ethereal, epic house rock to New Orleans-y brass, proggy pathways, string-backed balladry, greasy funk and beyond.

"It's been a heavy couple of years. We wanted to make an album that summed it all up," says bandleader Ed Durocher. "I always kind of think of music as the different parts of life. Sometimes it's aggressive, sometimes it's fun and loose, and sometimes it's sad and hard. So, since we don't have vocals, a lot of these songs try to convey those experiences through sound."

Der Grammy-Nominierte Superstar Demi Lovato veröffentlicht ihr mit Spannung erwartetes neuntes Studioalbum „REVAMPED“, welches Rock Versionen ihrer bisherigen Hits umfasst. Die vielfach mit Platin geehrte Sängerin, Schauspielerin & New York Times Bestseller Autorin platzierte ihre bisherigen 8 Studioalben in den Top 10 der US amerikanischen Charts, wobei ihr letztes von der Kritik gefeiertes Rock Studioalbum „HOLY FVCK“ auf #1 der Billboard Album Charts einstieg.

„REVAMPED“ umfasst 10 exklusive Titel, unter Anderem neu aufgelegte Songs, welche Demis unglaubliche Karriere definiert haben. Darunter „Sorry Not Sorry“, „Cool For The Summer“ und „Heart Attack”.

Demi Lovatos neuntes Studioalbum “REVAMPED” ist als CD und auf Vinyl erhältlich.

'Ascending to the apex of an eight-year grind, the band reached critical mass on 2018’s DISPOSE. The standout “FEEL NOTHING” exploded with 31.4 million Spotify streams, while the project eclipsed 60.7 million streams on the platform. Billboard raved, “DISPOSE is the band’s most polished and cohesive work to date,” and Alternative Press noted, “DISPOSE makes it clear that TPIY challenge both the listeners and themselves more and more with each release.” Grading the album “9.0-out-of-10,” Rock Sound predicted it “should finally – and deservedly – make The Plot In You a name that everyone knows.” They supported the record by hitting the road with Underoath, The Amity Affliction, Like Moths To Flames, Sum 41, and more. The album racked up over 100 million streams and received praise from Billboard, Rock Sound, Alternative Press, and more.

'‘Begin Again’ is the first single to be taken from The Mysterines’ forthcoming LP, and sees the four piece build on their signature introspective lyricism, stripping instrumentation back for an incredibly powerful set up and delivery. It’s the sound of a band truly refining and maturing their craft, and speaking further about the single Lia Metcalfe says: “Written during a full moon in a barn in the West Country, ‘Begin Again’ felt like finding a key to the spirit realm the evening it arrived. It felt like I was embarking on a surreal journey of self dissolution; think of the first verse as a set of instructions, and see how far reality stretches.”
Riding high on the success of their critically acclaimed, UK Top 10 debut album ‘Reeling’ released March 2022, The Mysterines have been achieving remarkable success since the release, including two tours of the UK, two of North America and one in the EU, and now a tour with their personal heroes Arctic Monkeys across UK stadiums this summer.

In the Red Records will proudly present the U.S. edition of Rantings from the Book of Swamp, the freewheeling eighth studio release by Australia’s magnificent and unpredictable Kim Salmon and the Surrealists, as a two-LP. The Surrealists were formed by the Scientists’ singer-songwriter-guitarist Kim Salmon in 1987, betwixt the last two tours by the original incarnation of that pathfinding Perth-bred band. The Surrealists had been dormant in recent years, as the bandleader focused his energy on recording and touring with a reunited lineup of the Scientists featuring guitarist Tony Thewlis, bassist Boris Sujdovic, and drummer Leanne Cowie, who had recorded the career-summarizing 1986 LP Weird Love. (In 2021, In the Red issued Negativity, a new album by that unit, to wide acclaim.) In 2020, as the COVID-19 pandemic lockdown settled around the globeSalmon reconvened with bassist/baritone guitarist Stu Thomas and drummer Phil Collings, who had appeared on the Surrealists’ 2010 release Grand Unifying Theory, the group’s most recent record. As with that work, the new material was created live on the studio floor, and emphasized improvisation in both its structure and content. “The premise for this recording,” Salmon explains, “was that at its commencement the band members would come prepared with no other material than whatever ideas they might be able to individually bring. The lyrical content was all derived from my notebooks (Book of Swamp) from sketches I’d been jotting down over the last couple of years. There was to be no consultation about musical forms until the event began. Once the event began, the band had carte blanche to do whatever necessary to salvage compelling performances over the two live events @ 7PM AEST 6/13/20 + 6/14/20 respectively…….i.e., we had to make it up from scratch!” Captured at Rolling Stock Recording Rooms in Collingwood, Victoria, Australia, by Myles Mumford, the music heard on Rantings from the Book of Swamp was originally presented as a pair of live streams directed by Andrew Watson at Semiconductor Media. The resultant album comprises 13 brain-bending tracks characterized by Salmon’s percolating lyrical imagination and the raw, unfettered interplay of the three seasoned musical collaborators. After the world began to emerge from the pandemic lockdown in 2022, the Surrealists hit Australian stages on the double-barreled “You Gotta Let Me Swamp My Rantings” tour, which featured two different lineups performing two albums in toto: the Rantings from the Book of Swamp trio, and the threesome of Salmon, Thomas, and drummer Greg Bainbridge, who played the material from You Gotta Let Me Do My Thing, the 1997 Surrealists album they cut together. Offbeat, off the street, off the map, and off the wall, Rantings from the Books of Swamp serves as a potent reminder that Kim Salmon and the Surrealists remain a puissant force in boundary-pushing rock music.