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What We Have Now is a love-letter to New York City, written by a breaking heart weathering the deep indigo night of a soul realizing dawn will release it from the dried tears of youth. There is no brighter or harsher wasteland of self-discovery than the one in which we see that childhood is a dream and the now is something we will have to fabricate alone, from those broken mirror shards of memories in service to a world that does not seem to know how to care for us any longer. Full of feeling and shepherded by Clara's intensely honest vocals, these songs transcend place and time to share a universe of wonders beneath the hard-wrought questioning of the deeply human condition we are all living within. Clara Joy is a songwriter full of melody and vision. These home recordings were made by Clara in NYC between 2020 and 2024. The songs were then arranged, mixed & mastered by Kramer in December 2024 in his studio in the mountains of North Carolina. Clara is at the dawn of her career and Shimmy-Disc is proud to bring this amazing work to the world. This creation is a beacon on the murky horizon of this Pyrocene age landscape we find ourselves traversing.

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. "We were trying to find our own space," says Cinder of the formative period Camouflage Heart emerged from, amidst a move from Edinburgh to London and Cinder's evolving exploration of gender identity, well before culture at large was equipped to understand. With contemporary discourse we see that the project manifested her transgender ideas as visceral music. The guttural, feral sound marked a notably darker turn from The Freeze's sixyear run on the fringes of punk. Changing the project's name became vital, not just because they kept hearing the former was already taken, but the desire to embody the spiritual and sonic shift, "to uncover new pathways_to feminize it," she says. Cinder, with bandmates David Clancy and John Byrne, arrived at Cindytalk, a winking nod to Sindy, the British fashion doll rival to Barbie known then for its pull-string talking mechanism. "The goal was to have a more interesting narrative, more interesting dialogue. Music was ultimately my only way of talking to people. That was my conversation with the world, an abstracted conversation_an attempt to make some kind of tiny, tiny mark, if possible, you hope somebody will notice." Over the years, Cinder has heard from fans who did pick up on the signals and find refuge in Camouflage Heart. Camouflage Heart plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like "make the snake in your eye, pierce the camouflage heart" on the slow-droning centerpiece "The Spirit Behind the Circus Dream." In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. "I still remember that person who was way too intense for their own good," Cinder reflects. "I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior." For all the destruction and disintegration of Camouflage Heart, Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, "It's Luxury": "Don't look down," the lyric pines through static and rhythm. Cinder extrapolates, "I'm essentially saying, just keep fucking going. As time went on, for me, that falling became flying. Camouflage Heart is the beginning of believing in flight."

Hailing from Naarm/Melbourne, punk trio CLAMM—comprising Jack Summers, Miles Harding, and Stella Rennex—delve into the tumultuous experience of youth striving to lead an authentic and principled life in an increasingly chaotic world. Their music confronts the challenges of navigating entrenched systems of power and oppression while striving to preserve mental well-being and a strong sense of self. Through their raw and visceral sound, CLAMM aspires to foster community, ignite creativity, and provide a channel for catharsis.



Serious Acts continues the band’s signature raw intensity, with frontman Summer’s commanding vocals and incisive lyricism delving deep into the highs and lows of human existence.

We are pleased to present again this wonderful and highly sought-after album, born from a promotional campaign by the U.S. Army to encourage recruitment. The recording perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by brilliant anonymous musicians. Virtually impossible to find in its original edition, we are now reissuing it once again thanks to a collaboration with Now Again. Pressed on 180g vinyl. Often, the most prized records by collectors hold unexpected stories. When they also feature incredibly high musical quality and only a few original copies are available, they become the holy grails of collecting. This is the case with this album, recorded by American soldiers stationed in Germany in the early 70s. During the Vietnam War, the U.S. Army organized a band competition among its soldiers. The winners would record a promotional album that would be distributed for free to encourage enlistment during such a turbulent time. The result was a double LP shared between the bands SOAP and East of Underground. Although East of Underground's repertoire consists of covers of soul and funk hits, the quality is surprisingly high: raw guitars, crushing drums, brilliant vocal harmonies... The result perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by anonymous musicians whose final fate has yet to be confirmed. When the label Now Again tried to reconstruct the story of East of Underground, they only managed to contact one of its members after digging through documents in the New York Library and collaborating with the U.S. Army. We are now pleased to present this wonderful and highly sought-after album once again, a surprising case where the covers rival the originals, creating a unique recording that justifies its immense appeal among collectors.

A collection of The Handsome Family covers.

Andreas Kümmert ist DER Blues-, Rock Sänger aus Deutschland. Seine Stimme und seine Musik sind zeitlos. Die Songs auf dem neuen Album „Working Class Hero“ sind emotional, tief, mitreißend, berührend und tröstend zugleich.

Stillstand ist für Vollblutmusiker Andreas Kümmert ein Fremdwort. Inmitten einer Welt im Ausnahmezustand ist sein neues Album „Working Class Hero“ entstanden. Und weil sich Andreas eben nicht in einem sterilen Studio zurückgezogen, sondern sich als Künstler mitten im Zeitgeschehen bewegt hat, ist es ein grundehrliches, authentisches Abbild dessen geworden, was der gebürtige Lohrer dabei erlebt, gefühlt, gedacht und durchgemacht hat. „Es sind großenteils sehr wütende Songs mit wütenden, manchmal auch sehr sarkastischen Texten geworden“, sagt Andreas. „Sie handeln von dem, was in der Welt abgeht, aber auch dem, wie es mir persönlich damit geht. Eine Gegenüberstellung von Makro- und Mikrokosmos sozusagen. Man sieht und erlebt die Welt, und zugleich macht das etwas mit einem selbst, mit seinen eigenen Gefühlen und Gedanken. Und inmitten dieser Zeitgeschehnisse hat man noch seine ganz eigenen Probleme, die man bewältigen muss.“ Die Musik und Andreas gehören – das wird auf „Working Class Hero“ deutlicher denn je – untrennbar zusammen. Die Songs von Andreas Kümmert sind emotional, tief, mitreißend, berührend und tröstend zugleich. Sie bringen so viel von dem zum Ausdruck, was diese Welt nun einmal ist und was sie aus einem machen kann.

"I loved Julia Sabra’s Natural History Museum—it was released at the end of the year and is quietly devastating. Her lyricism and sensitivity in timbre and harmony is akin for me to the great Linda Perhacs. The songs are intimate and infinite feeling at the same time—I love the raw and soft poetic settings of love and death." Julia Holter (Best album 2024- Fader)

“This album is a collection of songs written between 2020 and 2024 in Beirut. I wanted to capture them the way they were written by keeping the rawness and fragility intact, like the late-night voice memos I send to my bandmates as soon as I have a first draft of a song. Fadi and I decided to record them live on tape, with no overdubs, barely any effect - with all the imperfections. Most of the tracks were done in one take only. Some were recorded in the studio, and some in the church I grew up going to every summer in Dhour Shweir.

This is a collection of songs that slipped through the cracks, and some of the most personal ones I ever wrote. Songs about the port explosion, its aftermath, picking up the pieces and trying to move on, coming to terms with the past, regret and nostalgia for a childhood that lives only in memory, the uncertain future, learning to love, getting married, watching a genocide unfold on my phone screen, having it fill my every waking moment, imagining a better send off for all the dead, processing the violence and terror, and finding solace in community.
These songs would’ve probably stayed in my “songs in limbo” folder on my laptop had it not been for Pascal and Fadi, who pushed me to release them. And for this I’m eternally grateful.”









[h] 8.Dis, quand reviendras-tu? [Barbara cover]

K.K. Hammond is a slide guitar playing songstress living in the backwoods of the UK. She takes her influence from the Delta Blues players of the 1930s, the roots music of Appalachia and its ancestors fusing the vibe of the swamp with a sprinkle of Southern gothic horror, K.K. writes traditionally inspired roots music but twists it her own unique way for an untapped sound that appeals to contemporary music listeners as well as classic blues fans.

K.K's music has garnered critical acclaim worldwide as well as airplay on a multitude of blues radio shows internationally. This includes the Cerys Matthews BBC Radio 2 Blues Show and the award winning Gary Grainger Blues Show.
A video of K.K. playing a slide guitar cover of "Nothing Else Matters" with her good friend Kaspar "Berry" Rapkin accompanying her on banjo was shared by Metallica on their official TikTok and described by them as "Incredible"!

K.K.’s biggest success to date arose from the release of her debut album Death Roll Blues. The vinyl and CD run sold out via pre-order prior to the album's official release date. Upon its release, the album hit the #1 spot in the UK iTunes Blues chart and subsequently bagged another #1 spot in the US iTunes Blues chart. It also exceeded her expectations by breaking into the #12 spot in the mainstream iTunes charts (across all genres) and the #18 spot in the UK iTunes mainstream chart. It was also the #3 best seller of all time for an iTunes Blues album pre-sale. Death Roll Blues also enabled K.K.’s first breakthrough into the Billboard Blues Charts with a #7 position.

K.K.'s has also had some great successes with her self produced and directed music videos. The music video for Heart Shaped Box winning a multitude of awards including wins at the Video Nasties Genre Film Festival, the David Film Festival in Turkey, the Euro Music Video Song awards, the Anatolia Film Festival, The Golden Wheat Awards, as well as K.K. receiving an honorable mention at the London Director Awards.
U.K. born, K.K. took an interest in guitar, Americana and roots Blues from an early age. She spent some years exploring the back roads of the USA eventually settling in the remote, forested English Countryside, where she works her farm. A self-professed hermit living in an isolated spot in the woods, K.K. enjoys exploring the wilderness surrounding her home to seek inspiration for her song writing.

WHEN RIVERS MEET – BREAKING BOUNDARIES IN ROCK, BLUES & AMERICANA - When Rivers Meet aren’t just making waves—they’re blazing their own trail. The husband-and-wife duo, Grace & Aaron Bond, have carved out a unique sound that defies genres, fusing the raw power of blues-rock, the storytelling soul of Americana, and the heartfelt intimacy of folk. Their music is gritty, soulful, and electrifying, with Grace’s powerhouse vocals and Aaron’s dynamic musicianship creating something truly unforgettable. A huge part of their unmistakable sound comes from their dual vocal chemistry. Grace’s voice is raw, powerful, and deeply emotive, delivering every lyric with intensity, while Aaron’s vocals bring a rich, warm depth, perfectly balancing power with soul. Whether harmonising in haunting unison or trading lead vocals, their voices create a magnetic dynamic that sets them apart. Aaron’s expressive guitar work, especially his masterful slide guitar playing, adds another layer of grit and emotion, helping to shape the band’s signature sound—blending bluesy swagger with anthemic rock energy. Their breakthrough album, ‘Aces Are High’ (2023)—recorded deep in the heart of Suffolk—marked a seismic moment in independent music, launching them into the UK Official Album Charts Top 10, a first for an independent Rock/Blues band. Now, they’re ready to raise the stakes once again. Expect a bigger, bolder, and more dynamic sound, combining powerful harmonies, raw energy, and hard-hitting rock with foot-stomping Americana grooves. This album is When Rivers Meet at their most passionate, unfiltered, and intense. To celebrate, they’re bringing their explosive live show back to the stage: May 23 – Glasgow, Oran Mor, May 24 – Nottingham, Rescue Rooms, May 26 – Southampton, The Brook, May 29 – Norwich, The Waterfront - A SOUND LIKE NO OTHER – MUSIC THAT TRANSCENDS GENRES

Sparks, brothers Ron and Russell Mael, are back with their 28th album 'MAD!' on May 23rd 2025, their first release with Transgressive Records Most acts, by their seventh decade in the biz, would have slowed to a crawl, creakily playing their past hits on the heritage circuit and releasing nothing more than the occasional Greatest Hits collection. This is not the case for Sparks, who have triumphantly returned yet again, proving their resilience and relevance in a modern world with a fresh record and summer world tour to accompany it.

Sparks, brothers Ron and Russell Mael, are back with their 28th album 'MAD!' on May 23rd 2025, their first release with Transgressive Records Most acts, by their seventh decade in the biz, would have slowed to a crawl, creakily playing their past hits on the heritage circuit and releasing nothing more than the occasional Greatest Hits collection. This is not the case for Sparks, who have triumphantly returned yet again, proving their resilience and relevance in a modern world with a fresh record and summer world tour to accompany it.

Proudly presenting Maravilhosamente Bem the powerful, female-centred third album by Brazilian singer, songwriter, actress, and creative director, Julia Mestre.
Alongside being a member of the Latin Grammy-winning Brazilian supergroup, Bala Desejo, Julia has been steadily building a solo career where her unique vision and alluring soft, sultry voice take centre stage. Drawing inspiration from ‘80s ballads, MPB, pop and disco productions, each song on this third album finds Julia creatively exploring different characters and tones.

A love-song-driven LP at its core, Maravilhosamente Bem holds a playful mirror up to blissful days gone by, artfully reimagined with Julia’s own modern twist. An album filled with love and nostalgia, it pays homage to her love of classic female disco divas such as Donna Summer, Sade, Alcione, Lady Zu, and the Brazilian rock queens Rita Lee and Marina Lima. Of that latter pairing, the late iconic Brazilian vocalist and musician Rita Lee (Os Mutantes) is referenced in the music video for the first single, ‘Sou Fera’, blessing Julia with a magical guitar. Marina Lima then provides guest vocals on the album’s closing track, ‘Marinou, Limou’, with her name transformed into a mantra by Julia.

Channelling a lo-fi ‘80s ballad aesthetic, Julia navigates a multitude of themes across the nine sublime tracks. From the sexy, whispered performances on vintage horror movie-inspired tunes ‘Vampira’ and ‘Pra Lua’ to the delicate, fragile love lullabies of ‘Sentimento Blues’ and ‘Cariñito’, and the seductive disco diva embodiment on dance tracks ‘Veneno de Serente’ and title track ‘Maravilhosamente Bem’. Another hidden highlight is the palette-cleansing mini-suite, ‘Interlúdio dos Amantes’. A luscious strings instrumental piece that lends to the beautiful Sade-esque ‘Seu Romance’.

Produced by Julia and longtime collaborators Gabriel Quirino, Gabriel Quinto, and João Moreira, Maravilhosamente Bem sees Julia embarking on a new era of her musical career. This sensational third album is a captivating showcase of the creative vision and versatility of one of Brazil’s finest stars.

Released on Mr. Bongo (ROW) and Altafonte (Brazil).

Sparks, brothers Ron and Russell Mael, are back with their 28th album 'MAD!' on May 23rd 2025, their first release with Transgressive Records Most acts, by their seventh decade in the biz, would have slowed to a crawl, creakily playing their past hits on the heritage circuit and releasing nothing more than the occasional Greatest Hits collection. This is not the case for Sparks, who have triumphantly returned yet again, proving their resilience and relevance in a modern world with a fresh record and summer world tour to accompany it.

'Heartstrings' is the fourth album from London-based Snowpoet, led by the creative partnership of Lauren Kinsella and Chris Hyson Since their debut EP in 2014, the band has built a devoted audience drawn to their emotionally rich songwriting, intricate production, and distinct sonic identity. With 'Heartstrings', they take a bold step forward, writing and recording in the studio as a collective for the first time, capturing the raw immediacy of live performance while expanding their sound with lush textures, layered harmonies, and deeply personal storytelling. "We wanted to capture the moment to create something that feels real, unfiltered, and alive," says Chris Hyson.

This album marks an evolution in Snowpoet's approach. Instead of the fragmented process of previous records, 'Heartstrings' was born in the moment, with the full band improvising, shaping, and refining ideas together in real time. The result is an album that feels alive - organic, immersive, and deeply human. Sonically, the group leans into rich, analogue synth tones, intricate drum textures, and a dynamic push- and- pull between electronic and acoustic elements. Lyrically, it is their most personal work to date, weaving themes of life, loss, and renewal with poetic honesty. "The sound of this record is richer, bigger, more expansive, representative of the culmination of everything we've done so far," reflects Lauren Kinsella. At the heart of 'Heartstrings' is a powerful contrast - moments of deep emotional weight balanced with luminous joy. Songs like "Host" dive into themes of grief and the body as a vessel for experience, while tracks like "New Tree" radiate warmth and rebirth. The band's signature harmonies and layered production give the album a three- dimensional quality, pulling the listener into a space where vulnerability and beauty coexist. With 'Heartstrings', Snowpoet solidifies their position as one of the most innovative and emotionally resonant bands in the UK's jazz- adjacent and electronic-acoustic crossover scene. This is an album for listeners who crave depth, sonic richness, and lyrical honesty.

Back to the 80s: A Holy Grail of Italo Disco Returns on Vinyl

Oh, those magical 1980s… an era forever entwined with iconic music that still stirs the soul. For the young, it’s a source of fascination; for those who lived it, a flood of unforgettable memories. And when you combine that nostalgia with a collector’s thrill and the magic words “Italo Disco”, only a handful of legendary labels come to mind. One of them? Sensation Records: the experimental sub-label of the iconic Disco Magic, headquartered at Via Mecenate 78/A in Milan. Known for its distinctive blue label, Sensation was home to less commercial, often bold and boundary-pushing releases – tracks that dared to be different.

Today, Vintage Pleasure Boutique dives deep into the vaults of Sensation Records to revive one of the genre’s most coveted treasures: Marylinlove – “Another Love.”

Produced by none other than Bruno Mosti – a mastermind behind some of the most sought-after Italo tracks of the era. This is more than a reissue. It’s the return of a true cult classic, a holy grail for collectors and genre lovers alike.

If you know, you know. And if you don’t, this is your moment to own a piece of history. Don’t miss your chance to grab this stunning vinyl reissue, before it disappears again.

Piero Piccioni undoubtedly was the most “dandy” of Italian film music composers. The most stylish one, in art as in life. On the centenary of the composer’s birth, CAM Sugar celebrates his art with a compilation that draws from both his well-know and lesser-known works, alongside a precious handful of tracks that, surprisingly, have remained fully unreleased until today. The result is a journey of rediscovery of the unique, dazzling and unmistakable sound of the Turin-born composer. The silky, sensual and emotional “Piccioni's touch” can be detected in every single composition he happened to work on during his long career which spanned jazz, bossa nova, funk, disco, and orchestral music. It is a touch that gives harmony and coherence to a corpus of soundtracks that stands out as one of the most prestigious and important discographies in the world: eternal music destined to last forever, without ever sounding out of place, just like the timeless elegance of Italy and Piccioni.

Drummer and Composer Nadav Schneerson, based in London has been making moves in the UK Jazz scene having already played with the likes of Charlie Stacey (Yussef Dayes), Steamdown, Dargz, Finn Rees (Allysha Joy), Don Glori and many more across the UK scene and beyond. Highly in demand as a drummer, he's been bubbling as a bandleader with his full 7 piece ensemble gracing many stages in and around London. Having met many of his musical collaborators through Tomorrows Warriors such as Sultan Stevenson, his ensemble line ups feature musicians who have played with many great artists such as Ebi Soda, Levitation Orchestra, Hak Baker, Moses Boyd and much more. Nadav's music is a unique blend of contemporary jazz with various influences from around the Middle East and all being informed by the bustling UK Jazz styles which surround him.

Nadav Schneerson's debut album, Sheva was recorded over two days at the Fish Factory Studio in London. All tracked live, the impressive 7 piece outfit shines through the dynamic range of tracks on the album. Featuring Drums, Double Bass, Grand Piano & Fender Rhodes, Trumpet & Flugelhorn, Tenor Sax, Trombone & Live FX and Oud, there are tracks that are more modal and freeform, allowing the soloists to really let loose. Whereas there are compoisitons more thoroughly arranged, with intricate parts intearweaving through each voice.

Detroit deep house don Rick Wade back in full force! Four cuts of pure groove, lush vibes, and soulful grit. Limited wax, no sleep!

Laurent Garnier : cool release
Radio Slave (Rekids) : Woah !!! Rick knows.
Ben Sims : Now downloading. Will check asap!
DJ Bone (FURTHER) : So deep so dope! Love every track here.
DJ Sneak (I'M A HOUSE GANGSTA) : superb work
Jaye Ward (Dalston Super Store / Netil Radio) : super deep super lush
Marcel Dettmann : thx
Ryan Crosson (Visionquest) : Been playing Rick's music for 20 years. thanks for sending
Arno (Pressure Traxx / Einzelkind / Half Baked) : In a world that gets more and more crazy and unpredictable it feels good to know that some things can still be relied upon. Like Rick Wade and his crunchy deep house jams. Thanks! I was pleasantly surprised to receive such a good digital promo. Keep up the good work. Greetings from Berlin
Pat Hyland (Northside Loft Society) : Loving this EP. Rick‘s House interpretations are the finest. Full Support. Your Love Is........ Magic!
Mike Shannon (Cynosure) : Big Daddy Rick is goin' deep!
Harri (Sub Club) : lovely stuff, will play and support
Fred P : Dope...
Kai Alce (Real Soon) : Classic sounds of Rick Wade!
Enrica Falqui (ERIS, Plexus 4) : Dusk Runner for me, thanks!
William Kiss (Rekids) : Lovely!
Kléo (Rush Hour) : deep and soulful just the way it's supposed to be!
Bill Brewster (NTS) : Best track: Your Love Is
Gerd (4Lux / Clone) : Amazing house tracks by Rick Wade as usual! Phonogramme killing it too!
Aleqs Notal : Love it !!! Full support
Jorkes (Freeride Millenium) : lovely. thanks so much for sending. xoxo
Geir Aspenes (G-Ha (Sunkissed)) : Nice, thank u
Dorian Paic (Raum Musik) : Your Love Is is the one for me. Thx for the promo!
Dj Hutch (Ambers) : Lovely stuff this

NOW is proud to present the next instalment in our ongoing ‘Yearbook’ series, and the final one representing an individual year from the 1980s: NOW – Yearbook 1989. 78 tracks across 4CDs – celebrating a magnificent and eclectic year in pop! This release is available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 78 featured tracks. Also available as 42 tracks across 3LPs, pressed in stunning pink vinyl…celebrating a magnificent and eclectic year in pop!

"1980 was a huge year in pop music with every genre competing for hits. We have already included many tracks on the records of the 1980 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year…

Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1980 wouldn’t be complete without shining a light on some of the years’ singles that have been compiled much less frequently over the years.

Welcome to THE VAULT for 1980… Some of the tracks included were Top 40 hits, some missed the chart completely. Some were representative of massive selling albums, and some were big hits in the U.S. and not in the U.K… but all are part of the wonderful pop story of 1980. "

wetdogg was born in a grotto in Detroit, Michigan with a mission to information to the masses. Through sonic awakening, wetdoggs mission is to enlighten the subconscious and shine light on the deepest crevices of the human psyche. Allowing pathways back into animalistic intuition and away from the technocracy, dig a hole, plant a seed, run in circles and free your mind.

Coming out of Detroit based label Hold Me Records started by Detroit Techno aficionado MGUN and Underground don of all dons Ryan Spencer, wetdogg releases her first Album pssssssp…

From the artist:
"When a dog runs into a river and comes out and shakes itself dry, there is no data collected, technology does not aim to control those that it cannot. Numbers are definite and infinite, a linear path to doomsday. With every move we make, we are tracked and traced and categorized in order to sell ourselves into data hell. Intimacy used to have meaning, the present moment, truth and love but so much of it has been taken captive by technology that seeks to psychologically manipulate and control. A dog runs into the water because that is what dogs do, but it seems these days we are starved from our natural instincts, instead relying on someone else's answer that we of course seek online. "

Using the primitive technology of the password journal (often marketed to little girls to keep their secrets) wetdogg uses the idea of the password journal to imagine a utopia free of the surveillance state in her upcoming album pssssssp…

Founded in 2022, Hold Me Recordings is an independent record label based in southwest Detroit, MI. It is run by Manuel Gonzales (MGUN) & Ryan Spencer, who with a deep-rooted connection to the city's musical history, showcase innovative sounds that challenge the status quo and push the boundaries of contemporary electronic music. Focused on promoting both emerging and established artists, Hold Me is releasing genre-defying tracks that blend unconventional productions with the sincerity of Detroit's legacy. From experimental techno, to downtempo and ambient, Hold Me is committed to offering music that sounds fresh, exciting, and unlike anything you've heard before.

Svein Berge and Torbjorn Brundtland have carved out a singular space for themselves in electronic music and here the Norwegian pair offer us a live album, a document of their 2023 tour. It's a sprawling affair, clocking in at over two hours and featuring a diverse cast of vocalists. The tracklist reads like a who's who of leftfield pop, - - Alison Goldfrapp, Robyn, Susanne Sundfor and Fever Ray among them - each voice adding a different shade to Royksopp's already nuanced sound. 'What Else Is There?', a reworking of the Royksopp classic featuring Fever Ray, is an early highlight, a brooding, intense rendition that transforms the original into a pulsating dancefloor beast. Elsewhere we get the Robyn collaboration 'Do It Again' and 'Running To The Sea' featuring Susanne Sundfor, and even die-hard fans will find something to discover here, with subtle tweaks and re-imaginings offering a fresh perspective on familiar material. A fitting tribute to Royksopp's enduring appeal and their ability to continually evolve and innovate.



[a] A1 | The Ladder [True Electric]
[b] A2 | Impossible (ft. Alison Goldfrapp) [True Electric]
[c] A3 | This Time, This Place (ft. Beki Mari) [True Electric]
[d] B1 | The Girl And The Robot (ft. Robyn) [True Electric]
[e] B2 | Here She Comes Again (ft. Jamie Irrepressible) [True Electric]
[f] B3 | Monument (ft. Robyn) [True Electric]
[g] C1 | Oh, Lover (ft. Susanne Sundfør) [True Electric]
[h] C2 | Unity (ft. Karen Harding) [True Electric]
[i] C3 | You Don't Have A Clue (ft. Anneli Drecker) [True Electric]
[j] D1 | The "R" [True Electric]
[k] D2 | Breathe (ft. Astrid S) [True Electric]
[l] D3 | Running To The Sea (ft. Susanne Sundfør) [True Electric]
[m] D4 | What Else Is There? (ft. Fever Ray) [True Electric]
[n] 14 | Never Ever (ft. Susanne Sundfør) [True Electric]
[o] 15 | Sordid Affair (ft. Man Without Country) [True Electric]
[p] 16 | I Had This Thing (ft. Jamie Irrepressible) [True Electric]
[q] 17 | Feel It (ft. Maurissa Rose) [True Electric]
[r] 18 | Do It Again (ft. Robyn) [True Electric]
[s] 19 | Like An Old Dog (ft. Pixx) [True Electric]

Jump Source is back with their 6th instalment: a collection of 4 tracks fine-tuned for the chaotic club. “Bleach” and “Condenser”cyclically build tension through their sneaky yet brazen tangents – no momentum lost from start to finish. The latter was born from a session with frequent collaborator Sabola, exploring the possibilities of the Roland sh- 05, which would become the backbone of the song. On the b side, the pair enrolled Martyn Bootyspoon and Frankie Teardrop to deliver vocals that break the fourth wall, sending you down an introspective dance-floor experience. “On” takes the foreground approach, while “Get It Done” comfortably hangs back, but the question remains : “What are you on?

The incredibly elusive band Sault release their debut album 5 on Vinyl via independent record label Forever Living Originals. The record fuses African, soul, funk and post-punk vibes amongst other flavours. With support from Radio 6's Lauren Laverne and USA's KWRC and KEXP, the band are set to go from strength to strength becoming one of the most prolific bands of 2020 with a barrage of material up their sleeves

Dean Josiah Cover aka Inflo has been composing for Michael Kiwanuka, The Kooks, Tom Odell, The Jungle and Little Simz

2025 Repress

Om Unit surprises us with a second volume of his 'Acid Dub Studies' project, once again fusing his love for the 303 with studio techniques given to us by musical heroes such as King Tubby, Adrian Sherwood, Jammys and Basic Channel

This second volume further solidifies the convincing narrative created by its best-selling predecessor, heading in a more groove-based direction in places whilst being underpinned by the same sonic narrative that has been enjoyed by many music fans from a variety of different spheres for the past 18 months or so

Support so far for the Acid Dub Studies project has come from many corners including some of the most highly respected names in UK Radio such as Don Letts and Steve Barker, Benji B and Tom Ravenscroft as well as a whole host of truly global worldwide underground support both via radio and in the dance

Om Unit says of this record: 'I felt encouraged by the sheer love for the original selection of works to go back in again and continue to experiment with this approach to writing whilst refining some of the process. Being able to combine processes and influence has been the mainstay of my creative life and I hope this next volume of Acid Dub will be enjoyed by everyone who was a fan of the first'

The beloved 303 bassline continues to inspire every new generation and Acid Dub Studies II is another storybook of sound in that vast continuum that shows no sign of slowing down.

Only the first plate of the LP. (AB side)

New Zealand drum & bass titans The Upbeats have galvanized the global turbulence and turmoil during COVID to create their most explorative and emotionally heavy album to date "Not Forever". Featuring the likes of Fat Freddys Drop frontman Joe Dukie, Jordan Dennis, Levine Lale, Sylvee, Syrene Favero and US MC don Armanni Reign, "Not Forever" is unlike anything the duo has released before. Written in a different way, approached from another perspective, created with a newfound love for the creative process and the scene at large; It's a whole new side to the duo who have continually pushed themselves and their sound into the unknown...

THE BIG ONE !

Orange vinyl edition (Limited copies)

The project by Jens-Uwe Beyer and Thomas Venker boasts a remarkable origin story. In 2017, Venker, co-founder and co-editor-in-chief of Cologne’s Kaput magazine, hosted a gathering at Beyer's house, bringing together journalists, creatives, and musicians. To mark the occasion, the pair decided to join forces for an impromptu ambient-electronic performance, presenting themselves as a two-man band. That evening, donned in special costumes designed by artist Sarah Szczesny and fuelled by a generous amount of Japanese whisky, Hasan Poppu was born. Over the course of the pandemic, the duo thought about creating a record based on the live recording of their premiere show. However, the synergy of their collaborative creative energies led them in entirely novel directions. Their self-titled, double-sided album traverses a wild and raucous terrain, moving swiftly from hybrid noise-techno to giddy party ecstasy, to strange and shadowy atmospheres.

Including remixes by YPY, Hibotep, Lena Willikens, Efdemin and Barnt, the 11 tracks span a dizzying array of experimental dance-facing styles. 'Die-Biden' kicks off as a high-vibrational vocal experiment seemingly voiced by a sentient German vocoder. 'Kodō' follows, featuring Venker's playful mantra set against a stomping beat. Willikens' reimagining of 'Teiko' transports the track to obscure realms inhabited by strange creatures emitting ungodly sounds. Meanwhile, Efdemin's take on 'Ekusutashī' pulsates with a kinetic buzz. Flipping over to the B-side, 'Sakura' is a euphoric wall of drone punctuated by eerie whispers and mystical singing. Then, the second installment of 'Kodō' takes a fresh trajectory with a touch of Barnt’s electronic groove stylings. Finally, Hibotep's 'Shojo no yo ni flp' serves as the finsher – an unrepentant trance belter that disintegrates into sampled fragments. Loosely translating to "broken pop music," Hasan Poppu is informed by Beyer and Venker's shared love for Japan. The band takes their cues from the country’s rich sonic cultures while also drawing on Venker's wordsmith background and Beyer's flair for melding melodic tech-house with song-based synth-pop. Originally out on Beachcoma Recordings, Hasan Poppu’s debut album gets a new lease of life on Osàre! Editions with a digital and limited edition cassette tape release. Sarah Szczesny reprises her role in shaping the visual identity of Hasan Poppu by creating beautiful, painterly artwork for the record. words by Hannah Pezzack

In May 2000, pop princess supreme Britney Spears released her second studio album Oops!... I Did It Again, which features Stronger, Lucky and the title track Oops!... (red leather jumpsuits and the necklace from The Titanic were never looked at the same again!). The massive commercial success debuted at #1 in 20+ counties, selling 1.3 million copies in its first week, breaking the SoundScan record for highest debut album sales by a female artist.

Britney’s record was broken 15 years later in 2015 by Adele’s 25. Considered one of the best-selling albums of all time, to date, it has sold ~20 million copies worldwide. 25 years later, with Britney’s trailblazing influence still being seen in pop artists today, we are delighted to release a 25thANNIVERSARY EDITION 2-LP DELUXE vinyl release. Featuring an alternate cover, a 20-page booklet of never-before-seen and rarely seen photos of the era PLUS 2 new remixes, “Stronger (Adamusic Remix)” & “Oops!...I Did It Again (Pessto Remix)” on black vinyl

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

“Wrecking Ball” was one thing. Now comes the long-awaited anti-austerity blast-a-thon with the teeth, venom and one-of-a-kind music of Jello Biafra. The second full-length from Jello Biafra and the Guantanamo School of Medicine picks up where last fall’s SHOCK-U-PY! left off. Covered in gruesome detail this time are corruption (“The Brown Lipstick Parade”), “Werewolves of Wall Street,” “Road Rage,” and corporate McMedia making pop stars out of small-time crooks to shield the big ones (“John Dillinger”) or tabloid pop stars to lobotomize everyone else (“Hollywood Goof Disease”). The title track shines a light on our never-ending foreign policy disasters in ways even Jello’s spoken word albums never did. “Crapture” is the perfect song to play for those lovely End Times believers, pointing out how much better the world would be for everyone else left behind—replete with melodies on the scale Biafra hasn’t really touched since “Moon Over Marin.” Above all, White People and the Damage Done rocks! No pop punk here, just Jello and crew taking punk fire in unexplored directions, with wallof-sound, in-your-face production from Marshall Lawless and Matt Kelley (lots of Jello projects, Hieroglyphics, The Coup, Digital Underground, Zen Guerrilla). Lineup retains the double-barreled guitar attack of Ralph Spight (Victims Family, Freak Accident) and Kimo Ball (Freak Accident, Griddle, Mol Triffid), joined by bassist Andrew Weiss (Rollins Band, Ween, Butthole Surfers, more) and drummer Paul Della Pelle (Helios Creed, Nik Turner’s Space Ritual, and Philly HC legends Ruin)

15th Anniversary Edition. Lime Green Vinyl. When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release:"Houses", "Whenever You're Ready" (The Zombies Cover), "Creepies" (Instrumental), and "Show". "Whenever You're Ready", a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there's J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.

Two Times Juno awards listed and 2 times Polaris price listed, Canadian Soul Star Tanika Charles unleash the new album "Reason To Stay that drops on May 16 via independent soul label Record Kicks. Reasons To Stay is Tanika Charles' fourth full-length album, and her most introspective to date. Where her songs have typically touched on romantic love and heartache, the core love and loss of this record is family focused. It has taken years for Tanika to be able to publicly reflect on the childhood trauma and family breakup that occurred during her teens. The majority of the album was composed by Tanika with the tight knit team of Scott McCannell (Lydia Persaud, Henry Nozuka), Kyla Charter (Aysanabee) and Chino de Villa (Jessie Reyez). Kelly Finnigan of the Monophonics joined in to mix the bulk of the project and apply some trademark analogue grit to Tanika's sheen. Guests include Quebec-based Soulful singer/songwriter Clerel on the last track "Win", as well as Toronto soul artists Aphrose and Claire Davis providing additional vocals. "I love this album. I love singing these songs. I love that it's made me step outside of my comfort zone. It's forced me to face the root causes of my own insecurities that I carry to this day. Why am I striving so hard to seek validation, and why take it so personally when it doesn't come? That distortion has prevented me from celebrating my own successes at times. This album is me trying to change that." "I love the conversations that have begun with these songs. It's about childhood trauma, but it's not a victim story. I'm doing well, despite the baggage I carry. I want others to be able to carry theirs too." In the last few years, Canadian Soul/R&B powerhouse Tanika Charles has transformed from an emerging solo artist to a commanding performer and bandleader, cementing her status as a staple in the Canadian soul scene. Her previous studio albums - "Soul Run" (2017), "The Gumption" (2019), and "Papillon De Nuit" (2022) - have propelled her to international acclaim, earning her two JUNO nominations, two Polaris Prize listings, and a growing global fanbase. Extensive touring across North America and Europe has further solidified her reputation, with standout performances at festivals such as Trans Musicales in France, Fusion Festival in Germany, Mostly Funk & Soul Festival and Jazz Festival in the UK, Holy Groove Festival in Switzerland, and Canarias Jazz Festival in Spain. She has also shared the stage Estelle, Mayer Hawthorne, Haitus Kayote, Lauryn Hill, Bedouin Soundclash and Macy Gray. Tanika's meteoric rise and undeniable artistry have been widely championed by outlets such as KCRW, KEXP, BBC6 Music, Exclaim!, CBC Music, Uncut Mag, PopMatters, Albumism .. further solidifying her position as a global soul sensation.

Die bahnbrechende britisch-japanische Newcomerin Miso Extra unterstreicht mit ihrem herausragenden Debütalbum, warum ihr 2025 der ganz große Durchbruch gelingen könnte. 'Earcandy' wurde im Sommer 2024 mit Ricky Damian (dem mit einem Grammy ausgezeichneten Toningenieur, der für seine Arbeit mit Ezra Collective, Jorja Smith und Sampha bekannt ist) in Damon Albarns Studio 13 geschrieben und aufgenommen. Mit ihrem innovativen Synthie-House Popsound erschafft die selbstbewusste junge Künstlerin ihr eigenes genre-fluides 'Misoverse', das Musikliebhabende aus aller Welt in den kommenden Monaten in ihren Bann ziehen wird.

Limited edition test pressing, featuring Reggae legends...

Yuno's full-length debut, Blest, out May 16 on Sub Pop, finds the enigmatic indie-pop visionary transforming the emo-tinged suburban malaise of his 2018 Moodie EP into more expansive, widescreen pop drama - suited for big moves and bigger stages. The kaleidoscopic sound he devised as a millennial hermit in his childhood bedroom in Florida has since broadened his horizons, taking him on tour with Unknown Mortal Orchestra and Superorganism, and soundtracking various series for Netflix and HBO. Imbued with elements of dream-pop, rock, trap, and psychedelia, his eclectic songs serve as bids for love and connection, which especially in the fractured era of social media, have resonated with many listeners who find solace in his vulnerability. Yuno's superpower lies in the way he mines a multitude of genres for their pop potential and surfaces with a tapestry that feels novel and fresh. Take, for instance, "Blest," the immediate, blissful, and bright title track, which is inspired by Rich Harrison-breakbeats and Neptunes-esque jangle. Or the breezy single, "True," in which Yuno moderates a lover's quarrel with slick, trap percussion. Amid the breakbeated dream-rock of "Gimme Ocean," he introduces his guitar solo with a searing emo scream, run through an EarthQuaker Devices pedal. Don't let his sanguine aura or his sherbet pink wardrobe fool you; he can shred as hard as he wants to when he wants to. All songs on Blest were written and performed by Yuno, co-produced by Yuno and Frank Corr (Morning Silk), who also contributed keyboards, drums, and guitar throughout the record, with additional production and instrumentation by Patrick Wimberly (Chairlift) at The CRC in Brooklyn, and Nick Sanborn (Sylvan Esso) at Betty's in Durham, NC. Blest was mixed by Steve Vealey and mastered by Joe La Porta.

Pavilions neue Compilation "Break The Glass, Burn The Cage (The Sound Of Indie Punk Rock)" feiert alles, was Indie und Punk ausmacht. Die Welt der engen, verschwitzten Grassroots-Locations mit elektrisierenden Gitarrenriffs, mitreissenden Basslines und den Stimmen der Bands, die man unbedingt gehört haben muss. Mit herausragenden Tracks von Lime Garden, SPRINTS, Lambrini Girls, Sunflower Bean, English Teacher, Dream Wife, Panic Shack oder, Big Joanie kanalisiert die Compilation die rohe Energie und den rebellischen Geist, die man nur erlangen kann, wenn man sich tief um die Ungerechtigkeiten und den Hass in dieser Welt kümmert. Es ist eine Soundreise durch die Angst, Leidenschaft, den Spass und die Freiheit, die man findet, wenn man "es dem Mann zeigt".

"Break The Glass, Burn The Cage (The Sound Of Indie Punk Rock)" wird am Internationalen Frauentag 2025 als Charity-Album angekündigt, alle Tracks wurden freundlicherweise von den Bands kostenlos gespendet. Somit geht der gesamte Gewinn aus jedem Verkauf an die beiden ausgewählten Wohltätigkeitsorganisationen, die ihr Möglichstes tun, um Frauen und Mädchen aus allen Schichten und Altersgruppen zu helfen, von häuslicher Gewalt über Trauerfälle bis hin zu Obdachlosigkeit und Krieg – Brighton Women's Centre & War Child. Das Album erscheint als recyceltes Vinyl und CD in limitierten Auflagen.

Die New Wave-Legenden aus Düsseldorf um Meikel Clauss aka Micky Matschkopf sind mit neuem, tiefschwarzem Material zurück! 1980 noch kurz mit dem KFC den Ratinger Hof abgerockt, prägte NICHTS mit Sängerin Andrea M. und zwei erfolgreichen Alben in den frühen Achtzigern die Szene zwischen Punk, New Wave & NDW. Singlehit "Radio", "Licht Aus" sowie natürlich der zeitlose Top 20-Erfolg und Club-Klassiker "Tango 2000" gehören zur deutschen Musikgeschichte. 1983 fand noch ein drittes Album ohne Clauss statt, der lieber Belfegore ins Leben rief, aber 2009 die Band reanimierte und 2011 in neuer Besetzung das Album "Zeichen Auf Sturm" (Gesang: Sabine K.) über Unique/Electriqie Mud herausbrachte. Seitdem spielen Nichts live, veröffentlichen Deluxe-Ausgaben der drei 80er-Alben, kehrten in die Charts zurück und wurden zu Pandemie-Zeiten von DJ Hell mit einem Remix ihres Kulttracks "Eingeschlossen" bedacht. Mit der neuen Frontfrau Nina H. wurde seit 2022 an neuen Songs gearbeitet, was Ende 2024 zu "Nitroglycerin" führte und nun im fünften vollem Nichts-Werk Gestalt annimmt. Mit "Tiefschwarz" kehrt die Band zu den düstersten Wurzeln ihrer Klangwelten im Update zurück, schließt an Tracks wie "Eingeschlossen", "Tango 2000" und "Schwarze Gedanken" oder eben auch erwähnte Belfegore ("All That I Wanted") an. Ein Sound getragen vom charakteristischen Spiel Clauss' und seinen intensiven Gitarrenriffs, garniert mit hypnotischen Beats und donnernden Drums, gelegt auf ein Fundament aus Bass und Elektronik. Die Texte - mal direkt, mal poetisch, mal rau, mal sanft - zeichnen eine Reise durch die Schattenseiten des Lebens, melancholisch, kraftvoll und ungeschönt. Singles "Kugel durch den Kopf" und "Alien", der Opener "Maschine oder Mensch" sowie der abschließende Titeltrack sind nur vier von 10 starken, neuen Songs. Nichts entfalten eine klangliche Dichte, die sowohl bisherige Verehrer*innen wie auch neue Fans in den Bann ziehen wird. Das stringente musikalische Konzept wird durch das von Katharina Sieverding lizenzierte Artwork noch geadelt: die weltweit erfolgreiche bildende Künstlerin und Fotografin aus Düsseldorf gab für "Tiefschwarz" ein Bild aus ihrer Reihe "Die Sonne Um Mitternacht Schauen" frei, welches gänzlich und ohne überlagernde Schriften das Sleeve-Artwork ausmacht. Die CD kommt als 4-Panel Digipack mit 12seitigem Booklet, die LP im Klappcover mit bedruckter Innenhülle. Das klassisch schwarze Vinyl kommt in 180g, das transparent blaue Vinyl ist 140g.

The Tower is the third studio album by Norwegian hard rock band Vulture Industries. Originally released by Season of Mist on February 24, 2017, the vinyl edition has been sold out for years and sought after by many fans. Known for their mix of progressive metal, dark rock, and theatrical elements, the album continues the band's exploration of complex and atmospheric soundscapes. It combines intricate, sometimes dissonant riffs with elements of black metal, post-punk, and art rock, often switching between atmospheric, melodic sections and more aggressive, intense passages. Lyrically, the album delves into themes of personal conflict, societal decay, and existential despair. The title track, "The Tower," captures the essence of the album with its metaphorical exploration of isolation and oppression. The lyrics are abstract and poetic, inviting listeners to reflect on the human condition and the psychological weight of modern life. The album's concept is built around these dark, thought-provoking themes, creating an immersive experience. Critically, The Tower was praised for its ambitious and multi-faceted approach, with many highlighting its blend of progressive structures and emotional depth. It marked a progression for Vulture Industries in terms of musical maturity, as they refined their sound and further distanced themselves from traditional metal tropes. The album resonated with fans of avant-garde metal, drawing attention for its blend of challenging music and poetic, introspective lyricism.

2023, past and future merge into one. Stripped of temporal markers, today's artists unabashedly draw from the past while boldly gazing into the future. Amid revivals and

innovations, trends and undercurrents, the game is intricate, the nuances abundant. Orphia's music is no exception. Behind the synthesizers, the Genevan weaves a musical tapestry on a tightrope. Cold wave, synth-pop, post-punk, eurodance, Indochine, Depeche Mode, Boards of Canada, Eurythmics... it all blends in a grand synthetic ritual where the festivities happily don't stop at the first light of dawn. Charging forward, swiftly, strongly, into an uncertain future, no questions asked but with a quick glance in the rearview mirror, just to be sure.

"L'Aventure des Gens Modernes" resides in this retro-futuristic melancholy, between nostalgia and a thirst for tomorrow. Without ever falling into foolish nostalgia or soulless revival, the EP reflects an absolute urgency. Urgency to produce, first and foremost, as studio work has become a true raison d'être for Orphia. Urgency to also shout out a certain rage against a world devoid of hope, and this on stage where the artist performs alone, synths in hand and sharp beats for the dancefloor. In an era where the past enables facing the future, the 5 tracks of "L'Aventure des Gens Modernes" breathe a breath of fresh air into a scene in ruins. Cyberpunk or punk in general, Orphia wants to go fast and take everything in its path.

This was Don Thigpen's first recording as an artist, but he was no stranger to the studio. In fact he was the individual behind many heavy tunes that came out of the Jackson area. He and good friend Sam Anderson also cut a record on his CJR labelb (Capitol Jackson Records) called "Shirley Baby", also a highly coveted record if you got a copy to sell or record let us know). The name "LEO" became Dons preforming pseudonym. Leo was also his zodiac sign, which he deemed edgy enough to marquee this electro heavy track "Fee Fi Fo Fum". The inspiration for the song came from the computer craze of the 80s. Much like Zapp & Roger's track "Computer Love" an inanimate object is worshipped and then romanticized by a love affair. The song literally depicts a computer falling in love with a woman and attempts to communicate with her by seductively flashing the words "Fee Fi Fo Fum" on the screen.

Regina Spektor’s 2012 album is available on limited edition Translucent Red vinyl. What We Saw From The Cheap Seats sees Spektor reunited with production partner Mike Elizondo. Sonically, the album is warm and full of live performances from Spektor on piano and vocals and Elizondo on acoustic and electric bass. Together, they flesh out lush arrangements so that each song lives in a world of its own. Includes “Don’t Leave Me (Ne Me Quitte Pas), “All The Rowboats”, “How,” and more.

Reissue of both EPs on one single vinyl: "Ruiner." on side A, "Clean." on side B. * Gatefold: cover of "Ruiner" is on the front, cover of "Clean" is on the back. Since their inception in 2010, Whores. has laid waste to both presumption and audial functioning. Beginning with 2011's Ruiner EP, Whores.brought a welcomed new vision to the often-tired "extreme music" scene. Two years later saw the release of the Clean. EP, a six-track musical display of visceral rancor and songwriting brilliance. Highly anticipated by critics and fans alike. For Whores.,the cavalcade of anticipation provides no pressure or expectation as Lembach states: "We don't just want to fill in the blanks." The only pressure here is to maintain authenticity, and to that end, Whores. are the quintessential example of genuine malice. "You have to bring a sense of realness to the music, otherwise it's fake, and it sounds fake. You have to be honest about it, and it's about getting to the really ugly stuff inside of you, and that's what we do." Classic black vinyl, pn: split cover that is the main product image here is just a mockup (original front showing the Ruiner.cover art)

Originally released in the summer of 1994 at the height of interest in the US underground rock scene, ‘Without A Sound’ was Dinosaur Jr’s sixth album, and their third major label offering. Recorded by the then two-piece band (Mike Johnson on bass and vocals, J Mascis performing everything else himself, including drums), the album saw Dinosaur Jr continue to deliver on their distinct formula, J’s soul-searching songs being performed with his trademark effortlessly cool heavy style. Including classics such as ‘Feel The Pain’ and ‘Grab It’, the album remains a firm fan favourite. Released on highly collectable splatter green vinyl to commemorate the band’s flurry of ‘Without A Sound’ themed live shows in May 2025, this is a chance for the uninitiated and younger fans to discover a classic, and for familiar fans to revisit an album which sounds as vibrant and essential today as it did thirty years ago.

Eleven is a magic number in many cultures, for us maybe it is… or not, anyway our eleventh release is going to be something special with vinyl again as the main format after some only digital releases.

The man in charge of production duties is well known for crafting merciless techno exercises all over the place, RNGD is not a newcomer at all, his roots come from the late nineties and you can somehow feel that into his modern tunes.

These four cuts have a strong link with the classic Birmingham school, Regis,
Downwards, Female, Surgeon… but with a personal and unique twist.

Direct Source is a clear example of what I mentioned before, a few elements are enough to make the funk happen: a solid sequence, proper drums and a hypnotic arrangement.

Same approach on 037, proper neural funk with basic elements administered properly. B side opens with Degradation, again with the same mantra, anabolic, gymnastic and physical.

To close the release Diabólica, providing the mental slice of the pie with the
occasional pad and vocal samples but yet energetic and direct to the floor.

This is the true spirit of techno, don’t be fooled for the new trends. Timeless is the word here.

Text by Luis Rozalén / Hd Substance

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card

"The Lost EP" is back on vinyl for the first time in almost four decades, a cornerstone of New Zealand's 'Dunedin Sound' of the 1980s. Faithfully restored with original artwork and insert, the EP is pressed on single yellow vinyl, still running at 45rpm and features six tracks of sublime pop from the pen of The Chills' mainstay Martin Phillipps. "The songwriter that helped kick off indie rock as we know it." NPR. Originally released in 1985, after the master tapes had been mislaid for 12 months, "The "Lost" EP' is the perfect mix of Phillipps' pop sensibilities and his often-dark lyrics. Doffing a cap to dream pop, garage punk, psychedelic whimsey and old school indie along the way, it's a band truly finding themselves. "Even at his most cynical, the tone of Phillipps' voice and the major-chord bounce of the music makes him sound in love with the world." The Guardian. 1000 copies worldwide

1000 copies pressed on Black vinyl & DL card. First time on vinyl for 10 years .The poems of iconic 19th century American writer Emily Dickinson crafted into the esoteric sounds of Josephine Foster. Originally released in 2009, this highly collectable record is now back on vinyl for the first time in over a decade.

(Remastered 2022)

Die limitierte Vinyl-Veröffentlichung des Albums „Love Songs“ von Elton John ist am 2. September endlich wieder als Vinyl erhältlich.

Das Album, welches 1993 ursprünglich veröffentlicht wurde, knüpft an den enormen Erfolg von „The Very Best Of“ und an seine erste britische Solo-Nr.1, „Sacrifice“, im Jahr 1990 an. „Love Songs“ enthält
18 von Eltons beliebtesten Balladen und erreichte Platz 4 der britischen Charts und hielt sich 48 Wochen
lang in den Charts.

Das Album ist als 2LP und auf 180g Vinyl erhältlich.

LP in printed inner sleeve. With De Wonderen, Donder returns once again to the essence of the trio. The result is a chaotic blend of abstract and melodic work featuring both solos, duos and trios, two covers of pop songs and some occasional whistling and Norwegian lyrics.



The album was recorded on a slow summer day in July 2023 in the old theatre hall of KC Nona in Mechelen. Besides the room's lively acoustics and the conscious choice for an upright piano, the recording is characterised by the usual unorthodox playing techniques and carefully documented imperfections.
In contrast to their previous record Het Verdriet, which emerged from a research project on Flemish (folk) music history, this time the premise was to compose and collect new material without any concepts or limitations. The result is a chaotic blend of abstract and melodic work featuring both solos, duos and trios, two covers of pop songs and some occasional whistling and Norwegian lyrics.

De Wonderen is a testament to the beauty found in the small wonders of everyday life. As Guy Peters writes in the liner notes: «With this album that bubbles with percussive ideas and unpredictable contrasts, you are once again reminded that beauty is more striking when you have to wait for it, or find it in unusual places."

Het Mierenlied and Vader Ademt were released as singles with accompanying video's by respectively 3D and motion designer Robbe Callewaert and visual artist and ceramist Juliette Pons. The full album will be released on W.E.R.F.-records November 22nd, on LP and digital platforms. The artwork was designed by Jelle Martens with photography by drummer Casper Van De Velde.

Casper Van De Velde - drums, percussion
Harrison Steingueldoir - piano
Stan Callewaert - double bass, percussion, voice

All tracks by Donder except for All I Want For Now (Genevieve Artadi) and Oh My Love (John Lennon and Yoko Ono)

This tasteful Spanish label always does a fine line in traditionally inclined deep house. Their latest drop brings together the talents of Andrew Lozano and Trevor Vichas. 'Don't U Feel It' kicks off with a playful skip in the drums and one of those spoken word vocals that add plenty of atmosphere. It's Demuir who remixes this one with even more light-hearted groove and jazzy Rhodes chords. Lozano and Vichas then offer 'With You' which keeps the dubby, smoky, frayed-edge house sounds rolling and 'Feel The Heat then brings a more upright groove with driving hits and swirling pads that speak to the soul.

"JUJU" drops on May 17th (WERF Records) and is programmed at Gent Jazz Festival (July 11th)



Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert.Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before.



Everything is connected. Not just in the grand scheme of things - politically, culturally, socially,... - but also in the colourful universe of Karen Willems. A lifelong quest for profound experiences through organizing sound led to the crucial Terre Sol-series, four tapes released in 2020. Out of that fertile well, Grichte (2022) was born. A double LP that presented Willems as an original explorer as well as a committed bandleader, it was her boldest statement to date.

While the first (solo) album halfalready received a follow-up in K A A P M I J (2023), another tape release that suggested there's still a lot of ground left to uncover, Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert. It was already something to behold on Grichte, swerving from introspective exploration to expressionist riff rock and semi-Dadaist avant-garde.

On Juju, the four-piece digs even deeper and the results are utterly spellbinding. One of the many attractions of Willems' recent work is that it combines relentless artistic experimentation with a commitment to broader socio-political issues. In essence, the artist tries to set up a discussion with her surroundings, sending out musical invitations to connect and participate, reminding ourselves of responsibilities that are too easily forgotten in these hectic, self-centered times. The refugee crisis is one, ecology awareness another, and it's hard not to consider "Voor De Stranden Verdrinken" ("Before The Beaches Drown") a caustic warning. Things need to change.

As said earlier, the music on Juju remains as adventurous as before, but this time around, the playing feels even more confident, diverse and punchy. If the album opener accentuates its urgency with a throbbing pulse and reed sirens, "Tako Deli" continues with rich vocal arrangements, roaring saxes and sweeping melodies. What follows strikes with vigor and consistency: "Nuuki" is as dense as it is infectious, while "Fuzzy Williams" manages to combine Ellingtonian abundance with Swans-like preaching.

And there's more, much more. Eccentricity and playfulness ("The Woo Woo Room, Dance Back In Style", "In Open Veld") go hand in hand with smoldering exercises in tension and release ("Koortsdromen") and a ridiculously infectious call for connection in antisocial times ("Come Vai"). Guest contributions by Nabou Claerhout, Kapinga Gysel, Esther Lybeert and Filip Wauters enrich the band's sound considerably. By the time you reach album closer "When Daytime Lands", Willems takes you on a short trip through that eerie soundscape-land she previously explored.

In short: Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before. It's the sound of an artist at the peak of her powers, not just expanding her range, but digging deeper with obvious glee. It's not just intriguing; it's inspiring to witness..

Burnski's Constant Sound is very nearly at 50 releases and not one of them has ever dipped below essential levels of quality. Kepler has been a regular contributor to this fine catalogue and returns with more of his shuffling, playful and charming garage cuts. 'Recall' manages to be both deep and driving, with cute chord stabs and a smart vocal sample that adds the r&b gloss. 'Flavour' has those old school stabs and filthy basslines and 'Loft Groove' is a bouncy, low-slung number with organic percussion. Closing out another high-grade offering is 'Don't Stop' which brings some dubby chords to a slick, punchy house rhythm. Pure class.

Once again the mighty Dusty Donuts take a trip to Queensbridge, where they bump
into a Lost Girl that once appeared on an infamous mixtape of one of QBs finest.
This bouncy and choppy rework is guaranteed to get the party going.
On the flipside we move from QB to Staten Island to rock you with the special
technique.
The heavy soul classic comes in a true shaolin fashion and makes all true hip hop
heads turn!
In stores early April 2025

DJ Support: Peggy Gou, Prospa, Special Request, Annie Mac, DJ Seinfeld, Kolsch.

Pink Vinyl Limited Pressing

One of the biggest, breakbeat channelling stompers out there, courtesy of the in-demand duo Borai and Denham Audio, finally gets an official release with three fiery remixes via Room Two Records. A track that’s ripped through airwaves and club dancefloors alike, ‘Make Me’ has all the hallmarks of a future classic. Doused in Amen breaks, rattling subs, rave stabs and an instantly recognizable mid ‘80s Donna Allen sample. Together the track feels like a long forgotten rave anthem from the ‘90s with its mix of high intensity breaks and soulful vocals.

With the original sample cleared, three producers step up to remix this undeniable anthem. First Sheffield’s Big Ang with her Rave To The Grave remix, playing homage to her hometown with a bassline and bleep flavoured rework. Mani Festo then hits hyperspace with his glitched out, jungle warper, before Paul Sirrell closes out proceedings serving up a huge slice of piano house heat

As the nights get colder and longer, we often lose touch with those around us. Nights when loneliness takes hold of us as our only dependable friend, and our imagination becomes the universe; forever questioning the existence of our own reality, while perpetually stuck in an emotional limbo.. Delve into your thoughts with ‘Lonely Days’, the latest Lofi Girl compilation featuring 31 artists worldwide. Soft beats, melancholic pianos, lulling guitars and a range of other instruments are knitted together like a warm blanket to bring ease and comfort for as long as you need. Focus on the ingressing dawn light, close your eyes, and breathe in - this feeling is only temporary, and better days are on their way.

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

Brand new Manchester imprint, 160 Street Recordings is excited to announce its first vinyl release, Evolutions EP, by the dynamic production duo of Response and Buda. With a reputation for carving out a distinctive uncompromising sound, the pair return with a gritty, dark collection of tracks that channel the deep, raw energy of early 90s Jungle and Jungle Techno.
Drawing influences from the breakbeat-driven sub-bass and atmospheric elements of that era, the Evolutions EP fuses heavy basslines, classic breaks, and dark, rave-inspired energy.
A1. Evolutions
The EP opens with the title track, ‘Evolutions’—a driving, atmospheric tune full of breakbeat intensity and underpinned by weighty sub bass. Kicking off with a memorable rave stab melody, the track builds with powerful percussion and a haunting, evolving soundscape that moves between light and dark.
A2. Fintons Dub
“Break, show ‘em something, but not too much….” ‘Fintons Dub’ brings a laid-back dubbed out groove, with a selection of classic breaks and a deep sub-bass foundation. An atmospheric pad and cinematic Kung Fu movie sample add depth to this cut, the breaks building gradually with delays as the track rolls out..
B1. Fintons Dub (Double 0 Remix)
No introduction is needed for Double 0, co-founder of legendary London club night Rupture and one of the pioneering figures of the original Hardcore Jungle Techno sound. His remix of ‘Fintons Dub’ takes the track back to his Doncaster warehouse roots, unleashing thunderous bass and breakbeat energy, a twisted mentasm and techno infused stabs. A true dancefloor weapon that embodies the true spirit of Jungle Techno.
B2. Acid Vein
Rounding off the e.p. is ‘Acid Vein’ a 303 led breakbeat bomb that infuses rolling breaks with a pounding sub bass and haunting jazz samples. Slower in tempo than the previous tracks and more reminiscent of the more formative years of rave, Acid Vein will also appeal to the wider breakbeat community.

Previously unreleased; four track 12" with two different vocal takes, each w/ dub. Comes in Bond Export company sleeve.

Another cold case solved! One of DKR's early victories was finding a tape of the drum & bass cut of the legendary dubplate 'Rocks & Mountains.' Rumor had said the artist was the Mighty Travellers, but this didn't really add up chronologically or audibly. More astute listeners mostly agreed the artist was likely the Majesterians, a little recorded group who had made a couple other records for Taxi circa 1980. When we first issued the song on a 10" back in 2011, even Sly himself couldn't recall for sure who sang the tune. Like with other 'mystery' projects which we eventually came to realize, we never gave up digging on this one. There were two mysteries at work here - one, confirming the identity of the group, and two - finding the other cut of the tune, which features fuller instrumentation and a different vocal take. Both cuts were around on dubplate circa '80/'81, and the latter cut can be heard ever so briefly in the infamous UK "Sound Business" documentary film from '81. In the course of a mere 13 years, both questions came to be solved - we obtained a pretty clean plate cut of the fuller mix, and we confirmed the identity of the group. The Majesterians were a vocal trio consisting of Everton Dacres, Roderick Perkins and Paul Mitchell. While the latter two gentlemen don't seem to have done much otherwise, we are sure the roots heads and hopefully all DKR followers know Everton Dacres, who made some fine roots music in the 1970s prior to fronting the Majesterians. We spoke to Everton and he confirmed 'Rocks & Mountains' was their tune, cut in Channel 1 at a Taxi session featuring a host of other artists. Indeed, these were the heady days of 1980 with Channel 1 booked round the clock for locked-in sessions, with the Taxi Gang and the Roots Radics laying down future classic after future classic. All that said, we're happy to re-present this tune now with not only proper accreditation, but also both known mixes and the drum & bass mix in improved fidelity over its previous issue.

Freddie McKay’s self-produced 1977 LP Harsh Words has finally returned to circulation. Initially released in Jamaica on Gorgon Records, a subsidiary of Sonic Sounds, it was issued in the US by Salsoul Records’ sister label Salsoul Salsa Series in 1982. The album includes 10 tracks, featuring previously issued singles from the ’70s along with exclusive songs like the title track Harsh Words, Feel So High, and Travelling. McKay’s gritty, soulful voice is backed by top-tier musicians, including Sly & Robbie, Fish Clarke, Flabba Holt, Bingi Bunny, Ranchy McLean, Ansel Collins, Winston Wright, Bobby Ellis, Don D Jr, and Sticky.

The nearly simultaneous reissue of Freddie McKay’s LP Harsh Words by France’s Only Roots under McKay’s Amethyst label and Switzerland-based Reggae Fever under the Kismet label raises some eyebrows. France’s Only Roots claims a licensed release from Freddie McKay’s estate, while Switzerland-based Reggae Fever acknowledges Patrick Harty as the producer behind their release. Harty owns Jamaican label Kismet, known for its unofficial releases.

Originally released in 1969, the concept for Dusty In Memphis was to take England's reigning female soul queen to the home of the music which had inspired her. Produced by Atlantic's Jerry Wexler and Arif Mardin and engineered by Tom Dowd, the record's highlights include "Son Of A Preacher Man," "So Much Love," "Breakfast In Bed," "Just One Smile," "I Don't Want To Hear It Anymore" and "Just A Little Lovin'".

Springfield is backed by a crack band that had previously worked with Aretha Franklin, Wilson Pickett, King Curtis and Elvis Presley among others. The musicians — collectively known as the Memphis Cats — include guitarist Reggie Young, bassist Tommy Cogbill, drummer Gene Chrismann, pianist Bobby Wood and Bobby Emmons on organ and electric piano. Songwriting contributions came from, among others, Randy Newman, Carole King, Gerry Goffin, Barry Mann and Cynthia Weil. Dusty Springfield is one of the finest white soul singers of her era, and this is the undisputed proof.

Analogue Production's reissue here is perfection. Mastered by Kevin Gray from the original analog master tape. Double LP cut at 45 RPM, pressed on 180-gram vinyl at Quality Record Pressings, and housed in a Stoughton Printing tip-on old style gatefold jacket.

Donny Hathaway's first studio album Everything is Everything is a significant work in the realm of soul and R&B music, released in 1970. It marked an important point in Hathaway's career and showcased his exceptional talent as a singer, songwriter, and pianist.

The album was Hathaway's first release after being signed to Atlantic in 1969. Hathaway had already built a reputation early in his life, first as a gospel singer as a child under the name Donny Pitts. Raised in St. Louis, with religious influences, his grandmother Martha Crumwell was herself an accomplished gospel singer and guitarist. After dropping out of Howard University in 1967, Hathaway moved to Chicago, his birthplace, and started working on music for Curtis Mayfield's Curtom Records label where he was a songwriter, producer, arranger, composer, conductor and session player.

Everything Is Everything was produced by Hathaway and Ric Powell, who plays drums and percussion on the album; Hathaway wrote or co-wrote five of the album's nine songs. Hathaway had met Powell while at Howard University, as well as the future Impressions lead singer, Leroy Hutson, who jointly wrote the hit song that would eventually make it on the album, "The Ghetto."

The track was mostly an instrumental, except for Hathaway's vocal ad-libs and his singing of the chorus. Hathaway and Hutson composed another socially conscious song for the album, titled "Tryin' Times." Other songs were split between covers (Ray Charles's "I Believe to My Soul" and Nina Simone's "To Be Young, Gifted and Black"), spiritual affairs ("Thank You Master for My Soul") and love songs ("Je Vous Aime (I Love You)").

Released in July 1970, the album peaked at No. 73 on the Billboard Top 200 Albums chart and No. 33 on the Billboard R&B Albums chart.

This timeless classic is now reissued in the definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) format.